ouauq PRIVATE IUMATAMUT TUMATAITI

The 2nd Triennial AOTEAROA NEW ZEALAND 2004 MARK ADAMS (NZ) / LAURIE ANDERSON (USA) / TIONG ANG (NETHERLANDS) / JOHN! BARBOUR () / POLLY BORLAND! ||( UK / AUSTRALIA) / LOUISA BUFARDECI (AUSTRALIA) / MUTLU £ERKEZ (AUSTRALIA) /[ CHRIS CUNNINGHAM (UK) / MARGARET DAWSON! || (N Z) / ET AL. (NZ) / KATHLEEN HERBERT ||( UK) / JENNY HOLZER (USA) / LONNIE! jjHUTCHINSON (NZ) / ILYA & EMILIA KABAKOV! I(USSR/USA) / KAO CHUNG-LI (TAIWAN) / EMIKO ! KASAHARA (JAPAN) / WILLIAM KENTRIDGE: (REPUBLIC OF ) / JAKOB! IIk OLDING (DENMARK) / LAUREN LYSAGHT (NZ) /] EMILY MAFILE'0 (NZ) / THANDO MAMA ||( REPUBLIC OF SOUTH AFRICA) / SEN ZEN I MARASELA (REPUBLIC OF SOUTH AFRICA) /| TERESA MARGOLLES (MEXICO) / ANDREW IlMCLEOD (NZ) / (NZ) / CALLUM! MORTON (AUSTRALIA) / ! ||( NZ) / NEIL PARDINGTON (NZ) / ROBERT! •PULI E (AUSTRALIA) / (NZ) /j CATHERINE ROGERS (AUSTRALIA) / SANGEETA SANDRASEGAR (AUSTRALIA) / ^ (NZ) / LORNA SIMPSON (USA) / SEAN SNYDER: [[(GERMANY / USA) / KATHY TEMIN (AUSTRALIA) /| HULLEAH J . TSINHNAHJ INNIE (USA) / J ANEi lift LOUISE WILSON (UK) / YUAN GOANG-MINGj : (TAIWAN) PUBLIC 3 T A v m q TUMATANUI ITIATAMUT

EXHIBITION CURATORS: NGAHIRAKA MASON EWEN MCDONALD i

The 2nd Auckland Triennial AOTEAROA NEW ZEALAND 20 MARCH - 30 MAY 2004

THE AUCKLAND ART GA L L E R Y_T H E 'S GUS FISHER GALLERY_GE0RGE FRASER GALLERY_ARTSPACE JENNY GIBBS GRAEME EDWARDS SUE FISHER give HARRIET FRIEDLANDER ART T R U S T ISimpson Grierson * r i z NOEL LANE AN D AM A N D A GIBBS GEORGINA AND JOLYON RALSTON

The 2nd Auckland Triennial could not have been realised without the assistance and cooperation of:

~~| CULTURAL AGENCIES

ASIA 2000 museums • • BRITISH COUNCIL FOUNDATION # # Ne w Zealand aotearoa OF NEW ZEALAND The Japan Foundation

EMBASSY OF MEXICAN ARTS THE UNITED STATES VICTORIA Danish Arts Council Embassy The Piece 16 Be OF AMERICA ^GLf^

S inG A P O R E CORBANS C it y L if e A AIRLII1ES J / f o TtTiyen^ SAATCHI & SAATCHI ICOLOUR MONTANA A STAR ALUAMCB MEMBB*

I THE AUCKLAND ART GALLERY TOI 0 TAMAKI IS PROVIDED BY *W ► AUCKLAND CITY PUBLIC/ PRIVATE TUMATANUI / TUMATAITI

_ 6 . FOREWORD: CHRIS SAINES _ 7 . SOME NOTES TOWARDS AN OPENING: NGAHIRAKA MASON 8 EWEN MCDONALD _1 2 . BEING THERE: TOBIAS BERGER

_1 5 . _71 . _1 35. MARK ADAMS KAO CHUNG-LI CATHERINE ROGERS

CONTENTS _1 9 . _75. _1 39. LAURIE ANDERSON EMIKO KASAHARA SANGEETA SANDRASEGAR

_23. _ 7 9 . _1 43. TIONG ANG WILLIAM KENTRIDGE AVA SEYMOUR

_27. _ 8 3 . -.147. JOHN BARBOUR JAKOB KOLDING LORNA SIMPSON

_31 . _ 8 7 . _1 51 . POLLY BORLAND LAUREN LYSAGHT SEAN SNYDER

_35. _91 . _1 55. LOUISA BUFARDECI EMILY MAFILE'O KATHY TEMIN

_39. _95 . _1 59. MUTLU QERKEZ THANDO MAMA HULLEAH J. TSINHNAHJINNIE

_43 . _ 9 9 . _1 63. CHRIS CUNNINGHAM SENZENI MARASELA JANE 8 LOUISE WILSON

_47. _1 03 . _1 67. MARGARET DAWSON TERESA MARGOLLES YUAN GOANG-MING

_51 . _1 07. ET AL. ANDREW MCLEOD

_5 5 . _1 11 . _1 73. KATHLEEN HERBERT JULIA MO RI SON ACKNOWLEDGEMENTS

_ 5 9 . _115. JENNY HOLZER CALLUM MORTON

_6 3. _1 19. LONNIE HUTCHINSON FIONA PARDINGTON

_6 7. _1 23. ILYA 8 EMILIA KABAKOV NEIL PARDINGTON

_1 27. ROBERT PULIE

_1 31 . LISA REIHANA pin the curatorial proposition. The triennial DIRECTOR'S endeavours to show some of the world's newest work alongside our own, but does so in a way that crystallises the FOREWORD contemporary art experience around one of contemporary life's most public and potent of issues.

Where the first triennial lit upon the idea of paradise - lost and found, utopian and distopian - the second closes in on the idea of privacy - asking what privacy means in a world of daily boundary crossing between what is considered private and what is not. The 39 artists' projects that comprise PUBLIC/PRIVATE: TUMATANUI/ TUMATAITI were chosen for the powerful We first planned a triennial exhibition for their signal contribution to an way their work echoes imperatives and in 1999, when the gallery determined to enormously challenging undertaking. compulsions around this central premise. establish a three yearly exhibition com ­ They combine to create a hugely evocative Principal sponsor Simpson Grierson, prising New Zealand and international and stimulating encounter with cross- whose association with the gallery spans contemporary art. In March 2001 The 1st cultural and cross-media practices that fifteen years, have shifted their focus to Auckland Triennial: Bright Paradise was focus on an increasingly germane issue. our contemporary programme. I thank launched across three venues. The project These projects instigate debate as a crucial chairman Rob Fisher, along with David was a direct response to the success of part of the work, and they highlight the Graham and Glenda Macdonald, for their other similar events in the region and the significant role that visual artists play in nothing-short-of-remarkable confidence then conspicuous lack of any comparable elucidating contemporary social issues. in this project. They have been joined by ongoing contemporary art event here. We They also introduce new work to this Creative New Zealand and the Sue Fisher wanted to put Auckland on the map as country, as they send messages offshore and Chartwell Trusts, each of which has the staging ground for a major multi- about the cultural condition here. The 1st supported the triennial from its inception. venue exhibition that would evolve into a Auckland Triennial began down that path in I thank the CNZ Arts Board, and trust world-class contemporary art event for the 2001 and the second triennial enlarges chairs Sue Fisher and Rob Gardiner, for city. Not one, of course, with the evident and accelerates that dialogue in 2004. their generosity. I am delighted also to history and scale of a Venice or acknowledge those Patrons of the biennale, but a project that would over Not just the speculative ambition but also triennial whose individual support has time forge its own independent level and the physical reach of this project are now enabled us substantially to push out identity. The 2nd Auckland Triennial, which much developed, partly manifest in the the reach of the project. Among them we are proud to again stage with our extended partnership support lent to us I very gratefully include Jenny Gibbs, exhibition partners at Artspace and by The University of Auckland and by Graeme Edwards, Harriet Friedlander, The University of Auckland, does much Artspace. I acknowledge their numerous Noel Lane and Amanda Gibbs, and to further that aim. strands of engagement with this project, Georgina and Jolyon Ralston. My especially those which have come through Such projects, once fixed in the calendar, sincere thanks to them, and to the Dr John Hood, vice chancellor, Mary- enhance and promote the life and many local and international cultural Louise Browne, acting director of The presence of contemporary art and art agencies and support sponsors who have Gus Fisher and George Fraser galleries, practice in the presenting city as well as made numerous singular differences in the broader cultural landscape. And and Dr Deidre Brown of the school of to this triennial. importantly too, they gain an historical architecture. The Artspace board has and critical m ass that is entirely their been as generous through chair Francesca Lastly, I reserve my own and the gallery's own. Which is why the broader intent of Rudkin and the close involvement of warmest thanks for the artists whose the Auckland triennial is to establish director Tobias Berger. The gallery is projects comprise PUBLIC/ PRIVATE. links and dialogues between national greatly indebted to its triennial partners I thank them and their gallerists and contemporary visual art and culture and as it is to the project's co-curators, Ewen other lenders for making their work the wider world. Precisely because of its McDonald and Ngahiraka Mason. If it available and, in very many instances, scale, this triennial does something that belongs to anyone, the conceptual shape for working to realise it here in Auckland. few such larger projects succeed in doing, and critical inflection of PUBLIC/PRIVATE Your contribution to this triennial is greatly and that is to gather a body of works is theirs. They have thanked numerous valued by us all. around a lucid and defining theme, others associated with our enterprise, CHRIS SAINES to give the visitor a more immediately elsewhere in this publication, but I wish DIRECTOR apparent sense of the ideas which under­ particularly to thank Ewen and Ngahiraka AUCKLAND ART GALLERY TOI 0 TAMAKI terms. This blurring is the pivot upon which (the first operational American Global SOME NOTES the exhibition balances and, considering Positioning System launched in 1989], in the many challenges confronting us today, terms of location and identity we are all what the selected projects reveal is a belief under surveillance. It's now a fact of life TOWARDS AN that art-making remains a vibrant and that we must sensitise ourselves to the challenging alternative to the information accelerated emergence of a controlled OPENING received by other means. Society is society - an Orwellian nightmare from indebted to artists and the many idiosyn­ which it will become increasingly difficult PUBLIC cratic ways they encapsulate powerful, to escape. And it's not only orbiting (1 ] of, relating to, or concerning the people as a whole poignant and disturbing ideas. satellites: according to our reading, (2) open or accessible to all humans can't help looking at and watch­ PRIVACY Private practice/ public metaphor is one ing over each other. (1) The condition of being private or withdrawn; seclusion way of describing how individual voices (2) the condition of being secret; secrecy can come to speak for others - for those Laurie Anderson once admitted in an who may not yet have found the means COLLINS DICTIONARY OF THE ENGLISH LANGUAGE interview to being a 'spy on the human COLLINS, AND GLASGOW to describe and come to terms with a condition'. One of her hobbies is to lurk TUMATANUI particular circumstance or event. Indeed, near the back of public phones at airports (a) open, public, without disguise it could be suggested that the creative and listen in on conversations: 'it's all TUMATAITI process itself is a form of 'going public', of part of trying to define what makes up [a] secret and private self-exposure. In this sense the exhibition American culture'. She uses her eyes HUATAU MAORI LANGUAGE CONSULTANTS is timely: in the current social climate it LEVIN, AOTEAROA NEW ZEALAND and ears to find answers. Like most of is important that debate is opened up to us she's a voyeur: 'I love putting myself Privacy: how do we reconcile a sense of include as many divergent voices and social in situations where really don't have any privacy with a public persona? Think of contexts as possible. The hope is that business being, just spying on people.'1 dilemmas and disclosures, the moral and certain connections made between works And these days you don't have to try very social responsibilities, the tabloid world will resonate and thereby create a dynamic, hard to listen in. Mobile phone (ab)users and its need for 'indecent exposures' - experiential dimension for viewers. if this is our contemporary condition, are serial confessors who will say anything, _l HEAR/SAY then just how involved can one be in anywhere: it is easy to be the perfect How often our knowledge is conditioned by an increasingly-encoded world where eavesdropper - just betray no outward hearsay. It has been said that governments ideological and legal justifications have sign of how frantically busy you are inside, are ruled by markets, businesses by enabled the proliferation of surveillance straining to catch a conversation two profit and that we, the poor citizens, systems and technologies designed to seats back, filing it away for later use. depend on media we view and listen to protect and watch over us? And if these Great novels, after all, commented one with ever-increasing scepticism. No are some of the fundamental concerns journalist, 'are banquets that begin with wonder, then, we don't know who to that now confront society, do they also an overheard morsel.'2 trust or believe anymore. As a curatorial represent a calculated choice? A lack statement, we decided that our theme Reality TV has become the most sensation­ of privacy in return for greater security, would be best served by simply quoting alised means of private exposure, but as an enforced conformity for the greater from the mass media that pervades our a media critic points out, 'It is clear that public good? everyday. These 'Notes towards an opening' the line between the public and the PUBLIC/PRIVATE: TUMATANUI/TUMATAITI can be considered an acknowledgement private is always political. It's fraught - the exhibition - focuses on the m ean­ of the many articles and anecdotes that with anxieties about class and gender - ing of privacy, on the self, and on indi­ contributed to our research. There is with anxieties about “the mob" getting viduality within a number of contempo­ however, a common thread that could be out of control. The line between public rary socio-political contexts. The works summarised as 'somewhere, something and private is not natural - it's som e­ raise pertinent questions about privacy happened to somebody'. More often than thing we negotiate, as individuals and as a that need to be (relconsidered: for not, it is something that disturbs and society, all the time. Where we draw the instance, some projects are based on the bites at the very heart of human decency. line has consequences. But it's unclear loss of privacy, on actual events that have that we'd be a more civilised society if TV It is now a reality that the technical choices impinged directly upon personal free­ - and other media - hadn't encouraged us we make represent unconfessed political doms, other works reveal the impact of to find out more about how other people choices. Since 11 September 2001, for invasive technologies (surveillance sys­ live, who they are and what they do in the instance, in the wake of a collective tems and biomedical procedures] on privacy of their homes.'3 emotional shock, more stringent security notions of individual and social well­ measures have been introduced yet - Remember the brutal vision of Rodney being. almost without question - most of these King receiving savage and relentless Purposefully, the exhibition is cross- hastily passed laws undermine individual beatings from Los Angeles police in cultural and trans-generational and liberties that are the foundation of 1991? The two minutes (56 baton blows presents a range of cross-media projects democratic society. With at least 24 and six kicks] was coincidentally filmed that reveal public and private as oscillating Global Positioning Satellites now in place from a balcony of a nearby building, the Secrecy is the rocket fuel that sends tape being delivered to Los Angeles In July 2003 an Agence France-Presse power on its way. Without secrecy there Channel 5 the next day and broadcast report announced that identity theft had is no power and the converse is equally around the world. Home video cameras hit millions - at least 7 million Americans, true. We live in a secret society and have suddenly went beyond vacations, which is about 3.4 per cent of the adult always done so. A society that vacuously weddings, parties and family affairs: the population, a 79 percent increase on the rejoices in the values of egalitarianism political consequences of handicams and previous year. Identity theft involves using and , yet practices the moral other new technologies for human rights someone’s personal information, such as heresies of capital over-production and became apparent. But alongside the security card numbers, to establish bank consumer compulsion, needs a high positive outcomes (providing essential or credit card accounts that are generally degree of informational suppression to evidence), a darker side to the pro­ unpaid, leaving the victim with the debts. keep this agenda in soft focus. Secrecy liferation of camcorders emerged - they The report estimated that thieves have a is not only the first essential of the state, are a powerful tool that can save lives chance of about one in 700 of being caught as arch-intriguer Richelieu tells us, but is but equally, they increase the danger for by authorities. More often than not, these embedded in our society as one of our those who just happen to be have been thefts are written off as credit losses but unspoken core values.9 using them. And further: do personal as one victim commented after a year of documentaries present the truth or are bureaucratic shuffling to try and clear her Passwords and last words: it has been they simply propaganda driving one side name, 'It takes a long time to get your­ pointed out there are secrets that should of the story?4 self back.' be taken to the grave but suddenly, we An earlier feature article titled 'Data realise, important computer passwords _ll I AM...I THINK... Detectives’ interviewed two IT specialists are not among them. A s an increasing 'M y grandmother always told me I was who say, 'Show us your data, and we’ll amount of critical personal and work- hers, that I was Mexican. That was her show you how much you are being related information is stored on computers role. It was not my teacher's role to tell defrauded, betrayed, cheated or conned.' instead of inside notebooks and filing me I was Mexican. It was my teacher's They expose the global consequences of cabinets, passwords are creating digital role to tell me I was an American. The connectivity and the as yet untapped locked doors for lawyers, will executors notion that you go to a public institution applications for individuals, business and relatives of the deceased. A recent in order to learn private information about and government. Information, they say, story told of the family of someone who yourself is absurd... Now we have this is a rich, unexplored vein revealing many committed suicide calling in a for-hire idea that, not only do you go to first things about the way we operate and password cracker and developer of break- grade to learn your family's language, store material. Their recently created soft­ in' software because they wanted to but you go to university to learn about ware program is based on connections access encrypted files. Estate planners the person you were before you left between information and the patterns are now recommending that people make home. So, rather than becoming multi­ left by our everyday activities? complete lists of their passwords and cultural, rather than becoming a person online accounts and store them with The insurance of anonymity and respect of several languages, rather than their wills. At the very least, spouses and for private life is often achieved through becoming confident in your knowledge of next of kin should know where to find a the use of a pseudonym. In the art world, the world, you become just the opposite.'5 hard copy of passwords used for the the use of pseudonyms and heteronyms most important accounts. There's even Self and self-protection is another story. have essentially reflected criticism of a new email service designed to send Take the case of writer Jeanette Winterson, bourgeois ideology on the part of the notes - love messages, lists of computer who decided to launch her own website artist, a concept founded in the myth of passwords and other important information but found someone had got there first. the genius. On the Net, the use of a - to survivors in the event of someone s She asks the person responsible, 'so why pseudonym hints at an obviousness of sudden demise. When a My Last Email do you want to be m e?’ The reply: to make sorts. Everyone can own as many identities certificate is left behind by the deceased, money, basically.’ The person had already as he or she wants, according to his/her the survivors mail it to the company, which registered 130 well-known writers names: activities. In each forum a specific person­ then begins delivery of the stored email. Winterson's lawyers file a claim under ality is determined by a set of themes '. .. with MyLastEmail.com, concludes the the Internet Corporation for Assigned and communities. The use of a fantasy writer, you can communicate long after Names and Numbers (ICANN) and she name constitutes a sort of encoding you've logged off.’10 sends out a warning. She writes: As we of identity that protects the user and move deeper and deeper into the strange guarantees his or her freedom of The National Library Act was passed by world of the Web, it is vital that we take expression. But if the fictitious personality the New Zealand Government in April other values with us. There must be proper in question engages in a more radical 2003. It focuses on digital archiving and protection for individuals and their work. discussion, he or she does not bear any allows for the harvesting of PC memory Not only for the sake of their livelihood, less the responsibility of the one who takes banks as well as the storage of this information in databanks accessible to but also for the sake of their dignity, on that personality in a given community. the public. The initiative draws attention their effort, their contribution, their talent.' One must not lose sight of the fact that to librarians' interest in what's stored in The sudden realisation is that "cyber these communities of metamorphosis the nation's personal computers, an squatting" is now a way of the world.'1 exchange and produce actual ideas.8 acknowledgement that one's heritage supposedly different interiors, rather 'the sought in the street, not only in the is increasingly locked inside computer contiguities, relations, and so forth [that] space between the Walkman head­ networks. New Zealand is one of the contribute to presenting the city as a phones, but from the eyes of the camera. first countries to ensure that culturally- unitary whole' - 'a screen without fissures' More significantly, privacy is sought for significant digital material is available - is pertinent. The difference between communications and transactions, many online. public/private is like this very screen - one of which happen on the move. Yet the more as part of the other. Further, she suggests Reading our minds brings to the fore sci-fi privacy is sought, the more it is challenged. that it is this obsessive concern with the and stories of cyborg evolution when, Privacy can no longer refer to fixed spaces. surface that constructs the intimate and one day, we will wake up and speak to Both privacy and surveillance now exist 'that the intimate is not a space but a each other not in words but in thought - in a world of flows. The means of relationship between spaces'.13 a time when we will be able to upgrade communication are increasingly mobile, our own intelligence and do things by Turning to public and private spaces, and people on the move cannot thus simply downloading directly to the brain. an obvious focus is the home. Once the hope to evade surveillance.15 Science fiction, ora not-too-distant reality home was about rooms and privacy, but Careful the neighbours may be listening... when humans can have brain implants now houses are becoming as fluid as the It has become apparent that cordless connecting them to the vastly superior spaces we create in our everyday existence. phone users have to be aware of what intellectual powers of computers? For Witold Rybczynski's book Home (1986), they say. For about $200 anyone can buy some, cyborg evolution is considered for instance, describes how once houses a piece of electronic equipment popular inevitable and vital to the survival of the were full of people, much more so than with radio enthusiasts that allows one human species... if we can't beat robots, today, and privacy was unknown. More­ to eavesdrop on cordless phone conver­ then we must join them. A new system is over, rooms did not have specialised sations. While radio scanners are legal to envisioned that is essentially an 'intelli­ functions: the notion of privacy comes out tap into police and emergency services gent machine network' that has human of the Enlightenment and the development radio communication bands, it is illegal to nodes connected to it. And, 'if you're not of the notion of an inner life. The idea of tap into local gossip. But one newspaper connected to the network - not a cyborg the private self and of isolation dominated reported that a woman ringing up about - you won't be part of it at all.'" the nineteenth century and by that time Internet problems was in for a shock. the private house was not only separated It's sobering here to recall a reality- After giving all the necessary personal into different spaces within, it was sepa­ check from Hal Foster's recent book details to her provider's help desk, she then rated from the public and became a Design and Crime (and other diatribes] that received a call from a concerned neighbour retreat from it. In the 1920s, Sw iss telling her that everything she had said despite the telecommunications age, 'half designer and thinker Le Corbusier saw the people on this planet have never used had been broadcast over a radio scanner the house as more than a shelter, it was a telephone'.12 and would have been heard by anyone a 'machine for living in' - and from his within a certain radius of her home.16 Jll SAFE AS HOUSES? philosophy of architecture flowed the Safe house or 'smart house': it was Architectural theorist Beatriz Colomina idea that we could improve our lives reported that visitors to Bill and Melinda considers that modernity is bound up by standardising and rationalising the Gates' 'smart' home are given an electronic with notions of the mask. She cites design of houses. By the 1960s, French pin to wear. The pin tells the house who one suggestion that if a civilian can be philosopher Gaston Bachelard was writing: you are and where you are; the house characterised as having at least nine 'If I were asked to name the chief benefits uses that information to anticipate your guises - a professional one, a national of the house, I should say the house needs. It automatically adjusts the lights, one, a civic one, a class one, a geo­ shelters daydreaming, the house protects routes phone calls to the nearest phone, graphical one, a sex one, a conscious, an the dreamer, the house allows one to and even changes the digital art on the unconscious, and perhaps even a private dream in peace.' Now, it seems, the 21st walls to suit your taste.17 one - then the individual must also have century house is an attempt to merge Le as many masks. Taking this idea of many Corbusier's desires and Bachelard's _IV I SPY WITH MY LITLE EYE... m asks and Colomina's notion that 'the dreams. A house today must be capable FROM SOMEWHERE HIGH mask becomes responsible for, rather of transforming itself. We require IN THE SKY THAT IS than simply veiling, “interior'' disorders', communal space and privacy... we It is now crucial that we begin to we decided to explore Colomina's need a retreat from the world, but simul­ understand the rapidly increasing ways conclusion that masks produce what taneously we still need to be able to see in which personal details are collected, they hide. With reference to the pivot and communicate with it.'14 stored, transmitted, checked, and used upon which our exhibition balances, The home - once a private realm par as means of influencing and managing 'public/ private' then, are two faces - excellence, into which others could not oeople and populations. Surveillance one looking out, the other within. intrude - is now a place where the may involve physical watching, but While Colomina's focus is architecture means of surveillance flow freely today it is more likely to be automated. and the structure of cities, her argument through domestic spaces, in telephones, Thus it makes personal data visible to that the real difference is not between televisions, computers, and even in the organisations, even if persons are in the different facades representing their metering of utilities. Privacy today is transit, and it allows for comparing and suggested that tracking their location with­ classifying data. This has implications of industrial-strength turpentine. To now in the community would be cheaper than for inequality and for justice.'8 open a bottle of Wolfasep is to conjure for many, a lost but ruined world.20 building detention centres to house them.23 There's a story about a man on a foot­ There is an increase in so-called spy-ware, path in the middle of Manhattan: he's A Sydney conservationist volunteers shouting to the sky, 'You've got no right to work with a group to clean up an which can track a person's movements on the Internet, but the most disturbing to do this! I think you're a coward!’ The Australian Defence Industries site but he man is Bill Brown, he's taking on a video is forced from the bus because somehow it threat to privacy is the 'radio frequency camera that's staring back at him from became known to ADI that he had worked identification tag', which transmits four storeys up - he's a New York tour for years to save the site from develop­ identifying numbers via radio frequencies guide with a new view of the city, a Video ment. It seem s that via a website posted enabling them to be tracked. These tags Surveillance Tour of Manhattan. He points by the company asking for residents to are becoming smaller and cheaper and out the thousands of cameras on rooftops, comment on the project (including their could soon be included in clothing, cos­ store fronts and utility poles. Indeed names and other details), the developers metics and tyres, and linked to personal within a few steps from where the mid­ were able to keep files on people opposed information. They have the potential town walk begins, there are eight cameras, to the project and because the information to track inventory but, equally, could and in the neighbourhood alone he has was stored on a US database, it was not also be used for marketing purposes by mapped 239 spying eyes. Further, Brown subject to Australian privacy laws. Yet, tracking those who, unbeknown to them, describes the capabilities of each camera as the NSW Council of Civil Liberties are wearing or carrying tags embedded and the limitations. But they do little to pointed out, it represents a gross invasion in the goods they have purchased. Junk- deter crime because law enforcement of personal privacy.2' busters (a US-based advocacy group] is agencies have decided it's not cost- demanding that laws be passed to ensure On a shopping trip in Manhattan a young effective to staff monitoring centres. Yet that all such devices are disabled at the girl is being tracked by her father - he the cameras are unlikely to removed.” point of sale.24 has provided each of his daughters with Many of us can only imagine what it mobile phones that enable him to see The old top-heavy bureaucracies of the must be like living under a totalitarian where they are on a computer map. He early twentieth century are being replaced regime. A factual description of life in says: 'They know I care and they know with computerised and networked East Germany for instance, is hard to I'm watching.' This is the start to a news systems. Since 9/11, many countries comprehend: Stasi statistics reveal some item about the growing number of families have rapidly passed laws permitting 200 kilometres of files, that there were and employers who are adopting Personal unprecedented levels of policing and over 170 'unofficial' collaborators, nearly Location Surveillance technology once intelligence surveillance, which in turn 100,000 audio cassettes, and 250,000 used mainly to track soldiers and prison­ draws upon other sources such as political prisoners. During its forty-year ers. Analysts predict that A2 million consumer records. But well before 9/11 history (from 1949 to the reunification of Americans will be using some form of plans were underway by both analysts and Germany in 1990], the East German 'location-aware' technology in 2005. Debate activists to investigate the implications secret police assembled dossiers on begins over the boundaries of privacy in of networking between countries and thousands of suspects. It was a security a more transparent world - critics of the contexts. New technologies, above all the system that involved one-fifth of the East new technology are concerned that such computer, facilitate surveillance in ways German population spying on one another. devices will be widely accepted before that Max Weber, Franz Kafka, or George In a recent article, 'The Original Big legal guidelines are established. For Orwell never dreamed of, but new hard­ Brother', writer Nicholas Shakespeare instance, one employer gave his workers ware and software do not on their own describes how, in its efforts to control company phones without telling them create new surveillance. Indeed, much the population, the secret police listened about their GPS function, working in surveillance occurs because in the world in on every conversation, watched every conjunction with a network of satellites of modernity, people prefer a private movement and classified every identifying orbiting 20,000 kilometres above the existence, which prompts the development feature of suspects - even their body scents Earth. He can now ascertain time spent of systems to authenticate their activities were gathered. Alongside a voice collection, on the job with clients. Another decided in the 'public' world. Of course it is ironic a fingerprint collection and a saliva he would like to hide one in his wife's car. that the quest for privacy produces su r­ collection, the Stasi decided on a collection 'I'm not expecting or hoping or wanting veillance, because privacy is also looked of smells. Yellow felt patches were used to find something, but I would just like to to as protection against surveillance. But to absorb body odours from bedding and explore the possibilities . . . I'll tell her privacy is in any case a relative term.25 preserved in thousands of glass jars so about it later.'22 In many ways, by looking through artists that authorities could use sniffer dogs to eyes and experiencing their work as trace perceived dissenters. A country too, The Times recently reported that Britain is responses to things that have either suggests the writer, has a smell. East planning to tag asylum seekers: new happened or may happen in the future, Germany, he discovered by asking, could government proposals would see asylum there is an inversive, if not subversive be characterised by 'Wolfasep', a detergent seekers being electronically tagged and element. For example, as some selected used to clean floors and train seats, which kept under satellite surveillance instead exhibition projects reveal, turning the impregnated clothes with the astringency of being held in detention centres. It is mechanisms and implications of sur­ George Orwell. Astonished by the dis­ 1 LAURIE ANDERSON, 'SPARKS IN THE DARK', INTERVIEW WITH ALAN ATTWOOD, SYDNEY veillance upon surveillance itself is one honesty of ideologues and the press (at HORNING HERALD. 21 DECEMBER 1996 way of considering the personal, the the time of the Spanish Civil War) he wrote 2 BERNARD LANE, 'HOW TO EAVESDROP', WEEKEND AUSTRALIAN MAGAZINE. 17-18 private, within the context of social well­ about fearing a future world from which JANUARY 2004, P6 being. Some have termed this inversion the ideal of objective truth had vanished, CATHARINE LUMBY, 'PRIVATE EXPOSURE', BULLETIN. 5 AUGUST 2003, P 35

'sousveillance'... a performative counter­ and where those who held power were PATRICIA KARVELAS COMMENTING ON attack, an empowerment that comes HOME TRUTHS FROM AN AMATEUR LENS able to control the future through their IN RESPONSE TO THE DOCUMENTARY with subverting systems: surveillance control of the past. In a letter of 1939 he FILM HANPICAMS, HUMAN RIGHT? AND THE NEW? cameras threaten autonomy. Shrouding said: The thing that frightens me about AN EXCERPT FROM A VIEW FROM THE cameras behind a bureaucracy results the modern intelligensia is their inability MELTING POT; AN INTERVIEW WIT H RICHftRP RQPRIGUEZ in a somewhat grudging acceptance of to see that human society must be based h t t p ://w w w .scottlondon .c o m /i n s i g h t / SCRIPTS/RODRIGUEZ.HTML their existence in order to participate in on human decency... There is something 6 JEANETTE WINTERSON, 'WHAT'S IN public activities (shopping, accessing wrong with a regime that needs a pyramid A NAME?', GOOD WEEKEND, SYDNEY MORNING HERALD. 27 MAY 2000, P55 government services, travelling, etc). of corpses every few years.'27 HELENE ZAMPETAKIS, 'DATA DETECTIVES', By having this permanent record of the AUSTRALIAN FINANCIAL REVIEW MAGAZINE, NOVEMBER 2002, PP10-14 situation beyond the transaction, social From the curatorial perspective then, ANGELINE SCHERF, PUBLIC KEY; AN control is enhanced. Acts of sousveillance PUBLIC/PRIVATE emerged as a most ENCRYPTED ART IN A TRANSPARENT apt title for an internationally-focused SOCIETY. EXHIBITION BROCHURE, APEX redirect an establishment's mechanisms ART, NEW YORK, MAY-JUNE 2002 and technologies of surveillance back on triennial exhibition taking place in Aotearoa 9 PAPER PRESENTED BY DR BILL DE MILLA New Zealand because it alluded to the TO RIGHT TQ KjNQW COHERENCE 26-28 the establishment. There is an explicit OCTOBER 2001, SYDNEY in your eye' attitude in the inversion of consequences of the 1990s phenomenon 10 DOUG BEDELL, 'COFFIN UP: DEAD PASS- of PPP - Public Private Partnership, the surveillance techniques that draws from REPRINTED IN AUSTRALIAN FINANCIAL the women's rights movement, aspects private financing and ownership of public REVIEW. 30 DECEMBER 2003, P 36 DAVID STONEHOUSE, 'THE CYBORG of the civil rights movement, and radical infrastructure. This government directive EVOLUTION', ICON. SYDNEY MORNING environmentalism. Thus sousveillance is suggested an ideal way of linking the work HERALD. 22-23 MARCH 2003, PP8-9 12 HAL FOSTER, DESIGN AND CRIME (AND situated in the larger context of democratic of artists with the public - but a ready­ AIMER PIATRIBES?, VERSO, NEW YORK, social responsibility.21 made notion that could turn the spotlight 2003, P 1 2 BEATRIZ COLOMINA, EE1YA.CY ANP onto the content of the selected projects. _V COLLUSION/CONCLUSION PUBLICITY: MODERN ARCHITECTURE AS MASS MEDIA. MIT PRESS, CAMBRIDGE, Such self-empowerment - like First and foremost, PUBLIC/PRIVATE is MASSACHUSETTS, 1994, PP23-27 sousveillance - is an act of liberation, 14 HELEN GREENWOOD, 'LESS PRIVACY, about the work of artists: how personal PLEASE', SPECTRUM, $YPJ1EY MORNING of staking our public territory. But as is HERALD. WEEKEND EDITION, 10-11 thoughts, ideas and experiences as well as JANUARY 2004

often pointed out, the ubiquity associated being fundamental to individual artistic 15 MANN, NOLAN 8 WELLMAN, with surveillance for instance, equally practice become, through the exhibition SOCIETY 1. 2002, CHAPTER 3, P 347 reflects acquiescence on the part of process, the beginnings of a possible 16 the individual. In its own discreet and (and critical) public voice. Identification 17 ROSE VINES, 'SMART HOMES', ICON. SYDNEY MORNING HERALD 17-18 MAY 2003 idiosyncratic way, an exhibition project with, and empathetic responses to, the 18 DAVID LYON, 'SURVEILLANCE STUDIES: such as PUBLIC/PRIVATE: TUMATANUI/ experiences of others can assist in finding UNDERSTANDING VISIBILITY, MOBILITY AND THE PHENETIC FIX', EDITORIAL, TUMATAITI is an attempt to sensitise ways to articulate the personal, the hidden, SURVEILLANCE 8 SOCIETY 1. 2002, PP1-7. REFERENCE: viewers and generate awareness about to come face-to-face with one's own WWW.SURVEILLANCE-AND-SOCIETY.ORG the dis-empowering nature of many of public/private masks. 19 REUTERS, ANDY SULLIVAN REPORTING ON VIDEO SURVEILLANCE, ICON. SYDNEY the ideological, social and bureaucratic MORNING HERALP, 24-25 MAY 2003 In the end, self-exposure - sometimes systems that purport to be for our general 20 NICHOLAS SHAKESPEARE, 'THE ORIGINAL tentative, sometimes determined, often BIG BROTHER', WEESENP AUSTRALIAN well-being. MAGAZINE. 31 JANUARY - 1 FEBRUARY both - may be the only way we (en)counter 2004, PP 27-30 While humankind struggles to make being in the world. The projects selected 21 'BIG BROTHER EYES ADI SITE HELPERS', distinctions between public/private, it DAILY TELEGRAPH. SYDNEY, 12 DECEMBER for this exhibition - like the sequence of 2003 highlights a need to be more clear about quotable quotes used to attest to the time­ 22 'HIGH-TECH TRIUMPH - NOW YOU CAN what is public and what is private. The SPY ON THE FAMILY', CHRISTMAS liness of our theme - represent a range WEEKEND EDITION, § Y P N E Y MORNING basic idea that some things are personal HERALD. 26-28 DECEMBER 2003, P16 of powerful encapsulations of differing and private, and some things are shared 23 BROADCAST NEWS REPORT, vulnerabilities and desires. In other words, 29 NOVEMBER 2003 and therefore public, appears to have what this curatorial project attempts to do 24 SELINA MITCHELL, 'PRIVACY FIGHT GOES disappeared or been excised from our PUBLIC', THE AUSTRALIAN. 27 OCTOBER in its discrete, modest way, is to propose 2003, P 12 . REFERENCE: everyday, in the name of cultural and WWW.PRIVACY.GOV.AU/PRIVACY_RIGHTS/ a timely study of the effects of new INDEX.HTML global change. By attention to technologies upon an all-too-human, 25 DAVID LYON, OP CIT. the lack of distinction between public/ 26 MANN, NOLAN 8 WELLMAN, OP CIT., CH. twenty-first century predicament. 3, P 347 private we expose ourselves as intolerant 27 QUOTED IN ROBERT MANNE'S 'HOW LONGING to difference on many fronts and here, it is FOR EQUALITY UNDERMINED A POLITICAL NGAHIRAKA MASON & EWEN MCDONALD THINKER WITHOUT EQUAL', SYDNEY MORNING worth remembering the words of writer FEBRUARY 2004 HERALD. 30 JUNE 2003 BEING THERE

the audiences as the films. Tiravanija also researched the possibilities of bringing artistic knowledge to a local community. In 1998 he bought land near Chiang Mai in Thailand and handed it over to the local community to cultivate. Fie invited artists working at the intersection of art and the development of new social products to get involved. Atelier van Lieshout developed the toilet system; Kamin Lerdchaiprasent built a gardener's house; Tobias Rehberger, Alica Framis and Karl Flolmqvist developed housing; Arthur In the 1970s a group of artists known as 'town-planning' projects like Garden City Meyer installed a system for harnessing the Spurensicherer, the 'trace savers', and Future of Auckland. I have invited three solar energy; Prachya Phintong, a pioneered the idea of social research as overseas artists, Jacob Kolding, Sean programme for fish farming; Superflex an art form. Christian Bottanski, Anne Snyder and Louisa Bufardeci, and two integrated their biogas production system; and Patrick Poirier, Annette Messanger local artists, Ava Seymour and Emily and Chai-lnn planted trees that could be and Nikolaus Lang catalogued ordinary Mafile'o, to research Auckland. Kolding, made into baskets. people’s belongings, exhibited items Snyder and Bufardeci will arrive cold and found in abandoned houses and constructed Obviously research has always been part create work on the fly in response to what huge models of ancient cities. While of art. From the beginning, artists have they find. Seymour and Mafile'o are most of the trace savers were French, schooled themselves in art techniques, creating work out of their ongoing the term was coined by the German critic in philosophies, in . But in today's relationship to the local. Hopefully, this Gunter Metken and many of their key information society, artists are getting will provide an instructive clash of exhibitions were in Germany. The idea more overtly research-oriented. perspective and approach. of artists sifting through and exhibiting Understanding art less as things and Jakob Kolding grew up in one of Den­ traces of individual and collective more as social processes may not be a mark's huge modernist apartment blocks. history appealed to Germany's post­ new idea, but it has never before been so This experience became the foundation war generation, who were still trying to relevant. With the burgeoning world for his art. In western countries, low comprehend how the horror of the two biennale circuit, artists are travelling income housing projects shape many world wars could have happened. more and discovering different places. people's lives. In the 1990s Kolding started The budgets of big exhibitions allow The'trace savers provide an important producing posters posing questions, them to produce works that can inject precedent for some of today's most prompting citizens to research their city, valuable information into social space. interesting artists, artists whose work is to question its architectural and political While biennales are rightly criticised for based on research. The Thai artist Rikrit structures: Tiravavija is perhaps the most well known promoting western values and paving the example. For the 2001 Istanbul Biennial, way for globalisation, they should also be WHERE DO YOU LIVE? WHO TOOK THE Tiravavija ran a newspaper survey to celebrated when they foster art as a INITIATIVE FOR THE CONSTRUCTION determine the readers' favourite movies. socially-engaged self-critical way of life. OF THE PRECINCT? IN WHAT FORM Then, in the city square, he simultaneously This idea has informed Auckland Remapped, WAS THE PROJECT PROPOSED? screened the four most popular films - Artspace's contribution to Public/Private. (COMMISSIONING BOARD, two American, Fight Club and Pulp Fiction, Our exhibition has grown out of my RESTRICTIONS?) WERE THERE ANY and two Turkish, Vizontele and Cskiga - experience as an itinerant curator, PROTOTYPES FOR THE PRECINCT? each drawing a distinct demographic. regularly exposed to different places and HOW CLOSELY DOES THE COMPLETED The piece was as much about exhibiting cultures, and out of previous Artspace PRECINCT RESEMBLE THE PROTO- research. It's evidence. The Berlin-based recall teenagers' bedroom walls, covered American travels the world exposing in posters. The books are so big it's hard globalisation at a local level, seeking the to turn the pages; you have to be careful special in the generic and the generic in not to rip them. Their newspaper scale the special. He has documented a gated draws significance from the fact there is community in Shanghai made entirely of no free press in the monarchy of Tonga imported American materials (including [the only free Tongan newspaper is the workers to put them together], published in Auckland).

Romanian mansions modelled on the If Kolding, Snyder, Seymour and Mafile'o TV soap opera Dallas, and McDonald's offer personal takes on reality, Louisa restaurants in Asia. Given Synder's surreal Bufardeci's paintings and digital prints view of globalisation, Aucklanders may be at first seem disinterested and scientific. TYPE? TO WHAT EXTENT HAS AN surprised to see what takes his eye here. The artist's statistical re­ ATTEMPT BEEN MADE TO MAKE THE Ava Seymour's photomontages mimic presentations recall Concrete Art by Piet PRECINCT AESTHETICALLY PLEASING? formal portraiture. She has Mondrian and Theo von Doesberg, Paul HOW SUCCESSFUL HAS THIS BEEN? avatar-like figures collaged from scraps Lohse and Max Bill. Take Tax Payer's Money TO WHAT EXTENT DO THE RESIDENTS from magazines, medical textbooks and [2000-2], The areas of the M canvases are THINK THAT THESE AESTHETIC TOUCHES pornography into the streets of communist in proportion to Australian government HAVE PROVED SUCCESSFUL? East Berlin, lifestyle-magazine interiors, budget lines for Defence, General Public and New Zealand housing estates. By Service, Transport, Health, etc. Each is His posters were illustrated with views inserting these figures into such normal subdivided to represent a further budget of the city; with images of skateboarders everyday scenes, Seymour promotes a breakdown into individual cost codes. and DJs representing street culture. surprising punk-humanism. This is Such user-friendly pie-charts evoke art's Printed in large editions, the posters evident more than ever before in the old dream of capturing an efficient mirror- were pasted up around the city and given work she has made for Public/Private. image of the world. But Bufardeci's works away to exhibition visitors, linking the Seymour has created a panoramic view also engage our scepticism. We all know museum with its community. They read of K Road - a street the rest of the city is statistics exclude, obscure and manipulate differently on the street and in the embarrassed by, a street she knows well reality as much as reveal it. In the end gallery. In the street they looked like because of the presence of her dealer Bufardeci's information graphics leave vernacular political posters, while gallery and of Artspace. Onto a street us thinking about what they don't tell us. museum visitors were more likely to corner already famed for its bizarre In Artspace's Future of Auckland catalogue, see them in the context of art traditions: selection of hookers, Seymour has Mike Davis wrote: 'Auckland is Los Angeles Russian constructivism, French agit­ placed an assemblage of weirdos of her upside down... Auckland is humane, prop and early English Pop Art. It will own. It's an alternative social portrait. impressively fit, well behaved, and, for be interesting to find out what questions. the most part, a suburban Utopia.' But is Emily Mafile'o comes from a Tongan back­ Kolding will pose to Aucklanders, everything really so nice and wonderful in ground, but grew up in South Auckland - especially given that Auckland is not Auckland? Our show seeks to challenge that's a typical experience for Pacific what he's used to. Here he won't find this common view of the city, looking Islanders today. Mafile’o photographs bleak high-rise low-income housing deeper, posing questions. A city is always what she knows, her family and friends; projects; the quarter-acre section is still the sum of different impressions, ideas, kids in cars. Her work is like a community the model for our way of life. experiences and histories. Our exhibition photo-album, underlining the struggles presents five diverse and perhaps con­ While Kolding is interested in initiating and joys of everyday life. She enlarges flicting views of Auckland. research on the part of others, his her pictures up to A1 or even AO format community audience, Sean Snyder's and turns them into wall installations and TOBIAS BERGER photography is the product of his oversized books. The wall installations DIRECTOR OF ARTSPACE MARK ADAMS / LAURIE ANDERSON / TIONG ANG / JOHN BARBOUR / POLLY BORLAND / LOUISA BUFARDECI / MUTLU (JERKEZ / CHRIS CUNNINGHAM / MARGARET DAWSON / ET AL. / KATHLEEN HERBERT / JENNY HOLZER / LONNIE HUTCHINSON / ILYA & EMILIA KABAKOV / KAO CHUNG-LI / EMIKO KASAHARA / WILLIAM KENTRIDGE / JAKOB KOLDING / LAUREN LYSAGHT / EMILY MAFILE'O / THANDO MAMA / SENZENI MARASELA / TERESA MARGOLLES / ANDREW MCLEOD / JULIA MORISON / CALLUM MORTON / FIONA PARDINGTON / NEIL PARDINGTON / ROBERT PULIE / LISA REIHANA / CATHERINE ROGERS / SANGEETA SANDRASEGAR / AVA SEYMOUR / LORNA SIMPSON / SEAN SNYDER / KATHY TEMIN / HULLEAH J. TSINHNAHJINNIE / JANE S LOUISE WILSON / YUAN GOANG-MING MARK ADAMS the canoe, 'is a black strip about 20 cm wide which stretches across the back with fuaulutao (spears) on both ends, going towards the front under the armpits. It means a vessel, which is understood TATAU/ to be the immediate family - the wearer of the pe'a guards this vessel with spears...' through ink on paper. The implement, He explained that other elements repre­ evidently mobile, evokes the rhythm of TATTO 0 sented the flying fox, 'known for caring tattooing, a protracted, steady percus­ for her young under her wings', that aso sion that makes the art a kind of bodily laiti, 'small lines', represented paternal counterpart to a piece of Steve Reich's and maternal genealogies, which the music. Tattooing has a sound that is bearer of the pe'a must know; that the heard in one way by those of us who are lausae motifs 'represent the dark side to present, at the scene of this insistent any task... Do not be afraid - the sea is drumming, and in another way altogether dark but only some parts are dangerous.'' by the person whose perforated skin fig­ In these terms, Sulu'ape presented his ures as an instrument of this music. No practice as an encoding of Samoan photograph is audible, but some are less traditions and values. But his work was removed from aurality than others; some, Sulu'ape Paulo II arrived in New Zealand notably innovative. He experimented, as in the mid-1970s and like many Polynesian like this image, alert us to the sounds tufuga ta tatau no doubt always had, with men, worked in a car assembly factory for that are absent. the formal organisation of the pe'a, which a few years, but was then made redundant, Adams also produced formally-posed is standardised in its overall structure and began tattooing full-time, and for photographs, that communicate directly rather than in its details. Some years ago, money. His work was known initially only and unambiguously the pride of the bearer he provided a full pe'a to a Samoan woman, within the Samoan community and among of the completed pe'a, who faces the viewer who reputedly took the unorthodox view interested outsiders, in the New Zealand in an act of deliberate yet dignified self­ that since there were no men in her art scene, but by the early 1990s he had exposure. Here, the tattooed man may generation of her family, it was incumbent begun to stage the practice publicly. have been a victim of the tattooist, but is upon her to bear the male tattoo. In the also a co-author of the remarkable From time to time he tattooed at cultural aftermath of Sulu'ape's death, some expression of Samoan art that has become festivals, and as part of a Samoan play Samoans suggested that the tragedy arose indistinguishable from his body. None of performed in Auckland's main arts centre. ultimately from this inauspicious decision. the agency and self-possession that is Sulu'ape also became known to prominent Mark Adams is a New Zealand photo­ present here can be detected in most tattoo artists in California and Europe, grapher. Much of his work has dealt with older images of Polynesian tattoos, from and became famous among a global, cross-cultural issues, which he has which the face of the person is often increasingly Internet-based tattoo approached through images of monu­ excluded, or presented in oblique profile, community. He attended tattoo conventions ments, artifacts, sites and environments.2 in a fashion that permits a man to be in , , Madrid, and else­ In these photographs, bodies have not regarded as a curiosity. where, and executed a number of full been conspicuous, but they are central traditional pe’a in Europe, in spaces such A number of Adams' photographs concern to a series of works produced during the as the Tattoo Museum and Library in not tattooing internal to the Samoan early 1980s, which documented the community, but with Sulu'ape's work on ; not so long ago he spent practice of Paul Sulu'ape and his brother Pakeha (white New Zealanders) and some time with the Berlin Hell's Angels; Petelo. Certain of Adams' close-ups treat notably on the prominent painter, Tony back in New Zealand he had come to be the tattoo not as an exotic script, a m ys­ Fomison (1939-1990). Though this artist regarded as one of the major figures of terious form of writing on the body, but had worked for a few years early in his the new cosmopolitan and experimental as a bloody happening. They admit an career as a museum archaeologist, Polynesian migrant culture that is now uncomfortable fascination, perhaps, but primarily concerned with recording so visible there. In November 1999, do not animate so much the arousal of Maori rock art, his subsequent interests Sulu'ape was killed at his home in South the voyeur, as the unease of a witness, in Polynesian cultures and people were Auckland. someone inadvertently, perhaps unwill­ manifest not in the documentation of the In occasional public talks, and in a short ingly in the midst of a scene of careful past, but in what was happening in his piece published in 1995, this tattoo artist and restrained but cumulative violence. present, and in relations he formed with outlined the symbolic values that he under­ The sharpness of the photograph and the particular people. Fom ison's orientation stood to inhere in the design, which he proximity of skin and stained rag place was in some respects the inverse of that also explicated to those he tattooed, us directly before a ritualised work of of the typical European modernist. If the while he applied the motifs to their bodies. injury, rather than in a calm space in latter incorporated forms derived from He recorded, for example, that the va'a. which finished tattoos can be inspected tribal art into paintings or sculptures, in the absence of much knowledge of, or contact with the people who had produced the material, Fomison's interest was more personal. He displayed Pacific artifacts in his studio and house, but refrained from using indigenous forms or designs in his art. has observed, in his catalogue of the 1995 Fomison retro­ spective, that the painter's acquisition of the pe’a indeed appears a recapitulation of the longstanding European fantasy to cross the beach and become a member of the tribe; and that Sam oans variously tolerated, respected, or objected to this assumption of one of the hallm arks of Samoan manhood, one of the pre­ requisites of titled status and rank in the Samoan polity. But Wedde reminds us that Fomison was not the only in this . Sulu'ape - a tufuga ta tatau, a priest and master of the art - made a considered choice to inflict the design on a man he knew. In so doing he was making a decision that was 'personal and controversial’, and that was innovative in its context.3 MAR ADAMS It is, in a way, surprising that his tattooing 1982. FARBOOD DRIVE, HENDERSON. MEST AUCKLAND. ULI. TUFUGA TATATAU: of foreigners should have been censured. PASIMA SEFO 1982 From the late eighteenth century onward, tattooists in Tahiti, Hawaii, New Zealand and Samoa among other places had frequently tattooed mariners, deserters, and other travellers; and Samoans regularly tattooed men who travelled from the neighbouring archipelago of Tonga for the purpose. The implications of belonging and Samoan-ness that tatau carried were always prone to qualification ethnography discover a 'custom' that is 1. SULU'APE PAULO II. 'SAMOAN TATTOOING', FOMISON: WHA T , SHALL W E TELL THEM?, or suspension, when the objects of the art itself innocent of ethnography; we find LAN WEDDE (ED), WELLINGTON: CITY were connected with, but not of, Samoan that the tattooist has got there first, if GALLERY, WELLINGTON, 1993 society; in many instances, tattoos were our object is the marking of alterity. 2. SEE FOR EXAMPLE MARK ADAMS AND NICHOLAS THOMAS, COOK'S SITES: only partially reproduced on foreigners. REVISITING HISTORY, OTAGO Adams' images, of Fomison subject to UNIVERSITY PRESS, DUNEDIN, 1999 Tattooing appears, then, not as mute Sulu'ape's practice, and of Fomison 3. WEDDE, OP. CIT exoticism, but as an activity that dealt present within the family ceremony that knowingly with cultural difference; it had THIS IS AN EXTRACT FROM A LONGER marked the completion of Tuiasau's pe’a, ESSAY DRAWN FROM WORK IN PROGRESS long been modified for application to THAT IS SUPPORTED BY FUNDING FROM record what was distinctive about this THE ARTS AND HUMANITIES RESEARCH other Polynesians, and had from an early BOARD AND THE GETTY GRANT PROGRAM. process, and its awkward but remarkable stage in colonial history, been made I AM GRATEFUL TO MARK ADAMS FOR result. The scene is, in a way, like the THE OPPORTUNITY TO WORK WITH HIM available in a kind of souvenir form, to AND WE BOTH OWE A GREAT DEAL TO tattoo itself: what it exhibits is more SULU'APE PAULO II. I WOULD ALSO mariners whose bodies carried emblems LIKE TO THANK PETER BRUNT AND telling than what it can be said to say. of their many ports and voyages. Neither CHRIS WRIGHT FOR THEIR COMMENTS AND ANNIE COOMBES FOR HER ADVICE the ethnographer's art nor the artist's NICHOLAS THOMAS AND SUPPORT. SELECTED SOLO EXHIBITIONS MARK ADAMS Born Christchurch _2003 P E1 A■ PHOTOGRAPHS BY Te Waipounamu, Aotearoa New Zealand, 1949. MARK ADAMS. CURATORS PETER BRUNT AND SOPHIE MCINTYRE, Lives and works in Auckland, Aotearoa New Zealand. ADAM ART GALLERY TE PATAKA TOI, VICTORIA UNIVERSITY OF WELLINGTON, NZ _2000 THE TATAU SERIES. GOVETT- BREWSTER ART GALLERY, NEW SELECTED BIBLIOGRAPHY PLYMOUTH, NZ _1999 COOK'S MARK ADAMS AND NICHOLAS SITES: REVISITING HISTORY. THOMAS, COOK'S SITES; MARK ADAMS AND NICHOLAS REVI$ITIN(? HI$TQRY, OTAGO THOMAS, MUSEUM OF NEW UNIVERSITY PRESS, 1999 ZEALAND TE PAPA TONGAREWA, WELLINGTON, NZ _1998 AFTER THE FACT AND SILENCE. EXHIBITION CATALOGUE, ROTERIOS. ESSAY BY RON BROWNSON, ROTERIOS. SELECTE GROUP EXHIBITIONS CHECKLIST ROTERIOS . ROTERIOS . LOPDELL HOUSE GALLERY, ROTERIOS, XXIV BIENAL DE 2003 £JURIOSITY KILLED THE AUCKLAND, 1998 22.7.2000. 'AUTHENTIC SAP PAULO. CURATOR FOR GAP. CU RATOR TOBIAS BERGER, TRIBAL ARTS', SPIEGELGRACHT, MAORI. PAKEHA. HE WAERENGA OCEANIA, LOUISE NERI, ARTSPAC I, AUCKLAND, NZ; SEA AMSTERDAM, NETHERLANDS. URURUA - PAKEHA. MAORI. A FUNDAQiO BIENAL DE SAO KNOWING AND ISLAND SEEING, MICHEL THIEME, TUFUGA CONJUNCTURE . EXHIBITION PAULO, BRAZIL _1997 CURATOR RON BROWNSON, TATATAU: SU'A SULU'APE CATALOGUE, ESSAY BY JOHN TE OBSERVATIONS, MARTIN VAN AUCKLAN ART GALLERY TOI 0 PAULO. C TYPE PRINT, 1200 MANIHERA CHADWICK, ROTORUA VERDEN AND MARK ADAMS, TAMAKI, AUCKLAND, NZ _2002 X 1 500 MM CITY ART GALLERY, 1987 GALLERY DIE PRAKTJIK, SKIN DE EP. A HISTORY OF 22.7.2000. 'AUTHENTIC LAURIERGRACHT, AMSTERDAM, TATTOO I M?, CURATOR NICHOLAS LOUISE NERI, 'OCEANIA: TRIBAL ARTS', SPIEGELGRACHT, THOMAS, NATIONAL MARITIME NETHERLANDS _1996 EXPLORING, NOT KNOWING', AMSTERDAM, NETHERLANDS. OBSERVATIONS. (FOR 'RE­ MUSEUM, GREENWICH, UK _2000 ROTERIOS. ROTERIOS. MICHEL THIEME, TUFUGA IMAGING THE PACIFC', A MILLENN] UM SHOW. MARK ADAMS ROTERIOS. ROTERIOS. TATATAU: SU'A SULU'APE CONFERENCE CONVENED BY AND ANS. WESTRA. ROTORUA ROTERIOS. ROTERIOS. PAULO. C TYPE PRINT, 1200 PROFESSOR NICHOLAS THOMAS ART MUSjEUM, ROTORUA, NZ ROTERIOS . EXHIBITION X 1 500 MM AND DR DIANNE LOCHE), 1998 UlGHTS AND SHADOWS. CATALOGUE, XXIV BIENAL SCHOOL OF FINE ARTS, DUNEDIN PUBLIC ART GALLERY, DE SAP PAULO. 1998 21.11.2000. WEESPERZYDE, AUSTRALIAN NATIONAL NZ; S0U1 HERN LIGHTS. DUNEDIN AMSTERDAM, NETHERLANDS. DAMIAN SKINNER, REVIEW, A£I UNIVERSITY, CANBERRA, PUBLIC ART GALLERY, NZ AND LOUISE AND HENK SCHIFFMACHER. NEW ZEALAND. NO. 98, 2001 AUSTRALIA _1995 PORTRAIT OF CITY AR CENTRE, EDINBURGH, TUFUGA TATATAU: SU'A THE ARTIST TONY FOMISON, SCOTLAN D 1996 ART IN THE NICHOLAS THOMAS, 'THE CASE SULU'APE PAULO. C TYPE CURATOR RON BROWNSON, CITY/ S,IGHT SEEING, LOPDELL OF TATTOOING', NZ JOURNAL OF PRINT, (DIPTYCH) 1500 X AUCKLAND CITY ART GALLERY, HOUSE GALLERY, AUCKLAND, NZ PHOTOGRAPHY . NO. 51, 2003 1 200 MM EACH AUCKLAND, NZ _1994 AFRICUS 1995 CURRENCY: SELECTED 21.5.2001. VAALKENSWAARD, BIENNALE, CURATORS JENNY NEW ZEALAND PHOTOGRAPHERS, NICHOLAS THOMAS, EINDHOVEN, NETHERLANDS. HARPER AND TIM WALKER, AUCKLAN D INSTITUTE AND CONTEMPORARY ARTISTS AND RENE AND KARINA PERSOONS. , SOUTH AFRICA; MUSEUM, AUCKLAND, NZ _1994 ANTHROPOLOGY. C. WRIGHT AND TUFUGA TATATAU: SUA WAIARIKI - WAIORA. THE BLUE OPEN TH E SHUTTER. AUCKLAND A. SCHNEIDER (EDS), THAMES SULU'APE PAULO AND SULU'APE BATHS. PHOTOGRAPHS BY MARK PHOTOGRAPHERS NOW. AND HUDSON, LONDON, 2002 MICHEL THIEME. C TYPE ADAMS . CURATOR JOHN PERRY, PHOTO FO iUM GROUP SHOW, NICHOLAS THOMAS, 'MARKED PRINT, 1200 X 1500 MM AUCKLAN ) INSTITUTE AND ROTORUA ART MUSEUM, MEN', ART ASIA PACIFIC MUSEUM, AUCKLAND, NZ _1993 >[IMAGE P153 ROTORUA, NZ _1993 WHENUA QUARTERLY. N O . 13, 1997 I MAHARATIA. HAE HAE NGA AFTER T HE FACT AND SILENCE. 21.5.2002. VAALKENSWAARD, TAKATA ~ LAND OF MEMORIES. HARU SA MESHIMA AND MARK NICHOLAS THOMAS, 'THE DREAM EINDHOVEN. NETHERLANDS. SCARRED BY PEOPLE. CURATOR ADAMS, LOPDELL HOUSE OF JOSEPH: PRACTICES OF RENE AND KARINA PERSOONS WATCHING TV. TUFUGA WILLIAM MCALOON, DUNEDIN GALLERY , AUCKLAND, NZ IDENTITY IN PACIFIC ART', TATATAU: SU'A SULU'APE PUBLIC ART GALLERY, DUNEDIN 1993 P FRSPECTIVES. CURATOR THE CONTEMPORARY PACIFIC. PAULO AND SULU'APE MICHEL AND WELLINGTON CITY ART CHRISTIf IA BARTON, MUSEUM OF VOL. 8, NO. 2, 1996 THIEME. C TYPE PRINT, 1200 GALLERY, WELLINGTON, NZ NEW ZEA LAND TE PAPA X 1 500 MM TATAU. PE'A: PHOTOGRAPHS _1986-90 PAKEHA - MAORI. TONGARE JA, WELLINGTON, NZ BY MARK ADAMS. ADAM ART ALL PHOTOGRAPHS COURTESY OF THE A CONJUNCTURE. CURATOR 1992 TE MOEMOEA NO LOTE- GALLERY TE PATAKA TOI, ARTIST AND AUCKLAND ART GALLERY JOHN PERRY, ROTORUA CITY FA: THE DREAM OF JOSEPH, TOI 0 TAMAKI. COLLECTION OF VICTORIA UNIVERSITY OF ART GALLERY AND NEW CURATOR RANGIHIROA PANOHO, AUCKLAND ART GALLERY TOI 0 TAMAKI, WELLINGTON, 2003 ZEALAND ART GALLERY SARGEAN r GALLERY, PURCHASED 2004 DIRECTORS COUNCIL TOURING WANGANU [, NZ THE PAINTING PART. ESSAY EXHIBITION _1985 WORK IN BY JIM AND MARY BARR, THE PROGRESS. REAL PICTURES CENTRE FOR CONTEMPORARY PHOTOGRAPHIC GALLERY, ART, HAMILTON, 1990 AUCKLAND, NZ _1982 0 LE WHENUA I MAHARATIA..HAE TA TATAU. SAMOAN TATTOOING, HAE NGA TAKATA - LAND OF REAL PICTURES PHOTOGRAPHIC MEMORIES. SCARRED BY GALLERY, AUCKLAND, NZ PEOPLE. EXHIBITION _1976 MARK ADAMS. SNAPS, CATALOGUE, PHOTOGRAPHS BY A PHOTOGRAPHERS' GALLERY, MARK ADAMS, TEXT BY HARRY AUCKLAND, NZ EVISON, TANDEM PRESS, 1993 AURIE NDERSON

I used to spend some time seeing a psychiatrist. I would get there around and hitting the mirror at an angle that eight in the morning and come into the she couldn't see them. So I said, 'Why office, and she sat in a corner and on don’t you sit in my chair? You can see one side of her was a window and the them from here.' And I'd never seen her other a mirror, and she could tell by get up before but she got up (she could slight movements of my eyes whether I actually walk!] and she came and sat in was looking at her or out the window or my chair and she said, at the mirror. I looked at the mirror a lot 'Oh! Lip marks.' and one of the things I noticed was that The next time I saw her was the last on Mondays it was perfectly clean and time. She said she'd discovered that her clear, but by Fridays it was covered twelve-year-old daughter had been com­ with these lip marks. This was a process ing into the office during the week and that seemed bizarre at first and then kissing the mirror, and that the maid predictable and finally more or less would come in on the weekends and inevitable. Then one day, in passing, I clean off the marks. And I realised that said, 'Well, it's like the lip marks that we were seeing things from such differ­ appear on your mirror.' ent points of view that I wouldn't have to see her again. And she turned around and said, 'What AT THE SHRINK'S: ORIGINALLY A SUPER 8 FILM LOOP PROJECTED ONTO AN 8-INCH lip marks?' LAURIE ANDERSON CLAY FIGURE, A FAKE HOLOGRAM WITH SOUND. THE FIGURE WAS INITIALLY And I realised that because of the way INTRODUCTION TEXT FROM 'ALTER EGOS'. STORIES INSTALLED IN THE CORNER OF A LARGE FROM THE NERVE BIBLE/A RETROSPECTIVE 1 972 - ROOM AT HOLLY SOLOMON GALLERY, NEW the sun was coming through the window 1992 . HARPER-PERENNIAL, NEW YORK 1994, p84. YORK CITY, 1975. Contacted at the TriBeca live/work space YOU SEE THE WEB AS A WASTE OF TIME? LAURIE she shares with Lou Reed, Anderson I'm just not so sure that it actually con­ spoke to Tweak about her new work, the nects people. Again, I'm ambivalent. I merits of the Web, severe altitude sick­ mean, you can find old friends, and that's ANDERSON ness, and her bedrock optimism for the nice, but I think in many ways the Web is human race. pretty anti-social. I like live things. I like BREAKS TWEAK: SO WHEN YOU LOOK TO THE FUTURE to be in groups of actual people, as OF TECHNOLOGY, WHAT DO YOU SEE? opposed to their clones or their avatars Laurie Anderson: Well, it's not a pretty or whoever they send out on the Web to HER OWN picture. But maybe I've gotten jaded. represent themselves.

Maybe I've been attending too many tech AS A VETERAN OF THE AVANT GARDE, DO RULES conferences. Because everybody at those YOU HOLD OUT HOPE THAT THE WEB COULD things has like these glowing visions of HELP DE-COMMERCIALISE ART, ESPECIALLY THE DISTRIBUTION OF POPULAR MUSIC, BY how cool everything's going to be, but it CUTTING OUT THE MIDDLEMEN? comes off to me like just a way to get - AGAJJNL Funny thing about those middlemen - oeople to get more stuff. Which disturbs T M STRIPPING IT DOWN,' they always seem to find the middle. And me, because I look forward and I see SAYS LAURIE ANDERSON FROM HER if they can't find it they'll stamp one out. :echnology splitting us pretty cleanly into MANHATTAN STUDIO, TM GOING TO BE I did hold that hope for a few minutes oeople who have the stuff and people who THEAVANT GARDE OF THE until I realised, that, well, the Web's just don't. And for the people who can't keep TECHNOLOGICAL BACKLASH.' sort of a big mall. We're a country of up, life is going to get really, really hard. salespeople, and we'll find ways to sell DID THAT OBSERVATION HAVE ANYTHING TO it. So no, I think that unfortunately the Anderson speaks of her new live perform­ DO WITH SCALING BACK YOUR LIVE SHOW? Web's not going to be this Utopian thing. ance piece, The Speed of Darkness, a program That's it exactly. I became frustrated that And it’s not the Web's fault. It's all these of songs and storytelling she is about to I was working with so many pieces of people who are thinking, 'How can I make take on a mini-tour of Western states. equipment. Stripping down comes from money on the Net?' And they'll find a way. A multimedia performance artist before wanting to find out what you can do with­ Because that is all they think about. either term was absorbed into the popular out a ton of stuff. Well, more than a ton ON YOUR OWN WEB PAGE, THE GREEN ROOM, lexicon, Anderson's last show, The Nerve a stuff. We actually had to weigh all my YOU RECENTLY INSTALLED A SERIES OF AUTOMATED WRITING PROGRAMS [WHERE THE Bible, employed an elaborate industrial stuff on the last tour, and it was 77,000 USER SETS STRICT PARAMETERS ON DICTION pounds. It filled two huge trucks. It was set of girders and other building guts, an AND THE COMPUTER SPITS A SHORT STORY extensive system of linked video monitors ridiculous. I thought, 'I've got to find BACK AT THEM]. WHAT WAS THE IMPETUS and multimedia screens, and a body suit another way to tell some stories.' THERE? I really just wanted a way for you to figure that responded to certain gestures with WHAT'S YOUR HOME COMPUTER SET-UP LIKE? pre-programmed sound effects. It was out what you want to say. I realised that Yegggh. You caught me. I have eleven of her first show in five years, and her most a lot of times I write to find out what I them strewn about my work space here, tech-heavy ever. The Nerve Bible (the title is actually think. Because unless you really although a few of them are down at any Anderson's metaphor for the human body] have to articulate a thought, sometimes given time with technical difficulties. I have required over 33 tons of equipment. it remains a little bit vague. So those so many because I like to be able to hop programs are a way to generate a lot of Her latest requires little more than around. You know: Well, I was working on different kinds of words and throw them several instrument cases and a satchel. music, but I want to go over to Photoshop, against a wall and see which ones feel 'I've simplified,' she says. 'Of course right now. I admit there's an ambivalence interesting and get you out of your rut. simple for me is still some stuff.’ For at work here. I'm pretty addicted.

Speed of Darkness Anderson's stuff - her Initially, that project came out of a desire HOW CLOSELY DO YOU MONITOR THE LAURIE word for hi-tech gadgetry - will top out ANDERSON NEWSGROUPS ON THE NET? to write a song using only the 100 most frequently used words in the English at a souped-up violin, a keyboard and a You know, I almost never drop in there. It's language. Of course, those words depend digital processor for sound effects. There sort of in the same category as listening to on your mode of selection. I culled them will be no set and no visuals. my old records or reading my own reviews. from a McGraw-Hill database of written When Anderson previewed The Speed of Plus, I don't do that well in chat rooms. English, so I wound up with sort of the Darkness in Boulder, Colorado, she per­ Some of them are nice, but I can't type most common words in news magazine formed from three imaginary rooms - a well very fast so my stuff is full of typos English. And I started working only with theater, a mental hospital and a control and I come off sounding pretty moronic. that list because I wanted to get away room. Those three spaces, she says, There are a few cool spots on the Web, I from my habit of using the same kinds have metaphorically 'merged to form late highly recommend one site called of words in my work. 20th century techno culture.' Anderson 'Interspecies Communication', but over­ says the theme of her new work is, quite all I just don't like to waste that much It's part of the sam e motivation that simply, 'the future of technology.' time on-line. makes we want to do a stripped-down WHAT DO YOU SEE AS THE HUMAN BODY'S GREATEST WEAKNESS? That we die.

WHICH YOU ALMOST DID THREE YEARS AGO IN THE HIMALAYAS CANDERSON WAS STRICKEN WITH SEVERE ALTITUDE SICKNESS tween being an optimist and a pessimist, AT 22,000 FEET ON AN EXPEDITION TO no matter what happens to you. You can FIND LLAMA LATSO, THE FABLED LAKE make terrible ideas out of good things and WHERE THE NEXT DALAI LAMA'S NAME IS WRITTEN ON THE SURFACE OF THE of course vice-versa. So for the sake of in c o d e :. VISIONARY HALLUCINATIONS convenience and happiness I choose to be ARE A COMMON EFFECT OF AS. DID YOU EXPERIENCE ANY? an optimist. Oh yes. Golden bells ringing on the horizon, ONE CONCERN THAT REGISTERS THROUGHOUT YOUR WORK HAS TO DO WITH HOW going 'boom, boom, boom'. The whole sky AMERICA'S PURITAN ANCESTORS SORT OF pulsating. Voices calling to me. I lost my STILL LOOM OVER THE SPIRIT OF THIS hearing for two days and the only thing I COUNTRY LIKE A GHOST. DO YOU THINK WE'LL EVER EXORCISE THEIR GHOSTS? could hear were those bells and the voices. Once I got beyond the pain it was I think that in spite of our puritan roots very euphoric. I was laughing a lot of the Americans are pretty fun-loving. We time. It was wild and beautiful, the most genuinely like fun. We value it. Go to intense experience of my life, by far. some place like Germany, where it's really all about work, and you'll see that SO WHAT'S YOUR OPINION OF THE THREE loving fun is an amazing achievement for a MINUTE POP SONG? people to make. Another big achievement Writing a good short song is extremely America has made over its puritan history hard, so I have great admiration for any­ is that we're friendly. Just in the sort of one who does that. But then again I like tour. The idea of 'What can I do with 100 way where you get in a cab with somebody every kind of music. No, that's not true - I of the most simple words, what I can you don't know and you're like, 'Hey, make of that.' But the thing about that hate Broadway shows. I mean I really hate what's happening, who are you, what list is that there are only like six nouns. them. But there's something in almost all are you doing today.' There's a startling Most of the words are linguistic glue - other music that I find interesting. difference in that respect between before, after, when, beyond, around, EVEN COUNTRY? Americans and some Europeans. I think because. The nouns were like man, time, Yeah, because it's so emotional. At its best, a lot of Americans experience that when place. So I went up to another cut - 250 it can make me really cry. And I like that. they travel... Friendliness just comes more words this time. I kind of hoped to get naturally to Americans. And strangely the word women' in there, but women' WHAT ABOUT TECHNO? enough, to Tibetans as well. That's one is not even in the most used 250 words. It's cool in the background. Techno is of the reasons I think Americans and They do, however, include 'boy' and 'boys'. music without a foreground. But that's all Tibetans have this strange sense of kin­ But no ’women' and no girls' or 'girl'. right. I've got plenty of things to do in the foreground. ship. Anyway, seeing that friendliness THAT'S RATHER TELLING. rise out of this democracy is a thrill. I HIP-HOP? Yeah. I had a feeling we were a special see this growing lack of fear at making interest group but I didn't know it was Definitely cool. Especially if the words are contact with other people. It took a while that extreme. good. Of course they're usually not that to build, but I think it's become more and good, but in a lot of cases it doesn't matter ANY OTHER SURPRISING OMISSIONS? more pronounced. 'cause the hip-hop attitude comes through Well, 'love' isn't there. But then neither So there - that's one solid, good thing strong. It's like, 'Look at me! I am so cool.' is 'anger'. I'm friends with this writer about the future. And that's_great. Everybody should think Salman Rushdie, and he came by while they're ultra-cool. The world would be a ANY OTHER SIGNS YOU WOULD POINT TO IN I was working on this list and pointed out much better place. SUPPORT OF OPTIMISM? that there aren't many negative words on Restlessness. I have this sense that people it. He said, 'For example, you can't say ON YOUR LAST ALBUM, BRIGHT RED, YOU are very restless these days, and that's anything very violent. The only way you SAID, 'WHAT I REALLY WANT TO KNOW IS THIS: ARE THINGS GETTING BETTER OR always a good sign. Because it means could...' And then he looked at the list ARE THEY GETTING WORSE?' ('TIGHT­ and picking out words one by one he said, ROPE') THAT WAS TWO YEARS AGO. ANY they're questioning and some of the 'l-would like-to-end-your-life.' And we CONCLUSIONS? answers are making them uncomfortable, all were sitting around this table at lunch I see that generally things are getting and that's the only way things ever get going, Wow, Salman, what a choice of better. But I'm a hopeless optimist. I look better on a large scale. sentence there, man.' It was really a for things getting better rather than worse DAVID HOLTHOUSE conversation stopper. It was like, 'Whoah. because, you know, we gotta live here. INTERVIEW REPRINTED COURTESY OF Wonder what that guy has on his mind.' And I believe everyone has the choice be­ DAVID HOLTHOUSE AND TWEAK MAGAZINE SELECTED SOLO EXHIBITIONS/ LAURIE ANDERSON Bom Chicago, USA, 1947. INSTALLATIONS Lives and works in New York, USA. _2002 LAURIE ANDERSON: THE RECORD OF THE TIME. MUSEE D 1 ART CONTEMPORAIN DE LYON, LYON, FRANCE AND TOURING TO MUSEUM KUNST PALAST, DUSSELDORF, GERMANY; PADIGLIONE D ' ARTE CONTEMPORANEA, MILAN, ITALY AND IRISH MUSEUM OF CONTEMPORARY ART, DUBLIN, IRELAND _2000 LAURIE ANDERSON'S ANTHOLOGY, KULTURBORO MUSEUM OF CONTEMPORARY ART, ROSKILDE, DENMARK SELECTED BIBLIOGRAPHY _1998 LIFE ~ DAL VIVO, FONDAZIONE PRADA, MILAN, LAURIE ANDERSON, 'MARINA ITALY AND CENTRE GEORGES ABRAMOVIC', BOMB. SUMMER POMPIDOU, , FRANCE 2003, PP 24-31 _1997 DANCING IN THE LAURIE ANDERSON: THE MOONLIGHT WITH HER WIGWAM RECORD OF THE TIME: SOUND HAIR. SOUTHBANK CENTRE, IN THE WORK OF LAURIE LONDON, ENGLAND _1996 ANDERSON. MUSEUM KUNST LAURIE ANDERSON: HUGO PALAST DUSSELDORF, BOSS PRIZE EXHIBITION. DUSSELDORF, 2002 GUGGENHEIM MUSEUM, NEW YORK, USA _1983 LAURIE CHRISTINA BOLIUS, 'LAURIE ANDERSON: WORKS FROM 1969 ANDERSON', VERNISSAGE. TO 1983. INSTITUTE OF SUMMER 2003, PP 56- 57 CONTEMPORARY ART, UNI­ GERMANO CELANT, LAURIE VERSITY OF , ANDERSON: DAL VIVO. , USA AND SELECTE GROUP EXHIBITIONS FONDAZIONE PRADA, MILAN, 1998 CHECKLIST TOURING TO FREDERICK S. WIGHT GALLERY, UNIVERSITY 2003 £ LOR IA: ANOTHER LOOK ROSE LEE GOLDBERG, LAURIE AT THE SHRINK'S OF CALIFORNIA, LOS ANGELES; AT FEMI NIST ART OF THE ANDERSON. HARRY N. ABRAMS 1975/1997 CONTEMPORARY ARTS MUSEUM, 1 970S . WHITE COLUMNS, NEW INC, NEW YORK, 2000 SCULPTURE, VIDEO PROJECTOR, HOUSTON, USA AND THE QUEENS YORK AN! RHODE ISLAND SCHOOL DVD WITH AUDIO MUSEUM, FLUSHING, NY, USA OF DESI GN, PROVIDENCE, ROSE LEE GOLDBERG, 'MIXING DIMENSIONS: APPROX. 191 X _1982 LAURIE ANDERSON: USA; TH E JOURNEY OF THE MEDIA, LAURIE ANDERSON'S 89 X 89 MM RHYTHMIC EYE', APERTURE. ARTWORKS . INSTITUTE OF IMMOBILE MAN. VILLA CROCE >CIMAGE P19: CONTEMPORARY ART, LONDON, MUSEUM jOF CONTEMPORARY NO. 160, 2000 PP 66 - 71 COURTESY OF THE ARTIST AND SEAN ENGLAND AND TOURING TO ART, GENOA, ITALY _2002 BERNARD HOLLAND, 'THE KELLY GALLERY, NEW YORK BLUECOST GALLERY, LIVERPOOL, WATER, THE WHALE AND A BOLD ENHEIM MUSEUM, ENGLAND; IKON GALLERY, R. GUGC BASS GUITAR', THE NEW YORK K, USA _2 001 BIRMINGHAM, ENGLAND; NEW Y 0 TIMES. OCT. 1999, PPE1, E8 ROCHDALE ART GALLERY; NEW AUDIBLE IMAGERY. THE 57 GALLERY, EDINBURGH, MUSEUM i)F CONTEMPORARY MATTHEW MIRAPAUL, 'MAKING SCOTLAND AND DOUGLAS HYDE PHOTOGRAPHY, CHICAGO, USA; AN OPERA FROM CYBERSPACE'S GALLERY, DUBLIN, IRELAND RTENNAiJe DE LYON. MUSEE TOWER OF BABEL', THE NEW _1981 SCENES FROM UNITED D ' ART C ONTEMPORAIN, LYON, YORK TIMES. 16 DEC. 2001, PE2 STATES. HOLLY SOLOMON FRANCE; LES SUBSISTANCES GAIL O'HARA, 'LAURIE GALLERY, NEW YORK, USA AND PAR C DE LA t £TE D'OR. ANDERSON, TALK NORMAL: _1980 DARK DOGS. AMERICAN LYON. FRANCE 2000 BIENNALE THE LAURIE ANDERSON DREAMS, HOLLY SOLOMON OF SYDNEY. SYDNEY. ANTHOLOGY', TIME OUT. NEW GALLERY, NEW YORK, USA AIISTRAl liA : ORBIS TERRARUM/ YORK. 23-30 NOV. 2000, P157 WAYS OFi WORLDMAKING. ANTWERPEN OPEN, ANTWERP, CLIFFORD ROSS, 'LAURIE BELGIUM 1999 THE AMERICAN ANDERSON' (INTERVIEW), CENTURY : ART AND CULTURE. BOMB. FALL 1999, PP 60 - 66 1950 20 Q Q r THE WHITNEY AND COVER MUSEUM OF AMERICAN ART, NEW YOR (, USA _1998 OUI OF ACTI ONS: BETWEEN PERFORM ANCE AND THE OBJECT, 1949 1979, THE MUSEUM OF CONTEMPORARY LO TIONG ANG

In April 2002 I recorded and edited a video for the exhibition 'The Third Space in the Fourth World' at the Eastlink Gallery, Shanghai. It would be my first visit and exhibition in China. As afaux-chinois, an overseas Chinese (born in Indonesia, confrontational, expressive and full of educated and living in the Netherlands) humour. His story unfolds the dilemma of I was aware of my ambivalent relationship the artist, entering the Chinese art market, with China and my difficulty to assess acknowledging a diasporic position but the symbolic significance of my journey.To refusing the limitations of such a label. Gradually the storyteller mixes the artist's avoid the quagmire of false associations story with his own position as an overseas connected to this situation, I chose to African emigre, creating a verbal and un­ remain silent about this topic and invite paralleled complexity about the global someone else to address the Chinese audience. This person is the African story­ discrepancies between north and south teller Atone Niane, who was invited to and between east and west. When the African man starts to speak in a trance, speak about my undertaking to show my he is guided away by the artist. They work in China for the first time. leave the room together In the video two men enter an empty room, an African man and a Chinese Atones words are improvised; almost man (myself), both wearing suits and nothing was determined, practised or written down beforehand. His presented sunglasses. The Chinese man in the monologue is the result of editing. Here, background remains silent and shows his slides in a slide projector, the lens as a transcript, the text is stripped of sound, of the dynamics of the situation directed into the lens of the video camera. The monologue of the African man in the and the speaker's physical presence. foreground of the image is direct, TIONG ANG TRALALALA FRACASSANT cultivating a good relation with Africa. As tell m e? Is it to take a two or one way I can say, they did build few stadiums, ticket to China and to go see down there, To be in China. It is a wonderful experience they did build hospitals, they (did) went and to start eating things and to doing actually. I am enjoying my presence of to the countryside, to help farmers the same things like people do, what being here with such a good friend of me increase their production of crops. I did everybody (everything] does? What every­ who's called Tiong Ang. He gave me the find it efficient policy. body does in China you can also do it here opportunity to discover his community, in Europe. I mean (you can] - what you can where he is originated. I did once wonder Well, it's not only money, but also skills. do in China you can do it overseas. Well, about where my friend really came from. Also a way of doing things. Also models, but you have to make a compromise. You He seem s so to be different. whatever art models, whatever social must be down there in China, in that firm models, whatever aesthetic, whatever! -TIONG LIGHTS ATONE'S CIGARETTE vast land my friend. You hear! Yeah. Simply A model is needed for the interpretation said, yeah. Once, I think, you go back to Yes, thank you very much! of society. your roots once. But how you go back to When I say different I mean physically China had more than Bruce Lee. China had your roots? different. But who is not? This is not bad Mao Tse Tung. China had the revolution. humour, but I’m saying that my friend is The white people do it, the Arabs do it, China had the transformation of one different from me. We have some obvious the Mongols do it, and the black Africans society in their own way. China had the physical differentiation. as well! tightness, the belief of staying China. We are today in China. And I'm so happy to China had the potential also of assuming Yeah of course!

experience such a great event, visiting the they're being China - and that I find it -SPEAKING WOLOF original country from a good friend of me. a lot. In my words, one Chinese man These are the seven senses we have. represents all Chinese at the end. You may say, in my language Wolof: When you start to use your seven senses Mbetheumbetheu. It means that the dog -CLOSE-UP ATONE'S EYES to let them function as a Chinese, you are goes with dog, the cat goes with cat. I did have the same experience, being the perfect Chinese man, believe me! I did imagine once how it would be, to live African born oversea. My friend, we did A Chinese man doesn't have seven senses, in a country of beyond 800 million people. have the same problem. But in my case or ten senses. Actually I am originating from a country the solution has been found. I went back I don't see the difference between you which is called Senegal, a country on the to my roots. To my roots. I start to live, Chinese who was born oversea or grown west coast of Africa. Like many countries to think like an African. You may tell me up oversea and the Chinese from (in my country, in my land] in my continent what it is that. Shanghai. A fat big boy born in Shanghai we have not always been blessed with -SPEAKING WOLOF self, raised up in Shanghai. You're pretty wealth, or with appropriated know-how, to the same. cope with the circumstances of today. But Going back to my roots. Does a Chinese China, through the tumult of relationship man have roots? Have a Chinese man, Because you're there, you are already in in the world had been entertaining or born oversea, got to go back to his roots, China. You are already in China, you're already at home, you don't have to com­ Man with the white head, please come What for good things the oversea Chinese plain. You smell Chinese, you eat Chinese, on with the money. Is done? The deal is has got to bring? you sleep Chinese and you still have all done. But on the only one condition, They have to sell! You talk to them, they characteristics of a Chinese man! Hey Tiong, you gotta go back to your roots. have to sell. man, you're back home, you're at your You agree? roots. I think in a few days or weeks, they You have to buy from me, you have to buy Yeah, it's good. Our Chinese son is back. will start buying your works. from me, please! Buy, buy once from me, Gonna say it to the old man. You're gonna from Africans. It's a good product. Do you still have something to sell my be back. You're gonna be back. To come We want to buy, we want to buy. Buy! friend? back again and to become back again Why don't you sell? To trade, to emulate a Chinese. What he is, what he never Listen to me, I come to you, stay where the economics. Paintings are made in stopped to be. I'm sure that one day all you are... my view to sell, to be sold. Keeping it for these kids born abroad, all these Chinese yourself, on your own, is not gonna help All the time the same history, the same kids born abroad will be going back to much. Sell it! Making money may not be history, the same shape. their roots. No matter what the western the only purpose, but I like to buy a I'm desperate, I'm desperate, they have influence is, the Chinese stay always the piece! To give you dollars. We're gonna to buy from me. Chinese, and that is a very interesting count a lot of dollars for you, agree? thing. A very interesting aspect of being a Why don't you want to sell, when I have a -ALLEGORIC SEQUENCE IN WOLOF, ATONE China; a unique people! client to buy? Why don’t you want to sell? GOES IN TRANCE -PAUSE, MARCHING AND SALUTING Oh yeah, in my country you can do every-1 ...The people (are] always the same people, thing you want. Meme si tu veux parler Time comes that a Chinese people feel always. Wherever you go, whatever you francais, tu paries francais au Senegal. the need to switch to another form of do, and how you do it counts. I have no society. I hope that things will be definitely The man with the white head and the problem with it. improved. Our relation I mean. A relation white suit. He's there! There! There! between oversea Chinese and Chinese -TIONG PULLS ATONE OUT OF FRAME. There! The - yeah yeah - you don't see- THEY LEAVE THE ROOM TOGETHER. staying in the fast land. ( END) him a bit? You see him? Haha! He gonna make a deal very soon. You agree? You -TIONG PLAYING PINGPONG like to be paid with cheque? You wanna Aah! Huuh! Huuh! cheque? How do you want? Cash or It's not a sign of madness. It's just my cheque? instinct, my emotion. I'm knocking on I thought you make things to sell. We my head! I knock again on my head! want to make business, we want to get Don't buy only from the Chinese. Buy money, to earn money. To buy milk for from me too. our babies, to buy clothes for our children, and to entertain our wives. What the overseas Chinese can bring? SELECTED SOLO EXHIBITIONS TIONG ANG Born Surabaya, Indonesia, 1961.

_2003 PRISONERS, FLORENCE Lives and works in Amsterdam, Netherlands. LYNCH GALLERY, NEW YORK, USA _2002 DORMITORY, GALERIE LUMEN TRAVO, AMSTERDAM, NETHERLANDS _2001 TIMELINE UNDERWORLD, KOLENMUUR, EUROPAPARK, GRONINGEN, NETHERLANDS SELECTED BIBLIOGRAPHY (CATALOGUE); TIONG ANG, PACO BARRAGAN, ' FRAGMENTOS INSTITUTE OF VISUAL ARTS DE COTIDANE I DAD', LAPIZ, (INOVA), UNIVERSITY OF NO. 155, JULY 1999, PP18-31 WISCONSIN, MILWAUKEE, USA _2000 RAY OF LIGHT, FRANK-ALEXANDER HETTIG, GALERIE LUMEN TRAVO, 'TIONG ANG', ARTFORUM AMSTERDAM, NETHERLANDS INTERNATIONAL. VOL. 36, _1997 INSOMNIACS. GALERIE NO. 1, SEPT. 1997, P 135 SELECTED GROUP EXHIBITIONS CHECKLIST LUMEN TRAVO, AMSTERDAM, STEPHEN HORNE, 'PAINTING NETHERLANDS _1996 THE _2003 GRID, CEMETI ART MOCKERY (PROJECTIONS) 2002 IN THE SHADOWS', MAKING OF PAINTED STROKES HOUSE, YOGYAKARTA / (FEATURING ATONE NIANE) PARACHUTE. NO. 91, JULY / INCESTUOUS, (WITH CARTER ERASMUSHUIS, DUTCH CULTURAL DVD INSTALLATION, DIMENSIONS 1998, P P 25-28 KUSTERA), THREAD WAXING CENTRE, JAKARTA, INDONESIA VARIABLE

SPACE, NEW YORK, USA _1995 (CATALOGUE); IN OR OUT, HEINZ-NORBERT JOCKS, >LINAGES P23-25D THE MAKING OF PAINTED NATIONAL MUSEUM OF 'ALLES, WAS ZUM MENSCHSEIN COURTESY OF THE ARTIST AND LUMEN STROKES, (WITH CARTER CONTEMPORARY ART, SEOUL, GEHdRT. GESPRACHE MIT TRAVO, AMSTERDAM KUSTERA), PROTON ICA, SOUTH KbREA (CATALOGUE) HARALD SZEEMANN', AMSTERDAM, NETHERLANDS _2002 THE THIRD SPACE IN KUNSTFORUM BD. 156, AUG. 2001 _1 993 INSIDES, STEDELIJK THE FOURTH WORLD. EASTLINK JANET KOPLOS, 'TIONG ANG VAN ABBEMUSEUM, EINDHOVEN, GALLERY, SHANGHAI, CHINA AT LUMEN TRAVO', ART IN NETHERLANDS (CATALOGUE) (CATALOGUE); LIFE IN A AMERICA. DEC. 2000, P130 GLASS HOUSE. STEDELIJK MUSEUM, AMSTERDAM, MARK KREMER, 'BECOMING A NETHERLANDS (CATALOGUE) GOOK', CATALOGUE NOT DARK _2001 LA BIENNALE PI YET. ARTIMO FOUNDATION, VENEZIA. PLATEAU OF BREDA, 1998 HUMANKIND. 49.INTERNATIONAL ART EXHIBITION, VENEZIA, SVEN LUTTICKEN, 'FRAMED ITALY (CATALOGUE); SENSE AND FROZEN', FLASH ART. OF WONDER. HERZLIYA MUSEUM VOL. XXXIII, NO. 211, MARCH OF ART, HERZLIYA / TEL 2000, PP 96-98 AVIV, ISRAEL (CATALOGUE) STUART MORGAN, 'THE _2000 NEUES LEBEN. GALERIE SPINE', FRIEZE. NO. 16, MAY FUR ZEIiTGEN'O'SSISCHE KUNST, 1994, PP 52, 53 LEIPZIG; GERMANY (CATA­ LOGUE) j_1999 SERENDIPITY. HENK SLAGER, ' NEWESTHETICS', THE BORDERS OF EUROPE, CONCEPTS ON THE MOVE, LIER PO ZIEZpMER WATOU, BELGIUM 8 BOOG SERIES NO. 17. (CATALOGUE) _1 998 NJ_, AMSTERDAM, 2002 DUTCH CONTEMPORARY ART, BERT STEEVENSZ, 'OBSERVING STEDELIJK VAN ABBEMUSEUM, SEEING', CATALOGUE NL, EINDHOVEN, NETHERLANDS DUTCH CONTEMPORARY ART, VAN (CATALOGUE) _1997 FESTIVAL ABBEMUSEUM, EINDHOVEN, 1998 AAN DE VERF. UTRECHT, NETHERLANDS (SCHOOL BERT STEEVENSZ, 'TIONG PICTURES, WITH ROY ANG: STUDIO INT.DAY, ON VILLEVQYE) _1 995 4 T H THE MAKING OF PAINTED INTERNATIONAL BIENNIAL STROKES', METROPOLIS M , OF ISTANBUL 1995. ISTANBUL VOL. 18, NO. 1, FEB. 1997, FOUNDATION FOR CULTURE AND PP 32-35 ARTS, ISTANBUL, TURKEY JAMES YOOD, 'TIONG ANG', (CATALOGUE) _1994 IH_E ARTFORUM INTERNATIONAL, VOL. SPINE. DE APPEL FOUNDATION, XL, NO. 8, APRIL 2002, P141 AMSTERDAM, NETHERLANDS (CATALOGUE) _1993 PROSPECT YUN, CHEGAB, CAT. IN OR '93. FRANKFURTER KUNSTVEREIN / OUT: DUTCH CONTEMPORARY SCHIRN KUNSTHALLE, , ART. YELLOW SEA G e r m a n y ! (c a t a l o g u e ) PUBLICATIONS, SEOUL, 2003 JOHN BARBOUR the life of every Brahmana... was to be divided into four stages...;

he was (1) as Brahmacarin, to dwell in the house of a teacher,

then (2), as Erihastha, to fulfil the duty of founding a family, then

(3) to leave it in old age, as a Vanaprastha (forest hermit), to give himself up more and more to increasing penances, and lastly (4) , towards the end of his life, as a Samnyasin ... to wander free from all earthly ties and live on alms.'

Think also of the Buddhist and yogi striving un-made man registers a zero on this THE to lose their egos; of Diogenes the Cynic, scale of value, and as such stands the Greek philosopher who discarded against 'all that which our globalised everything he owned; and of the Christian and corporatised world so perfectly UN-MADE ascetic, the hermit, or Jesus Christ for constructs and offers up in the image that matter. While in the modern West of need - the endless worldly cycle of the un-made man has come down in the production and consumption.' This un­ world, in other traditions the un-made made man has freed himself from man is a very different being. One's un­ society's image' of need - he recognises making can be a spiritual exercise, som e­ only what Barbour calls 'ordinary, thing to aspire to - a worthy goal of a human need'. It's freedom, but it's a type JOHN BARBOUR HAS RECENTLY SPOKEN OF lifetime's effort. of freedom that the modern Westerner can barely begin to imagine. THE 'UN-MADE' AND THE 'UN-MADE MAN' IN These states of being may largely be RELATION TO HIS ART. THEY ARE ENIGMATIC inaccessible to the modern Western mind, If this positive notion of the un-made AND SUGGESTIVE PHRASES THAT APPLY NOT but they are of interest here because man is, for us, difficult, perhaps we can ONLY TO HIS WORK, BUT FRAME A BROADER they remind us that things can be very more easily appreciate the positive value CRITIQUE OF MODERN WESTERN SOCIETY. different from the way we find them in of the un-made in the realm of art. 'our society. They show us that the un­ Rather than a man who stands against made man is not necessarily a bum, and So who is the 'un-made m an'? 'the endless worldly cycle of production that to be un-made can be a positive state and consumption', perhaps this is a role In the modern West, the un-made man of being. They also clear a mental space we can first assign to an object - an 'un­ is a figure come down in the world; the where we might tentatively begin to made object'. opposite, as Barbour puts it, of the 'self- imagine how this could be realised in made' man, someone undone through What is the un-made object'? the West. their own actions - the jailed, the addict, It won't be a 'made object' - the tradition­ the drunk, the destitute; someone undone Barbour has such an image of the un­ ally crafted (sculpted, cast, modelled, through the actions of others - the abused made man - for him the un-made man polished...) object of the fine arts, or the the dispossessed, the 'disappeared'; or equivocates between the weakness of manufactured object of modern industry. someone simply undone - the sick, the capitulation and the strength of stoicism: Nor will it be a 'ready-made object' - the senile. The un-made man, to us, is 'The un-made man, bent in the shape of object plucked by the artist from the repellent and abject, literally 'cast-out' - grief and loss, homeless in the republic matrix of contemporary culture and placed into an institution, a prison, a hospital, a of things. He'll settle for warmth, soap, unaltered in the gallery. As recent use of home, or on to the street - the object of hot water and a shave, for food in the this strategy [Jeff Koons, Haim Steinbach) disgust and disdain. belly, for sleep without fear.' But this un­ makes clear, the ready-made object is Other cultures present a different model made man is stronger and rather more already a product of our globalised and of the un-made man. According to the demanding than he looks, for he opposes corporatised world - to be 'ready-made' Veda, the lives of the Brahmans, the the figure of the 'self-made' man, a figure an object must first be made. members of the highest caste of Indian idolised in the West, whose success and society, should ideally follow a plan ending value is judged principally by his accu­ Placed within our culture, the culture of in destitution: mulation of capital and goods. Barbour's the made object, the un-made object will appear awkward, gratuitous, abject - for it pointedly fails to satisfy the standards of making we expect in art, craft, design or manufacturing. Functional design and hardiness are as anathema to the un­ made object as are decoration and beauty. Although physically unimposing and vulnerable, the un-made object may excite a measure of disdain or repugnance in the viewer - perhaps this is an index of the degree to which we have internalised the values of the made object, and invested in them our sense of self.

For Barbour, the un-made object enacts 'a falling away from - an unpicking’ of the capitalist and consumerist culture of the made object. The un-made object refuses to satisfy what our culture 'offers up in the image of need'; instead, as Barbour puts it, it will 'speak of ordinary human needs and fears'. It is at once a cultural critique and an affirmation of 'ordinary human need and fear’. These last, of course, are the province of Barbour's un-made man, and it is really his values that the un-made object affirms. virtues which are also foreign to this ALL QUOTES FROM JOHN If we can penetrate beyond the 'out-cast' BARBOUR ARE FROM CORRE­ quality of the un-made object, what culture. These are harder to name; I've SPONDENCE WITH THE tried to say something of them else­ AUTHOR, JULY 2003. might it convey of this 'need and fear'? If, where,2 here it will suffice to indicate 1 . PAUL DEUSSEN, THE SYSTEM within the world of the 'm ade-m an’ and OF THE VED8NTA. TRANS. where they might be found in Barbour's CHARLES JOHNSTON, DOVER, the 'made' manufactured object it is hard NEW YORK, 1973 (1912), work: there, perhaps, in the pitiful, but to say and hard to think what positive P P 16-17 sensuous stains of his embroidered value the un-made man could embody, 2. 'JOHN BARBOUR: A REPUBLIC banners, and there again in the gentle, OF THINGS', BROADSHEET. perhaps it is slightly easier to see positive VOL. 30, NO. 4, 2001; hopeless humour of his grim cardboard REPRINTED IN BLAZE: value in the un-made object. It can tell models that recall architectural models. VISMAL ART ANP WRITING of the horrors of death, dysfunction and M O M THE CONTEMPORARY ART In these moments perhaps, we begin to CENTRE OF SOUTH AUSTRALIA loneliness that are part of our experience, 1990 2002. CACSA, ADELAIDE, but which the culture of the 'made' elides. share the pleasures of the un-made man. 2003, PP 168-169 And it might communicate pleasures and MICHAEL NEWALL JOHN BARBOUR Born The Hague, Netherlands, 1954. Lives and works in Adelaide, Australia.

SELECTED SOLO EXHIBITIONS SELECTED BIBLIOGRAPHY CHECKLIST

_2003 YUILL/CROWLEY, SYDNEY, CHRISTOPHER CHAPMAN, 'NO FROM JOY 2002: AUSTRALIA; EXPERIMENTAL TITLE', CATALOGUE ESSAY, UNTITLED OBJECT (REGIONS CONTEMPORARY ART CENTRE OF ART FOUNDATION, ADELAIDE, NOT RULED BY TIME AND AUSTRALIA _2002 YUILL/ SOUTH AUSTRALIA, ADELAIDE, SPAQ„JLI 2002 CROWLEY, SYDNEY, AUSTRALIA 1999 INK, THREAD, FABRIC, _2001 YUILL/CROWLEY, SYDNEY, BRUCE JAMES, EXHIBITION 870 X 560 MM AUSTRALIA _2000 CENTRE FOR REVIEW, SYDNEY MORNING >C IMAGE P293 CONTEMPORARY PHOTOGRAPHY, SELECTEb GROUP EXHIBITIONS HERALD. 7 JULY, 1998 MELBOURNE, AUSTRALIA; YUILL/ UNTITLED OBJECT (I AM WAR) _2002 MfeTROPOLITANO ICONQ- CROWLEY, SYDNEY, AUSTRALIA MICHAEL NEWALL, 'JOHN 2002 GRAPHICA. XXV BIENNAL DE _1999 CONTEMPORARY ART BARBOUR, A REPUBLIC OF THREAD, FABRIC, 630 X 490 MM SAP PAULO, BRAZIL _2001 CENTRE OF SOUTH AUSTRALIA, THINGS', CONTEMPORARY ART BLIND VALLEY, BLAU GRAU, UNTITLED OBJECT (PRACTICE ADELAIDE, AUSTRALIA; BROADSHEET. VOL. 30, NO. 4, SYDNEY,; AUSTRALIA _2000 JOY / THE PRACTICE OF JOY YUILL/ CROWLEY, SYDNEY, SUMMER, ADELAIDE, 2001; WARM FILTERS. 2000 TELSTRA IS) 2002 AUSTRALIA _1998 GALERIE REPRINTED IN BLAZE: VISUAL ADELAIDE FESTIVAL OF THE DIPTYCH: INK, THREAD, Y-BURG, VREISHUIS AMERIKA, ART AND WRITING FROM THE ARTS, ADELAIDE, AUSTRALIA; FABRIC (FRAMED), AMSTERDAM, NETHERLANDS; CONTEMPORARY ART CENTRE OF VEIL. YljILL/CROWLEY, SYDNEY, EACH 690 X 522 MM YUILL/CROWLEY, SYDNEY, SOUTH AUSTRALIA 1990-2002. AUSTRALIA _1999 SEQUENCE. AUSTRALIA CACSA, ADELAIDE, 2003, >CIMAGE P 30J YUILL/dROWLEY, SYDNEY, P P 168-169 AUSTRALIA; T O XI C. THE FROM DARK STAR 2003: PERFORMANCE CENTRE, SYDNEY, MICHAEL NEWALL, 'UNMADE', WASTE OR CHOKE OR 2003 AUSTRALIA; WORD. MUSEUM OF CATALOGUE ESSAY, EXPERI­ INK, THREAD ON VOILE CONTEMPORARY ART, SYDNEY, MENTAL ART FOUNDATION, (STRETCHED), 1250 X 1250MM AUSTRALIA _1998 TALKING ADELAIDE, 2003 PICTURES. GLEN EIRA VISUAL REPEAT. NEVER EVER 2002 TREVOR SMITH, 'METROPOLITANO ARTS COMPLEX, MELBOURNE, INK, THREAD ON VOILE ICONOGRAPHICA', CATALOGUE AUSTRALIA; PROCRUSTEAN (STRETCHED), 910 X 760 MM ESSAY, XXV BIENAL DE SAP BED . EXPERIMENTAL ART FOUNDATION, ADELAIDE, PAULO. BRAZIL, 2002 JOAO. HIS LOT 2002 INK, THREAD ON VOILE AUSTRALIA LINDA MARIE WALKER, 'EACH (STRETCHED), 455 X 405 MM THING ONCE', CATALOGUE ESSAY, CONTEMPORARY ART > [ IMAGE P 273 CENTRE OF SOUTH AUSTRALIA, FROM HUMAN NEED 2003: ADELAIDE, 1999 WINNERS RULE 2003 LINDA MARIE WALKER, 'JOY', INK, THREAD ON VOILE, CATALOGUE ESSAY, YUILL/ 1020 X 965 MM CROWLEY, SYDNEY; EXPERIMENTAL ART FOUNDATION, ADELAIDE, RAGMAN 2003 2002 INK, THREAD ON VOILE, 1380 X 2100 MM ALL WORKS AND IMAGES COURTESY OF THE ARTIST AND YUILL/CROWLEY, SYDNEY, AUSTRALIA POLLY BORLAND

These photographs are of Adult Babies, there are also Adult Babies in Japan, the bottle and the nappy and the comfort also known as Infantilists. They some­ Singapore, Mexico, Israel, Egypt, South they bring. times refer to themselves as ABs. Africa, Germany, Holland, and Scandinavia. In the five years of doing this project the I mostly refer to them as the Babies. The estimated number of A Bs throughout most common story I heard was that the the world is in the tens of thousands. It Adult Babies can be male or female, but Babies felt unloved as children. Some seem s to be an activity that has no socio­ they are predominantly men who enjoy had even recognised their need for acting economic distinction, nor is it confined to aspects of 'age play1 and/or role-playing. out these baby rituals as early as the age any particular sexual orientation. Specifically they enjoy and need to act of seven. They kept their desire to dress and or dress as babies. These activities Adult Babies have very individual ways of or act as babies a secret, which in turn do not involve real babies in any way. expressing their baby-ness. Irrespective led to isolation and alienation, reinforcing Infantilists want to be babies. of their adult sexual preferences, some their childhood feelings of neglect. choose to dress as girl babies and some In 1994, after doing a feature story in the With the advent of the Internet the Adult as boy babies. Certain ABs are into bond­ UK on Adult Babies for The Independent's. Babies' isolation has diminished, and the age and punishment, but not necessarily Saturday magazine, I decided to embark younger generations in particular seem both or at the same time. The older on a photographic journey to explore more confident and open in discussing generations seem to like terry-towelling Adult Babydom more fully. I started in Iheir behavior with partners and family. nappies and the younger ones the England at the Hush-a-Bye-Baby Club in My collaboration with the Babies... is based disposable kind. These preferences tend Kent run by Hazel Jones. I began to realise on trust and a desire to bring their world to reflect what the Babies wore when they how far-reaching this phenomenon was, into the public arena. Hopefully it will lead were babies themselves. All of them have and decided to photograph Adult Babies to further acceptance and a greater under­ their own baby ages; some are newborn, around the world. standing that diversity and vulnerability others are one, two, or three years old. are at the core of human nature. I met and photographed them in France, Not all A B s are into wetting themselves America, and Australia. To my knowledge and/or defecating. The common thread is POLLY BORLAND THE BABIES: PHOTOGRAPHS BY POLLY BORLAND

I am an advocate of Polly Borland's book war, for those of us who are neither victims The Babies which some may regret they nor participants, is becoming increasingly ever opened. The work will undoubtedly abstract. Not only are we experiencing cause discomfort in many; some may the much chanted 'dumbing down', but even be appalled that the work has been also a numbing. Spectacular imagery printed for public view and not consigned breeds indifference. By spectacle I am to a clandestine viewing by those who referring to a kind of one-dimensional inhabit its world. By its nature this world imagery that deals only with the surface is a secret, yet it appears to take place in of events. Spectacular photographs, like the house next door. To enter the world voyeuristic imagery, have a currency, but is an act of confession. The participants they are by definition distanced. They never invariably speak of their loneliness. Their reveal cause, only effect. The publication gatherings are a part of the establishment of the spectacular is universal - our of a new family. Here the usual trappings press is drowning in it. The virtue of Polly of the underworld or sex circus are absent. Borland's photographs is that they are There is no scent of leather but acts of never spectacular. Their strength is their tenderness and talcum powder. Here intimacy. That her subjects appeared to public roles are reversed. The policeman, have welcomed her across the threshold the truck driver - maybe the politician or into their furtive lives is a measure of her take their private selves out into public, master of industry - shed their virility sensitivity. At a certain point Polly and the head out of the door and on to the streets. and regress. However great their prowess, camera must have become a reassuring They had become accustomed to standing the subjects are levelled. The powerful presence as comforting as the 'mother' naked before a stranger and had risen may play at powerlessness. Some comfort in whose house the play is set. Far from above the shame and guilt in front of the is granted. What may disturb us most inhibiting their activities, she appears to camera. Polly may have granted them about this play, preposterous in its have enabled them to abandon constraints that power for which they are indebted. premise, is that in the ritual we might even further. It is a short step from So are we when we recognise in these recognise ourselves. The fiercest warriors recognising the 'beauty' of the subjects - pictures that part of us which was so can dream of the breast. The more battered as Diane Arbus had endowed her freaks furiously carving our way through adult­ we become as urban figures striding on with 'beauty' more than thirty years ago hood that we forgot what childhood was, the sidewalks, barking orders, hailing - to becoming a participant oneself. The or that part of us which dwelled too long cabs, power dining, the more incongruous steps along such a precarious route are in childhood and never wanted to move on. it becomes when night falls and we stir Polly's huge achievement, won at no little To be judgmental on the state of babydom to find ourselves curled up in a foetal cost. As with the fate of Chekov's doctor or the cause of another's erotic arousal position. It is not such a long step back in Ward Six who ends up a patient in his is to miss the point of these photographs. to where everything was safe, on the own ward, the emphasis route is danger­ The disclosures do not fuel our voyeurism nursery floor. By surrendering to 'mother' ous. Diane Arbus referred to her work as but flash a mirror back at us with acts we can divest ourselves of responsibility. crawling on her belly across a minefield. made all the more tender by the brutality The banter of the truckstop or corporate If your subjects are acting out a play and of the outside world, for there is not an life are discarded for a nipple. What you gradually drop the guise of observer adult who at some point did not want to might unnerve us is that in the secret and acquire a part, then if the play is abdicate adulthood. secret and overturns the public roles, you world resides our true self and all the MARK HOLBORN rest is but a performance. become a participant in the transgression.

The spectacle on which we are fed is There is a particularly touching stage in LONDON, MAY 2000. THIS TEXT IS THE the sequence of picture when the babies, INTRODUCTION TO POLLY BORLAND'S increasingly explicit. All permutations of THE BABIES. POWERHOUSE BOOKS, NEW death and sex are photographed, though now empowered with the confidence to YORK, 2001. w . POLLY BORLAND Born East Melbourne, Australia, 1959. Lives and works in London, UK.

SELECTED SOLO EXHIBITIONS SELEC TE 3 GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY CHECKLIST

_2002 THE BABIES, ANNA _2003 PLAY. MORNINGTON NATALIE KING, 'ART ROUND THE BABIES 2001/2004 SCHWARTZ GALLERY, PENINSULA REGIONAL GALLERY, UP: MELBOURNE', ART MONTHLY PHOTOGRAPHIC INSTALLATION MELBOURNE, AUSTRALIA _2001 MORNINGTON, AUSTRALIA _2002 AUSTRALIA. NO. 157, MARCH TYPE C PHOTOGRAPHS POLLY BORLAND AUSTRALIANS, CONTEMPORARY AUSTRALIAN 2003 254 X 203 MM, 762 X 610 MM NATIONAL PORTRAIT GALLERY, PORTRAITS. NATIONAL POLLY BORLAND AUSTRALIANS, COURTESY OF THE ARTIST AND ANNA CANBERRA, AUSTRALIA; MONASH PORTRAI GALLERY, CANBERRA, FOREWORD BY CHARLES SAUMAREZ SCHWARTZ GALLERY, MELBOURNE GALLERY OF ART, MELBOURNE, AUSTRAL IA; PLAY. PLIMSOLL SMITH AND ANDREW SAYERS, >CIMAGE DARREN AT HOME. 2001 P313 AUSTRALIA, CURATOR TERENCE ART GAL LERY, UNIVERSITY OF NATIONAL PORTRAIT GALLERY, TASMANIA HOBART, AUSTRALIA; >[IMAGE SNUGGLES IN MUMMY HAZEL'S PEPPER _2000 POLLY BORLAND LONDON AND NATIONAL PORTRAIT AUSTRALIANS. NATIONAL g o l d e n , JUBILEE PORTRAITS. GARDEN. 2001 P 333 GALLERY, CANBERRA, 2000 PORTRAIT GALLERY, LONDON, NATIONAL PORTRAIT GALLERY, >CIMAGE SNUGGLES. JULIANNE. MUMMY ENGLAND, CURATOR TERENCE LONDON, ENGLAND; WINDSOR POLLY BORLAND, THE BABIES. HAZEL, AND CATHY IN THE STREET, PEPPER _1984 SOLO CASTLE, WINDSOR, ENGLAND; ESSAY BY SUSAN SONTAG, 2001 P 333 EXHIBITION, GEORGE PATON TEN YEAR ANNIVERSARY JOHN POWERHOUSE BOOKS, NEW YORK, >C IMAGE GALLERY, MELBOURNE, k q b a l p,HOTOGRAPHIC AWARD 2001 2001 P 343 AUSTRALIA SHOW. NATIONAL PORTRAIT 'POLLY BORLAND: PORTFOLIO', GALLERY, LONDON, ENGLAND; IMAGES REPRODUCED COURTESY OF THE PHOTOFILE 65, MAY, 2002 ARTIST AND ANNA SCHWARTZ GALLERY, NICK THE GQQP s o n , CAVE; MELBOURNE MORNINGTON PENINSULA REGIONAL GALLERY, MORNINGjrON, AUSTRALIA; ABOUT FjACE; AN EXHIBITION OF CONTEMPORARY AUSTRALIAN PHOTO-HfeDIA. AUSTRALIAN CENTRE IFOR PHOTOGRAPHY, SYDNEY,] AUSTRALIA _2000 PSYCHO: I ART AND ANATOMY, ANNE FAjGGIONATO GALLERY, LONDON,! ENGLAND, CURATOR DANNY MjOYNIHGAN _2001 , NATIONAll p o r t r a i t g a l l e r y , LONDON,; ENGLAND; GLOSSY: FACES MAGAZINES NOW. NATIONAL PORTRAIT GALLERY, CANBERRA, AUSTRALIA; MELT­ DOWN . s|0UTH BANK, LONDON, ENGLAND; CURATOR NICK CAVE /

LOUISA BUFARDECI uncertainty quite easily project an aura of unalloyed confidence. The percentages, THE neat graphs and tables are quite easily regarded as direct reflections of concrete SCOPE OF 'things', perfectly true. Computers have helped to make this positories for an excess of numbers reification possible, because of their GOVERNING invested as objective descriptions of capacity to manage vast quantities of the world. data. Computer programs yield statistics VALUES - and ply them - with such speed and On the homepage of the UNESCO accuracy that the mathematical processes Institute for Statistics, the heading recede from view, in favour of the results. 'Statistics' appears above four links, namely 'Database Access', 'Statistical As for the physical sciences, so for the Tables', 'Country Profiles', 'Fast Facts'.2 social sciences. These are disciplines Taken together, these subheadings broadly concerned with the study of society recommend the statistics as a matter and human behaviour, framed by the ofconvenience: a speedy, straightforward concepts of civil society and statehood. format for information, and one that is In many ways, the statistical revolution also technologically convenient. As such,

produced these disciplines as modern, Governing Values can be considered a critical scholarly practices. The social sciences response to the plethora of social facts From the time of Isaac Newton until late use statistical methods to generate now available via the Internet. in the nineteenth century, scientific thought their objects of study; objects such as Bufardeci has freely downloaded official was characterised by the concept of 'the populations, communities and ethnicities; statistics, and combined them, creating clockwork universe'. The tasks of science public health and birth rates; the con­ unique alignments between particular that accorded with this concept were those sum er price index, unemployment and figures. Her tables of results cut across of seeking and perfecting knowledge of literacy levels. One type of generalisation standard data hierarchies. Interpreted as natural laws, laws at once descriptive and is premised on another. That is, through digital maps of the world, they survey and predictive. The image of the mechanical weighted sum s of averages there emerge re-configure geo-political relationships clock conveyed particular aesthetic qual­ a myriad of unsuspected 'social facts' for in peculiar, rigid ways. So the images of ities associated with these laws: those of analysis and discussion. Starkly repre­ Governing Values both rely on statistical elegance and detachment; simplicity and sented as numbers, these inferences modes of representation, and subtly mimic these modes. In their array of sufficiency; of distinct, close-fitting parts readily affirm the notion of a social order: bright colours, their high degree of - qualities typically associated with the they are never only of academic value, category of number itself. formality and finish, Bufardeci's maps but always already of political and emphasise the aesthetics of her aggregate With regard to scientific thought, no less bureaucratic value. At all levels of gov­ numbers. The logic that has determined than a 'statistical revolution' separates ernment they document, publicise and the statistical values is indecipherable in determine initiatives. In government the nineteenth from the twentieth century. the work; she treats the statistics as a rhetoric about policy and procedure, The deterministic, mechanical model of code, a set of conventions, that can reality was converted to a statistical model; they become adequate explanations. smoothly take on the appearance of the ideal of precise certainty was over­ Meanwhile, what fails to achieve the full neutrality and self-sufficiency. taken by the triumph of probability and status of a social fact is counted out of There are those that claim that the averages. By the close of the second the public sphere, precluded from statistical model of reality is losing its millennium, nearly all branches of science competing with the 'real and proper sheen in the specialist realms of scientific had.adopted the mathematical formula­ things' of government business. thought.3 If the new millennium does tions of statistics, to design experiments, Social statistics are the subject and the carry implications for a new scientific and to describe and predict outcomes in material for Louisa Bufardeci's project revolution, then Bufardeci's work stands their specialist terms. Governing Values. More precisely, Bufardeci's as a timely reflection on the opacities and

Especially via statistics, then, the idea project centres on official social statistics: inadequacies of this model, especially as that 'the world can be described by those derived through standardised, applied to global relations. mathematics' is one of the tacit assum p­ scholarly methods; those pursued by CYNTHIA TROUP international data agencies, like the tions underpinning modern science.1 The 1 JOHN BARRON, THE WORLD WITHIN THE 'things' produced as scientific evidence U NESCO Institute for Statistics, the WORLD. CLARENDON PRESS, , OXFORD, 1988, PP 24-26 are not directly observable: rather, they United Nations Statistics Division, the 2 HTTP;//WWH,UIS,UNESCO,PRS/ are probability distributions, estimates of World Health Organisation, the World 3 SEE DAVID SALSBURG, THE LADY parameters, summ aries of the relation­ Bank. Such agencies bestow global TASTING TEA: HOW STATISTICS significance on statistics supplied by REVOLUTIONIZED SCIENCE IN THE ship between variables. Yet represented TWENTIETH CENTURY, W.H. FREEMAN, in numerical terms, these measures of national data agencies. They are re­ NEW YORK, 2001, PP 293-309 THE SCOPE OF GOVERNING VALUES: MARY POOVEY, 'FIGURES OF ARITHMETIC, SELECTED BIBLIOGRAPHY FIGURES OF SPEECH: THE DISCOURSE OF STATISTICS IN THE 1830S' IN J.D. BARROW, THE W9RLP WITHIN THE QUESTIONS OF EVIDENCE: PROOF. WORLD. CLARENDON PRESS, OXFORD, 1988 PRACTICE. AND PERSUASION ACROSS THE DISCIPLINES. ED. BY J. CHANDLER MICHAEL DONNELLY, 'FROM POLITICAL ET AL., THE ARITHMETIC TO SOCIAL STATISTICS: PRESS, CHICAGO & LONDON, 1994, HOW SOME NINETEENTH-CENTURY ROOTS PP 401-421 OF THE SOCIAL SCIENCES WERE LEWIS PYENSON 8 SUSAN SHEETS- IMPLANTED', IN THE RISE OF THE PYENSON, SERVANTS OF NATURE: A SOCIAL SCIENCES AND THE FORMATION HISTORY OF SCIENTIFIC INSTITUTIONS. 9.F H9PERNITY; CONCEPTUAL CHANGE ENTERPRISES AND SENSIBILITIES. HARPERCOLLINS, LONDON, 1999 IN CONTEXT. 1750-1850. ED. BY J. CYNTHIA TROUP IS A WRITER! AND HEILBRON, L. MAGNUSSON 8 B. DAVID SALSBURG, THE LADY TASTING ART HISTORIAN BASED IN MELBOURNE. WITTROCK, KLUWER ACADEMIC TEA: HOW STATISTICS REVOLUTIONIZED SHE CURRENTLY TEACHES IN fHE PUBLISHERS, DORDRECHT, BOSTON 8 SCIENCE IN THE TWENTIETH CENTURY. DEPARTMENT OF THEORY OF ART 8 LONDON, 1996, PP 225-239 W.H. FREEMAN, NEW YORK, 2001 DESIGN AT MONASH UNIVERSITY. SELECTED SOLO EXHIBITIONS LOUISA BUFARDECI Born Melbourne, Australia, 1969.

_2003 SKIN QUARTET (WITH Lives and works in Melbourne, Australia. DAVID YOUNG), MELBOURNE INTERNATIONAL ARTS FESTIVAL, ANNA SCHWARTZ GALLERY, MELBOURNE, AUSTRALIA _2002 THE UNBEARABLE WEIGHT QF ORDINARY THINGS. 18TH STREET ARTS COMPLEX, SANTA SELECTED BIBLIOGRAPHY MONICA, CALIFORNIA, USA KEN BOLTON, 'NEW BREW: _2001 COLD STORAGE, ANNA EXPORT QUALITY SIX-PACK', SCHWARTZ GALLERY, MELBOURNE, SAMSTAG INTERNATIONAL VISUAL AUSTRALIA; COLOURPHON ICS* ARTS SCHOLARSHIP CATALOGUE, SPARE ROOM, RMIT, MELBOURNE, UNIVERSITY OF SOUTH AUSTRALIA _2000 COUNTER­ AUSTRALIA, ADELAIDE, 2003 PLAY . STUDIO 12, 200 GERTRUDE STREET, MELBOURNE, RY HASKINGS, 'WE'RE WALKING SELECTED GROUP EXHIBITIONS CHECKLIST AUSTRALIA; THE ART OF GOOD ALL OVER IT', THE PAPER, REASONING, WEST SPACE, _2003 REUNION: THE ART OF EDITION 28, 2001 GOVERNING VALUES 2003-2004 MELBOURNE, AUSTRALIA _1999 SIXTEEN,.G RADUATES, GEORGE SIX DIGITAL PRINTS, EACH STUART KOOP, 'COLD ANOTHER ROUNDING OF FACTS, PATON G ALLERY, UNIVERSITY 1000 X 1000 MM STORAGE', ARTEXT, NO. 76, STUDIO 12, 200 GERTRUDE OF MELB OURNE, MELBOURNE, SPRING 2002, PP 82-3 > [ IMAGE P 353 STREET, MELBOURNE, AUSTRAL A; FEEDBACK: ART, > [ IMAGE DETAIL P 37] AUSTRALIA; 'THE COMFORTING SOCIAL..CONSCIOUSNESS AND TOM NICHOLSON, 'ANOTHER ILLUSION' (THE PREY), RESISTANCE, MONASH ROUNDING OF FACTS', ARTEXT, WORK COURTESY OF THE ARTIST AND LINDEN GALLERY, MELBOURNE, UNIVERS TY MUSEUM OF ART, NO. 69, MAY 2000, PP 89-90 ANNA SCHWARTZ GALLERY, MELBOURNE

AUSTRALIA; 'THE COMFORTING MELBOURN E, AUSTRALIA _2002 IMAGES REPRODUCED COURTESY OF THE TOM NICHOLSON, SYSTEM*, ILLUSION' (JUST REMEMBER WHEN.J.H LAKE FROZE OVER, ARTIST AND ANNA SCHWARTZ GALLERY, LINDEN GALLERY, MELBOURNE, THIS) , LINDEN GALLERY, PROJECT SPACE, RMIT, MELBOURNE 1999, P 4 MELBOURNE, AUSTRALIA; MELBOURNE, AUSTRALIA _2001 'THE COMFORTING ILLUSION' ARTISSIflA, TORINO LARA TRAVIS, 'SYSTEM*', (BREATHE), LINDEN GALLERY, ESPOSIZIONI, TURIN, ITALY; LIKE. NO. 9, WINTER 1999, P5 MELBOURNE, AUSTRALIA _1997 THE ALICE PRIZE EXHIBITION, FOLD, GEORGE PATON GALLERY, ALICE S PRINGS, AUSTRALIA CYNTHIA TROUP, A MATTER OF UNIVERSITY OF MELBOURNE, _2000 I HE PRAGMATICS OF DISTANCE. LINDEN GALLERY, MELBOURNE, AUSTRALIA INSCRIPT ION, LINDEN GALLERY, MELBOURNE, APRIL 2000 MELBOUR YE, AUSTRALIA; DOCKEAN li, WITH ELIZABETH BOYCE, GLASS STREET GALLERY MELBOURNE, AUSTRAL JA; A MATTER OF DISTANCE. LINDEN GALLERY, MELBOURN E, AUSTRALIA _1999 SY?I£M LINDEN GALLERY, MELBOURN E, AUSTRALIA _1998 i n t e n d e P FOR THE QENERAL PUBLIC, MYER WINDOWS, (MELBOU RNE INTERNATIONAL FESTIVA l), MELBOURNE, AUSTRAL 1A MUTLU QERKEZ Whole Lotta Love in Auckland, QERKEZ 18-11-2014 2003

Whole Lotta Love in Auckland, QERKEZ 18-11-2014 is an album produced in an edition of 10 from a bootleg recording of Led Zeppelin on Friday 25 February 1972 at Western Springs Stadium in Auckland.

over left: actual size detail of poster from Whole Lotta Love in Auckland, pERKEZ 18-11-2014 (New Zealand Herald, Friday 25 February 1972, page 10, section 2)

over right: actual size detail of 12 inch record from Whole Lotta Love in Auckland, QERKEZ 18-11-2014 HAMPIONSHIPS DINING AND DANGM6 LL AIL ON THE O N I PROORAMME NIGHTLY WITH ES BILLY PETER’S CARS SHOWBAND ISON, APPEARING THERS, THIS WEEKEND SHIPS. IN CABARET EXCLUSIVE IA IS TO TOMMO'S PUCE IIGHT LONG HAIR AND All RICKY MAY STATION HOTEL 00 — CHILDREN 20c AU LEADING CONTENDERS PM. 10-429. ANZAC A VI AUCKLAND TOWI :ONCESSION $2.20 FOR THESE CHAMPIONSHIPS TUII.. M l. Iti |Af, MAKM 4, I m Ii .1 It b M i TVm «» 9 a « J l and up to 6 Children) USE AND RECOMMEND U.M M l U II. MAIl 10091X01 *M JOHN lOUltli IOOKINOI. II UMIt U.M M> MM »l* W ilt, m Mh DU.CIIm i . Willi.mMA m 2 I

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2003 33 1/3 Rp/y MUTLU CERKEZ Born London, UK, 1964. Lives and works in Melbourne, Australia.

SELECTED BIBLIOGRAPHY

GREGORY BURKE AND SIMON REES, 'EXTENDED PLAY: LINER NOTES', EXTENDED PLAY: ART REMIXING MUSIC, GOVETT-BREWSTER ART GALLERY, NEW PLYMOUTH, NZ, 2003 SELECTE GROUP EXHIBITIONS REX BUTLER, 'MUTLU £ ERKEZ, 2003 XTENDED PLAY: ART THE YEAR 2025 WILL NOT REMIXIN MUSIC. GOVETT- TAKE PLACE', ART 8 TEXT, BREWSTER ART GALLERY, NEW NO. 64, SYDNEY, FEB. APRIL, PLYMOUTH, NZ _2002 1999 FIELDWORK: AUSTRALIAN ART ROBYN MCKENZIE, 'MUTLU 1968-20,??, THE IAN POTTER £ ERKEZ: LIFE AND TIMES', CENTRE, NATIONAL GALLERY LIKE. NO. 8, AUTUMN, SELECTED SOLO EXHIBITIONS OF VICT OR I A, MELBOURNE, MELBOURNE, 1999 AUSTRAL IA: IT'S A BEAUTI- _2003 ANNA SCHWARTZ FUL DAY NEW PAINTING IN LOUISE NERI, 'MUTLU GALLERY, MELBOURNE, CERKEZ 18-11-2014. 2003 MUSIC. MUSEUM UNWRITTEN OPERA. KIASMA, WHOLE LOTTA LOVE IN AUCKLAND, OF CONT iMPORARY ART, FONDAZIONE SANDRETTO RE MUSEUM OF CONTEMPORARY CERKEZ 18-11-2014. 2003 SYDNEY, AUSTRALIA _1999 REBAUDENGO PER L 'ARTE, ART, HELSINKI, FINLAND; 1998 6TH 1ST ANBUL BIENNIAL, POSTER FROM AUDITIONS FOR AN UNWRITTEN ISTANBU ., TURKEY _1998 £AQ. WHOLE LOTTA LOVE IN AUCKLAND. OPERA. ARTSPACE, SYDNEY, LOUISE NERI, 'OCEANIA: PAULO BIENNAL, S AO PAULO, EXPLORING, NOT KNOWING', 2003 AUSTRALIA _1999 ANNA BRAZIL; GUARENE ARTE 98. ROTEIROS... , SAP PAULO SCHWARTZ GALLERY, DVD FROM FONDAZI )NE SANDRETTO RE BIENAL. SAO PAOLO, BRAZIL, MELBOURNE, AUSTRALIA _1997 WHOLE LOTTA LOVE IN AUCKLAND, REBAUDE »JGO PER L ' ARTE, ANNA SCHWARTZ GALLERY, 1998 CERKEZ 18-11-2014, 2003 TURIN, ITALY _1997 MELBOURNE, AUSTRALIA _1994 PATRIK NYBERG, SELECTED MCCAUGH EY PRIZE. NATIONAL INSTALLATION, DIMENSIONS ANNA SCHWARTZ GALLERY, WORKS FROM AN UNWRITTEN GALLERY OF VICTORIA, VARIABLE MELBOURNE, AUSTRALIA _1993 MELBOUR JE, AUSTRALIA _1996 OPERA: MUTLU CERKEZ. ANNA SCHWARTZ GALLERY, INSTALLATION COURTESY OF THE ARTIST CONTAIN ER PROJECT. KIASMA, MUSEUM OF MELBOURNE, AUSTRALIA _1990 AND ANNA SCHWARTZ GALLERY, MELBOURNE COPENHAGEN, DENMARK _1995 CONTEMPORARY ART, CITY GALLERY, MELBOURNE, a n t i p o d e a n c u r r e n t s , the HELSINKI, FINLAND, 2000 PAGEWORK ©MUTLU f ERKEZ AUSTRALIA; GEORGE PATON GUGGENH ElM SOHO MUSEUM, GALLERY, UNIVERSITY OF JASON SMITH & CHARLES NEW YOR (, USA; THE KENNEDY MELBOURNE, MELBOURNE, GREEN (EDS), FIELDWORK: CENTER, WASHINGTON, USA AUSTRALIA _1988 CITY AUSTRALIAN ART 1968-2002. 1993 A USTR/H.IAN GALLERY, MELBOURNE, THE IAN POTTER CENTRE, PERSPEC TA, 1993, ART AUSTRALIA; AUSTRALIAN NATIONAL GALLERY OF GALLERY OF NEW SOUTH CENTRE FOR PHOTOGRAPHY, VICTORIA, MELBOURNE, 2002 WALES, SYDNEY, AUSTRALIA; SYDNEY, AUSTRALIA THE BAI LLEAU MYER TREVOR SMITH, 33 1/3. COLLECTION OF THE 80S, CANBERRA CONTEMPORARY ART MUSEUM )F MODERN ART AT SPACE, CANBERRA, 1996 HEIDE, 1ELB0URNE, BALA STARR, IT'S A BEAUTI­ AUSTRAL [A FUL DAY: NEW PAINTING IN AUSTRALIA: 2 . ART GALLERY OF , SYDNEY, 2002 CHRIS CUNNINGHAM NTRODUCING ^HRis CUNNINGHAM

originally written, rather than trying Created in virtually equal measure by illustrate its meaning. superb production design and seamless post-production work, ultimately [All is Full 'When I first heard the track I wrote of Love] represents the fully realised down the words “sexual", "milk”, “white fruition of one of Cunningham's favourite porcelain" and “surgery",' recalls Chris. visual ideas, the roots of which appear in His immediate association with sex was his very first music video. vindicated when Bjork arrived at his London office with a book of Kama Sutra The focus of that video, made for Warp prints as her only guiding reference. artist Autechre, was a white plastic robot insect, built by Cunningham himself (while 'I knew them and liked them, but I he was working with Stanley Kubrick on couldn't figure out how to keep the explicit an unrealised sci-fi movie project] and sexuality and still make it broadcastable.' It was a phone call that Chris Cunningham shot against white. In All Is Full of Love, the had been quietly hoping to receive for The decision to base the film in industrial robot coming to life in a sterile futuristic a while. As it happens, Bjork had just robotics solved that problem but pre­ white room is Bjork herself. been biding her time, waiting for the right sented the challenge of ensuring that the 'It definitely stems by my obsession with song before approaching the prodigiously femininity and sensuality of the music white plastic,' says Cunningham. The talented young director for a video treat­ was not lost. This meant overseeing inspiration, apart from StarWars stormtroop- ment. That song is All is Full of Love', every aspect of production: hand-building ers, comes from a youthful obsession the final single from Bjork's third solo the robots and spending weeks after with Japanese motorbikes. The lines of album, Homogenic. filming fine-tuning each movement and the bikes were very feminine and he says, A slow-burning, distorted beat draws the expression at his computer. It was worth 'I wanted to make this video as feminine camera along bundled electricity cables, it. He believes it's his best video yet. as possible, which was tricky considering sweeping up to a bright, sterile chamber everything in it is a boy's dream.' as the orchestration builds. From within 'It's a combination of several fetishes: this cold machinery a typically intense, industrial robotics, female anatomy and In one way the video is simple: the robot gasping vocal picks up the melody. It is fluorescent light in that order,' reveals Bjork is sparked and prodded into life by Bjork, but in electromechanical form, Chris. 'It was perfect, I got to play around robot worker arms. Then she encounters her white casing still being worked on by with the two things I was into as a teen­ her own robot alter-ego. And for the rest probing robot arms. ager: robots and porn.' of the video, the two female robots are joined in a passionate and very sexy This is a film about symbolism, imagery EXCERPT FROM 'CAUTION: THE FILM YOU ARE and ideas, not narrative. About encap­ ABOUT TO WATCH DEALS WITH ADULT THEMES AND embrace. After first viewing, the feeling CONTAINS STARTLING ORIGINALITY FROM THE OUT­ sulating the spirit in which the song was SET', DAZED & CONFUSED. NO. 55, JUNE 1999. is of wanting to see more. However, like FLEX 2000 PROJECTION STILLS

the rest of Cunningham's work, there is situ without its head, then Bjork was put a subtlety of craft which goes deeper in the same position to match her head than the initial visual/visceral reaction. with the robot body. But only her eyes and mouth were actually used - the rest 'M y initial idea was to have a final stage of the robot head is 3D, tracked from her where the two robots unfold like a real one. flower as they mate,' says Cunningham. 'We couldn't manage it, but perhaps it's 'It was a disturbing edit in many ways, just as well, as the music doesn't really because we started with a series of allow for it.' stills and some very dodgy shots,' says The robots were built by Paul Catling, who Cunningham. Including, of course, Bjork also sculpted the m asks for Windowlicker snogging her robot self. The director says (1998). Catling, who taught Cunningham the sex was Bjork's idea: she strongly about model-making, sculpted the full- identified the song with some Kama Sutra sized robots in clay in two hours. figures which she gave Cunningham. Cunningham worked with Julian Caldow 'To me their main characteristic was the Premiered at the Apocalypse exhibition at on the set design, and it was put together penetration,' he says. 'So it left me with a London's Royal Academy,//ex (2000) aims by Chris Oddy. But the director says, 'To problem of how to make a video that would be perfectly honest I didn't have time to to awaken the viewer's senses with its get shown.’ Ultimately, shots were cut make the set look exactly as I wanted it, unforgettable images and electronic because they were too over the top. so I made it post heavy.' music. Although the imagery is abstract, 'The track is so beautiful, I didn't want to flex is clearly structured and sequential. For example, on the shoot there were debase it,' he says, 'so it became apparent Beginning in total darkness, a single two main robot arms (operated simply by that the less you saw the better it was.' light source is seen to approach in time rods), but in post- production, a third and It's possible the video may still upset with the music. The light unfolds to fourth robot arm were created in CGI at some people, perhaps because there is reveal flesh and bone. A body twists and Glassworks. 'I think I lost confidence that still the human element of Bjdrk, who shifts in front of us, obstructed by shad­ there was enough happening,’ admits like Cunningham continues to push the ows and the single, constantly moving Cunningham, and this put pressure on boundaries of what is possible in music source of light. A second, female, body an already six-figure budget. But the videos. The effectiveness of the amazing joins it. The light source becomes an results are amazing: it's impossible to visual effects owes almost as much to amorphous milky shape trailing slowly tell what is 'real' and what is not. her restrained acting as to the director. into infinity. This also applies to the work on the Bjdrk EXCERPT FROM 'BJORK: ALL IS FULL OF EXCERPT FROM ANTHONY D 'OF FAY robot. First of all the robot was shot in LOVE', PROMO. MAY 1999. GALLERY, LONDON. SELECTED EXHIBITIONS CHRIS CUNNINGHAM Born Reading, UK, 1970.

_2004 CHRIS CUNNINGHAM, Lives and works in London, UK. CURATOR JOHAN POUSETTE, BALTIC ART CENTER VISBY, SWEDEN; CHRIS CUNNINGHAM. CENTRE FOR CONTEMPORARY ART AT UJAZDOWSKI CASTLE, POLAND; MACRO. CURATOR DANILO ECHHER, MUSEO DI SELECTED BIBLIOGRAPHY ARTE CONTEMPORANEA, ROME, ALEX BELL, 'ART OF THE ITALY; ICA, INSTITUTE OF MATTER', THE HERALD, CONTEMPORARY ART, LONDON, GLASGOW, 11 AUGUST 2001 UK; TEMPLE BAR PROPERTIES, EXHIBITION CENTRE, DUBLIN, VfcRONIQUE BOURUET-AUBERTOT, IRELAND; ELECTRIC EARTH, 'BIENNALE DE VENISE: SIS CURATOR JASON SMITH, SEMAPHORES SUR LA LAGUNE', NATIONAL GALLERY OF BEAUX ARTS MAGAZINE. SCOTLAN ): EGOFUGAL. CURA- CHECKLIST VICTORIA, MELBOURNE, AUGUST 2001 TOR YUK HASEGAWA, TOKYO AUSTRALIA _2003 M ARS - ART ALL IS FULL OF LOVE 1999 OPERA C ITY ART GALLERY, JOHN CALCUTT, 'CHRIS AND W A R. NEUE GALERIE AM CHRIS CUNNINGHAM JAPAN ( CATALOGUE); 7TH CUNNINGHAM MAY BE THE ENFANT LANDESMUSEUM JOANNEUM IN MUSIC BY BJBRK ISTANBU BIENNAL, CURATOR TERRRIBLE OF VIDEO WITH GRAZ, AUSTRIA; INTRICACY. DVD PROJECTION YUKO HA SEGAWA, ISTANBUL, CUTTING EDGE EFFECTS FOR ICA PHILADELPHIA, USA; >CIMAGE P 433 TURKEY (CATALOGUE); MADONNA, PLAYSTATION AND APHEX ELECTRIC BODY. BODY ON PLATEAU OF MANKIND: 47TH TWIN, BUT THIS ARTIST'S WORK COURTESY OF THE ARTIST AND BJbRK STAGE. MUSEE DE LA MUSIQUE, . CURATOR OWES MORE TO MICHELANGELO THAN CIT £ DE LA MUSIQUE, PARIS, EXCLUSIVELY PUBLISHED BY POLYGRAM HARALD SZEEMANN, VENICE, MTV', SCOTLAND ON SUNDAY. MUSIC PUBLISHING LTD / RECORD FRANCE _2002 CHRIS ITALY (CATALOGUE); CHRIS 5 AUGUST 2001 COMPANY:ONE LITTLE INDIAN RECORDS CUNNINGHAM. 5TH GALLERY CUNNING HAM - FLEX. CURATOR / VIDEO COMMISSIONER: PAUL MCKEE / GUINNESS STOREHOUSE, SACHA CRADDOCK, 'APOCALYPSE: PRODUCER: CINDY BURNAY / DIRECTOR BARNABA BENCSIK, MEO, DUBLIN, IRELAND; HUMAN BEAUTY AND HORROR IN OF PHOTOGRAPHER:JOHN LYNCH / CONTEMP DRARY ART PARK. FOUNDATION SA NOSTRA, CONTEMPORARY ART', TEMA EDITOR: GARY KNIGHT / PRODUCTION COLLECT ION, , DESIGNERS: CHRIS CUNNINGHAM AND PALMA DE MALLORCA; ON CELESTE. JAN -FEB 2001 HUNGARY ON THE BODY. JULIAN CALDOW / ART DI RECTOR:CHR IS INTIMACY. CURATOR DANIELA CURATOR KARIN POST, CHRIS CUNNINGHAM, 'SPACE', ODDY / ROBOTS BUILT BY PAUL BOUSSO, PAQO DAS ARTES, CATLING / MODEL EFFECTS: MATTES 8 GRONING ER MUSEUM, THE THE GUARDIAN. 14 SEPTEMBER S A 0 PAULO, BRAZIL; CHRIS MINIATURES / POST PRODUCTION NETHERL ANDS; SUR-FACE. 2000 CUNNINGHAM. CURATOR SIBBE EFFECTS: JAMES MANN 8 PASI CURATOR PONTUS KIANDER, JOHANSSON AT GLASSWORKS / WITH AGGERGAARD, KUNSTFORENINGER LUND KU NSTHALLE, SWEDEN CHRIS CUNNINGHAM, 'IN MY SPECIAL THANKS TO BLACK DOG FILMS COPENHAGEN, DENMARK; CHRIS (CATALO GUE); CHRIS AND HECTOR MCLEOD, GLASSWORKS CUNNINGHAM. CURATOR KLAUS 6 FEBRUARY 2000 CUNNING HAM - FLEX. CURATOR ALL TEXT AND IMAGES COURTESY OF THE BIESENBACH, P.S.1 SUZANNE DUNN, EDINBURG ARTIST AND CHIARA BERSI SERLINI, CONTEMPORARY ART CENTER, CHARLES GOLDSMITH, 'SONY FESTIVA L, EDINBURGH LONDON NEW YORK, USA; CHRIS USES CYBERWAIF TO BOOST COLLEGE OF ART, SCOTLAND; CUNNINGHAM. CURATOR CELIA PLAYSTATION', THE ECONOMIST - CHRIS CUNNINGHAM - FLEX. PRADO, TENSTA KONSTHALLE, MARKETING AND MEDIA. CURATOR RUTGER WOLFSON, SWEDEN; WITHOUT CONSENT. 9 SEPTEMBER 1999 DE VLEE SHAL KUNSTHALLE, CAN - CENTRE D 1 ART MIDDLEB URG, THE CALLUM MCGEOCH, 'CHRIS NEUCHATEL, SWITZERLAND; NETHERL ANDS _2000 CUNNINGHAM', DAZED & HAPPY OUTSIDERS. BRITISH APOCALY P§ £ r CURATORS CONFUSED. SEPTEMBER 1999 COUNCIL TOURING EXHIBI­ NORMAN ROSENTHAL AND MAX TION, ZACHETA GALLERY, CALLUM MCGEOCH, 'ALL IS WIGRAM, ROYAL ACADEMY, WARSAW, POLAND (CATA­ FULL OF LOVE', DAZED 8 LONDON, UK (CATALOGUE); LOGUE); CHRIS CUNNINGHAM - CONFUSED. JUNE 1999 CHRIS CUNNINGHAM - VIDEOS: ALL IS FULL OF FLEX.AN THONY D'OFFAY HENRY MEYRIC HUGHES, LOVE. FLEX. MONKEY GALLERY , LONDON, UK _1999 'VENICE BIENNAL', TEMA DRUMMER. CURATOR JOACHIM EXIT. CURATOR/SELECTOR CELESTE. SEPTEMBER 2001 JAEGER, HAMBURGER BAHNHOF, STUART MORGAN, CHISENHALE MUSEUM FUR GEGENWART, LIDIA PANZERI, 'ELSEWHERE IN GALLERY , LONDON, UK BERLIN, GERMANY; HUMAN THE BIENNALE', THE ART NEWS­ (WINDOW LICKER. 1ST PRIZE); PARK. ISTITUT DE CULTURA PAPER. FRIDAY, 1 JUNE 2001 VIDEO V IBE: ART. MUSIC AND IN BARCELONA, SPAIN (CATA­ VIDEO IN THE UK. CURATOR SHAUN PHILLIPS, 'SICK BOY', LOGUE); CHRIS CUNNINGHAM CRISTIA HA PERRELLA, THE FACE. MARCH 1998 VIDEOS: FLEX. MONKEY BRITISH SCHOOL IN ROME, DRUMMER. WINDOWLICKER & ITALY CHARLOTTE RAVEN, 'EROTICA? COME TO DADDY. THE BIG I'D RATHER HAVE A ROBOT VIDEO SCREENING, CURATOR MUSIC VIDEOS AND FILM LESBIAN', THE GUARDIAN BARNABAS BENCSIK, INDUSTR Y JANUARY 1999 CONTEMPORARY ART MUSEUM, 1999 AL l is f u l l of l o ve BUDAPEST, HUNGARY _2001 JESSIE SCANLON, ' SCREENAGER', (BJbRK) 1998 WINDOWLICKER CHRIS CUNNINGHAM. CURATOR WIRED. FEBRUARY 1999 (APHEX TWIN); FROZEN LUIS-MARTf N LOZANO, MUSEO (MADONN A) 1997 ONLY YOU , 'THE END OF DE ARTE MODERNO, MEXICO (PORT IS HEAD); COME TO THE WORLD AS WE KNOW IT', TH£ CITY, MEXICO; TODAY 1 S DADDY (APHEX TWIN) GUARDIAN. 21 SEPTEMBER 2000 UTOPIA. CURATOR T. KIEFER, WILHELM HACK MUSEUM, WILL SELF, 'IT'S THE FAG- GERMANY (CATALOGUE); END OF THE WORLD AS WE KNOW DESKTOP ICON. CURATOR IT', THE INDEPENDENT ON ILIYANA NEDKOVA, SUNDAY. 24 SEPTEMBER 2000 FOUNDATION FOR ART & TECHNOLOGY, NEW MEDIA,

STILL LIVES: MARGARET prescribed by the allegorical mode she rather than talk about it.'9 Wood goes on adopts, and marks out her project as a to argue that by 'concealing his identity DAWSON'S deconstructive one.1 behind assumed disguises..., Uncle Hugh is distanced by Dawson from his Such use of allegory links Dawson's work own body - or distances himself, giving it THE MEN to that of Julia Margaret Cameron (late over to the possession of another identity.'10 nineteenth century British photographer).5 Perhaps, however, as a whole, The Men However, while Cameron's art historical FROM From Uncle effectively stakes out some allusions are a bid to elevate photography consistency in identity. Hugh Simpson's to the so-called status of art, Dawson's re-appearance in every photowork UNCLE serve to 'question the efficacy of art's - and reminds us of his own physicality within photography's - claims to truth and value.'1 the different guises. Overtly theatrical props and costumes The title, The Men From Uncle, signals the This dynamic is reversed in Dawson's challenge the concept of 'truth' in much question posed by Margaret Dawson's new series, All the King's Men (2003), under­ of Dawson's earlier work, pointing as they series: does identity originate/rom a person mining any conclusions we may have do to the cultural construction of stereo­ - in this case Dawson's Uncle Hugh - and/ drawn. These later photoworks involve a types, myths and (apparently) documentary or is it constructed, transient, playable plurality of models in recreating the same photography. The Men From Uncle, however, like the characters and tape of a television portrait of either David Livingstone or is more subtle. Garrett describes its 'patch- programme? At the same time, Dawson's Bertrand Russell. By the title's reference work of quotations and references' as appropriations, her impersonations of to Humpty Dumpty, the series doubts the requiring speculation about the 'work’s other artists' photographs of actual possibility of re-construction, of motivation. Meaning is never, finally, fixed, people, complicate notions of authorship, restoration. It might appear that the as possible meanings are contingent on veracity and objectivity. Understandings of artist is the central figure, the King, whatever (personal or collective) knowledge the subject and 'self are further unsettled around whom the action of this project the viewer brings to the work.'2 by the photographer's familiarity with her pivots, but it is the King's loss for what model, their biological relationship and Of course, the viewer is also guided to an is gone which gives rise to a vain attempt the dynamics of her caring for an elderly extent by the artist's process of selection to resurrect a loved one. In approaching uncle after he lost his independence due and omission, itself somewhat influenced strangers with a physiognomical likeness to her late uncle to appear in All the to a fall. by her uncle, his conversations, books and sister, Dawson's mother. In impersonating King's Men, Dawson asks hard questions Some of these complexities are dis­ the writers, m usicians and artists he about the power of photography to deal cussed in detail in Louise Garrett's admired, Uncle Hugh is less passive a with the melancholy of loss and longing. essay, 'MakingUp The Men From Uncle' subject than he might appear from his She also examines the bounds of the Garrett situates Dawson with regard to niece's various doctorings of his appear­ artist's desire, of the auteur. humanism, describing her as challenging ance in the photoworks. On the other 'the paradigm of the autonomous, singular CHRISTINA STACHURSKI hand, though, at the time the works were (western, patriarchal) notion of identity created Dawson was caring for her 1 LOUISE GARRETT, 'MAKING UP THE MEN which has its foundation in the FROM UNCLE', THE "EN F*QH UNCLLi. Renaissance’s self-conscious redefinition model. While his clothes needed to be PHOTOWORKS BY MARGARET DAWSON, CHRISTCHURCH 1998, PP15-31 of the individual.'2 This conception of chosen and 'put out in the order they 2 IBID., P 216 identity informs the view of Nadar [French, (we)re to go on,'8 Dawson's choices were 3 IBID., P 24. GARRETT CITES NADAR nineteenth century) that the art of the directed by her desire to respect his own CITED IN NADAR. P 25, AND HAMBOURG, strong sense of personal style. Such 'A PORTRAIT OF NADAR', IN NADAR. portrait photographer lies in the ability P 25 demise of individuality (to use an unfash­ to sense and communicate the essential 4 GARRETT, OP. CIT., P 24 ionable term) through slight dementia is character of the subject, as Garrett notes.3 5 IBID., P 1 9 just one aspect of the tension conjured It is this history and conception of art 6 IBID., P 1 9 by hints of biological determinism in The which Dawson seeks to reproduce 7 IBID., P 21 Men From Uncle. (and negate) in her picture gallery of 8 IBID., P 1 2 'portraits'. By appropriating the rhetoric On a superficial level, the unavoidable 9 ANDREW PAUL WOOD, 'STRIKE A POSE: physical effects of old age pervade this MARGARET DAWSON'S MEN FROM UNCLE,' of modern photography, she inscribes a ART NEW ZEALAND NO. 97 SPRING- problematic complicity with the thing she series. For Andrew Paul Wood, the 'uncle SUMMER 2000-2001, PP 70-74, PP 73-74 seeks to undermine. This condition is photographs talk the elderly male body 10 IBID., P 74

MARGARET DAWSON Born Blenheim, Aotearoa New Zealand, 1950. Lives and works in Christchurch, Aotearoa New Zealand.

CHECKLIST

THE MEN FROM UNCLE 1995-1997 26 SILVER GELATIN, SELENIUM TONED, PHOTOGRAPHS IMAGE SIZE 600 X 400MM; A2 SIZE MATTED AND FRAMED

>CIMAGE AFTER CECIL BEATON OF WALTER SKKETT ANP MI? WIFE 194Q P 47] SELECTED GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY >C IMAGE TOP LEFT: AFTER D. WYNFIELD _2003 VICTORY OVER DEATH. MARK AMERY, 'TRUE LIES', OF SIR JOHN E.MILLAIS 1&63 P 49] PETER MCLEAVEY GALLERY, PHOTOGRAPHY INTERNATIONAL > [ I MAG E TOP RIGHT: AFTER LUCIA WELLINGTON, NZ, CURATOR 1995, P P 16-18 (ILLUS.) H9H0LY 1 § BARON PUCKETT 193$ P 49] p e t e r Ic e l a n d _2002 th e JONATHAN BYWATER, 'KARAOKE >[IMAGE BOTTOM LEFT: AFTER STEICHEN HEIMLICH UNHEIMLICH, OF GRETA GARBO 1928 P 49] WAGNER: MARGARET DAWSON'S MELBOURNE FESTIVAL, RMIT "UNDER THE HILL"', ART >CIMAGE BOTTOM RIGHT: AFTER FREDERICK GALLERY, MELBOURNE, NEW ZEALAND. NO. 73, EVANS OF AUBREY BEARDSLEY 1894 P 49] AUSTRALIA, CURATOR JULIANA SUMMER 1994-5, P P 58-61 MADE WITH THE ASSISTANCE OF CREATIVE ENGBERG; OUT OF SIGHT ART (ILLUS.) NZ AND THE LATE MR A. HUGH SIMPSON, S CRAFT SHOW. RIVERTON THE ARTIST'S UNCLE HALL 8 SOUTHLAND MUSEUM 8 ELIZABETH CALDWELL, COLLECTION OF THE ARTIST ART GALLERY, INVERCARGILL, 'IDENTIFYING MARGINALISED NZ AND TOURING, ORGANISED TERRITORY', AMUSEMENTS. A LIST OF APPROXIMATE APPROPRIATIONS BY MARGARET DAWSON _2001 CATALOGUE ESSAY, MCDOUGALL AND REFERENCES (THE PHOTOGRAPHER, THE PERSON PHOTOGRAPHED AND THE DARK PLAIN. COCA GALLERY, ART GALLERY, CHRISTCHURCH, DATE OF THE ORIGINAL PHOTOGRAPH) CHRISTCHURCH, NZ, CURATOR 1994 AFTER NADAR OF THEOPHILE GAUTIER EWEN MCDONALD _1998 OBLIQUE. 1855; AFTER NADAR OF DELACROIX 1855; JULIANNA ENGBERG, 'THE OTIRA, CANTERBURY, NZ, AFTER NADAR'S M. DESBORDES-VALMORE HEIMLICH UNHEIMLICH', CURATOR j JULIANNE STEPHENSON; ON HER DEATH BED 1859; AFTER NADAR MELBOURNE FESTIVAL VISUAL OF MICHEL E CHEVREUL 1886; AFTER SELECTED SOLO EXHIBITIONS CLOSE RELATIONS. AUSTRALIAN ARTS PROGRAM, AUSTRALIA, NADAR OF GUIZOT 1857; AFTER D. _2002 A ROOM OF ONE'S OWN. CENTRE |OF PHOTOGRAPHY, WYNFIELD OF SIR JOHN E.MILLAIS 1863; PP 27-28 FORRESTER GALLERY, OAMARU, SYDNEY,;AUSTRALIA, CURATOR AFTER J. M. CAMERON OF TENNYSON 1865; AFTER J. M. CAMERON OF HERSCHEL 1867; NZ; LOOKING FOR THE GOLDEN DEBORAH! ELY _1993/4 JOHN HURRELL, 'TRULY ALTER/IMAGE. WELLINGTON AND AFTER J. M CAMERON OF LONGFELLOW CARP AND BRYNDWR LAKES, FICTIVE EXPOSURES: SIX 1868; AFTER FREDERICK EVANS OF WAIKATO MUSEUM OF ART 8 AUCKLAND CITY ART GALLERY, WOMEN PHOTOGRAPHERS', AUBREY BEARDSLEY 1894; AFTER CECIL HISTORY, HAMILTON, NZ NZ, CURATORS CHRISTINA PHOTO FORUM NZ. ISSUE 56, BEATON OF ALDOUS HUXLEY 1936; AFTER _1998 THE MEN FROM UNCLE. BARTON 8 DEBORAH LAWLER- 1987, PP 41-48 KERTESZ OF MONDRIAN 1926; AFTER STEICHEN OF GRETA GARBO 1928; AFTER AUSTRALIAN CENTRE FOR DORMER M 9 9 0 NOW SEE HEAR!. JOHN HURRELL, 'THE DOROTHEA LANGE OF A MIGRANT MOTHER CONTEMPORARY ART, CITY GALLERY, WELLINGTON, VACILLATING PERSONAS OF 1930S; AFTER DOROTHEA LANGE'S WHITE MELBOURNE, AUSTRALIA; NZ AND TOURING, CURATORS ANGEL BREAD LINE 1930S; AFTER LUCIA MARGARET DAWSON', ART NEW RECITAL. JONATHAN SMART GREGORY BURKE 8 IAN WEDDE MOHOLY'S BARON BLACKETT 1936; AFTER ZEALAND. NO. 47, WINTER CECIL BEATON OF AUGUSTUS JOHN 1940; GALLERY, CHRISTCHURCH, NZ _1990 IN THE FOREST OF DREAMS. MOET & CHANDON ART 1988, P P 68-71 & COVER AFTER CECIL BEATON OF WALTER SICKETT _1997 OVER. GOVETT-BREWSTER AND HIS WIFE 1940; AFTER PAUL FOUNDATION, DUNEDIN PUBLIC GALLERY, NEW PLYMOUTH, NZ JULIE KING, 'FORGING JOYCE'S PORTRAIT OF SAMUEL BECKETT ART GALLERY, NZ AND TOURING M 9 9 6 UNDER THE HILL. CONNECTIONS: MARGARET 1944; AFTER FREDERICK SOMMER OF MAX ABERHART NORTH GALLERY, _1989 IMPOSING . DAWSON'S OUT OF SIGHT ART ERNST 1946; AFTER GORDON PARKES OF A MINISTER IN CHICAGO 1950; 'TATTOED AUCKLAND, NZ _1994 CITY GALLERY, WELLINGTON, 8 CRAFT SHOW', ART NEW MAN' AFTER LARTIflUE; AFTER STEICHEN'S NZ AND TOURING, CURATOR AMUSEMENTS. THE ANNEX, ZEALAND. NO. 106, AUTUMN GLORIA SWANSON 1924; AFTER EUGENE ROBERT MCDOUGALL GALLERY, GREGORY BURKE 2003, PP 42-45 & 79 SMITH'S SPAIN 1951; AFTER EUGENE CHRISTCHURCH, NZ AND TOUR­ SMITH'S HITIAN MENTAL PATIENT 1959; TESSA LAIRD, 'PECULIAR AFTER CARTIER BRESSON OF EZRA POUND ING _1993 WHERE IS SHE? PRACTICES', THE NEW 1970; AFTER A PORTRAIT OF KENZUBARU SCHOOLHOUSE, FERRYMEAD ZEALAND LISTENER. 23 OE, JAPAN 1993 MUSEUM, CHRISTCHURCH, NZ; JANUARY 1999, P P 36-37 MALADIES, LEFT BANK ALL THE KING'S MEN 2002-2003 40 PHOTOGRAPHS: TWO GROUPS GALLERY, GREYMOUTH, NZ YVONNE RENEKE, 'OUTLAWS IN OF TWENTY IMAGES - TWENTY _1992 FLOWERS. BIRDS. AND EVERYDAY LIFE', AMUSEMENTS. OF EXPLORER AND MISSIONARY MALADIES. MANAWATU ART CATALOGUE ESSAY, MCDOUGALL DAVID LIVINGSTONE 1864, GALLERY, PALMERSTON NORTH, ART GALLERY, CHRISTCHURCH, AND TWENTY OF PHILOSOPHER NZ 1994 AND PEACE ACTIVIST BERTRAND CLAIRE WILLIAMSON, 'A RUSSELL 1953 SECOND LOOK: PHOTO HISTORY ALL PHOTOGRAPHS SILVER MARGARET DAWSON 8 TRACEY GELATIN SELENIUM TONED MOFFATT', CATALOGUE ESSAY, PRINTS, 300 X 400 MM; AUSTRALIAN CENTRE FOR 565 X 46X 30 MM [FRAMED]

CONTEMPORARY ART, >[IMAGES P 50] MELBOURNE, NOVEMBER 1998 MADE WITH THE ASSISTANCE OF CREATIVE NZ AND THE /MODELS

COLLECTION OF THE ARTIST \ r y > 7 ? ‘ ' ft f* ' f H If ft- , r > '

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1* % V: REPETITION AND RECOLLE CTION ARE T HE SAME MOV VEMENT EXCE EPT IN OPPO SITE DIRECT IONS, FOR W HAT IS RECO LLECTED HAS BEEN, IS RE REPEATED BA CKWARDS, WH EREAS REPET ITION IS RE COLLECTED FORWARDS...

et al. Including: merit grating, c j [arthur] craig & sons, blanche readymade, minerva betts, OVOM marlene cubewell, l budd, Lionel b., et al., p mule. All presently residing and working in Auckland, Aoteroa New Zealand. so m 0 1 M m ' Q o m v r a y SELECTED BIBLIOGRAPHY MARY BARR, JIM BARR AND A. MEE, 'THE GREAT JOURNEY - ART IS EASY', THE READYMADE BOOMERANG, EIGHTH , ART GALLERY OF NEW SOUTH WALES, SYDNEY, 1990

MARY BARR & JIM BARR, SELECTED SOLO EXHIBITIONS SELECTED GROUP EXHIBITIONS CHECKLIST 'L BUDD ET AL.', TOI TOI _2003 ET AL., ABNORMAL _2003 DR P MULE, NINE TOI / THREE GENERATIONS OF INSTALLATION, DIMENSIONS MASS DELUSIONS, GOVETT- LIVES . AUCKLAND ART ARTISTS FROM NEW ZEALAND. VARIABLE BREWSTER ART GALLERY, NEW GALLERYI TOI 0 TAMAKI, EXHIBITION CATALOGUE, PAGEWORKS © ET AL. PLYMOUTH, NZ _2002 ET AL., AUCKLANb, NZ; ET AL., JHE. MUSEUM FRIDERICIANUM, 1999 IMAGES COURTESY OF ET AL. TRIAL-RUN. STARKWHITE, WANDERER PROJECT. SOFA GREG BURKE, 'INTERFERENCE AUCKLAND, NZ _2001 ET AL., GALLERY;, CHRISTCHURCH, NZ THE ARTISTS WISH TO THANK AALTO ET AL. AND TECHNICS', SIMULTANEOUS INVALIDATIONS _1999 U BUDD ET AL., TOI COLOURS ARGUMENTS FOR IMMORTALITY. 2ND ATTEMPT. ARTSPACE AND TOI TOI / THREE GENERATIONS GOVETT-BREWSTER ART GALLERY, CHRISTCHURCH ART CENTRE, OF ARTISTS FROM NEW NEW PLYMOUTH, NZ, 2003 CHRISTCHURCH, NZ _2000 L ZEALAND. MUSEUM BUDD, WHILST ATTEMPTING TO FRIDERltlANUM, KASSEL AND JONATHAN BYWATER, ENGINEER A TELEPATHIC AUCKLAND ART GALLERY TOI 0 SIMULTANEOUS INVALIDATIONS DEVICE. HAMISH MCKAY TAMAKI,; AUCKLAND, NZ; 2ND ATTEMPT. ARTSPACE, GALLERY, WELLINGTON, NZ BLANCHE! READYMADE, FEAR AUCKLAND, NZ, 2001 _1998 BLANCHE READYMADE, AND BEAUTY. SUTER ART SYLVERE LOTRINGER, A VISIT MISGUIDED. HAMISH MCKAY GALLERY, NELSON, NZ; L GALLERY, WELLINGTON, NZ BUDD ET AL., CLOSE WITH THE ARTISTS. PATAPHYSICS SERIES, 1994 _1997 L BUDD ET AL., THEY QUARTERS. AUCKLAND ART TOOK TO THEIR VOICES, g a l l e r y ! TOI 0 TAMAKI EWEN MCDONALD, 'ET AL. / THE ARTSPACE, NZ; L BUDD ET AUCKLANp, NZ _1998 L BUDD CURRENT THEORY', ARGUMENTS AL., THE VISIBLE THAT WAS. ET AL.J CLOSE QUARTERS. FOR IMMORTALITY. GOVETT- AUCKLAND ART GALLERY TOI 0 AUSTRALIAN CENTRE FOR BREWSTER ART GALLERY, NEW TAMAKI, AUCKLAND, NZ; CONTEMPORARY ART, PLYMOUTH, NZ, 2003 LIONEL B, THE UNITY OF MELBOURNE, AUSTRALIA, APPEARANCE. THE PHYSICS _1996 LIONEL B, CONTAINER F LOR I AN MERKEL, 'IN CON­ ROOM, CHRISTCHURCH, NZ ■96 - a!rt ACROSS OCEANS. VERSATION', THE VOICE OF _1996 P MULE, L BUDD AND G ADELAIDE, AUSTRALIA AND THE SILENCE. AUCKLAND ART TREADGOLD. TESTSTRIP, COPENHAGEN, DENMARK (CATA­ GALLERY TOI 0 TAMAKI, AUCKLAND, NZ _1995 L BUDD LOGUE) j_1993 L BUDD, AUCKLAND, 1997 CONSTRUCTION IN PROCESS IV 8 G TREADGOLD, THE VISIBLE DAVID 0'HALLORAN, - MY HOlME IS YOUR HOME. THAT WAS. JONATHAN SMART CONTAINER '96 - ART ACROSS THE INTERNATIONAL ARTISTS' GALLERY, CHRISTCHURCH, NZ OCEANS. EUROPAEISK, MUSEUM,! LODZ, POLAND _1992 _1994 MARLENE CUBEWELL, L COPENHAGEN, 1996 BUDD. CBD GALLERY, SYDNEY, L BUDD,! HEADLANDS. MUSEUM AUSTRALIA; LIONEL B, THERE OF CONTEMPORARY ART, GWYN PORTER, 'SNATCHING YOU HAVE IT: BUDD IN SYDNEY,! AUSTRALIA _1990 L FAILURE FROM THE JAWS OF BERLIN. NATIONAL MUTUAL, BUDD, PiOPULAR PRODUCTIONS. DEFEAT; FOOTNOTES TO AN WELLINGTON, NZ RIGA ARSENALS, ABANDONED DISSERTATION ON INTERNATIONAL CENTRE OF FUTILITY AND THE WORK OF NEW CINEMA, LATVIA; L ET AL.', ARGUMENTS FOR BUDD, THE READYMADE IMMORTALITY. GOVETT- BOOMERANG: EIGHTH BIENNALE BREWSTER ART GALLERY, NEW OF SYDNEY. SYDNEY, PLYMOUTH, NZ, 2003 AUSTRALIA ALAN SMITH 8 P MULE, 'ALAN SMITH TALKS TO P MULE FOR ET AL., NINE LIVES. EXHI­ BITION CATALOGUE, AUCKLAND ART GALLERY TOI 0 TAMAKI, AUCKLAND, NZ, 2003 KATHLEEN HERBERT NTRODUCING KATHLEEN HERBERT

I first saw Kathleen Herbert's work in Kathleen's interest in clothing and identity Another Super 8 film, Luna Park (2003), 2001 at an Open Studio event at Spike continued, resulting in the video projection also suspends the viewer in a state of

Island, Bristol, UK. The work she exhibited The Machinist. This work explores the notion desire. Filmed whilst visiting Australia, there was Too Close for Comfort, consisting of the signature, the popularity of the it shows a wooden rollercoaster, the of a straitjacket constructed from wire designer label and the machines that mechanism apparently clanking and words alongside postcards showing make them so 'individual', which are of cranking, next to a silent megaphone, photographs of a woman enclosed and course computer generated. In this film until eventually the carriage whizzes constrained by the garment, laced with we see the machine repeatedly turn out across the top of the frame and out roses as if from a childhood fairytale. a Togo', this time the signature of the again, a glimpse of activity in an other­ Kathleen distributed these cards into machinist, not the designer. There is wise almost still scene. Both of these the public domain by inserting them something bizarre about the traditional films generate a sense of longing, as embroidery hoop gripping the material surreptitiously into wom en's fashion does CiniRomanesti (2002). However, the taut, whilst the computerised robot copies journals on newsagents' shelves, leaving dog in Cini Romanesti rarely rests but leaps the signature - again and again - using the reader to discover them and try to continuously towards the camera, barking the implied language of craft to create a understand their presence. The concept silently, stretching in one direction, then man-made product. of body=text=body sprang to mind, along the other, only occasionally stopping for with the possibility that the body is the Since 2002 Kathleen has frequently breath, at which point every muscle in its site of text and creates our understanding exhibited film, Super 8 being her favoured body seem s to gather strength for the of the corporeal. Also that year, Kathleen process, although she has also worked next onslaught of action. In this case was commissioned to create a 'bird-box' with video. Three of these Super 8 films the longing is for silence, even in the for Queens Square in Bristol. Using the present similar scenarios, whereby the absence of an accompanying soundtrack. same wire-text technique, she transcribed viewer is confronted with an almost still Absence, longing and melancholy feature historical documents that not only con­ image. In I Love Romania (2002) a snowbound structed the form of the bird-box, but landscape appears at first to be static, strongly in Kathleen's work. At the also wound up and around the branches until the viewer notices that occasionally Melbourne Festival in 2002, Kathleen of the tree. Immediate association was a car passes across the top of the frame, exhibited her work Colony in the exhibition made with the concept of the 'lim b' of behind the trees. Accompanied by a sound­ Heimlich/Unheimlich at the RMIT Gallery. both tree and body. The texts gripped the track of Elizabeth Murray singing 'Snow­ Colony consisted of a group of eighteen tree branches like tendrils of memory, bird', one is put in mind of the American identical metal frame beds, all made wrapping and reaching, strangling the women labelled 'snowbirds' who migrate much smaller than standard and tree with its own history, much as the in groups in camper vans to warmer grouped as if in a dormitory. The space straitjacket enveloped the body. climes during the winter. they were shown in became narrow at one end and the lighting was set to straitjacket, the iron lung machines; all produce the impression of a line drawing intended to restrain, but at the same in perspective. Curator Juliana Engberg time offering some sense of security, described the beds as evoking a sense of boundaries which although restrictive 'eternal absence', and that they create an also suggest an element of safety. ’unsettling and melancholic atmosphere' Most recently, Kathleen has become This is true of many of her works, both deeply engaged with research relating to filmic and object-based. Bletchley Park in the UK. Bletchley was Most recently Kathleen has made a used during the Second World War as a series of objects, or maquettes, based top secret centre for an eccentric mix of on the varying designs used to create scholars and code-breakers engaged to 'iron lungs'. These strange machines work on cracking the German Enigma are reconstructed in simple MDF and code. Since the war ended, information scaled down. With no knowledge of their about Bletchley was classified and it has origin, I understood them to be strange only recently been opened to the public. corruptions of furniture, some useless For her film Night Shift 12003] Kathleen things that straddled an area somewhere videoed the cleaning up of Queen Victoria between machine and furniture, wheel­ Markets in Melbourne at night and barrow and trolley. As in Colony, one is commented how this process 'removed faced with a sense of familiarity of form whilst being completely confounded by- all evidence of activity'. At Bletchley the their use. same act of 'cleaning up' is now taking place, as the buildings are renovated and There is a sense of sadness and bleak­ recreated as museum rooms. Kathleen ness in many of these works. Kathleen has endeavoured to gain more information takes the mundane and asks the viewer on the subject but still finds it protected to look again, offering something that at by a veil of secrecy. This process of first seem s obvious, but upon closer research has echoed the very purpose of inspection reminds one of fairytales and the buildings - yet again Kathleen has myths, challenges and frustrations. been drawn to the silence, or the silenced. Confinement often enters one's thoughts, the dog chained up, the strangling wire CAROLYN BLACK KATHLEEN H ERBERT Born Watford, UK, 1973. Lives and works in Bristol, UK.

SELECTED GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY CHECKLIST

— 2002 THE HEIMUCH/UN- RODRIGO AFFREIXO, 'ARTS STATION X 2003 MIMLIIU z RMIT g a l l e r y , AREJADASS', BLITZ. VIDEO INSTALLATION, MELBOURNE, AUSTRALIA; PORTUGUAL, JULY 2001, P 53 DIMENSIONS VARIABLE

SERGIO C. ANDRADE, 'DEZ >[IMAGE STATION X / AUDREY / JOHN / HASTING MUSEUM & ART HORAS DE ARTES CRUZADAS, HELEN 2003 P55D GALLERY HASTINGS, NO PORTO PUBLICO, ENGLAND SCAPE. ART S >CIMAGE STATION X / AUDREY 2003 P 57] PORTUGUAL, JULY 2001, P 50 INDUSTR BIENNIAL 2002, INSTALLATION AND IMAGES COURTESY CHRISTCHURCH, NZ; CLAIRE DOHERTY, 'BREAKPOINT: OF THE ARTIST SUPER8STATI0N . STATION. THE PROPERTIES OF PRO­ THE ARTIST GRATEFULLY ACKNOWLEDGES BRISTOL ENGLAND _2001 CEDURE', THE SILK PURSE THE SUPPORT OF THE ARTS COUNCIL, h i q h l i f , [, ARCHITECTURE PROCEDURE. BRISTOL, ENGLAND, AND PVA FOR THE REALISATION CENTRE, BRISTOL, ENGLAND; ENGLAND, MAY 2001, P 10 OF THIS PROJECT LOCI ME MORIAE. WATERSHED DIGITAL MEDIA CENTRE, JULIANA ENGBERG, 'THE HEIMLICH UNHEIMLICH', BRISTOL ENGLAND; B££z MELBOURNE FESTIVAL VISUAL GALLERY CALDEIRA 213, ARTS PROGRAM 2002, PORTO, PORTUGAL; SILK MELBOURNE, OCTOBER 2002, PURSE P 10CEDURE. ARNOLFINI PP 2-31 & SPIKE ISLAND, BRISTOL, ENGLAND 1999 ARTFUTURES. PAUL GOUGH, 'INNCONNU', FESTIVA HALL, LONDON, LOCI MEMORIAE. BRISTOL, ENGLAND ENGLAND, NOV. 2001 , P 27

EWEN MCDONALD, 'VIDEO/SCAPE : ARTISTS' VIDEOS IN THE CENTRAL CITY', SCAPE: ART + INDUSTRY ARTS URBAN BIENNIAL. A R T + INDUSTRY BIENNIAL TRUST, CHRIST­ CHURCH, NZ, 2002, P P 39-51

CATSOU ROBERTS, 'RECOMMENDED PROCEDURE: TO MAKE A SILK PURSE FROM A SOW'S EAR', THE SILK PURSE PROCEDURE. BRISTOL, ENGLAND, MAY 2001, P3 JENNY HOLZER THE WHOLE PICTURE

In her work she has always targeted art as the forum of a public conscience and thus used public space as the arena of political activity. In public actions, such as plastering stickers on walls, in the appropriation of the privileges that are exclusive to the realms of both art and to peace. Examples are Black Garden social status, in the use of expensive (Nordhorn, Germany, 1994), in which a advertising space or technologies, Jenny historically self-mythologising view of Holzer exploits the authority of language the First and Second World Wars has and the authority of the structures of been turned into a memorial to the victims social power for the presence of intimate, of the two wars; Erlauf Peace Monument They slow us down when we become subjective, and invisible realities. Thus, (Erlauf, Austria,1995); the memorial to aware of them in passing and make her monumental xenon projections of Friedrich Goerdeler, the mayor of Leipzig benches that promise a welcome rest light onto cities by night are inscribed who was executed by the Nazis for his feel uncomfortable; their breakneck with an atmosphere of nocturnal exposure 'pro-Jewish' activities (Leipzig, Germany, speed contradicts the informative function as a paradoxical fusion of the metaphor 1999); or Blacklist (Los Angeles, United of ticker-tape graphics in traditional of light-beam surveillance and of the all- States, 1999), which focuses on the advertising displays; they embellish both revealing nature of medial life. aggressors and victims of McCarthy's ordinary items such as costume jewellery, Communist witch-hunt in the United plates, napkins, and T-shirts, as well as Through her texts and her choice of States in the early fifties. Common to all the forms and materials of art; they location, Holzer provokes collisions of these memorials and monuments are meander through public buildings as between systems and categories: public - private, conscious - unconscious, the questions they raise regarding 'owner­ seductive guiding lights; they add a central - marginal, alive - dead, collective ship', that is, whether a monument bewildering bit of and horror to - subjective, aggressive - passive, apathetic should belong to its builders and the the contemplative mood of beautifully - committed, victim - aggressor, power - political interests of the present, or to groomed gardens and proud public powerlessness. She uses power structures a historical reality and above all to the memorials; and they use cities as as a vehicle for the spatial participation victims whose voices are heard through monumental monitors for their fleeting of these voices in the social discourse. their names, the names of their friends content, which is visible only in the dark. Her voices become part of the overall and foes, and the inevitability of their Jenny Holzer places the texts she has social context. reality. Jenny Holzer's monuments serve been writing since the seventies on the not only to gratify the present and its Jenny Holzer's words do not take a (moral) surfaces of our reality, thereby drawing patrons; they also foster positive action stand but instead rely on the discerning our attention, physically and mentally, to and a non-static, non-final approach to judgment of the reader. They are, in a the preconceived notions and marginalia collective memory and consciousness. of a collective conscious. No aura of sense, memorials to the human ability BEATRIX RUF intellectual detachment or objectivising to form opinions unaided. No wonder impartiality informs her comments on then that in the past few years Jenny sex, war, death, birth, violence, love, Holzer has been asked to redesign war THIS TEXT WAS FIRST PUBLISHED IN JENNY HOLZER. XENON. TRANS. BY CATHERINE SCHELBERT, INK TREE, power, truth, or madness. memorials or to create new memorials , 2001.

JENNY HOLZER Born Gallipolis, Ohio, USA, 1950. Lives and works in Hoosick Falls, NY, USA.

SELECTED GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY

_2002 SHOPPING: A CENTURY OF CATALOGUES: ART AND CONSUMER CULTURE. JENNY HOLZER. MUSGE D'ART TATE LIVERPOOL, LIVERPOOL, CONTEMPORAIN DE BORDEAUX, En g l a n d ! _2000 the Am e r i c a n BORDEAUX, 2001. TEXT BY CENTURY: ART AND CULTURE MARIE-LAURE BERNADAC 1900-2000, PART II. 1950- 2000. WHITNEY MUSEUM OF JENNY HOLZER: MONTERREY. AMERICAN ART, NEW YORK, 2001. MUSEO DE ARTE CHECKLIST USA _1998 LOUISE BOURGEOIS- CONTEMPORANEO DE MONTERREY, BILLBOARD PRO JECT 2004 JENNY HOLZER. HELMUT LANG. MONTERREY, MEXICO, 2001. SELECTED SOLO EXHIBITIONS/ THE FUTURE IS STUPID KUNSTHAj-LE WIEN, VENICE, TEXT BY VANESA FERNANDEZ INSTALLATIONS HUMOR IS A RELEASE AUSTRIA _1997 PUBLIC SERVICE AND MARCO GRANADOS. INTRO­ _2001 JENNY HOLZER. NEUE AND OTHER ANNOUNCEMENTS. DUCTION BY MICHAEL AUPING IMAGES COURTESY OF THE ARTIST WITH NATIONALGALERIE, NATIONAL- PHILADELPHIA MUSEUM OF ART, SPECIAL THANKS TO ABIGAIL GUAY JENNY HOLZER-NEUE NATIONAL- GALERIE BERLIN, BERLIN, PHILADELPHIA, PENNSYLVANIA, GALERIE BERLIN. AMERICAN PAGEWORKS ©JENNY HOLZER GERMANY; JENNY HOLZER: USA __1993 AMERICAN ART IN ACADEMY BERLIN AND XENON PROJECTIONS, BERLIN, THE TWENTIETH QENTURY: NATIONALGALERIE BERLIN, GERMANY; JENNY HOLZER: PAINTING AND SCULPTURE BERLIN, 2001. TEXT BY HENRI XENON PROJECTIONS, PARIS, 1913 - 1993. MARTIN GROPIUS- COLE AND ANGELA SCHNEIDER FRANCE _1999 INSTALLATION BAU, BERLIN, GERMANY _1991 FOR REICHSTAG, BUNDESTAG, HIGH & LOW: MODERN ART AND JENNY HOLZER. LUSTMORD. BERLIN, GERMANY _1997 p o p u l a r ! CULTURE. THE MUSEUM KUNSTMUSEUM DES KANTONS INSTALLATION FOR GUGGENHEIM OF MODERN ART, NEW YORK, USA THURGAU, THURGAU, 1996. MUSEUM BILBAO. BILBAO, SPAIN _1987 L'E POQUE. LA MODE. TEXT BY BEATRIX RUF, _1995 ERLAUF PEACE MONUMENT, LA MORALE. LA PASSION. YVONNE VOLKART, MARKUS ERLAUF, AUSTRIA _1994 BLACK c e n t r e Na t i o n a l d 'a r t et LANDERT AND NOEMI SMOLIK GARDEN. STA'DTISCHE GALERIE, DE LA dULTURE, CENTRE JENNY HOLZER: THE VENICE NORDHORN, GERMANY _1990 GEORGES! POMPIDOU, PARIS, INSTALLATION. ALBRIGHT-KNOX JENNY HOLZER, UNITED STATES FRANCE _1 986 J ENNY GALLERY, BUFFALO, 1990. PAVILION, X LIV BIENNALE PI HOLZER/BARBARA KRUGER. TEXT BY MICHAEL AUPING VENEZIA. VENICE, ITALY; ISRAEL !MUSEUM, , JENNY HOLZER. SOLOMON R. ISRAEL ^1985 WHITNEY JENNY HOLZER. SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK, BIENNIAL EXHIBITION. GUGGENHEIM MUSEUM AND HARRY USA _1989 JENNY HOLZER: WHITNEY! MUSEUM OF AMERICAN N. ABRAMS, INC., NEW YORK, LAMENTS 1989. DIA ART ART, NEW YORK, USA _1979 1989. TEXT BY DIANE FOUNDATION, NEW YORK, USA MANIFESTO SHOW. 5 BLEEKER WALDEMAN. SECOND EDITION, STREET,! NEW YORK, USA SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK, 1997. GERMAN EDITION, CANTZ VERLAG, STUTTGART, 1997

MONOGRAPHS: MICHAEL AUPING, JENNY HOLZER. UNIVERSE PUBLISHING, NEW YORK, 1992

DAVID JOSELIT, JOAN SIMON AND RENATA SALECL, JENNY HOLZER. PHAI DON PRESS LTD, LONDON, 1998

PETER SHJELDAHL, BEATRIX RUF, AND JOAN SIMON, JENNY HOLZER: XENON. INKTREE EDITIONS, KUSNACHT, SWITZERLAND, 2001

NOEMI SMOLIK (ED), JENNY HOLZER: WRITING. SCHRIFTEN. CANTZ VERLAG, STUTTGART, 1996 LONNIE HUTCHINSON LONNIE HUTCH

Late in 2002 Lonnie Hutchinson, along with two other women artists of Samoan descent, undertook a collaborative project titled VAhine. A cognate of the Polynesian form for woman, VAhine, accent theirs, is rich and heavy with cultural meaning. It at once telescopes the etymological and cultural possibilities, demands intellectual expenditure, and beautifully encapsulates the essence and potency of their endeavour. The first resulting show, VA/i/ne, at Auckland’s Lane Gallery during March 2003, was a significant moment in Pacific art-making in New Zealand.

Va, in Samoan denotes space, room, distance between; va speaks essentially of the relationship between people or groups. As writer Albert Wendt has it: 'Va is the space between, the betweenness, not Pigeons, lupe, themselves have a special became the pigeon that was ultimately empty space, not space that separates significance in Polynesian mythology. snared: '...thinking about the decoys and but space that relates... the space that is Some believe lupe to be messengers of how they were tethered, and the idea of ’’snaring a wife"; it’s like a mating ritual; context...'1 Hine, woman. As mother/wife the gods, others aitutagata, demigods, and she is nurturer, educator, outsider, as such were the intermediary between that whole idea of luring, and being snared pigeon; as sister/niece she is the gods and humanity, mediators between lured, of teasing each other really.'2 the keeper of knowledge, she is ilamutu, life and death, past and the present. As The spiritual aspect of the 'in-between' sacred sister; she is tamasa, literally spirit beings they inhabit the interface, the is key for Hutchinson. Myth and metaphor 'sacred child'; her aspects are of the in-between space. combine to create, though latent, a sacred, the spiritual, the supernatural. Hutchinson’s winged beings take on thoroughly potent force surrounding the The artists undertook to research, visit symbolic nuances as they soar and mounds and their feathered occupants. and study a number of large, ancient man­ glide, scatter in all directions and come Believed to have been created in fourteenth made rock formations, tia seu lupe, pigeon- together to form a cohesive unit. The century Italy, tarot decks are used for snaring mounds, in Samoa. What they cross-like figures also refer to the west: divination, meditation, self-improvement, found in these mounds were complexes they are at once messengers of peace, spiritual purposes, card games or as that reflect not only their individual and harbingers of destruction. a tool of understanding. Hutchinson combines this western divination practice interests and concerns but also, perhaps The pigeon-snaring mounds were the with ancient Samoan beliefs and ideals. essentially, themselves. physical locale for the chiefly sport of Pigeon Tarot, Major Arcana Metaphorically tia, mounds, may be pigeon-catching. Decoy pigeons were With her work viewed as an interface between the natural used to entice wild pigeons to the Hutchinson transposed relevant Samoan and the supernatural worlds. Used at times mounds. In Samoan terminology pigeon- cultural objects and symbols for those of to divine the outcome of battles, tia were catching is a widely used metaphor for foreign decks. Hutchinson's High also invoked by traditional healers as an acquiring a wife. Legend has it that Priestess is Tama’ita’i, the Emperor, Ali’i, in-between space into which ill-intentioned Tigilau, favoured of Sina, took on the the Empress, Masiofo, each with their spirits may be enticed then 'snared' or form of a pigeon to assist her escape significant symbolic accoutrements. The 'transfixed'. from an arranged marriage - thus Sina High Priestess’s moon crown becomes the Tama'ita’i's ceremonial headdress, tuiga, landscape saturated with the dialogue of and her curtain to the future, a patterned our ancestors. As intimate as the relation­ siapo. The High Priestess is the card of ship between my brother and myself, “teule knowledge, instinctual, secret knowledge, va". respect the special relationship. And what better then that her indigenous image as personal as the name given to me by is that of a pigeon-headed woman, lupe, our family matai, tattooed in my body.'3 ilomutu, tamasa. 'The installation work I exhibited at the 2000 Noumea Biennale... was a 'The High Priestess/Mata'ita'i represents response to traditional forms of beauti­ inner power and strength. She is all know­ fication and ritual... a commentary on a ing, wise. And the Empress/Masiofo, she is pre-Christian belief system and the grandmother of all, she is abundance, Christianity. I see the star mounds as a fruitfulness; she is angel-like. I thought development of these concepts... I want carefully about the Samoan images. to make works as a response first hand I've always been drawn to the spiritual, to the star mounds, to physically and to magic, from when I was a child... My spiritually make connections and attempt first introduction to aitu. spirits, their to construct a symbolic interpretation of houses and walls made of stone, was in the landscape. I would like to bring into my childhood. My uncle who had alignment the myths and legends, and recently migrated from Samoa would sit academic studies... I'm dealing at the with us children... and tell us ghost sto­ moment with issues of cultural privacy. It ries. My other uncles and aunts would [the mound complex] really is a secret 1. ALBERT W E N D T , 'TATAUING THE POST­ COLONIAL BODY, INSIDE OUT: LITERATURE, now, only the land on which they stand sometimes tease us with comments CULTURAL POLITICS AND IDENTITY IN knows. The old people guess and try and THE NEW PACIFIC. VILSONI HERENIKO relating to the spiritual and natural AND ROB WILSON (EDS), ROWAN & fill in the blanks... Maybe in the scheme world... The star mounds are symbolic LITTLEFIELD PUBLISHER, INC., 1999 of things it is a good thing, only the land objects, which I feel reflects the Va, a 2. INTERVIEW WITH ARTIST, 2003 and the pigeons will ever know.'* space as broad as one that exists 3. QUOTE FROM THE ARTIST, 2003

between our Samoan hearts, and the FULI PEREIRA QUOTE FROM THE ARTIST, 2003 LONNIE HUTCHINSON Born Auckland, Aotearoa New Zealand, 1963. Ngai Tahu, Samoan. Lives and works in Lyttelton, Aotearoa New Zealand.

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_2004 WHARE* CURATOR DEIDRE DEIDRE BROWN, 'AFFIRMING A CARBQN 2003 b r o w n , A d e l a i d e f e s t i v a l , LEGACY, P0RANGIAHO-SEEING MIXED MEDIA INSTALLATION t a n d a n y A n a t i o n a l a b o r i g i n a l CLEARLY', ART NEW ZEALAND* INCLUDING BUILDER'S CULTURAL INSTITUTE, ADELAIDE, N O . 102, SPRING, 2002, PAPER, VINYL WALLPAPER, AUSTRALIA _2003 THE LON I PP 46-49 ACRYLIC, WOOD, MARKER, BIRO, AND RONI SHOW, PHYSICS SHELLAC SALLY BLUNDELL, 'A KIND OF ROOM, CHRISTCHURCH, NZ; DIMENSIONS VARIABLE HUSH', NEW ZEALAN TE PUAWAI 0 NG AI I A M , VOL. 189, 2003, PP 50-51 >EIMAGES, INSTALLATION DETAILS* CHRISTCHURCH ART GALLERY, P 63-66D CHRISTCHURCH, NZ; VAHINE, GINA IRISH, 'TE PUAWAI 0 INSTALLATION AND IMAGES COURTESY LANE GALLERY, AUCKLAND, NZ NGAI TAHU', ART N OF THE ARTIST _2002 DpLLY (W)RAPPER MIX. NO. 108, SPRING, 2003, WAIKATO MUSEUM OF HISTORY PP 54-55 AND ART, HAMILTON, NZ; JESS JOHNSON, 'ART IN THE W H A M , ART 8 INDUSTRY PACIFIC IN CHRISTCHURCH', URBAN ARTS BIENNIAL, SOFA PRESTO NO. 66, 2003, P 21 GALLERY, CHRISTCHURCH, NZ .2001 PURANGIAHO-SEEING JONATHAN MANE-WHEOKI, CLEARLY. AUCKLAND ART FELICITY MILBURN, MEGAN g a l l e r y !TOI 0 TAMAKI, T AMATI-QUENNELL, CATALOGUE AUCKLAND, NZ; WAHINE ESSAY, TE PUAWAI 0 NGAI PACIFICjA* TE WA-T HE TA HU. CHRISTCHURCH ART SPACE, jrfANGANUI, NZ _2000 GALLERY, 2003, PP54-57 BIENNALE D'ART CONTEMPORAIN* JEAN PAUL TJIBAOU CULTURAL FELICITY MILBURN, 'GALLERY CENTER, NOUMEA, NEW FOCUSES ON EMERGING CALEDONIA; ISLAND ARTISTS', ARTS REVIEW, CROSSINGS* GLOBAL ARTS CHRISTCHURCH STAR* 2000 LINK, IPSWITCH, BRISBANE, CHRISTOPHER MOORE, 'A AUSTRALIA _1999 HIKO! NEW WHARE OF IMAGES', ARTS ENERGIES IN MAORI ART* REVIEW, THE PRESS* ROBERT MC DOUGALL ART CHRISTCHURCH, 2002 ANNEX, CHRISTCHURCH, NZ DOROTHEE PAULI, 'HIKO!', ART NEW ZEALAND* NO. 92, SPRING, 1999, PP 42-43

PANDORA FULIMALO PEREIRA, 'THE NEGOTIATION OF CONTEXT', ART NEW ZEALAND* NO. 107, WINTER, 2003, PP52-55

KAREN STEVENSON, 'ISLAND CROSSINGS', ART IN ASIA PACIFIC* NO. 30, 2001, PP 94-95 At the beginning of the 20th century, some caves were discovered to the north of the ILYA & EMILIA city of Essen in the tall slopes on the right bank of the river Rhur. KABAKOV on the walls of the caves that have been preliminarily dated as belonging to the beginning of the first century B.C. were CENTER OF COS MIC ENERGY executed with coal or etched onto the surface with some sharp instrument. to the close similarity of the discovered topographically. They can be located in Interest in these strange depictions was objects and the cave drawings. This mountains or in valleys; you might say that reawakened in 1961 with the construction similarity and the motives for making they are indifferent to the geographical of a ventilation complex in the region of the former and the latter provoked great landscape, as well as to the climate. We Kokerei. In digging the foundations at discussion in the scholarly press and are always talking about a place on the a depth of 3.5 metres, sem i-circular prompted the emergence of hypotheses surface of the Earth that was originally fragments made of a hard material and about the use of these objects and their empty and not connected with those large in size (up to 40-50 cm in length! depictions in antiquity. structures - forums, temples, altars, were discovered. Unfortunately, because heathen places if worship - that were of the construction of the factory, the The drawings in the caves, as well as the erected in these places one after another: archaeological excavations that had objects found near Kokerei, appear to they were erected here precisely thanks begun were halted and were resumed have one and the same cosmic purpose. to the special favourable qualities of only after 1991, when the entire complex In terms of meaning, they should be these places. had stopped functioning. attributed to the same ancient kinds of proof of a connection with the cosmos, like To convey the feeling of the energy flow Continued in 1993-94, these excavations Stonehenge in England or the slanted we might use the image of a shower and led to unexpected, sensational results. 'ring' in the Ziggurat region in northern the specific spot where a person must Two groups of objects were found that Mexico. Both in the drawings and in the stand in order to be under the flow of still do not have any analogies in world objects, the presence of similar subjects water. A step to the right or a step to the archaeological practice. Belonging in the that are connected to one another is very left, and you are outside the 'shower'. It first group of discoveries are three well obvious: the schematic depiction of the two becomes clear that the sphericity of the preserved reservoirs arranged at an angle, arches and the 'real' arches in one case; antennae aimed upward (we are talking of one above the other. These reservoirs are the schematic depiction of three bowl- the 'antennae' found in the excavations), located in such a way that the mouth of type reservoirs and the 'real' reservoirs is oriented towards the reception of just the lower one enters into the bottom of in another. In the first instance, we can such 'close' energy. But what does the the reservoir located above it. All the propose the presence of structures reservoirs are made of a dense rocky antenna aimed downward signify? The consisting of two arched antennas, one m ass similar to concrete: the height of same intuition provides the answer: it is of which is aimed upward at an incline each is 2.6 metres; the thickness of the aimed at the flow of energy emanating toward the cosmos, and the other one walls varies from 8 to 12 cm. Research from the depths of the Earth. The most is aimed downward, in the direction of has indicated that the walls and the interesting thing is the adjoining of both Earth. In the second instance, we can bottom of the reservoir are completely antennae in the sam e spot. Does this propose that all three reservoirs were clean, which attests to the fact that they mean that this is the meeting place of intended for preserving in some special did not serve as places for keeping two energies that are aimed in opposite way the cosmic energy received here. reserves of some kind, but rather the directions? What is their interaction? Do intended purpose of these large, empty Such an interpretation of the discoveries they transition from one to another? cavities was completely different. served as the basis for the idea of verifying The 'Center of Cosmic Energy' consists ancient practices and the proposal for such The second group of discoveries, located of three buildings and three antennae. an 'experiment': how and in what way can at a distance of 40 metres away from the The three buildings stand in a single row, the energy of the cosmos be received and first group, consists of two objects: the one after another, and thanks to special processed, so that mastery over it would same kind of bowl like reservoir as in the architectural elements, they form a unified lead to the emergence of new, unlimited first group, but of significantly larger size whole. The bases of all three antennae possibilities for mankind in the future? (more than 3 metres) and just as well are fortified in concrete blocks, and they preserved; and below this reservoir a Our intuition presumptively speaks about emerge to the surface from unique slanted complex of two arches connected to each the fact that certain places on our planet tunnels located below ground level. The other by their protruding side. The size for some reason are especially sensitive purpose of the antennae and their work' is of each arch is 4.5 metres, and they are and perceptive to the reception of cosmic described (elsewhere in this] description made of the same material as that used energy, at the same time that the majority of the 'Center of Cosmic Energy'. by the ancient builders for making the of other places maintain their neutrality EXCERPT FROM ILYA AND EMILIA KABAKOV, 'reservoirs'. Archaeologists and other toward it. What is interesting is the fact ' LENIER OF COSMIC ENERGY' <■ ESSEN, 2001, COURTESY GALERIE CLARA MARIA scholars immediately turned their attention that such places may be entirely dissimilar SELS, DUSSELDORF, 2003.

ILYA & EMILIA KABAKOV Ilya Kabakov: born Dnepropetrovsk, USSR, 1933. Emilia Kabakov: born Dniepropetrovsk, USSR, 1945. Live and work in New York, USA.

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_2003 WHERE IS OUR PLACE?. _2003 K^NSTWERK KOMMUNISMUS ILYA KABAKOV. CATALOGUE CENTER OF COSMIC ENERGY 2003 FONDAZIONE QUERINI SCHIRN, FRANKFURT AM MAIN, RAISONN^ , RICHTER VERLAG SUITE OF 30 ETCHINGS ON STAMPALIA, VENICE AND Ge r m a n y ], c u r a t o r : b o r i s AND BERN KUNSTMUSEUM, 2003 300 G/QM HAHNEMUHLE PAPER, TOURING TO MUSEUM OF XXI GROYS; pERLIN-, EDTION OF 30 ILYA AND EMILIA KABAKOV, CENTURY, ROME, ITALY AND MARTIN jGROPIUS BAU, 720 X 780 MM EACH THE PALACE OF PROJECTS MORI MUSEUM, TOKYO, JAPAN BERLIN,; GERMANY _2002 PRINTER: MIKE KARSTENS (GERMAN/ENGLISH), VERLAG _2001 THE PALACE OF PROJECTS CONTINUITY/DEPARTURE* GRAPHICS, MUNSTER, GERMANY KLAUS RICHTER AND KOKEREI (PERMANENT INSTALLATION), NATIONAL MUSEUM OF MODERN ZOLLVEREIN, ESSEN, GERMANY, >[IMAGES PP 68-703 KOKEREI ZOLLVEREIN, ESSEN, ART, TOKYO, JAPAN _2001 2001 COURTESY OF ILYA & EMILIA KABAKOV GERMANY _2000 ILYA KABAKOV/ 49TH VENICE BIENNALE, AND MIKE KARSTENS GRAPHICS 50 INSTALLATIONS. KUNST- ARSENALE, VENICE, ITALY; ILYA KABAKOV, THE TEXT MUSEUM, BERN, SWITZERLAND; DIE SAMMLUNG. MUSEUM FUR AS THE BASIS OF VISUAL IMAGES COURTESY OF ILYA & EMILIA ILYA & EMILIA KABAKOV/THE MODERNEi KUNST, VIENNA, EXPRESSION (GERMAN/ENGLISH), KABAKOV, MIKE KARSTENS GRAPHICS AND CLARA MARIA SELS, DUSSELDORF GOLDEN APPLES (PERMANENT AUSTRIA; _2000 TELSTRA OKTAGON VERLAG, 2001 INSTALLATION), SINGEN, ADELAIDE FESTIVAL OF ARTS ILYA KABAKOV, PUBLIC GERMANY; ILYA KABAKOV/THE 2000. UNIVERSITY OF SOUTH PROJECTS OR THE SPIRIT OF LIFE AND CREATIVITY OF AUSTRALIA ART MUSEUM, A PLACE (ENGLISH/ITALIAN), CHARLES ROSENTHAL, DAS ADELAIDE, AUSTRALIA; CHARTA/ ANTONIO RATTI STADEL, FRANKFURT AM MAIN, BIENNALE OF SYDNEY 2Q0Q, FOUNDATION, 2001 GERMANY _1999 ILYA KABAKOV/ ART GALLERY OF NEW SOUTH THE RED WAGON (PERMANENT WALES, jSYDNEY, AUSTRALIA; ILYA KABAKOV, THE LIFE INSTALLATION), MUSEUM a r t s iIn d u s t r y b i e n n i a l . AND CREATIVITY OF CHARLES WIESBADEN, WIESBADEN, CHRISTCHURCH, NEW ZEALAND; ROSENTHAL. TWO VOLUMES, GERMANY _1998 ILYA & THE ANIMAL AS A CHALLENGE: ART TOWER MITO, JAPAN, EMILIA KABAKOV/THE PALACE FROM BEUYS TO KABAKOV, 1999 OF PROJECTS. MUSEO NACIONAL STADTIS CHE GALERIE IM CENTRO DE ARTE REINA SOFIA, ZENTRUM FIR KUNST, ILYA KABAKOV, ON THE ROOF MADRID, SPAIN AND THE ROUND­ KARLSRU HE, GERMANY; (ENGLISH/GERMAN/RUSSION), HOUSE, LONDON, ENGLAND; ILYA visions. OF THE FUTURE: RICHTER VERLAG, 1997 KABAKOV/16 INSTALLATIONS. A HISTORY OF FEARS AND ILYA KABAKOV. TEXTS BY MUSEUM VAN HEDENDAAGSE HOPES OF MANKIND. GALERIES BORIS GROYS, DAVID M. ROSS, KUNST, ANTWERPEN, BELGIUM; NAT I ON ALES DU GRAND IWONA BLAZWICK, PHA I DON ILYA & EMILIA KABAKOV/THE PALAIS, PARIS, FRANCE; PRESS, LONDON, 1997 LAST STEP (PERMANENT BETWEEN CINEMA AND A HARD INSTALLATION), MEMORIAL TO PLACE. , LONDON, ILYA KABAKOV/INSTALLATIONS THE EMIGRANTS FROM EUROPE ENGLAND _1997 THE AGE OF 1983-1995. CENTRE GEORGES TO AMERICA, BREMERHAVEN, MODERNISM-ART IN THE POMPIDOU, PARIS, 1995 GERMANY _1996 ILYA KABAKOV/ TWENTIETH CENTURY. MARTIN ILYA KABAKOV, TOTAL ON THE ROOF. PALAIS DES GROPIUS BAU, BERLIN, GERMANY INSTALLATION (ENGLISH/ BEAUX-ARTS DE BRUXELLES, GERMAN/RUSSIAN), CANTZ, 1995 BRUSSELS, BELGIUM AMEI WALLACH, THE MAN WHO NEVER THREW ANYTHING AWAY. ABRAMS, NEW YORK, 1996 KAO CHUNG-LI off his head. Folklores throughout the DOING MIXED-MEDIA IMAGE-INSTALLATIONS. DO YOU FACE DIFFERENT PROBLEMS EVERY world are littered with headless characters, AN TIME YOU CHANGE MEDIA? both positive and negative ones, such as I don't set limits to myself. I'd do any­ Hsing-Tien in Chinese mythology. And thing that has to do with the eye and helps INTERVIEW take the four fighting characters in my me express myself. The point is I have work 'Babel'. Four full fighting figures always worked with 'im ages in motion'. WITH KAO would have been too hard to draw, so I changed the legs into chairs... In short, The descriptions that go with the exhibits I confront my situations honestly, and try are pretty important. I've attached those CHUNG-LI to turn the limitations into strengths. descriptions myself. First there's the Hence the male models; hence the head­ genre: 'photochemical mechanic animated less bodies. It's the same thing with my installation'. Then there's the technique, choice of the 8 mm vehicle. including 'hand-drawn pencil animation’, 'single-frame cinema filming', 'picture Similarly, the use of such materials as animation', and 'cinema filming'. These eyes and teeth in my work is a result of LUO SHUJUN: WHY HAVE YOU CARRIED ON WITH techniques constitute a framework of economic considerations. I need to add YOUR 'ANTI-MEI-OLOGY' SERIES? what I do. True, sculpture is also a part, variety to my work but I also need to Kao Chung-li: First of all, although I am but I call that part 'medium'. I use som e­ save money, so I look around for ready­ the creator of the content of my work, I thing static, tactile, like sculpture, som e­ made parts for use. In my work you can would prefer that the viewers themselves thing that comes with a weight, as a see my father's broken set of false teeth, derive meaning out of it. As for the form counterpart for something kinetic and a sit-ups bench from my younger days, of my work, I include the projector in my visual, something that exists in time, like parts of electric fans, and a sculptor's work as a kind of sculpture, which per­ moving light and shadow. stand that I used to earn my livelihood forms to the viewer in collaboration with from. These are makeshift materials and THAT LAST BIT SOUNDS LIKE YOUR MANIFESTO. the projected images. By collocating are very cheap. The term 'photochemical' used in this mechanised technology and hand-drawn context, as distinguished from 'digital' images, I aim to stress that visual culture YOUR WORK HAS BEEN DESCRIBED AS ’LOW- TECH'. SUPPOSEDLY THAT'S A TERM USED and 'analog' video, is my invention. is a link in the labour-production chain. In IN OPPOSITION TO THE MODERN DIGITISED other words, I want to return the core value COMPUTER AGE. IN FACT YOUR WORK IS A PHOTOGRAPHY AND TRADITIONAL CINEMATIC of labor to man, instead of technology, DIFFERENT KIND OF SOPHISTICATED TECH­ FILMS ARE BASED ON 'PHOTOCHEMICAL' NOLOGY. WHAT DO YOU THINK? PRINCIPLES. capital, or institution. My work is not low-tech. 'Photochemical That's correct, but they were never called A LOT OF THE IMAGES HAVE TO DO WITH mechanic animation' has evolved into a such - just films or movies. Terminology THE HUMAN BODY - BEING MUTILATED, WITHOUT A HEAD, MUSCLE-BOUND, OR WITH different concept from digitisation. There became important only with the emer­ MISPLACED FEATURES. HOW COME THE is an ethical sequence in their births, but gence of 'digital'. I'll try to explain the BODIES ARE ALMOST ALL MALE? IS THERE in time they have become segmented from meaning of the term 'photochemical A SPECIAL MESSAGE BEHIND THOSE HEAD­ LESS, MUTILATED BODIES? each other. The old does not necessarily mechanic animation'. The 'photo' or become obsolete, or Tow-tech', when the Why male bodies? W ell... because I'm Tight', has to do with the eye and the new is invented. It's the foundation, the not a reassuring-looking kind of guy, and lenses. 'Chem ical' has to do with the root. It's a science; hence there shouldn't it's hard for me to recruit female models ganglions' recording and editing of the be any pecking order here. If you call - they'd think I have some ulterior images that come through the eye. nuclear energy 'high-tech', for example, motives. You can see the same thing in Imaging in a dark room was effected what would you call solar energy? my photography work, for the same reason. long ago in ancient China, but they did I work with what I'm familiar with, and IT SEEMS THAT ALL YOUR MATERIALS ARE not have a way to make the image stay, leave alone what is relatively unfamiliar. BASED ON PRACTICAL CONSIDERATIONS, and for thousands of years, no one could. AND THE COST IS RELATIVELY LOW. It all changed with the Frenchman As for the headless bodies, there's a very These are materials that I already have; Louis-Jacques Mande and his silver practical reason. The head comes with the they're there. In addition, I keep costs plate daguerreotype, which finally 'froze' features and all sorts of expressions, so down because I don't edit my films, the image. That was a 'chemical' it's difficult to draw. That's why I decided whether animation or shot film. There's process. The way I present my images to do without. Once I left out the head, I no post-production of any kind. That's is 'mechanic'. What is mechanically found that the limbs are more richly very important. I understand my situations, filmed can be still photographs, but I symbolic, now that there are no faces I don’t imitate others, and I have a firm use mechanic projection, so these are and hence no expression. That happens grasp on my unique qualities. That's the 'animated' images, or films - 'photo/ to be what I wanted. Decapitation is the case with my materials, and that's the chemical/mechanic/animation’. ultimate insult and the ultimate intimi­ case with my aesthetics. dation. Som e aborigine tribes even There are several steps to the making of YOU STARTED WITH SCULPTURE, SWITCHED believe that they can appropriate an images. Step 1 is the production of the TO PHOTOGRAPHY, AND THEN MOVED ON TO opponent's spirit and strength by cutting EXPERIMENTAL FILMS. NOW YOU'VE BEEN images. Step 2 is the recording. Step 3 is the display. The process goes on with Because it takes only paper and pencils, editing, storage, and dissemination. and I have a lot of those. And if I did oil 'Photochemical mechanic animated painting or sculpture, it would cost a lot installation' covers all these steps. and would foul up the house. When the Compared with digital video, it is a slower kid needs me, it would be inconvenient process, because you can't transmit the for us both. With hand-drawn animation, contents directly but have to carry the I can simply lay down the pencil and see machine to the display site. But then, to my kid's needs. When the kid's in the this slowness is one of its important living room, I draw in the living room. features. There is an intimate relation When he's sleeping in the bedroom, I between the projector, the person showing draw right beside him. It's all integrated the film, and the crowd in front of that with my life. I’m now working on broken big white screen, whereas with TV - bits of time. which is domineering, hypnotic, intrusive, I SEE YOUR FAMILY IN A LOT OF YOUR and authoritative -the crowd is shredded. WORK. WOULD YOU LIKE TO TALK ABOUT YOUR RELATION TO THEM? IS IT BECAUSE expressed in the form of force, and later Therefore, the movie has its progressive­ YOU'RE MOSTLY AT HOME THAT YOU INCLUDE in words; now it's via image and sound. ness, and it is technically irreplaceable in YOUR FAMILY IN YOUR CREATIVE WORK? I However, facing image and sound, we're view of its superior picture quality. ALSO SEE A LOT OF ANIMATION COMBINED WITH FILM SHOT ON LOCATION. WOULD YOU most often cast in the role of the passive LIKE TO COMMENT ON THAT? IT'S RAISON D'fTRE, THAT IS. AND THIS ALSO consumer. It seldom occurs to us that EXPLAINS WHY YOU INSIST ON USING 8 MM. My im ages come in two kinds: hand- we can also produce image and sound. To present something from a place like drawn images and those filmed on In fact, the production of image and Taiwan, my choice of 8 mm is politically location. As you said, I've spent the last sound is a high-powered industry, with motivated, carrying with it a political few years basically at home, without huge economic values. If kids see my statement. The artist does not come many chances for outings, so I have work, they'd be sensitised to this stuff from a place where the product was mainly featured my family in my films. and would accord it due value. developed and manufactured. I have As for public buildings, I only focus on I SEE YOUR SENSE OF MISSION AS AN taken apart a great many 8 mm machines, the Governor's Hall - mark that I call it ARTIST. YOU HAVE HIGH EXPECTATIONS, but none of them was manufactured the Governor's Hall, not the Presidential BUT MANY KIDS MAY NEVER GET IT. here, not even one single part, the only Hall. I do no editing. The camera is left in Oh yes they will. Give them a chance. A exception being the occasional tiny speaker the living room and can be turned on kid my see one piece here and cannot made in Taiwan. immediately for shooting. My 'photo­ interpret what he sees, for now. But one chemical mechanic animated installation' Picture an extreme scenario. Say we are day, when the right thing happens to him, comprises both hand-drawn animation the target of bombing, and there's nothing it would come back, and he will put the and film shot on location, but since I we can do about it. There's no weapon we oieces together. seldom leave home, there is relatively can use to fight back. So, in the middle YOUR WORK REMINDS ONE OF THE 'RETRO less of the latter. The combination of the of the night, when there's a lull in the CHIC' TREND, WHICH IS THE HOTTEST THING two adds substance, because film lends IN MOST ASPECTS OF SOCIETY IN TAIWAN bombing, we get out of bed and scavenge RIGHT NOW. THOSE WHO DO NOT KNOW YOU reality to animation, and animation lends the duds, reassemble them, and use them OR YOUR BACKGROUND MIGHT SUSPECT THAT surrealism to film. to counterattack, to show the bastards. YOU'RE TRYING TO TAP INTO THAT TREND. You get the drift. If you fight back with I SEE MANY OF YOUR DECISIONS ARE BASED They won't if they really look at what I've ON PRACTICAL CONSIDERATIONS. TELL ME, digital equipment, to a large extent oeen doing. After all, I came all the way WHAT DOES IT MEAN TO YOU TO HAVE YOUR you're lending support to the progress­ WORK ON SHOW? IS IT TO MAKE YOUR WORK :rom 8 mm's prime years. As a medium, iveness of that which you're fighting MORE SUBSTANTIAL? 8 mm is not nostalgic, academic, alter­ against. You'd be a consumer helping the I decided to exhibit [at the Taipei Fine Arts native, or aristocratic. Through what I do manufacturer interpret the product. While Museum] because the curator estimated at the current stage, I've also proved that you're trying to negate the other party, you that there would be well over 100,000 8 mm is not reactionary. Now I'm more negate yourself. viewers, and I think that's good. I like to confident than ever that I can find space leave those viewers with some influence. to develop 'photochemical mechanic I'D LIKE TO GET TO KNOW YOU MORE ON animation', and push to its end the task THE DAY-TO-DAY SIDE. WHAT DO YOU CARE In a way, that would 'substantiate' my ABOUT IN YOUR DAILY LIFE? work like a social movement, through of liberating the Third Visual World - the I’m a full-time nanny and a part-time participation by the people. world of the audiovisually disadvantaged. artist. I do my creative work in this WHAT DO YOU WANT THE VIEWER TO TAKE AWAY LUO SHUJUN particular genre now because I stay at FROM THE EXHIBIT? home and look after my kid. What I do I would love to have many kids see my LUO SHUJUN IS AN ART CRITIC IN must be economical and handy, and it's work. A lot of public power, power over TAIPEI AND THIS INTERVIEW WAS FIRST best to use what I already have around people, dwells in image and sound. PUBLISHED IN MODERN ART, NO.106, FEB. 2003, TAIPEI FINE ARTS MUSEUM. me. Why hand-drawn animation? Political action in its primitive stages was TRANSLATED BY HSUAN YUANYU. KAO CHUNG-LI Born in Taipei, Taiwan, 1958. Lives and works in Taoyuan, Taipei, Taiwan.

CHECKLIST

ANTI . ME I ■ OLOGY 002 1999 A PHOTOCHEMICAL, LIVE- IMAGE PROJECTION DEVICE WITH HAND-DRAWN ANIMATIONS, STOP MOTION PHOTOGRAPHY INCLUDING A PROJECTOR MODIFIED BY THE ARTIST, CASSETTE, 8 MM FILM DURATION: APPROX. 30 SECOND LOOP DIMENSIONS VARIABLE

>CIMAGE, INSTALLATION DETAIL, P713 >CIMAGE, INSTALLATION DETAIL, P733 SELECTED SOLO EXHIBITIONS SELECTE ) GROUP EXHIBITIONS BIBLIOGRAPHY THE CASTLE 2003 _2001 STORY IN IMAGE 8 _2003 C JNTEMPORARY CHINESE KAO CHUNG-LI, ASPECTS 8 A PHOTOCHEMICAL, MECHANI­ VISIONS TAIWAN PHOTO­ SOUND. LIN & KENG GALLERY, ART. SU BVERSION AND POETRY, CAL, LIVEIMAGE PROJECTION GRAPHERS (II). CULTURE TAIPEI, TAIWAN _1983 PHOTO­ CULTURG EST UMA CASA DO DEVICE WITH HAND-DRAWN MUNDO, -ISBOA, PORTUGAL 8 LIFE PUBLISHING CO, GRAPHY EXHIBITION, AMERICAN ANIMATIONS, STOP MOTION _2002 T AI PE I BIENNIAL, TAIPEI, TAIWAN, 1997 CULTURAL CENTER, TAIPEI, PHOTOGRAPHY GREAT T HEATRE OF THE WORLD, TAIWAN INCLUDING A PROJECTOR TAIPEI FINE ARTS MUSEUM, MODIFIED BY THE ARTIST, TAIPEI, TAIWAN: TECH/NO/ CASSETTE, 8 MM FILM ZONE cor^TEMPORARY MEDIA ART, DURATION: APPROX. 220 CURATOR EWEN MCDONALD, MUSEUM F CONTEMPORARY ART, SECOND LOOP TAIPEI, TAIWAN; PRINTEMPS DIMENSIONS VARIABLE DE SEPT EMBRE PHOTOGRAPHIE >CIMAGES, INSTALLATION DETAILS, P 74: ET ARTS VISUELS. TOULOUSE, FRANCE 2000 LE CORPS, INSTALLATION AND IMAGES COURTESY OF THE ARTIST L'ESPRI T. L'LCI-BAS. ANDR ABBAL M JS E, FRANCE _1999 LIVING C^AY LIN 8 KENG GALLERY , TAIPEI, TAIWAN 1996 ASIAN VIEW-ASIA IN TRANSIT ^QN r TOKYO METRO- POLITAN MUSEUM OF PHOTO- GRAPHY, TOKYO, JAPAN __1 994 CONTEMP ?RARY PHOTOGRAPHERS: HONG KO NG. CHINA. TAIWAN. HONG KO YG AND THE INTER- NATIONA . FESTIVAL OF ART IN BELG IUM 1990 SEEING AND DEP ARTING, ESLITE VISION, TAIPEI, TAIWAN EMIKO KASAHARA PINK SETTING

My project Pink uses pictures of the human where neither sex/sexuality nor life/ Habit is a great deadener cervix. It started by gathering people, a reproduction dominates. Providing an - SAMUEL BECKETT gynaecologist and several patients, as insight into the very site within our body models. In exchange for cervical cancer where these two forces clash, the project The video installation Setting documents tests, the models posed for black-and- explores through visualisation this eighty-eight women, ranging in age from white colposcopic photographs taken am biguous and, at the sam e time, the early teens to over eighty. Each was during the examination. In this way, their ambitious territory. invited into a room with a set of mirrors experience of being photographed is and a stool and the only instruction given The colour pink also represents a related to their health and a scientific was to perform their daily grooming ritual... contradiction: innocence and carnality. viewing of an area which is often obscured such as combing their hair or applying And by avoiding the actual pink/flesh by taboos of sexuality. The resulting make-up to 'fit' themselves out for society. colour and tinting the photographs after­ images were tinted to a uniform pink, A video camera was fixed just above the wards, the embodiment of ambivalence and enlarged until the cervix is the size mirror almost directly in front of the toward the female body is emphasised. of a human head. woman; this corresponding 'reflection' What is lost in the familiar binary para­ served as a false mimetic, an exaggerated Confronting these large-scale cervical digm of either/or is precisely what this self-gazing into their own private mirror... pictures provides viewers with a simulated project seeks to uncover and articulate. a personal voyeurism creating its own re-experience of birth. In fact, we all The project purposely incorporates space. The video project has no sound come through this passageway once - juxtapositions - the vagina and the and can only re-approach it from the and lasts for twelve hours. The women uterus, sex and life, innocence and outside, by the vagina. The uterus is are their own spaces. Each creates their carnality. In this way, the work circum­ no longer accessible. This creates a own time, and it is time that creates its theoretical separation of sex and life, spectly avoids the simplifications and own fetishisms. One woman takes an which consequently defines our physical generalisations usually associated with hour while another takes five minutes; disability. However, the cervix, being complex issues relating to the female one only combs her hair while another is located between the vagina and the body. Pink is an attempt to provoke a immersed in the activity. One woman uterus, captures the middle ground more substantial discussion. uses only bright colours with her make­ up while another one chooses only black. They are all different in every way: facial features, age, occupations. Yet somehow they are fundamentally equal: as the videos show, they are all linked (if not methodologically, then habitually), by the same process. The ritual is a locus... the locus where the act of observing is also to be the observed. Looking into the mirror becomes a literal transcription of what the women become and, at the same time, addresses the image of 'woman'... of what 'w om an-ness' means. In this transference, the ideals of 'difference', 'uniqueness' and 'se lf lose authority.

These enactments by the women draw attention to the boundary between the public and private spaces of their lives. We consciously and unconsciously change our own image between these two realms, externally as well as internally. Looking into the mirror, into themselves, the women pass through this transitional space between the public/private when they perform this daily routine. These private rituals are also prosaic ones. What they wear (and affix) are the terms 'women' or 'themselves', applied to the skin both subtly and substantially. Individuality fades away during the course of the video, eradicating signs of their 'uniqueness'. They become Leibniz's monads, dependently equal, yet dependently different... their individuality paradoxically signifying their anonymity. The homogeneity of life is, in fact, composed of the many sm all details of individual lives.

Setting can be adapted to the circum­ stances of each installation space (it has been installed in a public bathroom, a restaurant, a storefront, a gallery space). The meaning of the piece changes: it silently exists as if it might have been always there... just like the conventional 'woman', the public/private dichotomy. Like its content, the installation becomes subsum ed into its context yet remain strange enough to be apart from it.

EMIKO KASAHARA SELECTED SOLO EXHIBITIONS EMIKO KASAHARA Born Tokyo, Japan, 1963.

_2001 PINK. WHITE BOX, NEW Lives and works in Brooklyn, New York, USA. YORK, USA _1997 IMMACULATE FABLICATION, DEITCH PROJECTS, NEW YORK, USA; GALLERY KOBAYASHI, TOKYO, JAPAN _1991 GALLERY HALS, TOKYO, JAPAN; GALLERY KOBAYASHI, JAPAN _1990 SELECTED BIBLIOGRAPHY GALLERY KOBAYASHI, TOKYO, LOUISE DOMPIERRE, 'EMIKO JAPAN; GALLERY LUNAMI, KASAHARA', CATALOGUE ESSAY, TOKYO, JAPAN _1988 GALLERY ASIA-PACIFIC TRIENNIAL OF YAMAGUCHI, TOKYO, JAPAN CONTEMPORARY ART. QUEENS­ _1 9 8 7 GALLERY ITEZA, LAND ART GALLERY, BRISBANE, KYOTO, JAPAN _1986 GALLERY 1996, P 63 PARERGON, TOKYO, JAPAN FAYE HIRSCH 'REVIEW: EMIKO SELECTED GROUP EXHIBITIONS CHECKLIST KASAHARA', ART ON PAPER. _2004 1997 PINK 1997 SYDNEY, AUSTRALIA _2001 9 DIGITAL C TYPE PHOTOGRAPHS JANET KOPLOS, 'REVIEW: YOKOHAM.ft t r i e n n a l e . EACH 1 270 X 1 52 4 MM, EMIKO KASAHARA AT WHITE YOKOHAM,ft, JAPAN _2000 FRAMED BOX', ART IN AMERICA. the ?R.P KWANQjg PIENNALE, MARCH 2002, P 131 >CI MAGES PP 75-76 ] KWANGJU KOREA _1996 ASIA- COLLECTION OF THE ARTIST PACIFIC -TRIENMAL, QUEENS­ KIM LEVIN, 'REVIEW: EMIKO LAND ART GALLERY, BRISBANE, KASAHARA', VILLAGE VOICE. SETTING 1998 AUSTRALIA; NOWHERE - NEW YORK, JANUARY 1997 6 SINGLE-CHANNEL DVD INCANDESCENT-. LOUISIANA, SEQUENCES COPENHAGEN, DENMARK _1995 ALICIA VOLK, 'EMIKO THE AGE, OF ANXIETY. POWER KASAHARA', CONTEMPORARY >CIMAGES P 77] PLANT, TORONTO, CANADA; A R.H SI..S, 5TH ED., ST. COLLECTION OF EILEEN HARRIS-NORTON APT..-IN_ JAPAN TODAY 1985 - JAMES PRESS, DETROIT, 2002 AND PETER NORTON, SANTA MONICA 1995. MUSEUM OF CONTEMPORARY IMAGES COURTESY OF THE ARTIST ART IN TOKYO, TOKYO, JAPAN; AND EILEEN HARRIS-NORTON AND SPACE. TIME. MEMORY: PHOTO­ PETER NORTON, SANTA MONICA GRAPHY AND BEYOND IN JAPAN, HARA MUSEUM OF CONTEMPORARY ART, TOKYO, JAPAN AND TOURING TO RUFINO TAMAYO MUSEUM, MEXICO; VANCOUVER ART GALLERY, CANADA; LOS ANGELES COUNTY MUSEUM OF ART, USA; CORCORAN GALLERY OF ART, WASHINGTON D.C., USA; DENVER ART MUSEUM, DENVER, USA, THE CONTEMPORARY ART MUSEUM, HONOLULU, USA; A CABINET OF SIGNS. TATE GALLERY, LIVERPOOL, ENGLAND AND TOURING TO WHITECHAPEL GALLERY, LONDON, ENGLAND; MALMb KUNSTVEREIN, MALMU, SWEDEN; ZONES OF LOVE. TOKYO MUSEUM OF CONTEMPORARY ART, TOKYO, JAPAN AND TOURING! TO AUSTRALIA AND NEW ZEALAND How does one deal with the weight of evidence presented to the Troth and WILLIAM KENTRIDGE Reconciliation Commission?...' How to absorb the horror stories themselves and the implications of what one knew, half knew, and did not know of the abuses of the years? (The broad shape, some of the specific violences Were known, the minutiae, the domestic edges to the violence - what people were doing as they became the victims, how people moved from a domestic setting to being the perpetrators of the violence - the specific syntax to the giving and absorbing of the suffering - was not known.) The need to work with this material came from the urgency of the questions raised by this dissection. Not that I expect a piece of art to provide specific answers to how one deals with private and historic memory, but that the work (of) making the piece, perhaps of watching it) becomes part of the process of absorbingithis legacy.

WILLIAM KENTRIDGE

SELECTED SOLO EXHIBITIONS W ILLIAM KENTRIDGE Born Johannesburg, South Africa, 1955. _2002 -01 Lives and works in Johannesburg, South Africa. HIRSHHORN MUSEUM AND SCULPTURE GARDEN, WASHINGTON Throughout his career William Kentridge has moved between film, drawing and theatre. He has been D.C., USA; OF involved with the theatre for many years, initially making the sets, and as an actor, and more recently CONTEMPORARY ART, NEW YORK, as a director too. Since 1992 his theatre involvement has been in collaboration with the Handspring USA; MUSEUM OF CONTEMPORARY ART, CHICAGO, USA; Puppet Company of South Africa, creating multi-media pieces using puppets, live actors, and animation. CONTEMPORARY ARTS MUSEUM, Last year his play Ubuandthe Truth Commission, based on ’s , commonly known as the HOUSTON, USA; LOS ANGELES COUNTY MUSEUM OF ART, LOS first absurd play, was produced at the Joseph Papp Public Theater in New York. ANGELES, USA _2001-98 WEIGHING___AND WANT1 M / MUSEUM OF CONTEMPORARY ART, SAN DIEGO, CALIFORNIA, USA; NORTH DAKOTA MUSEUM OF ART, GRAND FORKS, NORTH SELECTED GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY SELECTED BIBLIOGRAPHY CONT. DAKOTA, USA; MIT LIST VISUAL ARTS CENTER, CAMBRIDGE, _2002 DjOCUMENTA XI. MUSEUM NEAL BENEZRA, STACI BORIS, LEAH OLLMAN, 'WILLIAM MASSACHUSETTS, USA; FORUM FREDERltlANUM, KASSEL, DAN CAMERON, LYNNE COOKE, KENTRIDGE: GHOSTS AND FOR CONTEMPORARY ART, ST GERMANY; THE DIVINE ERASURES', ART IN AMERICA. LOUIS, MISSOURI, USA; SALINA COMEDY:! , (CATALOGUE), MUSEUM OF JANUARY 1999 ART CENTER, SALINA, KANSAS, BUSTER K5ATQN, WILLIAM CONTEMPORARY ART CHICAGO; BARRY SCHWABSKY, 'DRAWING IN USA; ART GALLERY OF ONTARIO, KENTRIDGE. ART GALLERY OF NEW MUSEUM OF CONTEMPORARY TIME: REFLECTIONS ON ANIMATION TORONTO, CANADA; UNIVERSITY WESTERN! AUSTRALIA, PERTH, ART, NEW YORK; HARRY N. BY ARTISTS', ART ON PAPER. OF MICHIGAN MUSEUM OF ART, AUSTRALIA _2001-00 ABRAMS, INC., NEW YORK, 2001 MARCH/APRIL 2000 ANN ARBOR, MICHIGAN, USA; BIENNIAL. HAVANA, CUBA; CAROLYN CHRISTOV-BAKARGIEV, BOWDOIN COLLEGE MUSEUM OF DA? (5EP& HTNIS PER KUN$T; TRUCE: ECHOES OF ART IN AN WILLIAM KENTRIDGE. (CATA­ ART, BRUNSWICK, MAINE, USA GESCHICHTE UND ERINNE-8JJ1LG AGE OF ENDLESS CONCLUSIONS. LOGUE), PALAIS DES BEAUX-ARTS 2000 MARIAN GOODMAN GALLERY, IN PER ;KgN?T PER (CATALOGUE), SITE SANTA FE , DE BRUXELLES, BRUSSELS, 1998 NEW YORK, USA _1999 GEGENWART. HISTORISCHES NEW MEXICO, 1997 STEREOSCOPE, PROJECTS 68, MUSEUM IN COLLABORATION CAROLYN CHRISTOV-BAKARGIEV, SUE WILLIAMSON, ASHRAF JAMAL, THE , WITH SCHIRN KUNSTHALLE, DAN CAMERON, J. M. COETZEE, ART IN SOUTH AFRICA: THE NEW YORK, USA; SLEEPING ON FRANKFURT, GERMANY _2000 WILLIAM KENTRIPM, p h a i d o n GLASS. GALERIE MARIAN THE SELF IS SOMETHING PRESS, LONDON, 1999 /JOHANNESBURG, 1996 GOODMAN, PARIS, FRANCE ELSE. AftT AT THE END QF ATHUR C. DANTO, 'DRAWING FOR THE 20TH CENTURY. PROJECTION', THE NATION. 16 PALAIS DES BEAUX-ARTS, KUNSTSAMMLUNG NORDRHEIN- JULY 2001, NEW YORK, PP 43-45 BRUSSELS, BELGIUM; KUNST- WESTFALfeN, DUSSELDORF, CHECKLIST VEREIN MUNCHEN, MUNICH, GERMANY; SHANGHAI BIENNIAL OKWUI ENWEZOR, 'TRUTH AND GERMANY; NEUE GALERIE GRAZ, (SHIMIZU___I0SHI01, NEW RESPONSIBILITY: A CONVERSATION UBU TELLS THE TRUTH 1997 GRAZ, AUSTRIA; MUSEU D 'ART SHANGHAI ART MUSEUM, WITH WILLIAM KENTRIDGE'/ 35 MM ANIMATED FILM COLLAGE CONTEMPORANI DE BARCELONA, SHANGHAI, CHINA _1999 PARKETT. NO. 54, 1998/99 OF CHARCOAL DRAWINGS ON BARCELONA, SPAIN; SERPENTINE UNFINISHED h i s t q r y , w a l k e r PAPER, CHALK DRAWINGS ON MICHAEL GODBY, 'WILLIAM GALLERY, LONDON, ENGLAND; ART CENTER, MINNEAPOLIS, BLACK PAPER, DOCUMENTARY KENTRIDGE'S HISTORY OF THE CENTRE DE LA VIEILLE CHARIT MINNESOTA; MUSEUM OF PHOTOGRAPHS AND FILM TRANS­ MAIN COMPLAINT: NARRATIVE, (MUSSES DE MARSEILLE), CONTEMPORARY ART, CHICAGO, FERRED TO VIDEO AND DVD MEMORY, TRUTH', SARAH MARSEILLE, FRANCE; NEUE ILLINOIS; CARNEGIE DURATION: 8 MINUTES NUTTAL AND CARLI COETZEE GALERIE GRAZ, GRAZ, AUSTRIA INTERNATIONAL, CARNEGIE DRAWING, PHOTOGRAPHY, (EDS), NEGOTIATING THE PAST: _1998 WILLIAM KENTRIDGE, MUSEUM OF ART, PITTSBURGH, DIRECTION: WILLIAM KENTRIDGE THE MAKING OF MEMORY IN SOUTH THE , NEW PENNSYLVANIA, USA; EDITING, SOUND EDITING: AFRICA. OXFORD UNIVERSITY YORK, USA _ 1 997 APPLIED DAPERTUTTQ, VENICE CATHERINE MEYBURGH DRAWINGS. GOODMAN GALLERY, BIENNIAL. VENICE, ITALY; PRESS, CAPE TOWN, 1998 $TH ISTflNPUl PIENNIAU >CI MAG ES PP 79-81] JOHANNESBURG, SOUTH AFRICA TOM GUNNING, SUSAN STEWART, ISTANBUL. TURKEY _1998 ROSELEE GOLDBERG, 'WILLIAM COURTESY OF THE ARTIST AND MARIAN GOODMAN GALLERY, NEW YORK AND PARIS XXIV $Ab PAULO biennial, KENTRIDGE', PARKETT. NO. 63, SA0 PAULO, BRAZIL _1997 DECEMBER 2001, ZURICH, IMAGES COURTESY OF THE ARTIST, DOCUMENJA.-X, MUSEUM PP 64-104 PHOTOGRAPHY: JOHN MCIVER FRIDERlblANUM, KASSEL, GERMANY; TRADE ROUTES: WILLIAM KENTRIDGE. INTER­ HISTORY! AND GEOGRAPHY. 2ND ACTIVE CD-ROM, EDITED BY JOHANNESBURG BIENNIAL. DAVID KRUT, JOHANNESBURG, AICA AFklCUS INSTITUTE FOR JANUARY 1998 CONTEMPORARY ART, NEWTOWN, WILLIAM KENTRIDGE: DRAW_IN£ JOHANNESBURG, SOUTH THE PASSING. DOCUMENTARY AFRICA:! DELTA. ARC/MUS^E VIDEO, (ENGLISH AND GERMAN D 1 ART MODERN DE LA VILLE VERSIONS), CREATED BY DE PARIS, PARIS, FRANCE REINHARD WULF AND MARIA- ANNA TAPPEINER, WESTDEUTSCHER RUNDFUNK, COLOGNE, 1999

ROSALIND KRAUSS, ' "THE ROCK": WILLIAM KENTRIDGE'S DRAWINGS FOR PROJECTION' / OCTOBER. NO. 92, SPRING 2000 CCTV JAKOB KOLDING

8.6 Benches modified with anti-skateboarder dividers \ ^■onheBrcxjdgate office development. 1 . WHERE DO YOU LIVE?

2 . WHO TOOK THE INITIATIVE FOR THE CONSTRUCTION OF THE PRECINCT?

3. IN WHAT FORM WAS THE PROJECT PROPOSED? (COMMISSIONING BOARD, RESTRICTIONS?)

4. WERE THERE ANY PROTOTYPES FOR THE PRECINCT? HOW CLOSELY DOES THE COMPLETED PRECINCT RESEMBLE THE PROTOTYPE?

5. WHAT TYPES OF TENANTS DID ONE HAVE IN MIND WHEN DESIGNING THE PRECINCT?

6 . WHAT FUNCTIONS SHOULD THE RESIDENCE ENCOMPASS?

7. WHAT FUNCTIONS SHOULD THE PRECINCT ENCOMPASS?

8 . HOW WERE THESE FUNCTIONS PRIORITISED? (WHAT WAS MOST IMPORTANT?)

9. HOW MUCH DID THESE THOUGHTS AFFECT THE ORIGINAL PLANNING?

10. WHERE ARE CHILDREN SUPPOSED TO PLAY? INSIDE? OUTSIDE? ARE THERE SPECIFIC ARRANGEMENTS FOR YOUNG PEOPLE?

11 . WHERE SHOULD ADULTS 'PLAY' - PURSUE THEIR FREE-TIME INTERESTS?

12. WHERE ARE ADULTS SUPPOSED TO MEET ONE ANOTHER?

13. WHICH NEED WAS GIVEN MOST EMPHASIS IN THE PRECINCT'S DEVELOPMENT THE NEED FOR ISOLATION OR THE NEED FOR CONTACT?

14. HAS AN ATTEMPT BEEN MADE TO SEPARATE MOTORISED AND NON-MOTORISED TRAFFIC THROUGH PLANNING?

15. HAS THERE BEEN ANY OTHER ATTEMPTS BY ANY OTHER MEANS TO EITHER PROMOTE OR DISCOURAGE CERTAIN PATTERNS OF BEHAVIOUR AMONG RESIDENTS? (WHICH, HOW?)

16. WERE THE ORIGINAL PLANS IMPLE­ MENTED OR DID ANY MODIFICATIONS OCCUR? FROM THE HOUSING ASSOCIATION (WHICH - WHY - WHEN)? FROM THE COUNCIL (WHICH - WHY - WHEN)? FROM THE GOVERNMENT (WHICH - WHY - WHEN ) ?

17. TO WHAT EXTENT, THEREFORE, WERE SOME OF THE FUNDAMENTAL IDEAS BEHIND THE PRECINCT UNABLE TO BE REALISED?

18. HOW DOES THE PRECINCT NOW FUNCTION? 19. ARE THERE ANY PARTICULAR PROBLEMS MORI THAT SHOULD BE HIGHLIGHTED WITHIN PUBLIC PARTICIPATION IN TNI UlTUU AN EVENTUAL STUDY OF THE PRECINCT? PUWMMG PERIOD AT THE RERIOHAi AMD LEVEL 2 0 . TO WHAT EXTENT HAS AN ATTEMPT BEEN MADE TO MAKE THE PRECINCT AESTHETICALLY PLEASING?

21 . HOW SUCCESSFUL HAS THIS BEEN?

2 2 . TO WHAT EXTENT DO THE RESIDENT THINK THAT THESE AESTHETIC TOUCHES HAVE PROVED SUCCESSFUL?

JAKOB KOLDING Born Albertslund, Denmark, 1971. Lives and works in Berlin, Germany.

SELECTED BIBLIOGRAPHY

LARS BANG LARSEN, 'NEIGHBOURHOOD THREAT', FRIEZE. ISSUE 66, APRIL 2002

WILL BRADLEY, MOMENTUM. EXHIBITION CATALOGUE, MOSS, NORWAY, 2000

SELECTED SOLO EXHIBITIONS SELECTE ) GROUP EXHIBITIONS PETRA GbRDUREN, 'IN CHECKLIST FRAGE GESTELLT...', _2003 CENTRE D'EDITION _2003 G !§., PALAIS DE JAKOB KOLDING IS PRODUCING a c c e s ?qiremaximali $m u s , CONTEMPORAIN. GENEVA, TOKYO, =>ARIS, FRANCE; A SITE SPECIFIC TRIENNIAL EXHIBITION CATALOGUE, SWITZERLAND; CUBITT ACCESSO IREMAXIMALISMUS, PROJECT AT ARTSPACE KUNSTHALLE KIEL, GERMANY, GALLERY, LONDON, ENGLAND KUNSTHA _LE KIEL, KIEL, 2003 >CIMAGE UNTITLED (LONDON) 2003 P 83 ] (WITH LUKE FOWLER); GERMANY : PLUNDER. DCA. >[IMAGE UNTITLED 2002 P 843 PROJECT WITH D.A.E., SAN DUNDEE, SCOTLAND _2002 JbRG HEISER, 'RUCKKOPPELUNG SEBASTIAN, SPAIN _2002 CONCRET GARDEN, MUSEUM OF IM RAUM', WERK. BAUEN + >[IMAGE UNTITLED 2002 P85] MARTIN JANDA-RAUM m o d e r n M t , OXFORD, WOHNEN, MARCH 2002 IMAGES COURTESY OF THE ARTIST AND AKTUELLER KUNST, VIENNA, En g l a n d !; c e n t r e of GALLERI NICOLAI WALLNER, COPENHAGEN AUSTRIA; GALLERI NICOLAI ATTRACTION. BALTIC JAKOB KOLDING, COVER FOR WALLNER, COPENHAGEN, TRENNIA L OF INTERNATIONAL SAINT ETIENNE FINISTERRE DENMARK _2001 KUNSTVEREIN ART. VILNIUS, LITHUANIA ALBUM, 2002 IN HAMBURG, HAMBURG, 2001 zL rq g r a v i t y . JAKOB KOLDING, INSERT, GERMANY; PROJECT AT CENTER KUNSTHALLE DUSSELDORF, d£r i v e -z e i t s c h i f t fur FOR URBANISM, DIALOGUE AND DUSSELDORF, GERMANY; STADTFORSCHUNG. NO. 7, INFORMATION, VOLLSMOSE, I NTENTlbNAL COMMUNITIES. MARCH 2002 DENMARK; PROJECTROOM, ROOSEUM -CENTER FOR FINNISH PHOTOGRAPHIC CONTEMP )RARY ART, MALMb, JAKOB KOLDING, POSTERS. MUSEUM, HELSINKI, FINLAND SWEDEN 2000 KWANGJU PUBLISHED BY CENTRE _2000 SCHNITT BIENNAL KOREA 2000, D ' EDITION CONTEMPORAIN, AUSSTELLUNGSRAUM, COLOGNE, KWANGJU SOUTH KOREA; M I FRANCE, 2003 GERMANY; GALLERI NICOLAI OF SPAC.i., K b ' L N I SCHER JAKOB KOLDING. EXHIBITION WALLNER, COPENHAGEN, KUNSTVEREIN, COLOGNE, CATALOGUE, KUNSTVEREIN IN DENMARK _1999 POWER. GERMANY!; NEGOTIATIONS . HAMBURG, GERMANY, 2001 CORRUPTION 8 LIES, GALERIE CONTEMPORARY ART CENTER, ENJA WONNEBERGER, KIEL, SfcTE, FRANCE RAIMAR STANGE, 'DER GERMANY SUBURBAN I ST', KUNST- BULLETIN. MARCH 2001

JAN VERWOERT, ZERO GRAVITY. EXHIBITION CATA­ LOGUE, KUNSTVEREIN FUR DIE RHEINLANDE UND WESTFALEN, DUSSELDORF, GERMANY, 2001 LAUREN LYSAGHT PRIVATE NIGHT'MARES)

spring of public arts funding.2 This issue, then, is close to home.

As with earlier bodies of work concerning mental illness, poverty and disability, here the artist continues to probe dis­ comforting facts and foibles, while revelling in the visual fantasies and absurd connotations that luck, greed and

vulnerability conjure up. Lysaght's Trifecta is not entirely equine in spirit but it is racy. Lauren Lysaght's work has been described Its three components consist of life-sized dreams writ large across their surfaces. as badly behaved. Now in its mature models derived from traditional Pakeha Ghostly horses ride around a tacky text- phase, her practice has assiduously fairy tales - a coach, a bridge and a pumpkin coach and gallop across a resisted the private mellowing of middle wishing well - those vehicles signifying bridge, spanning nowhere in particular. age; instead, it defiantly aspires to public good luck and transformation. Their They 'plunge' headlong into an empty recalcitrance. Postures of delinquent and mythic dimensions, however, are skewed wishing welt, its depths now circum ­ eccentric whim have, of course, long by the artist's choice of materials. Far scribed by curatorial calculation. Ding provided novelty for an art industry jaded from the rococo embellishments so dong dell. Bad luck comes in threes and with frosty, minimalist and ironic gestures. beloved of childhood myth, these agents this trifecta tolls for fallen hopes, crushed Lysaght's position, however, transcends of fortune are ungainly in an elegant way fantasies and galloping debt. fashionable heroism. Describing herself - dominated by and literally constructed Mercifully, however, we are spared any as a 'post-pubescent pensioner', this from text. Abandoned racing forms are puritan indignation. To be sure, Lysaght artist relishes the thrill of risk, not origami-ed into tight topiary bushes, bridles at a society choked with convulsive merely as a rebel, but as a devoutly while horses' names by the hundred consumerism, but deeper sources of political and aesthetic activist. By pulling { Artistic', Dreams of Gold', Balk at Nothing', humour, compassion and visual delight the rug from under our comfort zone, etc), painted on wooden boards, have are also running alongside. As with her she forces the economic underbelly of been plastered across these re-constructed recent exhibition, The Outpatient, Lysaght society - so often concealed - sharply vehicles of fortune. In recent times this is not so much pointing the finger at into view. black-on-white lettering, so familiar to addicts themselves as giving the finger to bookmakers' betting rings, has been The-binocularity of Lysaght's vision and institutions fostering addiction, delusion rendered obsolete by electronic bill­ her fascination with playing dangerous and debt. Like the gambling habit to boards and consigned to demolition games is brought home in Trifecta, a work which it refers, this demented 'garden yards. Nevertheless, salvaged from exploring the operations of desire and furniture' seduces and entertains fantastic racecourse knackery, the name boards denial in gambling addiction. These possibilities. Moreover the work straddles are re-fashioned by the artist as 'gam es' reside in private hallucinations a number of ambiguous visual strategies deconstructed scraps of enchantment, as well as public dreamings and involve to destabilise our interpretation; these recalling the days when the racetrack 90% of the adult population. By 2005, it encompass the bizarre as well as the offered a magic realm of possibility. has been estimated that 'turnover from banal, while gesturing with a certain Nowadays, telephone and Internet gambling could equal the ... whole of amount of black and white chic. This compete with this site of imaginings. New Zealand's export trade.'1 This reminds us of the fractured nature of directly affects the art world in as much as Lysaght's objects are at once ludicrous - gambling and its ambience of the high revenue from (what is euphemistically evocative of a theme park of disappoint­ life - glamour, frothy fashion and bubbly known as) 'gaming' provides the well­ ment - and yet luminous, with discarded booze - as much as its nightmare reality of loss and misery. Trifecta thus draws us in, dallies with our imaginative capacities, then delivers a critical blow - as Life, Fortune and Destiny thunder down the home straight.

Trifecta indeed offers us a red-hot tip; that materialist desire in general, and gambling in particular is for losers - puncturing, as it does, our paradises and deflating our daydreams. Nevertheless, this work also offers possibilities for reconstituting the materials of our myths, as well as the myths of materialism, albeit in un­ expected, perhaps enchanted, ways. Finally, there are no easy wins and like much of Lysaght's impudent work, these alternatives are not without aesthetic and political risk. This is not a comfortable ride.

PAMELA ZEPLIN

1 RAEBURN, J., 'TOWARDS HEALTHY GAMBLING: A HEALTH PROMOTION APPROACH TO GAMBLING IN NEW ZEALAND', IN BROWN, R., RAEBURN, J., QAP1BLXN

PAMELA ZEPLIN IS A WRITER AND ARTIST BASED IN ADELAIDE. SHE IS SENIOR LECTURER IN VISUAL ART HISTORY AND THEORY AT THE SOUTH AUSTRALIAN SCHOOL OF ART, CHARSINO UNIVERSITY OF SOUTH AUSTRALIA. LAUREN LYSAGHT Born Hamilton, Aotearoa New Zealand, 194-9. Lives and works in Helensville, Aotearoa New Zealand.

SELECTED PUBLICATIONS

ELIZABETH CALDWELL, CURATOR, EMOVERE. CATALOGUE ESSAY, ROBERT MCDOUGALL ART ANNEX, CHRISTCHURCH, 1996

LAURENCE HALL, T.T.2. . CATALOGUE ESSAY, 1998

SELECTED SOLO EXHIBITIONS SELECTED GROUP EXHIBITIONS LAURENCE HALL, 'STROKES CHECKLIST AND ART ATTACKS - OUT OF _2003 MALLCONTENT, _2003 THE RIM. WHITESPACE, TRIFECTA 2003 THE WOODWORK', BROADSHEET. WHITESPACE, AUCKLAND, NZ; AUCKLAND AND SPAN GALLERIES, MIXED MEDIA INSTALLATION DOWSE ART MUSEUM, LOWER THE OUTPATIENT. SNOWHITE MELBOURNE, AUSTRALIA _2002 3 PARTS: BRIDGE 2000 X HUTT, JUNE/JULY 1987 GALLERY, UNITEC, AUCKLAND, ARRIVAL? & DEPARTURE!. 1000 MM; WELL 1500 X 2000 MM NZ _2002 ERSATZIANA. BOWEN AUCKLAND CITY GALLERY TOI JILLIAN LLOYD, 'WHERE ANGELS COACH 2500 X 2000 X 1000 MM GALLERIES, WELLINGTON, NZ; 0 TAMAKI, AUCKLAND, NZ _1999 DARE TO TREAD', ART NEW TOPIARY, 8 UNITS, 1000 X CITIZEN CANE, NO 52025. SgSTAINABILIXY, MANAWATU ZEALAND. NO. 71, WINTER 1994 400 MM EACH AND TOURING TO DOWSE ART ART GALLERY, PALMERSTON >[IMAGES, INSTALLATION DETAILS, SUZANNE MCAULAY, 'LAUREN MUSEUM, LOWER HUTT; TE TUHI, NORTH AND SARJEANT ART P 87, P89D PAKURANGA, AUCKLAND; GALLERY, WANGANUI, NZ; LYSAGHT, CITIZEN ARTIST', COLLECTION OF THE ARTIST SARGEANT GALLERY, WANGANUI, STRZISCE ZNOJILE. ZNOJILE, ART NEW ZEALAND. NO. 103, NZ; OUTCOMES, QUAY SCHOOL SLOVENIA _1998 NEW ZEALAND WINTER 2002 COURTESY OF THE ARTIST AND WHITESPACE, AUCKLAND, AND BOWEN OF ART, WANGANUI AND PARTICIPANT, STAZ IONE SUZANNE MCAULAY, OUTCOMES. GALLERIES, WELLINGTON. TOURING TO AIGANTIGHE TOPOLO/TOPOLOVE. TOPOLO CATALOGUE ESSAY, QUAY SCHOOL TECHNICIAN: TERRY LYSAGHT GALLERY,TIMARU; IRIS FISHER PROJECT, NORTHERN ITALY; OF ARTS, WANGANUI, 1998 GALLERY, AUCKLAND, NZ GOLD MEDAL AWARD WINNER, IMAGES COURTESY OF THE ARTIST _2000 HACKER, SALAMANDER ART ADDICTION ANNUAL MORENO MIORELLI, STAZIONE PHOTOGRAPHY: JENNIFER FRENCH GALLERY, CHRISTCHURCH AND EXHIBITION, MUSEUM CORRER, TOPOLO/TOPOLOVE. CATALOGUE BOWEN GALLERIES, WELLINGTON, VENICE, ITALY _1993 ARTIST ESSAY, TOPOLO, NORTHERN NZ; T.T.2. ,BOWEN GALLERIES, BOOKS. MANAWATU ART ITALY, 1998 WELLINGTON AND EXHIBITION GALLERY, PALMERSTON NORTH, BRITT ROMSTAD, 'REVIEW: CENTRE HASTINGS, NZ; FOUR NZ _1992 SACRED WAY. CITY EMOVERE', ART NEW ZEALAND. GALLERY, WELLINGTON, NZ; M LEGS GOOD, CANTERBURY NO. 81, SUMMER 1996-1997 MUSEUM, CHRISTCHURCH AND MAN'S LAND. EXTENDING THE HAWKES BAY MUSEUM, NAPIER, BOUNDARIES OF WOMEN IN ART TIM WALKER, HACKER. CATA­ NZ _1995 HIDDEN AGENDER, IN AOTEAROA. DOWSE ART LOGUE ESSAY, DOWSE ART THE BATH HOUSE, ROTORUA AND MUSEUM, LOWER HUTT, NZ MUSEUM, LOWER HUTT, 2000 BOWEN GALLERIES, WELLINGTON, _1990 cjQNTAINANTS. ROBERT TIM WALKER, FOUR LEGS GOOD. NZ _ 1 987 OUT OF THE WOOD­ MCDOUGAlU ART ANNEX, CHRIST­ CATALOGUE ESSAY, MUSEUM OF WORK, FIRST SOLO EXHIBITION, CHURCH,! NZ NEW ZEALAND TE PAPA DOWSE ART MUSEUM, LOWER TONGAREWA, WELLINGTON, 1996 HUTT, NZ EMILY MAFILE'O MYSTICAL NESIAN PHOTOGRAPHS

lineage and cultural affiliations which frame her art practice.2 Simultaneously an insider and an outsider, Mafile'o experiences the making of and looking at her work as the public would on one level, and as an insider would privately on another. Mafile'o's photographs problematise binaries such as public and private, insider and outsider, but allow

negotiation to occur in the va 3 between - she presents us with a constant movable feast of geographic location, authenticity, indigeneity, and cultural politics.

Images by the Burton Brothers were designed to travel: they circulated in the drawing rooms of wealthy colonial families in photographic albums and as stereo­ scopic cards. The mounted albumen prints were also highly prized as ethno­ graphic studies. Alfred Burton took up to forty plates a day when he travelled in In 1884 Alfred Burton travelled to Tonga Tonga - his subjects included Tongan is constructed as an exotic retreat away to take photographs; he returned there notables, churches, scenic views and from a regulated society - a construction many times.' While he had other chal­ Tongan girls. Emily Mafile'o's photo­ that has its roots in the images of Alfred lenges to contend with, one can be sure graphs are distributed in another way Burton and others. In his diary of the trip that he did not deal with the complicated and to a different audience; they come to Tonga, published in the The Southland familial hierarchies that Emily Mafile'o had into view in public spaces like the Otara Times upon his return, Burton quoted to address when she recently returned Mall, Aotea Square and under motor­ from a speech he had heard that the there to do the sam e thing. Tonga is ways as rugged oversized black and King of Tonga's income had risen from structured around a system that combines white photocopies. But just like those nothing to 1200 pounds and that the religious and royal orthodoxy alongside early exotic ethnographic images, island economy had gone from zero to traditional Tongan class structures. Mafile'o's photographs still draw many one hundred thousand dollars.1 Tonga's Mafile'o is a young woman of European of their viewers into an unknown world. king is still wealthy and Tonga is still a and Tongan descent: a 'hafe kasi’ who After Nan Goldin, Richard Billingham, struggling nation. lives in South Auckland and photographs Wolfgang Tillmans and a raft of Mafile'o's work is a long way from a velvet Tongan youth there and in their native Japanese photographers, you would painting but it represents another crucial country. Emily Mafile'o says she knows think we'd be tired of looking in from the punctuation mark in the current Nesian she does not have the mana to photo­ inside or, for that matter, from the out­ landscape. Like a graffiti artist, Mafile'o's graph her elders or those from a higher side. But we are not. Mafile'o's work use of materials may seem uncouth to class than her and is quick to point out, refreshes and skews our appetite for some - her oversized books, reminiscent

too, that she is unsure of the ethical a world that conforms to a western of Manipulator Magazine, and her wall- quagmire regarding the genealogical construction of an island paradise. Tonga plastered images are rippled and bubbling. AT THF PAI RTF - HUKU A1OFF - TONGA TARII. ?*?/fl7/18RA . BURTON BROTHERS COLLECTION, MUSEUM OF NEh IEA LAN 0 TE PAPA TONGAREWA

They can be characterised by their the quintessential New Zealand state cheapness and rapid construction: house backyard and at the likely site of Mafite'o is one young South Auckland the infamous dawn raids that occurred in prodigy that Coca Cola hasn't caught up Auckland in the 1970s. Emily Mafile'o is to yet; she is perhaps the first Tongan the oldest female child in her family and woman photographic artist. But this is she is therefore responsible for her children not so important. What is crucial, how­ and those of her siblings. She will give ever, is that her art practice m arks a advice on all their major decisions. This significant moment, the inception of ethic is evident in Mafile'o's work: the the desire to record this reconfigured 1 THE BURTON BROTHERS WERE WELL-KNOWN images are sharp in their tenacity but PHOTOGRAPHERS WORKING IN NEW ZEALAND diasporic cultural phenomenon. Mafile'o's AND IN THE PACIFIC DURING THE LATE incredibly solid and challenging in terms NINETEENTH CENTURY work m arks the flow of a culture as it of their emotional proximity. Flicking 2 WHILE IN TONGA, ALFRED BURTON oscillates between Tonga and South through fifty of Mafile'o's images bound PHOTOGRAPHED SALOTE MAFILE'O, THE Auckland, its influence, its idiosyncratic KING'S DAUGHTER AND EMILY MAFILE'O'S together in a photocopied book is a power­ FAMILY NAMESAKE. AN ANCESTOR OF conditions and the family ties that bind it EMILY MAFILE'O TRAVELLED TO TONGA between here and there. ful visual experience; the larger-than-life AND MARRIED A TONGAN WOMAN ON WHOSE FAMILY THE MAFILE'O NAME HAD BEEN BE­ images of people recall writer Giovanni STOWED BY TUITA, A NOBLE OF HA'APAI, The Mafile'o women always arrive en Intra's idea that at the very heart of photo­ IN HONOUR OF SALOTE MA FI LE’O masse with food and hospitality to rival graphy lies the defining premise: people 3 'VA' MEANS 'SPACE' IN TONGAN any granny - sometimes they even bring are good to look at. 4 FROM ALFRED B U RT ON’S DIARY 'THE the ceremonial Kava. Vea, pictured here, is CAMERA IN THE CORAL ISLANDS', PUBLISHED IN THE OTAGO DAILY TIMES Mafile'o's sister. She is photographed in ANN SHELTON IN 1884 EMILY MAFILE'O Bom Hamilton, Aotearoa New Zealand, 1978. Tongan, Palangi. Lives and works in Manukau City, South Auckland, Aotearoa New Zealand.

SELECTEp GROUP EXHIBITIONS

_2003 PASIFIKAHA. ARTNET GALLERY] OTARA TOWN CENTRE, AUCKLAN D, NZ; PACIFICA. UPSTAIR S GALLERY LOPDELL HOUSE, ITIRANGI, AUCKLAND, NZ _200 2 OLD NARRATIVES, NEW HISI ORIES-PAST, PRESENT 8 FUTUR E, ART STATION, CHECKLIST PONSONB f, AUCKLAND, NZ EMILY MAFILE'O IS PRODUCING 2001 J1OKONUTI KONNECTION, A SITE SPECIFIC TRIENNIAL SANDZ ALLERY, HAMILTON, PROJECT AT ARTSPACE NZ: PER SPECTIVES, ART STATION, PONSONBY, AUCKLAND, INSTALLATION AND IMAGE COURTESY OF N Z ; W H RE DO WE BEGIN, THE ARTIST PERFORM [NG ARTS ACADEMY, >CIMAGE VEA IN THE BACKYARD 2003 WAIKATO UNIVERSITY, B/W PRINT P 91 3 HAMILTO N, NZ; MATOU ATQA, >[IMAGE COURTESY OF MUSEUM OF NEW AOTEA C NTRE, AUCKLAND, NZ ZEALAND TE PAPA TONGAREWA P 933 2000 PflLYNISATION: HYBRIDITY & TRANS FORMATION - TRASH TO TREASUR E, CONTEMPORARY PACIFIC ART GALLERY, AUCKLANC , NZ; MULTIPLCITEYE, SCHOOL ()F EDUCATION, WAIKATO UNIVERSITY, HAMILTON, NZ

CONTEMPORARY PACIFIC ART GALLERY^, AUCKLAND, NZ THANDO MAMA

[Box-in] is a two-screen rear-projected we construct and deconstruct - in South The basic idea behind this work is the video installation, each screen showing Africa one always feels like that.There Concept of putting people in boxes - of a selection of images that were shot is a new advert on TV here, one of the discrimination by skin colour, language, through a 35 mm manual still camera major SABC stations has a new laccent, place, the personal/private viewfinder. This technique frames the campaign that reverses the historical thoughts that perpetuate racism and image in a square and gives each image role of race in South Africa - whites intolerance to one's neighbours. The aim a soft focus with a blur... The title is self- living in the townships. But the way it is is to encourage people to consider these explanatory: [Box-in] can be read as 'boxed conceived is not at all constructive. It is things and negotiate the physical spaces in', 'box in', 'be put in a box', boxing just one of the examples where the they find themselves within. inside a box... outside a box, a square, a media plays with popular culture and cubicle.’ Public/private is about the spaces issues of race and gender. THANDO MAMA THAN DO MAMA: SAVIOUR OF VIDEO ART? 'They were grainy, black-and-white, news reportage and an invisible child's 'I tended not to look around for influences,' aggressive little numbers, with no voice endlessly repeating, 'We are afraid.' says Thando Mama, the Durban-based aspirations to the cinematic,' he writes, Pause a little longer and the uncertain video artist who recently clinched the unwittingly paraphrasing Mama's video silhouette of the artist's face appears MTN New Contemporaries Award. A works too. through the static, but only fleetingly. swift denouement to that most inevitable 'Most of all, [the video works produced in Shot late at night while watching television of journalistic questions, 'Who are your the early 1970s] were not simply made scenes of the US bombing of Iraq, Mama influences?', Mama adds: And when I with TV, but about it - or, rather, against explains that his video camera recorded did look nothing really caught my eye.' it,' Jones continues. 'The early classics of the contours of his face as it was unevenly Of course it is tempting for any artist, American video are critiques of network illuminated by his television. According even this young Durban-based artist, to TV's mendacity and madness.' Which is to the artist, the work represents an claim that his/her work exists outside all perfectly true of Mam a's work too. explicit attempt to voice a collective understanding of the events he was watch­ the,charted boundaries of art history. Take for instance Mam a's standout piece ing, one tinged with an unambiguously Whether conscious of it or not, Mama's for the MTN New Contemporaries Award, African accent. evocative video pieces evince more than a biting critique of contemporary news a passing likeness to the formative works broadcasters. Titled We are afraid, the video We are afraid is me trying to say some­ produced by the genre's early pioneers. (purposefully installed at the end of a thing about a shared experience,' he confusingly dark tunnel in Johannesburg's says, 'about people living in Africa at this Writing in The Guardian recently, art point in time.' The voice repeating the columnist Jonathan Jones made some Museum Africa) relies on touch rather mantra, explains Mama, is a young interesting remarks about a video than sight to mark one's first experience Ethiopian girl he saw on television at retrospective at London's ICA that bear of it. Blinding the viewer is however only one of the many clever - and disarming - around the time of the bombings. 'All I'm repeating. His description of the aesthetic tactics employed by the artist. asking in this piece is: What about Africa?' qualities and ethical values underpinning the works of or Vito At first glance, the actual video sequence The pertinent simplicity of this question Acconci, pioneers of the medium, are appears to be little more than a mess of reveals much of this native son of particularly relevant. grainy television static set to the score of Butterworth's character. Leaving aside 1 INSPIRED BY THE WRITINGS OF W.E.B DU his enquiries into masculine identity 'Video is a new medium to me,' he openly BOIS, THANDO MAMA PRESENTS A SELF- PORTRAIT IN VIDEO OF HIMSELF WATCHING for a moment, the work underlines his admits. 'I was first introduced to video by TELEVISION. AGAINST A SOUNDTRACK OF CHATTER ABOUT BLACKNESS NOTHING passionate interest in Pan Africanist Greg Streak in 2000 when I was studying REALLY HAPPENS, WHILE THE LIGHT FROM thought, particularly that of influential THE VIDEO FLICKERS ON MAMA'S BARE at the Durban Institute of Technology.' BLACK SKIN. IT IS THIS SENSE OF expatriate US scholar and figurehead Despite the odd stumbling Mama has not ENNUI THAT CHARACTERISES MUCH ART OF THE MOMENT. 'IT'S AN UNDERSTATED W.E.B Du Bois.' allowed the novelty of the medium to POLITICS,' SAYS WRITER VIRGINIA MACKENNY. 'IT'S A PERSONAL POLITICS Author of The Souls of Black Folk. Du Bois confound him. Currently busy with his THAT RELATES TO THE COUNTRY'S POLITICS, OR ITS PURPORTED VISION famously declared on the launch of his Masters degree at the same institution, OF ITSELF. AND IT COMES OUT OF INCREDIBLE CONSTRICTION. IN THE groundbreaking 1903 publication, 'for the his work generally evinces a refreshing HOMING IN SHOW THERE'S A LOT OF problem of the twentieth century is the purposefulness using a format many UNDERLYING DEBATE OR ENGAGEMENT WITH CONSTRICTION AND VOICELESSNESS, problem of the colour-line'. Mam a's work critics say has reached its end game. OR ATTEMPTS TO FIND SOME KIND OF PLACE TO SPEAK. IN SOME CASES THE We are afraid eloquently updates this quote, Curator Sipho Mdanda is particularly SILENCES ARE THE MOST ARTICULATE THINGS THERE I THINK THERE IS A proving its continued relevance in the intrigued by Mama’s work: 'He asks LONGING FOR HOME VALUES. HOME IS A twenty-first century. SERIOUSLY CONTESTED ARENA, WITH THE questions about who he is, a young HIGHEST CHILD ABUSE FIGURES IN THE WORLD, THE HIGHEST CRIME RATES IN Not all Mama's works necessarily Xhosa man [of the Tshawe clan] situated THE WORLD AND THE HIGHEST HIV IN THE WORLD. ALL THIS IS CENTRED IN demonstrate this effortless fluency with in a predominantly Zulu environment... THE HOME. I THINK MANY OF THESE WORKS his chosen medium. His other Museum But I think his work moves beyond that. ARE QUITE NEGATIVE REFLECTIONS, BUT I DON’T THINK THEY'RE ONLY NEGATIVE. Africa installation, the gloomily titled Situated in the new South Africa, his work I THINK THAT THE FACT THAT IT IS BEING GRAPPLED WITH IS POSITIVE.' (un]hea(rjd, is a large-scale projection of also asks whether it is even relevant to THIS GRAPPLING DOESN'T ALWAYS RESULT the artist's face shown in an empty room. ask questions about identity alone.’ IN CELEBRATION. ON ITS MAIN STAGES, THE NATIONAL ARTS FESTIVAL HOMING IN Mam a's disembodied face contorts and HAS PRESENTED WORK THAT PORTRAYS SEAN O’TOOLE DOMESTIC LIFE AS RIDDLED WITH CON­ stutters. Sure it might be about identity FLICT AND BETRAYAL. THE SOUTH AFRICAN THIS ARTICLE WAS ORIGINALLY PUBLISHED IN as 'an invention based on myths and HOME IS A BATTLEGROUND AND, AS IN THE HAIL & GUARDIAN NEWSPAPER. 15-21 GROUP THERAPY, THE CULTURAL PLATFORM half-truths', but is also typical of most AUGUST 2003, UNDER THE TITLE 'FEAR IN IS PROVIDING AN UPSETTING ROLE PLAY. STATIC MANTRA' AND IS REPRINTED WITH THE (MATTHEW KROUSE, HQM5 I? WHE RE THE video art - boring. PERMISSION OF THE AUTHOR AND EDITORS. HURT I S . 10 JULY 2003) THANDO MAMA Born Butterworth, Eastern Cape, South Africa, 1977. Lives and works in Durban, South Africa.

He is involved in the Durban-based artists' organisation 3rd Eye Vision. Its aim is to initiate interaction between artists in the region of KwaZulu-Natal and the whole country, and to further interest in the arts of the region and its development.

SOLO EXHIBITION SELECTED PROJECTS SELECTED BIBLIOGRAPHY CHECKLIST

BACK TO ME. YOUNG ARTISTS’ _2003 EDGE. A SIWELASONKE PAUL EDMUNDS, REVIEW OF CB0X-IN3 2003 PROJECT, NSA GALLERY, SA THEATER PRODUCTION, 'OUT POST II', ART SOUTH DVD VIDEO INSTALLATION PLAYHOU SE, DURBAN, SA AFRICA. VOL. 1, NO. 2, CAPE DURATION: 2 MINUTES SELECTED GROUP EXHIBITIONS _ 2 0 0 2 P. I LOT PRQJ,E£I, TOWN, SUMMER 2002, P 59 40 SECONDS, VARIABLE MO I SAC 3 WEST STREET, >CIMAGE P 95 3 _2003 MTN NEW CONTEMPORARIES KHWEZI GULE, 'BACK TO ME', DURBAN SA; CITYSCAPES, YAP CATALOGUE. DURBAN, AWARD. MUSEUM AFRICA, SITE SP ECIFIC DANCE INSTALLATION AND IMAGES COURTESY SEPT. 2002 MARCH 2003 OF THE ARTIST JOHANNESBURG, SA; HOMING IN. PERFORM ANCES AROUND AN EXHIBITION OF EMERGING DURBAN, VIDEO FOR 320 WEST VIRGINIA MACKENNY, 'BRIGHT >EIMAGES BACK TO ME 2002 PP 96-973 SOUTH AFRICAN ARTISTS, STREET, DURBAN, SA _2000 YOUNG THINGS', ART SOUTH GRAHAMSTOWN NATIONAL ARTS COURTESY OF THE ARTIST • XQ.E2 £L TE SPECIFIC. AFRICA. VOL. 1, NO. 3, CAPE FESTIVAL, GRAHAMSTOWN, SA ■CAMERA, OBOCURAJ., NIUE- TOWN, AUTUMN 2003, P P 37-45 _2002 OUTPOST II. US ART BETHESDA, IBIS ART CENTRE, VIRGINIA MACKENNY, 'OUTPOST GALLERY, STELLENBOSCH, SA; GRAHAMSTOWN, SA _2001 II (TOO), OUTPOST II CATA­ NSA GALLERY, DURBAN, SA; DOGTROEP THEATRE COMPANY. LOGUE. DURBAN, 2002, PP2- REDEYE 3 ART. DURBAN ART LABORAT DRY WORKSHOP, GALLERY, DURBAN, SA; DURBAN, SA; 3RD EYE 6, 15 CITYSCAPES-VIDEO VISION, ETHWEKENI SEAN O'TOOLE, 'FEAR IN STATIC INSTALLATION. DURBAN ART WORKSHO P, DURBAN, SA; MANTRA', MAIL & GUARDIAN GALLERY, SA; DOODLES - AN TUPELO NTERNATIONAL (FRIDAY SUPPLEMENT), 15-21 EXHIBITION OF SERIOUS WORKSHO P, CAPE TOWN, SA AUG. 2003, JOHANNESBURG, P 11 DRAWINGS . NSA GALLERY, DURBAN, SA _2001 TUPELO KATHRYN SMITH (CURATOR), INTERNATIONAL WORKSHOP, MTN NEW CONTEMPORARIES WORK IN PROGRESS, SOUTH AWARD. JOHANNESBURG, JULY AFRICAN NATIONAL GALLERY, 2003 CAPE TOWN, SA; REDEYE 3 JENNIFER SORRELL (ED), ART. DURBAN ART GALLERY, 'WE'RE WATCHING THANDO DURBAN, SA; ETHWEKENI - 3RD MAMA', HOUSE AND LEISURE. EYE VISION. BAT CENTRE, CAPE TOWN. JUNE 2003, P 44 DURBAN, SA; JABULISA 2000. THE ART OF KWAZULU-NATAL. DURBAN ART GALLERY, DURBAN, SA; MASK/UNMASK - 3RD EYE VISION. 37 CRART AVENUE, DURBAN, SA SENZENI MARASELA

A large part of my artistic practice deals enough to witness transition. He refuses With the misfortune of my 'privileged with the importance of investigating to unravel what he knows which I believe education' came the great depression of gaps in my personal history. Both in my is part of my heritage. my childhood - my mother's absence. A home and in public. I am of poor and slave to morphine she was never able to Access to private education deprived me be independent. In my work I represent dispossessed parentage, daughter of a of a right to grow and be proud of that the woman who gave me a sense of migrant labourer. My father was forced heritage. As much as it allowed broader strength. She worked tirelessly to get out of his ancestral home by a desperate access into the world it deprived me of better and become a woman that our need to survive. He was later integrated access to my world, that of black people. children will always be proud to call their into the police force and served most of his We were unashamedly made to think we adult life fulfilling the demands of a racist were a superior breed of black people. grandmother. She now looks after my son. government. He however is a pacifist, he On many occasions black people were In most of my work she is represented refused on many occasions to carry a referred to as 'them' as if we weren't part in absence. gun or include himself in raids of any of that society. Neither feeling comfortable SENZENI MTHWKAZI MARASELA kind. He saw the country at its most in the white world we never found comfort FROM THE HOUSE OF WORLD turbulent and torrid years and lived long in our own. CULTURES STILLER8HKW.PE MODUS OPERAND!:

her own words: 'I believe that by revisit­ have been cut down and mutilated. ing the past, by giving myself a place in it, Hector Peterson is a good example. Up I'll be able to forgive myself for my indif­ until 1976 young people hadn't really Modus operandi: ference.' [Democracy's Images catalogue; been seen at the forefront of political Two words would describe Senzeni interview conducted by Rory Bester.] struggle, especially in images that so

Mthwakazi Marasela: headstrong and An immediate concern is altering the vividly depicted the slaughter of innocence. uncompromising. Impatient with labels profile of black women artists in this A lot of people don't really comprehend and pigeon-holing, Marasela uses photo­ country. Marasela is acutely aware of the the significance of the events around graphy, photocopy transfers, silkscreen­ absence of black women in decision­ 16th June 1976, especially the extent to ing and handicraft to explore collective making positions in the realm of arts which it marked the catalyst of events and personal memory. Her choice of and culture, and while acknowledging that were to bring down a regime. Stompie 'raw' (unprocessed] fabrics like calico, the importance of artists like Noria Seipei is another important example. He set against the highly worked quality of Mabasa and Mmakgabo Helen Sebidi, feels got caught up in a series of events that lace have, for her, strong ties to colonial­ they have not 'developed' their language he didn't fully understand. The way ism. The labour-intensive process of effectively or critically: black women artists Stompie lived and died was and still is handstitching is her way of inscribing need a contemporary language with which a burden to so many people. History is herself into this past she wishes to to speak about traditional content, and to making him elusive to memory. These explore, as well as attempting to elevate move away from the association with 'craft'. are just two examples of children who her chosen imagery into a realm of the Marasela cites Tracey Rose and Moshekwa have become the victims of political cherished and respected. Although Langa as examples of 'black' artists whose ideologies. It is these emasculated deeply political, Marasela's work work avoids easy categorisation. ideologies that I try to grapple with as bespeaks an ambivalent atitude towards a woman and as a black artist.' past atrocities from which she was pro­ Artist's statement: tected and guarded. Her sense of place 'Artists have an important role to play in Currently: as a black woman educated at a Catholic telling stories about our turbulent history, Although within a year of graduation, school in a white Afrikaans suburb gives especially when so many of the sincere Marasela has already made an impact her work an edge rarely encountered. In gestures which make up this history on the local and international art scene, and is currently showing as part of the the sentimental, but Marasela manages South African contingent, curated by to contain this in the form of a touching Kathleen Grundlingh, on the African and delicate 'tribute' installation.

photography show, Portrat Afrika, at the Before that: indexical work in her artistic production Haus der Kulturen der Welt in Berlin. thus far. The artist has always had a Marasela has been a constant presence Marasela recently gave birth to a son, complex and often non-existent relation­ at the Wits annual exhibitions Ikwezi, and the experience of mother­ ship with her schizophrenic mother, and since 1997. Last year she was a selected hood has, she says, encouraged a new when looking through family photo­ artist for the Market Theatre Galleries sensitivity towards her own mother. The graphs, found images of her mother Unplugged exhibition series, an exercise in piece made for Berlin, His Mother, His Father were conspicuously absent. Her family, soft curating initiated by part 1, explores emotional states and she says, regards the practice of photo­ in 1996. Her inclusion in Truth Veils (July relationships through photographs graphy with suspicion, considering the 1998, Gertrude Posel Gallery, Wits), an 'captured' image powerful and susceptible sourced from family albums, and textual exhibition which looked at art relevant to, to being used for 'dubious' reasons. Any inscriptions. The presences of her child's as well as made in response to the Truth images she has of them were, according father, and of Marasela's mother, are and Reconciliation Commission, saw her to her, taken by force'. Our Mother depicts noted by their absences. first experimentation with the sandblasted a dress discarded by her mother, set Marasela is also part of Transiation/Seduction/ against images of Marasela and her mirrors featured in Democracy's Images, Displacement, curated by Lauri Firstenberg siblings. Pins cluster in the breast area which opened in Umea, Sweden, in and John Peffer opening at the White of the dress, a gesture indicating the loss September 1998. Marasela was also a Box in New York on February 3, and of Marasela feels being 'deprived of a mother featured artist in Lines of Sight, the large- Democracy's Images currently on display at figure'. 'My mother was never a place of scale survey of photography held at the the Johannesburg Art Gallery. Here, a comfort,' she says, 'but always a stranger.' South African National Gallery in the keen sense of an 'absent presence' is KATHRYN SMITH second half of 1999. also reflected in Stompie Seipei, Died 1989, REFERENCE: ARTTHROB. WEBSITE FOR CONTEMPORARY Age 14 (1998). Commercial lace edging And before that: ART IN SOUTH AFRICA; FROM ARTBIO, A and beadwork around a silkscreened For Marasela, a student work called MONTHLY FEATURE ON AN ARTIST CURRENTLY IN THE PUIBLIC EYE portrait of the child activist borders on Our Mother (1997) remains a seminal and HTTP;//ARTTHROB. CQ, ZA/QOf.EB/ARTPIP.HTHI. SEN ZEN I MTHWAKAZI M ARASELA Born Thokoza, Gauteng, South Africa, 1977. Lives and works in Germiston, South Africa.

SELECTED EXHIBITIONS SELECTED BIBLIOGRAPHY

_2000 ART REGION END OF RORY BESTER, 'A MEMORIALISED AFRICA I (AREA) , LISTASAFN ARCHIVE', FRESH/ SENZENI REYKJAVIKUR KJARVALSSTADIR, MARASELA. EXHIBITION REYKJAVIK, ICELAND; MARGINS CATALOGUE, SOUTH AFRICAN NATIONAL GALLERY, CAPE NATIONAL GALLERY, WINDHOEK, TOWN, 2001 SA; FRESH: ARTIST IN RORY BESTER, 'SENZENI RESIDENCE. SOUTH AFRICAN CHECKLIST MARASELA', DEMOCRACY'S NATIONAL GALLERY, CAPE TOWN, IMAGES: PHOTOGRAPHY AND STOMPIE SEIPEI, DIED 1989, SA; PORTRAT AFRIKA. HAUS DER VISUAL ART AFTER APARTHEID. AGE 14 199,8 KULTUREN DER WELT, BERLIN, EXHIBITION CATALOGUE, JAN 40 SILKSCREENS ON CALICO, GERMANY; TRANSLATION ERIK LUNDSTROM & KATARINA LACE, EACH UNIT 280 X 280 MM /SEDUCTION/DISPLACEMENT: PIERCE (EDS), BILDMUSEET, POST-COljlCEPTUAL AND PHOTO­ >[IMAGES PP 99-101] UME8, SWEDEN, 1998, GRAPHIC WORK BY ART.IS.J_S. P P 118-119 INSTALLATION COURTESY OF THE FROM SOUTH AFRICA. WHITE ARTIST BOX, NEW YORK, USA _1999 KATHRYN SMITH, ARTTHROB. PHOTOGRAPHY: JENNIFER FRENCH

MARKET PHOTO WORKSHOP WEBSITE FOR CONTEMPORARY THANKS TO LAURI FIRSTENBERG, LETHA EXHIBITION. REMBRANDT VAN ART IN SOUTH AFRICA; FROM WILSON AND ARTISTS SPACE, NEW YORK RIJN GAtLERY, JOHANNESBURG, ARTBIO, A MONTHLY FEATURE SA; POSTCARDS FROM SOUTH ON AN ARTIST CURRENTLY IN AFRICA.! AXIS GALLERY, NEW THE PUBLIC EYE YORK, USA; ANNUAL STUDENT CHTTP://WWW.ARTTHROB.CO.ZA EXHIBITION. GERTRUDE POSEL /OOFEB/ARTBIO.HTML] g a l l e r y ; w i t s , Johannesburg , SA; UNPLUGGED IV. REMBRANDT ANDREAS MARIO ZERVIGON, VAN RIJN GALLERY, MARKET 'THE WEAVE OF MEMORY: SIEMON ALLEN'S SCREEN IN PHOTO WORKSHOP, JOHANNESBURG, SA; TRUTH VEILS. GERTRUDE POSTAPARTHEID SOUTH AFRICA', POSEL GALLERY, WITS, ART JOURNAL. NEW YORK, JOHANNESBURG, SA; LINES SPRING 2002

NAT I ONA L GALLERY, CAPE TOWN, SA: DEMOCRACY'S IMAGES, JOHANNESBURG ART GALLERY JOHANNESBURG, SA 1 998 WOMEN'S VOICE. MERCEDE S BENZ MUSEUM, STUTTGA RT, GERMANY AND TOURING, DEMOCRACY'S IMAGES. BILDMUS EET, UME8, SWEDEN AND TOU RING: FAMILY TIES. SANDTON CIVIC GALLERY, JOHANNE SBURG, SA _1997 MARTIENS■SEN PRIZE EXHIBITION (SPECIAL MENTION), GERTRUDE POSEL GALLERY, WITS, JOHANNESBURG, SA; NOT QUITE A CHRISTMAS EXHIBITION, GOODMAN; GALLERY, JOHANNESBURG, SA TERESA MARGOLLES ZONES OF TOLERANCE: TERESA MARGOLLES, SEMEFO AND BEYOND

We all know that, despite popular wisdom, death is not egalitarian. Social taxonomies are re-inscribed not only in the causes of death but also in the fate of our remains, the quality of our funerary rites and monuments, and the amount of public attention devoted to our disappearance. Despite the fact that the punk's body had been officially identified and claimed by his family, it was in risk of suffering the ultimate exclusion: being disposed of in a common grave or, worse, ending up as a specimen in a medical faculty amphitheatre to be stripped (even] of its carnal properties. The dead man had not only been denied education, social security, a satisfactory job, or any semblance of a future, but One day in the spring of 2000 the corpse his remains were condemned to more precisely, what its members of a young punk arrived at the morgue bureaucratic oblivion because his mother catted 'the 'life' of the corpse': the in Mexico City: another casualty in the could not afford to buy him even a modest transformations the body undergoes endless war of drug trafficking and coffin for burial or cremation. This, of after death. With no hesitation, Margolles gangsterism that pervades the slum s of course, made the m an's passage through came up with a daunting proposal. She the biggest megalopolis in the Western a post-mortem examination even more offered the mother a casket to pay hemisphere. Peacefully resting on the absurd. In a country where over ninety homage to her son in exchange for stainless steel examination table of the percent of crimes are never solved due a section of his corpse to show as a mortuary, the slender body of the man to the inefficiency and corruption of the readymade. Margolles even suggested told a story of deprivation and defiance. judiciary system, most (surely his death] that she would like to acquire the m an's This heroin addict (the drug that quite go unpunished. Therefore, what was the tongue or penis, because both had recently has displaced tfther substances purpose of Subjecting a corpse to an piercings and therefore, metaphorically, from the tastes of the Mexican under­ autopsy if such a survey would not lead spoke' about his defiance of the social world] had tattoos covering most of to prosecuting the killers or was not norms. These body parts would convey his body and carried a wide array of needed for legal identification? his claims of marginal and global piercings. Both forms of 'ornamental The m an's inert beauty and his terrible contemporaneity - in short, his sub­ disfigurement', despite their fashion­ case caught the attention of Teresa cultural identity. able dissemination in the mainstream Margolles, leader of the Semefo group Certainly, it would be easy to suggest society, can be seen as an 'honourable (the acronym for Servicio Medico Forense, that both tongue and penis are exchange­ degradation' that conveys the person's the 'Forensic Medical Service') that for able sexual organs, and that in bargaining resentment towards the social or meta­ more than a decade has devoted its art for them Margolles implicitly pointed to physical order. to exploring the aesthetics of death or, the symbolic castration implied in the killing and silencing of the young man. served] was displayed in three different But her offer did not seem to offend the exhibition sites in the first half of 2001. m an's relatives and friends who, forced It was first exhibited at the X-Teresa by circumstance and their belief that contemporary arts centre before travelling they were in some way commemorating to ACE Gallery in Los Angeles, crossing the deceased, agreed to exchange his the border in a standard courier service. tongue for a metal coffin. This, to be Finally, it w as included, as one of the honest, was a rather good deal for main pieces, in the poorly curated and Margolles: she already owned not one but 'official' historical overview of contem­ two caskets, which she had previously porary Mexican sculpture at the Fine purchased in order to discreetly retrieve Arts Palace in downtown Mexico City. a series of body casts for a previous CUAUHTEMOC MEDINA sculpture [Catafalco 1997] from the MEDINA IS AN ART CRITIC WHO HAS WRITTEN mortuary. So, ironically, the casket she WIDELY ON CONTEMPORARY ART IN MEXICO AND exchanged made two trips in and out of LATIN AMERICA, BOTH IN CATALOGUES AND MAGAZINES. HE WAS CONTEMPORARY ART CURATOR the forensic service: first, to sm uggle AT THE CARRILLOGIL MUSEUM, MEMBER OF THE 'w orks of art' that involved an infringe­ STAFF OF CURARE: CRITICAL SPACE FOR THE ARTS AND IS CURRENTLY RESEARCHER AT THE ment of the rules of the institution, and INSTITUTO DE INVESTIGACIONES EST^TICAS AT later as part of an ethically uncomfort­ THE NATIONAL UNIVERSITY OF MEXICO. AMONG HIS RECENT PUBLICATIONS ARE 'RECENT able bartering that provided a human POLITICAL FORMS: RADICAL PURSUITS IN organ to be shown as contemporary art. MEXICO', TR/\N§> NO. 8, AND (jRACIELA ITURBIDE (PHAIDON PRESS). THE ABOVE IS The tongue (after being forensically pre­ AN EXTRACT FROM A LONGER PIECE. TERESA M ARG OLLES Born in Culiacan, Sinaloa, Mexico, 1963. Lives and works in Mexico City.

SELECTED BIBLIOGRAPHY

KLAUS BIESENBACH, 'HUNTING MEN HUNTING DOGS, FEAR AND LOATHING IN MEXICO CITY', FLASH ART. VOL. XXIV, NO. 225, 2002, MILAN, PP 82-85

TOM CROWLEY, 'MEXICO CITY ON THE MOVE', TEMA CELESTE. CHECKLIST NO. 97, MAY/JUNE 2003, MILAN, PP 22-25 LOS SONIDOS DE LA MORGUE/ SOUNDS OF THE MORGUE 2003 MEDINA CUAUHTEMOC, 'ZONES SOUND INSTALLATION TOLI:RANCE/CONOZCA MEXICO', DIMENSIONS VARIABLE PARACHUTE . NO. 104, 2001, , PP31-52 >[I MAG E P 105]

COURTESY OF THE ARTIST AND RUBEN GALLO, 'TERESA GALLERIE PETER KILCHMANN, ZURICH SELECTED SOLO EXHIBITIONS SELECTED GROUP EXHIBITIONS MARGOLLES', CREAM 3 . PHAIDON PRESS LIMITED, LONDON, 2003, >CIMAGES LENGUA (TONGUE) 2000 _2004 TERESA MARQOLLES, _2003 OUTLOOK. CURATOR PP 212-215 P103, P1063 CURATOR UDO KITTELMANN, CHRISTOjj JOACHIMIDES, COURTESY OF THE ARTIST AND MUSEUM FUR MODERNE KUNST, ATHENS,: GREECE; MERCOSUR. ALIA LIRA HARTMANN, 'TERESA GALLERIE PETER KILCHMANN, ZURICH FRANKFURT AM MAIN, GERMANY CURATOR EDGARDO GANADO KIM, MARGOLLES EXHIBE "LA NIEBLA _2003 EN EL AIRE. CURATOR PUERTO ALEGRE, BRAZIL; DEL HORROR" EN MEX-ARTES WOLFGANG FETZ, VORARLBERGER STRETCH:. CURATORS EUGENIO BERLIN', LA JORNADA. MEXICO, KUNSTVEREIN, BREGENZ; TERESA VALDEZ iFIGUEROA S KEITH 30 OCT. 2003 MARGOLLES. GALLERIE PETER WALLACE; THE POWER PLANT, KILCHMANN, ZURICH; DAS TORONTO;- BANKETT. CURATOR GERALD MATT, 'TERESA LEICHENTUCH. CURATOR GERALD PETER WEIBEL A.O., ZKM MARGOLLES', KUNSTHALLE WIEN, MATT, LUCAS GEHRMANN, ZENTRUM FUR KUNST UND PROJECT SPACE, VIENNA, 2003 MEDIENTEjCHNOLOGIE, KARLSRUHE, KUNSTHALLE WIEN, VIENNA MAAK NIKLAS, 'MINIMAL GERMANY 2002 MEXIKO-STADT: _2002 JF_I_N., LA PANADERI A, MENSCH', FEUILLETON, EINE AU SSTELLUNG UBER DEN MEXICO CITY, MEXICO; AIRE . FRANKFURTER ALLGEMEINE ERT VON Kb'RPERN UND ART PALACE, MADRID, SPAIN TAUSCHW ZEITUNG. NO. 69, 22 MARCH, WERTEN. CURATOR KLAUS _2001 VAPORIZACION. ACE FRANKFURT, P 43 GALLERY, MEXICO CITY, BIESENB ACH, KUNST WERKE, MEXICO; EL AGUA EN LA BERLIN, 8 P.S.1, LONG ALESSANDRO ROMAN INI, CIUDAD. CURATED BY EDUARDO ISLAND ITY, NEW YORK, USA; 'A STATE OF MIND, MEXIKO PEREZ SOLER, SALA 22, 20 MILL ION MEXICANS CAN'T ATTACKS', ART NEXUS. NO. 49, BARCELONA, SPAIN _2000 BE WRONC ., CURATOR CUAUHTEMOC JUNE-AUG. 2003, MIAMI, LENGUA, ACE GALLERY, NEW MEDINA, SOUTH LONDON PP 153 - 155 YORK - LOS ANGELES, USA GALLERY LONDON, ENGLAND NAIEF YEHYA, 'MEXICO CITY. _1998 AUTORRETRATOS EN LA 2001 i,SCULTURA MEXICANA, AN EXHIBITION ABOUT THE MORGUE. CURATED BY GABRIEL MUSEO D .L PALACIO DE BELLAS EXCHANGE RATE OF BODIES AND HORNER, QUERETARO CITY ARTES, MEXICO CITY, MEXICO VALUES', ART NEXUS. NO. 46, MUSEUM, MEXICO 2000 £ XTRAMUROS. CURATOR OCT. 2002, PP 156-158 TAIYANA PIMENTEL. BIENAL DE HABANA. HAVANA. CUBA; CINCO ANTONIO ZAYA, 'PUERTO RICO CONTINE NTES Y UNA CIUDAD, 00 (PARENTESIS EN LA CIU­ CURATOR VICTOR ZUn IGA, MUSEO DAD)', ART NEXUS. NO. 39, DE LA CIUDAD DE MEXICO, 2001, COLOMBIA, PP 115 — 117 MEXICO CITY, MEXICO _1999 BAn O MARIA. CURATOR XIMENA CUEVAS,! CINETECA NACIONAL, MEXICO CITY, MEXICO ANDREW MCLEOD THE ELECTRONIC EYE OF GOD: THE DIGITAL DRAWINGS OF ANDREW MCLEOD

Those who have experienced a religious galleries, to discover what was previously focus required for reading private upbringing know what it means to be hidden. documents or eavesdropping on private under the control of an all-seeing godly conversations. When you finally decode When McLeod creates his digital drawings eye and the words of his commands. the messages, you discover the intimacy of blue plans and black plans, he is using With the rapid technological developments of uncensored messages which anticipate a negative reversal of the drawing tradition in telecommunications, it is as if the eye their exposure and abuse you for colluding which employs black outlines on white of god has metamorphosed into the eye in that process. paper. This has the effect of aligning of the hidden surveillance camera, and McLeod's architectural images to an x-ray, In a series of blue plans, McLeod has the word of god has metamorphosed and by association to images that lie taken the architectural floor plan of a into the electronic word of cyberspace. And within the interior. It is as though the single room and multiplied it into a it seem s as though there is no escape. viewer has been given x-ray vision and mosaic of rooms which resembles an Everyone can be subject to the interception has become a witness to private interiors endless modern suburbia. They float in capability of modern technology, and with an all-seeing eye. This is a power outer-space among nebulae, galaxies, can be subjected to its endless flow of which once belonged to god alone, but supernovae and stars. The dark blue information. has been usurped in the twenty-first ground of these digital drawings has The digital drawings of Andrew McLeod century by the electronic eye. become interstellar space, and the multiple reflect the complex ways in which floor plans effectively read as a personal McLeod combines these architectural technology and globalisation are changing cosmogony. Just as lines were drawn plans with text and it is as though the and redefining what is in the private between the stars in ancient civilisations all-seeing eye is combined with an all­ domain and what is in the public domain. to create cosmic personifications of their This is particularly evident in the digital hearing ear. Sometimes the text is a culture, when McLeod floats his floor plans drawings where McLeod uses architectural selection from published writings, but in outer-space, he echoes this process. plans as a motif and combines them with more often the text is the personal interior In a series of black plans, McLeod draws text. By exploring multiple permutations monologue of the artist, and the viewer architectural elevations of the Auckland becomes a witness to the artist's un­ of this motif and text, McLeod explores City Gallery, the Ivan Anthony Gallery and censored thoughts and feelings. This what it means to live in a world where the Peter McLeavey Gallery, from different reflects the way private thoughts are no public and private constantly intrude on perspectives. In some of these complex longer sacred and confined to the ear of each other. elevations, there are extensive excavations god and the confessional box. Now they McLeod's architectural plans are drawn into walls, beneath floors and into the are open to the electronic ear and public with white geometric outlines which float earth below. Sometimes exteriors are broadcast. on a dark blue or dense black ground. transposed onto the floors and walls of When the architectural plans are flat and McLeod's private stream-of-conscious- these interiors, while McLeod's personal two-dimensional, it is as if the viewer is ness is sometimes placed in blocks around interior monologues appear as threads or looking down from above through space- the architectural plans, and at other times clumps of close type around the images. time, into the private rooms of global it snakes in a single line. The white script These architectural deconstructions suburban life. At other times, McLeod's is so tiny that the viewer is forced to create complex inversions and reversals architectural plans are three dimensional bend and peer in close concentration. of traditional spaces, and in the process elevations which allow the viewer to see The intense focus needed to read the private interiors become public, and through houses or into private and public static or wandering script, is akin to the public exteriors are made private. McLeod has also created white plans McLeod has inverted this process again, by printing his digital drawings of gallery by publishing a collection of these white This is a paradox which affirms that in elevations onto white paper. These blank plans as part of an artist's book. our search for transparency, truth and white plans are used for working In McLeod's digital drawings, we can see knowledge, we will always be confounded drawings and enable McLeod to diary by the light of modern technology into by the the way new revelations ideas directly onto the walls of public interiors that would otherwise remain simultaneously hide what was previously and private galleries, invading and hidden. However, just as the x-ray seen and known. It confirms that we can colonising their internal spaces within obscures the wonders of the body as it never have the power of the all-seeing, all­ the sanctity of his personal studio. In this reveals its bones, so too do McLeod's hearing and commanding god. And it way, McLeod reverses the contemporary digital drawings obscure a reality within the demonstrates that even though private phenomenon where modern technology black and blue space of his architectural interiors can be exposed to the public, constantly makes public our private drawings, even as they reveal an unknown public spaces can become sanctuaries affairs. Instead, McLeod is creating a interior. It seem s that every exposure can of privacy. private existence on and within the walls only reveal itself against the backdrop of of public galleries. In a final irony, an opaque unknown. M. CHANCE AN D REW MCLEOD Born Rotorua, Aotearoa New Zealand, 1976. Lives and works in Auckland, Aotearoa New Zealand.

SELECT jGROUP EXHIBITIONS

_2003 MONEY FOR NOTHING. ARTSPACE, AUCKLAND AND CITY GALLERY, WELLINGTON, NZ; GOOb SPORT. IVAN ANTHONY! GALLERY, AUCKLAND, NZ; RECENT ACQUISITIONS, MUSEUM 0 F NEW ZEALAND TE SELECTED SOLO EXHIBITIONS PAPA TONGAREWA, WELLINGTON, SELECTED BIBLIOGRAPHY CHECKLIST NZ _200j2 GOVETT-BREWSTER _2003 THEATRE OF THE PHILIP MATTHEWS, 'FATHER THE PEOPLES MONOCLE 2004 GALLERY! SUMMER SHOW. INDIGENT. IVAN ANTHONY GOUACHE AND PIGMENTED INK GOVETT-iBREWSTER GALLERY, GALLERY, AUCKLAND, NZ; 15 DEC. 2001 JET ON PAPER NEW PLYMOUTH, NZ; SUMMER NEW WORKS. PETER MCLEAVEY DIMENSIONS VARIABLE GROUP SHOW. DARREN KNIGHT ANNA MILES, AFTER KILLEEN: GALLERY, WELLINGTON, NZ GALLERY; SYDNEY, AUSTRALIA; SOCIAL OBSERVATION IN RECENT >EIMAGE P 107] _2002 LARGESSE. IVAN PETER MjCLEAVEY AT THE ART. EXHIBITION CATALOGUE, ANTHONY GALLERY, AUCKLAND, INSTALLATON COURTESY OF THE MELBOURNE ART FAIR, ARTSPACE, AUCKLAND, 2002 ARTIST, IVAN ANTHONY GALLERY, NZ; PARABASIS . SNOWHITE MELBOURNE, AUSTRALIA; AUCKLAND AND PETER MCLEAVEY GALLERY, UNITEC, AUCKLAND, ANNA MILES, AN EYE FOR POSSIBLE WORLDS, ARTSPACE, GALLERY, WELLINGTON NZ; INTERIOR MONOLOGUES. THE COWBOY. EXHIBITION AUCKLAND, NZ _2001 AFTER >CIMAGE INTERIORS 2003 P109] PETER MCLEAVEY GALLERY, CATALOGUE, GEORGE FRASER KILLEEN. ARTSPACE, AUCKLAND, WELLINGTON, NZ _2001 GALLERY, AUCKLAND, 1997 IMAGES COURTESY OF THE ARTIST NZ; WASTECARE. IVAN ANTHONY INTERIOR MONOLOGUES. IVAN GALLERY; AUCKLAND, NZ; GROUP ANNA MILES, 'STRANDED ANTHONY GALLERY, AUCKLAND, SHOW. PETER MCLEAVEY IN PARADISE', PAVEMENT NZ _2000 TAMA-KAINGA. IVAN GALLERY, WELLINGTON, NZ MAGAZINE. APRIL/MAY 2000 ANTHONY GALLERY, AUCKLAND, _2000 N|EW PAjNTIN&l, NZ; NEW PAINTINGS. PETER PETER MCLEAVEY GALLERY, , 'REVENGE MCLEAVEY GALLERY, WELLINGTON, WELLINGTON, NZ; A GROUP OF THE NERD', NEW ZEALAND NZ _1999 NUDEY SELF SHOW. PfeTER MCLEAVEY LISTENER. 31 JULY 1999 PORTRAITS. IVAN ANTHONY GALLERY; WELLINGTON, NZ; GALLERY, AUCKLAND, NZ _1998 MULTIPLIES . IVAN ANTHONY GALLERY, AUCKLAND, NZ FRASER GALLERY, AUCKLAND, _1999 ONLY THE LONELY. NZ; NEW PAINTINGS. OEDIPUS ARTSPACfe, AUCKLAND, NZ; REX GALLERY, AUCKLAND, NZ NEW NEwj ZEALANDERS. RAY HUGHES GALLERY, SYDNEY, AUSTRALIA; CLEANING UP (WITH Bj?ENDON WILKINSON), PETER MjCLEAVEY GALLERY, WELLINGTON, NZ _1998 A GROUP SHOW. PETER MCLEAVEY GALLERY; WELLINGTON, NZ; NAIVETEi AND TREASON (WITH BRENDON WILKINSON), IVAN a n t h o n y ! g a l l e r y , Au c k l a n d , NZ; INTERNATIONAL ART ******S (WITH BRENDON WILKINSON), FIAT LUX GALLERY, AUCKLAND, NZ

IS as* OATMEAL BROSE ■' ' .

In a kitchen thin and mean as a nail a What is your aim in philosophy ? woman is crying. There are stains leaking -To show the fly the way out of across the front of her pale blue buttoned- the fly-bottle to-the-waist dress. Her arms bulge with LUDWIG WITTGENSTEIN the effort of squeezing a muslin cloth over PHILOSOPHISCHE UNTERSUCHUNGEN (1953), PT.1, SECT. 309 the sink, the tendons stand out on her neck, swollen and eloquent with shock.

I have a new baby, two sullen children and a man who never talks to me, she cries to herself. I want to go back to Grandma's.

A squirt of pale brown liquid the colour And when her mother objected, the She filled cup after cup and drank it down of weak tea pings against the sides of the nurse slapped baby Tim on to the silver until she had to take extra trips to the china bowl standing underneath the taps. scales in his nappy and singlet and said, toilet in the middle of the night as if she Another and another. Now there is a 'Complements are standard practice Mrs were still carrying Baby Tim inside her. Clarke. All our Plunket mothers use them.’ brackish oily pool in the bowl. It traps tiny Some mornings she'd come out to the moving patches of light, purple and green. But Mrs Clarke shrank from bottles and kitchen and the brose would have set You can smell it from under the table formulas and rows of teats sitting in little into a creamish jelly swimming with where two little girls are playing. It's dishes of water. She hated the very Idea of minute specks of brown spawn. She'd like sugar and old bread, a sweet dry a complement, she said into the kitchen eat it right off a teaspoon, ladling the toast smell. while Tim made hungry buzzing noises wobbling soporific mess into her mouth from his bassinet at the end of the hall. like a Queen Bee. Their mother is crying harder, her She remembered her mother making a knuckles white as stripped bones straining I'm eating Royal Jelly, she thought, drink from an old Scottish recipe and against the cloth, forcing squirt after squirt nursery bees have laboriously secreted swallowing it at breakfast time, her breasts of sugar cane juice, porridge milk, to fall this from their own glands. growing heavy with spring-tides of milk, through the air in a trembling angry rush. ebbing and flowing in a soothing rhythm. Think of this noisome drink as an egg Oatmeal brose, her mother said once, She could still see the engorged knot of nog, she said to herself when the bland­ it's oatmeal brose for the baby, Leah. veins beneath the skin, the soft bubbling ness of the brose began to turn her stomach, or when her tears started again Her mother doesn’t have enough milk, of milk around her sister's mouth and from the taste and the effort. It's primitive which Leah finds hard to understand her mother's sticky cranberry red nipple. nectar, that's all, my very own nursling because her mother's breasts are So Mrs Clarke poured handfuls of oat­ sap. Think of Sister Foote and her bag of enormous, like two giant puddings, moist meal into muslin, steeped it in boiling yellow teats coarse as cows' tongues. and traitorously spilling over her clothes. water and squeezed the brose into her Last week she heard Sister Foote tell her best glazed china bowl which stood on Under the table sit Hannah and Leah. to use a complement. 'There's not enough the bench next to the Denby teapot and They are playing, squeezing and straining for the baby M rs Clarke, you'll have to the milk jug covered with its beaded their dough into muslin balls, breaking give him a bottle dear.’ spidery net of white. off little blind grubs of the grey paste I throw myself down in my Chamber, and I call in, and invite God, and his Angels thither, and when they are there, I neglect God and his Angels, for the noise of a fly, for the -attling of a coach, for the whining of a door.

JOHN D DNNE

SERMONS LXXX (1640)

bitter with salt so it won't go into their city, even the prem. babies in the Baby mouths, and swallowing it anyway. Like Hospital, and no child had to go without Mum. Like the Queen Bee. food or sound like a wasp trapped in a jar ever again. there is a handful of raisins and an Here are the rules for play, writes their almond for a treat in their pie plates. mother, who never purses her lips When Mr Clarke comes home he pours meanly: wash the hands, wear aprons his wife a brandy and reads the paper. Goldy green raiment on the coming down and plastic sleeve guards, especially Then he puts Hannah and Leah on their breast of God, writes Mrs Clarke when near water, do not sulk or one day the rockinghorse, the one they got for the whole house is at last asleep, all the wind will change, do not eat the dough, Christmas. It is painted berry red and piece of it, this licking, goldylip flower of when finished, gather apples. has a white bridle with white wool stuck mine from play dough pastry scraps. Hannah's pastry cutter is red with a on its head for a mane. Leah sits behind She sucks her pencil, bends her head white crimped wheel; Leah's is blue. Hannah because Hannah might fall off over the table in the narrow kitchen. They press scraps of dough into pie and they rock and rock into the night, So following my mother's scent, her plates small as walnut shells and set past the pastry scrap moon and the stars nursling sap, I did sit and eat my first them to bake in a plastic cooker. that look like beads. The wind whistles in peacemeal. their ears. It chops and changes so Good girls, says Mum, lowering herself Suddenly the room is busy with wings. and Tim into the canvas butterfly chair much Leah worries that if the horse Mrs Clarke cannot see them but she that creaks every time you move, good stops, the moon will come down out knows they are there. girls. Baby Tim sucks and the milk rushes of the sky with them and stick to her out of her breasts like a flood. mouth, and she will have a sulky look. God's gauds down dripping, breading these egg-shell kitchen cups with holy Once she dreamt she had milk up to her But when they get off their faces are all crumbs, with rose beads fine and flaming, knees. It filled her house and ran out of yellow light and round with smiling, and she writes, rocking gaily into the dark on the street, trickling through unhappy Mum has washed their pastry cutters her invisible red horse with the white suburbs the colour of the children's and put them under a clean tea towel for mane, rocking and rocking... dough, leaving sticky trails on lamp tomorrow. Baby Tim is quiet in his posts and parked cars. It fed the whole bassinet, Dad is running a bath, and ANNA SMITH JULIA MORISON Bom Pahiatua, Aotearoa New Zealand, 1952. Lives and works in Christchurch, Aotearoa New Zealand.

SELECT ED SOLO EXHIB ITIONS SELECTED GROUP EXHIBITIONS SELECTED BIBLIOGAPHY CHECKLIST

2003 n a m e s FOR t h i n g s _2001 PROSPECT 2001 . CURATOR WYSTAN CURNOW, NEW ZEALAND ANGEL 2001 - 2002 NO STRING FOR. JONATHAN LARA STRONGMAN, CITY ART MODERNISM - IN CONTEXT . 5 COMPONENTS, PAINTED SMART GALLERY, CHRISTCHURCH, GALLERY, WELLINGTON, NZ PAINTINGS FROM THE GIBBS EXPANDER FOAM, SPONGE NZ _2002 TEACHING AIDS. _2000 t|he NUMBERS GAME. COLLECTION. JAMES ROSS AND FAKE FUR WAIKATO MUSEUM OF ART & CURATOR; ZARA STANHOPE, (ED), 1996 3000 X 2900 MM HISTORY. HAMILTON, NZ; ADAM GALLERY, VICTORIA WYSTAN CURNOW, AMALGAME. >CIMAGE P1133 ANGELS & FLIES. JONATHAN UNIVERSITY, WELLINGTON, NZ CATALOGUE ESSAY, CADRAN SMART GALLERY, CHRISTCHURCH, _1994 LOCALITIES OF DESIRE, FLY 2001 -2002 SOLAIRE, MO£r & CHANDON NZ _1999 AMPERZAND . JENSEN MUSEUM OF CONTEMPORARY ART, 5 COMPONENTS, PAINTED FOUNDATION, FRANCE, 1990 GALLERY, AUCKLAND, NZ SYDNEY,! AUSTRALIA _1993 EXPANDER FOAM, SPONGE _1998 MATERIAL EVIDENCE: MEDIATRIX LOVE PHILTRES. JOHN HURRELL, TEACHING AND FAKE FUR 1 00 - HEADLESS WOMAN (WITH CURATOR! PRISCILLA PITTS, AIDS: J .MORISONaFINA.CAN­ 3000 X 5400 MM MARTIN GRANT), ADELAIDE ARTSPACjE, AUCKLAND S TERBURY . AC . NZ . CATALOGUE >CIMAGE P 11 23 FESTIVAL, AUSTRALIA _1997 g o v e t t -Or e w s t e r GALLERY, ESSAY, WAIKATO MUSEUM OF STUTTERING. GOW LANGSFORD NEW PLYMOUTH, NZ _ 1 991 ART S HISTORY, 2002 CENTREFOLDS 2000 GALLERY, AUCKLAND, NZ _1995 HEADLANDS. MCA, SYDNEY, 'DRAGONS BLOOD', WATER­ , PRIVACY: END TO BEGIN. JONATHAN SMART AUSTRALIA; THE BOUNDARY COLOUR, CHARCOAL, PASTEL JULIA MORISON. CATALOGUE GALLERY, CHRISTCHURCH, NZ; RIDER/ PIENNALE QF SYDNEY, AND INK ON BIBLE PAPER ESSAY, JONATHAN JENSEN 1 .mOnOchrOmes (FIRST SYDNEY,! AUSTRALIA _1989 SUITE OF 32 FRAMED WORKS, GALLERY, 1993 INSTALLATION), NEW GALLERY, CANTERBURY BELLAS, 320 X 360 MM EACH AUCKLAND, NZ _1993 CODEX. QUIDDITIES. MCDOUGALL ROBERT LEONARD AND STUART THERE'S TOO MUCH JUICE IN JONATHAN JENSEN GALLERY, GALLERY;, CHRISTCHURCH, NZ MCKENZIE, PECAN. CATALOGUE YOU YET FOR TRUTH 1997/ CHRISTCHURCH, NZ _1 991 _1988 SEX & SIGN. CURATOR ESSAY, TUSCAN PRESS, 1989 2001 -2001 AMALGAME. CADRAN SOLAIRE, WYSTAN jCURNOW, ARTSPACE, LAMBDA DIGITAL PRINT ON TROYES, FRANCE AUCKLAND S GOVETT-BREWSTER, ROBERT LEONARD, EXHIBITS. METALLIC PAPER, EDITION NEW PLYMOUTH, NZ; EXHIBITS. ARTSPACE & NATIONAL ART OF 10 CURATEDl BY ROBERT LEONARD, GALLERY, 1988 1320 X 920 MM ARTSPACE, AUCKLAND & STUART MCKENZIE, 'A WORD NATIONAL ART GALLERY, ON DUMBNESS IN THE THICK >CIMAGE P 1113 WELLINGTON, NZ _1987 OF SPEECH', NOW. SEE HEAR. ALL WORKS COLLECTION OF THE ARTIST LIMITED; ?EDITIQN: NEW VICTORIA UNIVERSITY PRESS FOR WELLINGTON CITY ART CURATOR ROBERT LEONARD, GALLERY, 1990 PERTH, AUSTRALIA ALLAN SMITH 8 ANNA SMITH, MATERIAL EVIPENQE: 1 QQ- HEADLESS WOMAN. CATALOGUE ESSAY, WELLINGTON CITY GALLERY AND GOVETT-BREWSTER GALLERY, 1998

EVAN WEBB, 'JULIA MORISON: ART AS THE HISTORY OF ONE­ SELF', ART NEW ZEALAND. NO. 39, 1986, PP 44-47

GLORIA ZALENKA, 'LOVE PHILTRES AND MELTING MOMENTS', MEDIATRIX. ARTSPACE, AUCKLAND, 1993 CALLUM MORTON 4 DON' YOU DAR TOU H ME'

Callum Morton was born the day Le In this case, the Farnsworth Flouse from George Bataille and Luce Irigaray. Corbusier died. You may also read that designed by Mies van der Rohe in 1945 is On the one hand, she proposes that which Morton briefly studied architecture before animated with strange sounds and lights exceeds proper or good taste, 'for Bataille, dropping out and studying art. Or that his such that what goes on inside spills out dirt, disorder, contagion, expenditure, filth, father was an architect. All of these things into the space outside. In fact it appears immoderation and - above all - shit', and are helpful in understanding the artist's in Morton's work on several occasions, on the other a 'maternal-feminine ground', critical relationship to architecture: as not as a well-preserved icon of Modernist as it turns out, the very concept of space, an Oedipal drama; as an avant-garde design, but with the addition of sound which is systematised and divided up in succession; and as a generation gap. and lights, as the incidental site of sub­ architectural discourse and practice. The urban drama and mayhem. In one model, excess is then both the precondition for For the past decade Callum Morton has a wild party rages within, ending with gun­ the imposition of order or cleanliness, been building architectural models and shots and screams, possibly a murder. In and that which is intolerable to it.’ fragments that set familiar forms from another model, the house is duplicated architectural history against their original, To put it another simpler way, Edith and arranged to form a compound or oftdn idealised, purpose. The ideal world Farnsworth had to keep her garbage in court, wherein we can see and hear the composed by architects is filled with a closet down the hall for twenty years occupants of one house watching a horror grisly ends and grimy details: death, until she sold the house in 1975, because movie on television, while others are S&M, conflict, loss, annulment. Thus of Mies's strict edict on transparency, throwing a party while their neighbours Morton renders an alternative, corrupted which included windows even beneath are getting burgled. In a digital print the architectural history, and the pristine, the sink: 'You can see the whole “kitchen" house has become a 7-Eleven and the empty, quasi-sacred spaces of the from the road,' Edith complained. And so surrounding grassland an asphalt carpark. world's renowned buildings are filled to while critics describe the house in terms In all of these works, the house becomes bursting with all sorts of profane events, of floating, planar forms, set amongst a stage or proscenium for various events which suggests an underside to the the gorgeousness of a grassy meadow set within and against it. annals or canon, perhaps even an on the bank of the Fox River in Illinois, unconscious: the return of what has Writing about architecture 'from the out­ Edith writes in her memoirs of feeling been repressed in any merely formal side', Elizabeth Grosz accounts for this more like 'a prowling animal' kept within a account of developments. 'excess' in theoretical terms borrowed glass cage for all to see.2 For Mies didn't declare the interior of the building to his client until it was built, and she never asked about it. His pencil sketches refused much detail and opaque panels were used of archive’].* As Grosz argues, 'femininity' in the model to indicate glass. Even after is repeatedly revealed as 'that which the viewing the model at New York's Museum architectural cannot contain within its own of Modern Art in 1947, Edith Farnsworth drives to orderliness and systematicity'.5 wrote how happy she was to be involved in a project 'that might well become the But conflicts in these models are also prototype of new and important elements generic. Although distilled from real of American architecture'.3 events, they clearly refer to all our lives, 1. ELIZABETH GROSZ, 'ARCHITECTURES OF since we all fall in and out of love, we EXCESS' IN ARCHITECTURE FROM THE But by 1951, she felt a 'dupe' and 'victim' OUTSIDE. MIT PRESS, MASSACHUSETTS, all have fights and break up, crimes of 2001, P 153 of the architect, and rumours of her passion are commonplace. In this sense, 2. QUOTED IN JOSEPH A BARRY, romance with Mies quickly dissipated in 'REPORT ON THE AMERICAN BATTLE the events are typical. And it's no surprise a lawsuit over costs and an open brawl BETWEEN GOOD AND BAD MODERN either that outrage and bitterness, dis­ HOUSES' IN HOUSE BEAUTIFUL NO. 95, in the press. In Morton's model, International MAY 1953, P 270 appointment and intolerance, illness and Style 1999, we can hear a woman's plaintive 3. EDITH FARNSWORTH, ’MEMOIRS', sadness, the whole gamut of motley abject voice: 'D o n ’t you dare touch me!' she UNPUBLISHED MANUSCRIPT IN THREE emotions arise from within architecture, NOTEBOOKS, FARNSWORTH COLLECTION, screams, before firing off five rounds. NEWBERRY LIBRARY, CHICAGO, CH.11, and typically in the act of habitation. After NP. EXCERPTS PUBLISHED IN ALICE It’s evidently a specific reference to the T. FRIEDMAN, 'PEOPLE WHO LIVE IN all, that 'monstrous excess' which Grosz client/architect relationship, kept in the GLASS HOUSES' IN WOMEN AND THE reckons 'defies the functionalism, the margins of the official or architect's story ABRAMS, NEW YORK, PP128-159 minimalism, the drive to economy and of the House, and only subsequently 4. BEATRIZ COLOMINA, PUBLICITY AND simplicity', and 'overflows that thin revealed in expositions undertaken by PRIVACY; MOPERN ARCHITECTURE ANP membrane separating the inside from the MASS MEDIA. MIT PRESS, MASSACHUSETTS, critical, and feminist, historians like Alice T. 1996, P 9 outside', might be life (and death] itself.4 Friedman or Beatriz Colomina (dabbling 5. GROSZ, OP.CIT., P 156 in what Colomina calls 'the messy space STUART KOOP 6. IBID., PP 165 & 162 CALLUM MORTON Born Montreal, Canada, 1965. Lives and works in Melbourne, Australia.

SELECTE GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY

2003 £,OME IN; INTERIOR JULIANA ENGBERG, IH£ DESIGN AS A CONTEMPORARY HEIMLICH UNHEIMIIQH, MELBOURNE VISUAL ARTS GOVETT-l REWSTER ART GALLERY, FESTIVAL PROGRAM, 2002 NEW PLY MOUTH. NZ: FACE UP: STUART KOOP, 'CALLUM MORTON: CONTEMP DRARY ART FROM MORE TALK ABOUT BUILDINGS AUSTRAL LA, CURATOR DR AND MOOD', ART MATTER: SELECTED SOLO EXHIBITIONS BRITTA SCHMITZ, NATIONAL- CHECKLIST MUSEUM OF CONTEMPORARY GALERIE IM HAMBURGER _2003 MORE TALK ABOUT ART MEMBERS' NEWSLETTER, INTERNATIONAL STYLE 1999 BAHNHOF F, BERLIN, GERMANY; BUILDINGS AND MOOD. MUSEUM SYDNEY, 2003 1:10 SCALE VERSION SALON DES REFUSES. OF CONTEMPORARY ART, SYDNEY PERSPEX, BRASS, ACRYLIC PROGETT I DI PUBLIC ART STUART KOOP, GUI LIVE,R,'_£ AND TOURING; HABITAT. THE PAINT, VINYL, LIGHTS AND MAI REA LIZZATI, CURATOR TRAVELS. CAST, HOBART, 2002 IAN POTTER CENTRE, NATIONAL SOUND ROBERTO PINTO, FONDAZIONE GALLERY OF VICTORIA, STUART KOOP, 'INTERNATIONAL 3120 X 1759 X 520 MM BEVI LAC< IUA LA MASA, VENICE, MELBOURNE, AUSTRALIA _2002 STYLE', MONUMENT. 41, 2001 ITALY _ 2002 FIELDWORK: >[IMAGE P 11 53 GAS AND FUEL. ANNA SCHWARTZ AUSTRAL IAN ART 1968-2002. GALLERY, MELBOURNE, HOLLY MYERS, 'AN INTIMATE COURTESY OF THE ARTIST AND ROSLYN THE IAN POTTER CENTRE, TRIP TO DREAMLAND', LA TIMES. 0XLEY9 GALLERY, SYDNEY AUSTRALIA; THE BIG SLEEP, NATIONA GALLERY OF 5 FEBRUARY 2002 KARYN LOVEGROVE GALLERY, IMAGE COURTESY OF THE ARTIST AND VICTORI A, MELBOURNE, LOS ANGELES, USA _2000 ANNA SCHWARTZ GALLERY, MELBOURNE AUSTRAL IA; PEQPIE PLACE? DANIEL PALMER, 'CALLUM MALICE IN, PtiUNPER.LA.ND., AND IDE/»£, MONASH UNIVERSITY MORTON', FRIEZE. NO. 72, FARN?HAVEN, ILLINOIS 2001 GALLERI TOMMY LUND, MUSEUM OF ART, MELBOURNE, JANUARY-FEBRUARY, 2003 FROM THE SERIES LOCAL + / COPENHAGEN, DENMARK _1999 AUSTRAL IA; THE HEIMLICH QR GENERAL INTERNATIONAL STYLE, SANTA STEPHANIE RADOK, THE UNHEIML1 pH. CURATOR JULIANA DIGITAL PRINT MONICA MUSEUM OF ART, LOS POINT OF KNOWING. SAMSTAG ENGBERG , RMIT UNIVERSITY 594 X 850 MM (IMAGE SIZE) ANGELES, USA _1997 SOMETHING SCHOLARSHIP CATALOGUE, 2003 GALLERY MELBOURNE, EDITION OF 30 MORE . TESTSTRIP, AUSTRAL IA; GULLIVER'S JASON SMITH, 'HABITAT', AUCKLAND, NZ; NOW AND >[IMAGE P116D TRAVELS TRAVELLING IAN POTTER CENTRE, NATIONAL THEN. GOVETT-BREWSTER ART EXHIBIT ION INITIATED BY GALLERY OF VICTORIA, IMAGE COURTESY OF THE ARTIST AND GALLERY, NEW PLYMOUTH, NZ; CAST GA .LERY, HOBART IN MELBOURNE, AUSTRALIA, 2003 ANNA SCHWARTZ GALLERY, MELBOURNE, STRIP. KARYN LOVEGROVE ROSLYN 0XLEY9 GALLERY, SYDNEY, GIMPEL CONJUNC ION WITH AUSTRALIAN GALLERY, MELBOURNE, JASON SMITH & CHARLES FILS, LONDON, KARYN LOVEGROVE CENTRE FOR CONTEMPORARY AUSTRALIA _1996 BEEN THERE. GREEN, FIELDWORK: AUSTRALIAN GALLERY, LOS ANGELES ART, VE NUES INCLUDE MONASH ARTSPACE, SYDNEY, AUSTRALIA ART 1968-2 QO 2. IAN POTTER UNIVERS ITY MUSEUM OF ART, INTERNATIONAL STYLE _199 5 THE HEIGHTS. KARYN CENTRE, NATIONAL GALLERY MELBOUR NE; IVAN DOUGHERTY COMPOUND 2000 LOVEGROVE GALLERY, MELBOURNE, OF VICTORIA, MELBOURNE, GALLERY SYDNEY, AUSTRALIA; INSTALLATION VIEW, MUSEUM AUSTRALIA AUSTRALIA, 2003 tEET. ART GALLERY OF OF CONTEMPORARY ART, SYDNEY

NEW SOU TH WALES, SYDNEY, WAYNE TUNNICLIFFE, BITTER­ >CIMAGE P1173 AUSTRAL [A; THE ARMORY SHOW. SWEET . ART GALLERY OF GIMPEL FILS, NEW YORK, USA; NEW SOUTH WALES, SYDNEY, IMAGE COURTESY OF THE ARTIST AND MUSEUM OF CONTEMPORARY ART, SYDNEY ROSLYN 0XLEY9 GALLERY-THE AUSTRALIA 2002 PHOTOGRAPHY: GREG WEIGHT FIRST 20 YEARS, ROSLYN 0XLEY9 GALLERY, SYDNEY, AUSTRALIA FIONA PARDINGToP HE MOTEATEA

starts to sweat and begins to cry. She concentrates on her breathing. On the filling and voiding of her body. On the urgent pursuit of a sustaining calm. And as the many tiny woundings of the needles advance her into pain, she focuses When it starts it feels like being a cut by on a dead space just in front of her eyes, a knife with a blade honed so sharp that just beyond her breath. A dead space she she isn't conscious of the injury. Prone, fills with hurt, with loss, with longing, she's increasingly aware of the incisions, with strength. A space that comes alive The words etched out by this exquisite of the delicate tracery of ink that is being within and before her. A space in which wounding change her, confirm her, laid across her back but there is yet no she reassembles her self. define her, mark her. Whenever she pain. She gathers herself in anticipation Later, the welts rise on her back and the sings this lament she will sing her own of the hurt that will surely come. She words ache to be part of her. The flush of body. Whenever another might recite tries to let the tension leach from her the skin, a violent blushing, a cruel but these words it is her and the many body, to ease herself into a place of certain arousal spreads out from the small women she echoes whom they are calling calmness from whence the pain will of her back. The sm all of her back; that forth. She will wear the words until her merely shadow what she actually feels. quiet, gentle place where he used to hold death and wear them in certain victory In this half-place of waiting and restraint, her fast or another used to rest his head over it. Triumph because in rising to meet of heightened awareness of the rhythms or where she herself used to lean into a death's stinging breath she refuses any of her being, the high-pitched echo in her languorous arc to ease her discomfort or other's power over her, overcomes it, ears fuses with the buzz of the needle; stretch and arch to meet him. And while obliterates it and is, once more, herself. fuses and fills the studio. This is where she the words still weep, sticky to the touch She wears the many m arks of her body has placed herself. This is where she is. with ink and blood, they call to her the with pride, with ambivalence, with the As the outlines of letters are stained into failings of her body and the promises of prick of memory or expectation. The scars, the skin and as they progress down to the her flesh. She's been here before. Been the stretch-marks, the pains of betrayals, rise of her buttocks and across to the dip here before and knows that the swelling the pleasures of loves, the raw joy of child- of her spine, the anxiety and sensation of will subside, the marks will crust over. births, the constant speech of moko. In hurt mounts. There is pain now; pain She knows that as the fresh wounds heal the Underworld she will be known only that rides her bones, that sears the soft the ridges of her new skin will strain to by these marks. She is the source of her flesh of her loin. She concentrates on her meet the tips of a caress, of a lazy grazing own power. She is. breathing. As the letters are filled-in with stroke, of her own confirmation to her­ black and more blood is wiped away she self that she is. PETER SHAND

FIONA PARDINGTON Born Devonport, Auckland, Aotearoa New Zealand, 1961. Kai Tahu, Kati Mamoe, Kati Waewae, Clan Cameron. Lives and works in Auckland, Aotearoa New Zealand.

SELECTED SOLO EXHIBITIONS SELECTED GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY CONTINUED _2003 REVELATION/WHAKA- GREGORY BURKE, 'AN INDE­ KITENGA. JONATHAN SMART _2001 PpRANQlAUQl.--SELIM TERMINATE SURFACE', AND GALLERY, CHRISTCHURCH AND CLEARLY. AUCKLAND ART GALLERY PRISCILLA PITTS, MCNAMARA GALLERY, WANGANUI, TOI 0 TAMAKI, AUCKLAND, NZ; 'EXCHANGING LOOKS: ASPECTS NZ; TE TOHUA/TE ORQNGONUI. OF GENDER AND REPRESENTA­ BARTLEY NEES GALLERY, COLLECTION. SARJEANT TION IN CONTEMPORARY PHO­ WELLINGTON, NZ _2002 MAURI A GALLERY WANGANUI, NZ; AU TOGRAPHY', IMPOSING MAI/TONO ANO. JONATHAN SMART KAHA KI KAHA: STRENGTHENING NARRATIVES: BEYOND THE GALLERY, CHRISTCHURCH AND THE BINDINGS OF THE EARTH. DOCUMENTARY, IN..RECENT .M M SNOWHITE GALLERY, UNITEC, OF THE PEOPLE. OF THE SOUL. ZEALAND PHOTQQgAPHY, AUCKLAND, NZ _2001 ONE DUNEDIN PUBLIC ART GALLERY, WELLINGTON CITY ART NIGHT OF LOVE. WAIKATO DUNEDIN . NZ; RUKUTIA! GALLERY, WELLINGTON, MUSEUM OF ART & HISTORY, RUKUTIA ! SOUTHERN MAORI NEW ZEALAND, 1990, PP7-21 HAMILTON, NZ _1996 THERE ' S ART. TE WAIPOUNAMU HOUSE, GREGORY BURKE, 'CULTURAL NQ RIQHT WAY TQ DQ jjfc WP.QN.S, CHRISTCHURCH. NZ; 20 KEY SAFETY', CULTURAL SAFETY. SUE CROCKFORD GALLERY, WORKS FROM THE PARIS FAMILY CONTEMPORARY ART FROM NEW CHECKLIST AUCKLAND, NZ _1995 .ON. GOVETT-BREWSTER ZEALAND. FRANKFURTER UNPROTECTED, JENSEN ART GAL LERY, NEW PLYMOUTH, PUHI WAHINE/RERE KUNSTVEREIN/CITY GALLERY, GALLERY, WELLINGTON AND NZ _200 0 HAgMi.Ei, H m E ! TORQHAi/A.E: I.-.V 2004 WELLINGTON, TE WHARE TOI, JONATHAN SMART GALLERY, t a i k i ■ A NGAI TAHU (NOBLE WOMAN/RISING FROM 1995 CHRISTCHURCH, NZ _1993 VISUAL. jfrRIS EXHIEJTtQN, UNDERNEATH/YEl 2004) TAINTED LOVE. SUE CROCKFORD THE ANNEX, ROBERT MCDOUGALL CHRISTIAN HUTHER, VIDEO INSTALLATION, 5 LCD GALLERY, AUCKLAND AND ART GALLERY, CHRISTCHURCH, 'CULTURAL SAFETY/ACTUELLE SCREENS, DIMENSIONS VARIABLE JONATHAN SMART GALLERY, NZ _1999 TINO RAKATIRATAKA KUNST AUS NEUSEELAND' THE ARTIST WOULD LIKE TO ACKNOWL­ CHRISTCHURCH, NZ; HIS VILE KAI TAHU. CHRISTCHURCH (KUNSTVERIEN, FRANKFURT EDGE THE SUPPORT AND GUIDANCE OF FANCY. JONATHAN JENSEN POLYTECHNIC, CHRISTCHURCH, AM MAIN), KUNST FORUM FRED RENATA IN THIS MAHI GALLERY, CHRISTCHURCH, NZ; NZ; ?HAAP ANP SHINY; INTERNA.UP .NAk, NO. 131, RISING TO THE BLQW, SUE FETISHISM IN CONTEMPORARY AUGUST-OCTOBER 1995, PP 378-9 TE HORO: I-V 2004 CROCKFORD GALLERY, AUCKLAND, NEW ZEALAND ART, GOVETT- GIOVANNI INTRA, 'A CASE NZ _1990 THE -JOURNEY QF THE BREWSTEjR a r t g a l l e r y , new I AWHERO/HOPE: SENSUALIST . SUE CROCKFORD PLYMOUTH, NZ _1995 HISTORY: TAINTED LOVE', II t q a /q e y o n d ; EXHIBITION CATALOGUE, MILK GALLERY, AUCKLAND, NZ _1989 CULTURAL s a f e t y , a k t u e l l e III PUKETAPU/HOLY MOUNTAIN; POWDER PRESS, AUCKLAND NIGHT OF THE SENSES. SUE KUNST AMS N^US.e e l a n d , IV PAHORO/CAPTURE: CROCKFORD GALLERY, AUCKLAND FRANKFURTER KUNSTVEREIN ANNE KIRKER, 'FLIPPING THE V MO AKE TONU/ETERNITY AND SOUTHERN CROSS GALLERY, AND THE! LUDWIG FORUM, COIN: FIONA PARDINGTON'S PLATINUM PRINTS WELLINGTON, NZ AACHEN, |GERMANY _1994 TE PHOTO-CONSTRUCTIONS', ART 203 X 254 MM EACH HONO 0 INGA MOTU RUA/THE NEW ZEALAND, NO. 48, THE ARTIST WOULD LIKE TO ACKNOWL­ SELECTED GROUP EXHIBITIONS j o i n i n g ;of the t w q i s l a n d s , AUCKLAND, NEW ZEALAND, EDGE THE SUPPORT AND GUIDANCE OF TE TAUMAtA GALLERY, AUCKLAND, SPRING 1988, PP 47-49 HARUHIKO SAMESHIMA AND MARK ADAMS _2003 PRESSING FLESH: SKIN. NZ; ONE; HUNDRED AND FIFTY IN THIS MAHI TOUCH. INTIMACY. AUCKLAND WAYS OF LOVING. ARTSPACE, ELIZABETH KNOX, 'FIONA ART GALLERY TOI 0 TAMAKI, AUCKLAND, NZ; STATION TO PARDINGTON', PLEASURES AND >[IMAGES PUHI WAHINE 2003 P119, AUCKLAND, NZ; TE PUAWAI 0 STATIONj: THE WAY OF THE DANGERS. TRISH CLARK AND P 1213 NGAI TAHU. CHRISTCHURCH WYSTAN CURNOW (EDS), CROSS. AUCKLAND CITY ART THE ARTIST WOULD LIKE TO ACKNOWL­ ART GALLERY, CHRISTCHURCH, GALLERY; AUCKLAND, NZ LONGMAN PAUL AND MOfT 8 EDGE AND THANK NEIL PARDINGTON AND NZ _2002 SLOW RELEASE: _1993 ALTER/IMAGE: FEMINISM CHANDON NEW ZEALAND ART RANGITUNOA BLACK RECENT PHOTOGRAPHY FROM AND REPRESENTATION IN NEW FOUNDATION, 1991, PP2-13 NEW ZEALAND. HEIDE MUSEUM z e a l a n d I a r t - . 1973 1993 GWYNNETH PORTER, 'BLACK OF MODERN ART, MELBOURNE, CITY GALLERY, WELLINGTON AND WHITE AND DEAD ALL AUSTRALIA AND ADAM AND AUCKLAND CITY ART OVER', MIDWEST. NO. 9, GALLERY, VICTORIA GALLERY], AUCKLAND, NZ; 1996, PP 22-27 UNIVERSITY, WELLINGTON, SUFFER:! SUFFERING IN THE NZ; PROSPECT 2001: NEW ART U l M l L E i , TESTSTRIP ALLAN SMITH, 'ROMANTICIST NEW ZEALAND. CITY GALLERY, GALLERY, AUCKLAND AND AND SYMBOLIST TENDENCIES WELLINGTON, NZ HAMISH HCKAY GALLERY, IN RECENT NEW ZEALAND WELLINGTON, NZ _1992 PHOTOGRAPHY', ART NEW IflJPLICAtl D. AND IMMUNE,: ZEALAND. NO. 64, AUCKLAND, ARTISTS! RESPOND TO HIV/AIDS NEW ZEALAND, SPRING 1992, CRISIS. FISHER GALLERY, P 80 AUCKLANlf, NZ _1990 NOW SEE REBECCA TANSLEY, 'FAMILY HEARHEAR! A RT, LAN5UAQE AND TIES, PORTRAIT OF THE TRANSLATION. WELLINGTON ARTISTS', NORTH AND SOUTH. CITY ART GALLERY, FEBRUARY 2000, P P 24-25 WELLINGfON, NZ; CONSTRUCTED INTIMACIES. MOET & CHANDON PAUL THOMPSON, NEW NEW ZEALAND ART FOUNDATION ZEALAND,, A. CENTURY O F TOURING; EXHIBITION IMAGES. TE PAPA PRESS, _1989 IMPOSING NARRATIVES: WELLINGTON, 1998, PP162 BEYOND THE DQQUMENTARY IN RECENT NEW ZEALAND PHOTO­ GRAPHY. WELLINGTON CITY ART GALLERY, WELLINGTON, NZ NEIL PARDINGTON BAC THER DIFFER ENTLY

INTERVIE WITE NE L PARDINGTON ‘beautiful E like the chance meeting of an umbrella and a sewing machine on a dissecting table!’

- LAUTREAMONT

WHEN WE WALKED INTO THAT ABANDONED there's a strangeness about these spaces, ASYLUM WITH PILL BOTTLES SCATTERED ROUND AND THE BLACK RUBBER GAS MASKS, I the operating and post-mortem FELT A PROFOUND SENSE OF DISLOCATION, rooms and the cold room, as they call it, CULTURE SHOCK. where they store the cadavers. That's right. And that idea of crossing YOUR PHOTOS OF EMPTY SPACE HAVE In a way, it's like when you go into a GENERALLY BEEN EXTERIORS, BUT NOW cultures is important to me. What drew church or onto a marae you have a sense YOU'RE TURNING YOUR CAMERA INSIDE AND me to make the photograph of the chair ON INSTITUTIONS. was the kowhaiwhai pattern, and then as of respect and I suppose a heightened I've always liked the idea of space and I looked around I noticed that a high awareness and I think equally a feeling emptiness. But the photo I took at the percentage of the names left on the cell of uncertainty. For me, with the hospital disused psychiatric hospital in Porirua, doors were Maori. But sometimes it's rooms, I'm conscious of the people who wheh we were scouting locations for our more unconscious than conscious. I just have passed through. I mean, you look at film For Good, also sparked off a specific see an image, a vivid detail, which I don't those benches and you think well that's concern about the relationship between necessarily have my head round fully at the where people are cut up. They've got the individual and institutions. I took a time, and I take the shot. And I think that's drainage systems for the body fluids to photo in an empty room of an empty what photography is like. I mean, it’s a risky drain out very tidily. Pipes coming out. chair with kowhaiwhai patterns etched business making images about material It's very practical. And of course, when into the arm with black pen. At the time it you sometimes don't fully understand. you're there, you have people walking struck me as a cry for help. I mean, the space itself was so desolate, you could BUT MAY GET SOME UNDERSTANDING THROUGH round doing their jobs, making jokes, THE ENGAGEMENT ITSELF. never imagine being in that space and leading their day to day lives and it seems actually recovering from whatever ailment In The clinic, the series I'm working on now, very matter-of-fact. But then you look at you were suffering from. It seemed to they're spaces people don’t normally get the lights which form a cross above the me it was a space that would create the to go into. Well, if you do you're either dissecting tables - clearly that's to give conditions! unconscious or you're dead. So I think them enough light to see, but... THEY COULD HAVE HAD A CIRCLE! process. I like that sense of looking in, CAN YOU SAY WHAT THAT IDEA IS?

Yeah, it's a cross of tights! Incredibly sym ­ slightly dreamy. A sense of strangeness perhaps. I think bolic. And you discover these powerful when photographers are looking for a HOVERING ON THE BRINK? symbols in something that is so utterly subject that's often what they're looking I think I want that point of tension functional. for. You know, just suddenly, at the air­ between being inside and outside. port or in a hospital or any given space This is a place where bodies are something jumps out as being uncanny I guess it's that voyeuristic imperative to dissected, where people are cut open or strange. In the end, you've only got keep the tension alive between watching to find out why they died. So, there's an reality to work with as a photographer, and participating. incredible presence in these spaces and you're not creating anything, you're the idea is that somehow that is captured I think some photographers want to fix interpreting something, you're framing in the images, giving an insight into the moment, record something for pos­ and gazing - and when reality becomes another world. terity because it's about to disappear. I strange I think that's when it can become very engaging for people. I like the sense of voyeurism they suggest. mean, I don't think does, Critics can decry voyeurism as exploitation, but I think Lawrence Aberhart does for I see that in these photos: dreamy and but equally it can be a sign of empathy, of example. I mean, he's wonderful at it. real, engaged and detached, public and taking time to see. And it's in his titles, because he puts a private, inside and out.

In this series I've decided to go back to place and a date in the title. That's what Those are the kind of spaces I'm looking using a four-by-five view camera, which is they're about: this place, this time, gone. for. There's an other-worldliness about much slower to use than smaller formats. I purposely don't put a place or a date in them and it is like stepping into a different You've got to work with a tripod and you my titles because I don't want them to be culture, but they're actually very much part of our everyday culture and can return expose one sheet of film at a time, so read that way. I want them to be an idea us back there differently. you're very much making single images. more than a record. So I just call it And so it's a much more of a meditative Operating Theatre, o r Post-mortem Room. 5TUART MCKENZIE NEIL PARDINGTON Born Devonport, Auckland, Aotearoa New Zealand, 1962. Kai Tahu, Kati Mamoe, Kati Waewae, Clan Cameron. Lives and works in Wellington, Aotearoa New Zealand.

He moves quite freely between photography, film and design. His early work with City Group often involved all three disciplines, but later he moved to film- making to focus on narrative, collaborating with Stuart McKenzie and Miranda Harcourt, his partners in MAP Film Productions. Highlights for MAP have been

the official selection of the short drama The D i g at Cannes in 1994-, and the feature

ForGood screening in competition at Montreal in 2003. He is director of Eyework Design which has been involved with exhibitions and publications for museums and galleries throughout New Zealand.

SELECTED SOLO EXHIBITIONS

_2003 HIKOI. JONATHAN SMART GALLERY, CHRISTCHURCH, NZ; VACATION. BARTLEY NEES GALLERY, WELLINGTON, NZ _2001 SKYLIGHT. SARJEANT GALLERY, WANGANUI, NZ AND JONATHAN SMART GALLERY, CHRISTCHURCH, NZ _2000 SELECTED GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY CHECKLIST ELSEWHERE, CITY GALLERY, .2002 WAIKATO ART AWARDS. MARK AMERY, 'A SWEET FRINGE POST-MORTEM ROOM tt 1 2003 WELLINGTON, NZ AND JONATHAN WAIKATO MUSEUM OF ART & SURPRISE', EVENING POST. FROM THE SERIES THE CLINIC SMART GALLERY, CHRISTCHURCH, HISTORY, HAMILTON, NZ; THE WELLINGTON, 1998 COLOUR PHOTOGRAPH NZ _1989 SOMETHING $Tit R? CARAVAN MCNAMARA GALLERY, 1800 X 2200 MM in th e h e a r t qf t h e cm , BARBARA BLAKE, 'SCENES WANGANUI, NZ AND PATAKA ARTSPACE, AUCKLAND, NZ FROM REAL AND IMAGINARY >[ IMAGE P124D MUSEUM OF ARTS 8 CULTURES, _1987 NEW HISTORIES FOR LIVES', SCENES FROM REAL PORIRUA, NZ; TE PUAWAI 0 OPERATING THEATRE ft 1 2003 SECONDARY CITIES. 33 1/3 AND IMAGINARY LIVES. CITY NGAl Ta (C IMAGE P125J of art And h i s t o r y , Ham il t o n , V.03.01. WELLINGTON, 2001, NZ _200i WAIKATO ART AWARD?, PP 79-88 >CIMAGE TE WHARE 0 RANGIQBA (CHAIR). 2002 P123D WAIKATO MUSEUM OF ART AND HISTORY; HAMILTON, NZ _1999 MARGARET DUNCAN, 'STORY WORK AND IMAGES COURTESY OF THE TIME', CHRISTCHURCH PRESS. 1999 v i $a /wa ll a c e ART AWARD, ARTIST CITY GALLERY, WELLINGTON, CHRISTCHURCH, 2003 NZ _1998 MEDIA(TION): NEW FELICITY MILBURN, 'NEIL ZEALAND;photographies , blair PARDINGTON', TE PUAWAI 0 WAKEFIEj-D EXHIBITIONS, NGAI TAHU. CHRISTCHURCH WELLINGTON, NZ; 1998 VISA ART GALLERY TE PUNA 0 ART AW/|RD. CITY GALLERY, WAIWHETU, CHRISTCHURCH, WELLINGTON, NZ _1992 SCENES 2003, PP 68-69 FROM REAL ANP IMAGINARY LIVES. CITY GALLERY, DOROTHEE PAUL, WELLINGTON, NZ _1990 'PARDINGTONS PAIRED', UNITED RANKING GROUP/ CHRISTCHURCH PRE$?, SARJEANT Q A U E R Y PHQTO- CHRISTCHURCH, 2001 GRAPHIC AWARD. SARJEANT LARA STRONGMAN, 'ELSEWHERE', GALLERY;, WANGANUI, NZ ELSEWHERE: PHQTQGRAPHS BY _1989 ART TOO. NATIONAL NEIL PARDINGTON. EYEWORK, LIBRARY GALLERY, WELLINGTON, WELLINGTON, 2000, PP5-10 NZ _1987 LOCAL ANXIETIES' 33 1/3 GALLERY, WELLINGTON, VIRGINIA WERE, 'ELSEWHERE: NZ; NEW, FILMS/NEW ZEALAND. PHOTOGRAPHS BY NEIL IMAGE FORUM, TOKYO, JAPAN PARDINGTON', ART NEW _1 986 CONTENT/CONTEXT. ZEALAND. AUCKLAND, 2000, NATIONAL ART GALLERY, PP 71-73 WELLINGTON, NZ; AUCKLAND/ CHRISTINE WHYBREW, 'LEVELS OF VISION', CHRISTCHURCH GALLERY, HALIFAX, CANADA PRESS. CHRISTCHURCH, 2001 _1985 ANZART '85. AUCKLAND CITY ART GALLERY, AUCKLAND, NZ

THE PROM ENADERS

One of Lewis Carroll's most brilliant ingenuities in his second Alice book was to employ the device of a looking-glass as the portal into her imaginary world. Unlike the rabbit hole in Alice’s Adventures in Wonderland, which is dark, concealing and unfathomably deep (taking Alice a good deal of time to tumble down it), the looking-glass reveals an immediate and clear vision of a world back-to-front. The only things hidden from her view are the Looking-glass House fireplace, which is too far below the frame of the glass for her to catch a glimpse of it, and the rest of Looking-glass House, beyond the drawing-room and passage reflected. The possibility that these may be quite different from what she is used to (as are the words in the books of Looking-glass House, which she already knows 'go the wrong way'] is what entices Alice to mount the chimney-piece and magically enter again go the right and readable way. It is the looking-glass. a 'true' reflection. The dissymmetries of your face may seem more pronounced The sense of a tangible, if inaccessible from this uncommon view. It is however space within a reflected image redoubles impossible to avoid your own image, when two mirrors are abutted perpendi­ locked as it is by the seam that joins the cular to each other (especially along a two mirrors: the nexus of incidence and vertical axis]. Keeping the surface of reflection. It turns to the left when you both mirrors in view, each reflects back turn right, and vice versa, seeming to along the angle of incidence of the other; depart, but always following you around the reflection of a reflection, correcting the room. the image reversal a single mirror reflection engenders. Words thus reflected ROBERT PULIE

ROBERT PULIE Born Sydney, Australia, 1969. Lives and works in Sydney, Australia.

SELECTED SOLO EXHIBITIONS SELECTED BIBLIOGRAPHY CHECKLIST

_2004 MORI GALLERY, LIBBY COOK, MATTHEW DUX, THE PROMENAPE.BS 2003 -2004 SYDNEY, AUSTRALIA _2002 ANTHONY EVERNDEN, ANN-MARIE INSTALLATION, FOUND GLASS $TRgQ$lE FQR LQVE, BLOCK, MAY, 'ROBERT PULIE, JOHN MIRRORS, FRAMES AND STEEL SYDNEY, AUSTRALIA _2001 SPITERI, MARY TEAGUE, 1ST FRAMEWORKS WHERE YOUR EYES DON'T £Q. FLOOR MARCH 1999', ARTFAN. 2200 X 1300 X 1300 MM EACH BLOCK, SYDNEY, AUSTRALIA; NO. 9, HOT TUB, ST KILDA, COURTESY OF THE ARTIST AND MORI CRISS-CROSSING. 1ST FLOOR, MELBOURNE, AUTUMN 1999, P 44 GALLERY, SYDNEY MELBOURNE, AUSTRALIA _2000 D GROUP EXHIBITIONS ADAM GECZY, 'THE PAINT IS CRISS-CROSSING. MORI W Q.R KI N_Q...D_R A WI N $ $ F.p.B... Tjj£ _2004 £.anta $y THE PETROL', EYELINE. NO. 30, GALLERY, SYDNEY, AUSTRALIA PRQMENAPER? 2003-2004 BLOCK PROJECT. MICHAEL BRISBANE, AUTUMN/WINTER _1998 STANDING IN, MORI WATERCOLOUR ON PAPER, ft 1 -6 LETT GA LLERY, AUCKLAND NZ 1996, P 46 GALLERY, SYDNEY, 230 X 150 MM EACH _2003 A NITA 8 PEYPNP, AUSTRALIA _1997 VARIOUS BENJAMIN GENOCCHIO, 'UN­ PENRITH REGIONAL GALLERY, >CIMAGES PP 127-1303 t e x t PIECES, m o r i g a l l e r y , TAMED', ART & TEXT. NO. 58, PENRITH AUSTRALIA _2002 COURTESY OF THE ARTIST SYDNEY, AUSTRALIA; TURNING - SYDNEY, AUG.-OCT. 1997, 1 NT.Q.. TU I BLUE. MUMA (MONASH PHOTOGRAPHY: JOHN MCIVER ARQUND - AND - lQ0K1 M .- J.A£ * PP 29-31 UNIVERS ITY MUSEUM OF ART), COSTUME. CBD GALLERY, MELBOU RN E, AUSTRALIA SYDNEY, AUSTRALIA _1995 RICHARD GRAYSON, 'PLEASING _2001 OBJECTION. THE PHYSICS MONSIEUR BRETON', BROAD­ THE PAINT I ? THE .P.EIRflL, ROOM, C HRISTCHURCH, NZ; MORI GALLERY, SYDNEY, SHEET. VOL. 30, NO. 1 , SUNBURN ~ NEW ART F .RQM PARKSIDE, SOUTH AUSTRALIA, AUSTRALIA; A WALL-HOLE. SYDNEY. KAMPNAGEL K3, CBD GALLERY, SYDNEY, MARCH-MAY 2001, P19 HAMBURG, GERMANY _1999 AUSTRALIA _1994 TRANSPARENT JOYEUX NOEL. GALLERY CHIKA, JASON MARKOU, 'ROBERT PHOTO-FACADE. CBD GALLERY, TOKYO, JAPAN; PAPER. CURATOR PULIE', INTO THE BLUE, SYDNEY, AUSTRALIA MARIA CRUZ, GALLERY 132, MUMA, MELBOURNE, JUNE SYDNEY, AUSTRALIA _1998 2002, P P 6 - 7 SUPPORTS FOR EACH OTHER. ROBERT PULIE, 'PLEASE USE CBD GALLERY, SYDNEY, OTHER DOOR', EL A $ T K AUSTRALIA _1997 CHILD PRINTED PROJECT. SYDNEY, BRIDE. ARTSPACE, AUCKLAND, 2002/03, PP 112-114 NZ _1996 SEMBLANCE. CANBERRA CONTEMPORARY ART SPACE, ROBERT PULIE, ANITA 8 CANBERRA, AUSTRALIA; ROAD BEYOND (EXHIBITION CATA­ TO LOVE. SARAH COTTIER LOGUE), MARCH 2003, GALLERY, SYDNEY, AUSTRALIA PENRITH, PP 34-35

ANN STEPHEN, 'JACKSON POLLOCK FOR AUSTRALIA ONLY', AUSTRALIAN JOURNAL OF ART. VOL. XIV, NO. 2, CANBERRA, ACT, 1999, P17

EVE SULLIVAN, 'STANDING IN', LIKE. NO. 9, BEING. TIME . AUTUMN 1999, MELBOURNE, PP53-54 AND HE ASKED 'WHAT COLOUR IS YOUR SIN' THE WOMAN PONDERED AWHILE, TURNING THE THOUGHT AROUND IN HER MIND HERE WAS A QUESTION THAT APPEALED TO HER SENSES NOTED THAT THE NATURES OF HER SIN WERE CHANGEABLE FIRST SHE CONSIDERED THE COST, THEN WHETHER IT WAS A SILKY DELICIOUS SHADE OR MADE FROM MANY DRIBBLING COLOURS CINSIDE SHE BECOMES LIQUID VELVET} LISA REIHANA

VICE; IT WAS SOMETHING SHE TOYED WITH AT TIMES IT WAS A NAUGHTY CHILD,

CAUGHT UP IN ITS OWN SELFISH THIRST. RATTLING ROUND HER MURKY MIND SLICK LIMBS DEEP RECESSES ROUGH TONGUES AND MAGIC HANDS OTHER PEOPLES WIVES OTHER PEOPLES HUSBANDS, UNCLES, BROTHERS, & FRIENDS OF ENEMIES... DECEPTION

SHE BEGAN A SEARCH FOR LUST, QUESTIONED PAST LOVES WHAT DO YOU DO TO THEM WE DIDN'T DO TO OURSELVES ROLE PLAYING NAME CALLING HIT WHIPPING DRESSING UP TAKING IT ON PULLING IT OFF

BALLISTIC INTENTIONS. EVIL FUCKDADDY. VICIOUS SCANDAL CANNIBAL HEART THE POSSIBILITIES MADE MORE THAN HER EYES WIDEN

METAL SKINRIDES. SCENARIOS WHERE HE WAS LEFT WOUNDED BRUISE PURPLE , SICKLY GREEN IT HURT AND I WANT TO HURT YOU BACK. FLAY VIRTUE INTO SUB.MISS.ION. SLICE AWAY THE SOFT FURSKIN. TASTE THE IRON, TAKE THE THROB TURN IT INTO NOTHINGNESS ,BE THE SALTY MISTRESS FIEND

IT BEGAN AS AN ORANGE HEAT THAT FLOWED THROUGH HER BELLY AND SOMETIMES UNDULATING PINK WAVES FORMED,

THESE WERE THE TIMES WHEN SHE CARED, LOVED THEM STRETCHING COMFORT SHE RELAXED INTO DIZZYING PAIN ETHE FINGERS ITCHING, MOUTH WATERING. RAVENOUS PROBE] FOUND THE PLACE WHERE WHY AND WHY NOT COLLIDED SHE SLID INTO FLESH SUNK TEETH INTO BONE SUCKED BLOOD FROM THE SWEATING FACE OF MORALITY

WONDERED WHY SHE WAS LEFT FEELING BLUE

STILL SHE WANTED, SHE WANTED TO KNOW THE TEXTURE OF DESIRE.

LISA REIHANA Born Auckland, Aotearoa New Zealand, 1964-. Nga Puhi, Ngati Hine, Ngai Tu. Lives and works in Auckland, Aotearoa New Zealand.

SELECTED BIBLIOGRAPHY

BRENDA CROFT, 'NO NEED LOOKING', PHOTOFILE, NO. 66, AUSTRALIAN CENTRE FOR PHOTOGRAPHY, 2002

DEBORAH CROWE, 4TH NEW ZEALAND JEWELLERY BIENNALE. DOWSE ART MUSEUM, LOWER SELECTED SOLO EXHIBITIONS SELECTED GROUP EXHIBITIONS CHECKLIST HUTT, 2001 _2003 READYMADE. INSTITUTE —2004 PARADISE HM 2 MURKY MIND I 8 II 2004 ROGER HORROCKS, PLEASURES OF MODERN ART, BRISBANE, DIGITAL PHOTOGRAPHS AND DANGERS. LONGMAN PAUL, AUSTRALIA; DIGITAL MARAE. PACIFIC ASIA SOCIETY AND 830 X 3500 MM EACH 1991 DOWSE MUSEUM: LOWER HUTT, MUSEUM, NEW YORK, USA >[IMAGES PP 132-1333 NZ; DIGITAL MARAE. WHANGAREI 2003 SCIENCE FICTIONS. GEORGE HUBBARD, INEI/KONEI. ART MUSEUM, WHANGAREI, NZ SINGAPORE ART MUSEUM, EXHIBITION CATALOGUE, THE COLOUR OF SIN 2004 _2002 PANCAKE. ASA GALLERY: SINGAPORE 2002 4TH ASIA AUSTRALIAN CENTRE FOR DVD SOUNDWORK AUCKLAND, NZ _2000 REIHANA- p a c i f i c ! t r i e n n i a l . PHOTOGRAPHY, SYDNEY, 1997 DIALOGUE SCRIPT MATIONS. ADELAIDE BIENNALE. QUEENSLAND ART GALLERY, TRKS: 1, 3, 4 & SC: 6. ADELAIDE, AUSTRALIA _1999 BRISBANE, AUSTRALIA _2001 TESSA LAIRD, 'WOODEN HEART', 5.1 SOUNDMIX 30 MINUTES FLUFFY FINGS. ARCH HILL PURANGlAHO. AUCKLAND ART LOG ILLUSTRATED. WINTER SOUND DESIGN: LISA GALLERY: AUCKLAND, NZ _1998 GALLERY TOI 0 TAMAKI, 1997, CHRISTCHURCH REIHANA, JAMES PINKER 8 ANGUS MCNAUGHTON FLUFFY FINGS. PERFORMANCE AUCKLAN ). NZ; GRAMMAR: MAUD PAGE, 4TH ASIA PACIFIC SPACE, SYDNEY, AUSTRALIA SUBJECT 8 OBJECTS: NEW TRIENNALE. EXHIBITION >CIMAGE P 1 313 _1993 TAKE. ROBERT MCDOUGALL ZEALAND JEWELLERY CATALOGUE, QUEENSLAND ART HIGH STREET PROJECTIONS, ART ANNEX, CHRISTCHURCH, NZ B1ENNAL, i, CURATOR DEBORAH GALLERY, BRISBANE, 2002 CROWE, >OWSE ART MUSEUM, FREYBERG PLACE, AUCKLAND LOWER H JTT. NZ; TE AO MAUD PAGE, 'LISA REIHANA'S SELFISH THIRST 2004 TAWHITO TE AO HOU MAUI VIDEO WEAVINGS', ART ASIA DVD SILENT VIDEO ARTS 8 CULTURAL CENTRE, PACIFIC. NO. 21, SYDNEY, 1998 HAWAII, USA; ART MUSEUM OF IMAGES COURTESY OF THE ARTIST MAUD PAGE, BIENNALE OF MISSOUL \, TEXAS, USA _2000 SYDNEY 2000. EXHIBITION PAGEWORKS ©LISA REIHANA BIENNALE D 'ART CONTEMPORAIN, CATALOGUE, BIENNALE OF JEAN PA JL TJIBAOU CULTURAL SYDNEY, 2000, PP100-101 CENTER, NOUMEA, NEW CALEDON IA; It.ANS.KAWI MEGAN TAMATI QUENNELL, FESTIVA L OF ARTS. IBRAHIM 'LISA REIHANA NATIVE HUSSEIN; MUSEUM, LANGKAWI, PORTRAITS', PHOTOFILE. MALAYSIA; BIENNALE OF NO. 55, AUSTRALIA CENTRE SYDNEY.! MCA. SYDNEY. FOR PHOTOGRAPHY, SYDNEY, AUSTRALIA 1999 TOI TOI 1998 TOI / THREE GENERATIONS OF BURKE, DARROW, HEINRICH, ARTISTS FROM NEW ZEALAND, LEOHARD (EDS) TOI TOI TOI MUSEUM F RIDERICIANUM, KASSEL, / THREE GENERATIONS OF GERMANY AND AUCKLAND ART ARTISTS FROM NEW ZEALAND. GALLERY TOI 0 TAMAKI, MUSEUM FRIDERICIANUM, AUCKLAN . NZ 1998 FACING KASSEL AND AUCKLAND ART IT - ART NOW LOOKS BACK. GALLERY TOI 0 TAMAKI, MUSEUM OF NEW ZEALAND AUCKLAND, 1999 TE PAPA TONGAREWA, WELLINGTON, NZ WWW.LISAREIHANA.COM CATHERINE ROGERS NSIDE OUT: DREAMS IN THF NFW SUBURBAN LANDSCAPE PHOTOGRAPHS OF HOME IS PART OF A SERIES OF PHOTOGRAPHS MADE BETWEEN 1996 AND 2003. TAKEN IN NEW HOUSING in the city itself, is squeezed. The huge ESTATES LOCATED ON THE OUTSKIRTS OF design is described as 'an impressive 42 houses stand close together like terraces THE CITY OF SYDNEY, THIS PART OF THE square residence which exudes an overall in the inner city, so that the view from PROJECT PICTURES THE INTERIORS OF look of sheer opulence.' With no apparent the large windows is of the walls and EXHIBITION HOMES - FULLY DECORATED sensitivity to the houses which a previous roofs of the nearby houses. Once the NEW HOUSES DESIGNED AND DISPLAYED generation worked so hard for, Clarendon cost of land was less than half the cost EN MASSE FOR EASY PURCHASE. OWNING also offers to knock down your 'tired old of building a new house. Now land costs YOUR OWN HOME IS PROBABLY ONE OF THE house and build a beautiful new Clarendon twice the price of a brand new, spacious, MOST INSISTENT AND PREVALENT DREAMS home' in its place. open plan house with its four bedrooms IN THE AUSTRALIAN PSYCHE. Thousands of people stream through the and triple car garage which proudly faces streets of exhibition home villages each the street. Stamping one's individuality Weekend. Prospective buyers can view a onto a mass produced house furnished Far from the big bad city, public transport, selection of exterior style themes such as from a chain of shops which mass corner shops or shopping centres, the 'Mediterranean', 'colonial' or 'modern'. produce furniture and fittings, is made to new housing estates springing up around Internally, each four or more bedroomed look easy in the exhibition home. But the the fringes of Sydney cater to the great house is individually decorated and orna­ massed curtains, lace ironwork, white Australian dream'. Someone unfamiliar mented to a theme such as 'primitive', carpets and glass surfaces must all be with these words would be wrong to think 'Japanese', 'modern art' or 'colonial', kept clean and maintained. that the dream is a desire for equality, for example. Each house is spaciously opportunity and justice for all Australians decorated to tantalise. Each display is Home has always stood in opposition to - something akin to a 'fair go' for all. 'The not simply a house design but a lifestyle the outside world. The outside world was great Australian dream' in fact refers to dream encompassing a rich but relaxed once simply presented as the world of the expectation of owning your own home. leisured life of family, friends and together­ work, and the home as a restful, cared- The underlying implication is that home ness. All this is can take place within a for place a million miles away from the ownership is a Right - something one is fully self-contained and private world of stresses of the workplace. In 1950s born to as an Australian. Home owner­ one’s own. Clarendon Homes describes Australia, despite Cold War fears and an ship, however, is not a dream available to their 'Carlisle' home as having expansive oppressive conservative politics, home everyone. formal and informal living and entertaining ownership popularly represented family, Once the Australian home was the visible areas which cater for the needs of all the freedom and individuality. These days the product of frugality and saving. The modest family. Without doubt one of the most new home is not so much respite from brick, fibro or weatherboard cottage and impressive features of this home is the work, which may well be conducted from its garden, located on a quarter acre [1000 home theatre complete with state-of-the- home, but is a completely self-contained square metres] block, embodied self- art Smartwiring'". . . a perfect teenagers' fortress against the outside world of fear sacrifice and saving. The new Australian retreat. The master bedroom boasts a and terror. Gone is the spacious back home located in the vast new outer city private balcony and luxurious ensuite yard where children once could play out estates is a vision of excess. It too is a with feature columns creating an open of adult view. Instead, the large new product of sacrifice but it is sacrifice and free flowing space. The mezzanine homes now cover most of the land and boldly and extravagantly displayed, overlooks the formal lounge and creates incorporate the yard so that children can reflecting contemporary 'Australian' a relaxed, sophisticated ambiance. be contained, watched and kept safe beliefs about life and how to live it. The land for new homes such as the from the evils outside. New houses are Clarendon Homes, one of a number of 'Carlisle' is located on the urban fringe, filled with spaces in which to relax and companies which design and build new now the new suburbs. Acres of treeless entertain. Casual dining and living houses in 20 weeks for the mass market, land, once farms which grew vegetables rooms, a children's play area, as well as advertises its product as 'a bold, luxurious and fruit, grazed cattle and sheep and formal dining and living rooms and just NEW HOME with ALL NEW design supported dairies, have been remade outside, a covered barbecue area, are the features'. Alongside pictures of an into treeless housing estates. Paddocks norm. What's left of the land becomes a imposing two-storey facade with huge have been divided into blocks (300-500 tiny ordered garden much the size of an cathedral-like, ground-to-roof arched square metres] onto which a big house, inner city pocket-garden with no space windows, Clarendon Homes' 'Carlisle' the size of which has never been available for a tree for children to climb in. Home ownership has always been a fea­ Gardening Australia, Backyard Blitz and Location, replaced by a view of the indoor leisure ture of politics in Australia. Party political Location to name only current shows, and areas. But, as builders know, windows speeches at election time invariably this list does not include the numerous are cheaper than walls. Glass walls are include promises to make home owner­ other cooking and lifestyle makeover not very energy efficient. Glass is a poor ship more affordable. Articles about the show s which are beamed into homes. barrier to noise from the outside in and housing market feature regularly in It's relatively cheap television which from the inside out, and in the absence newspapers as front page news with seem s to feed on a collective national of shady trees, windows emit sun and headings like 'Ham m er falls on housing', obsession, and also says much about life heat in sum m er and the cold in winter. fuelling persistent and unrealised pre­ and politics in contemporary Australia in Air conditioning is essential. Curtains dictions that the 'bottom will fall out' of an era of fear and high conservatism. aren't cheap, but are absolutely necessary the housing market.1 It hasn't, and house for blocking out strong sunlight, for The dream homes of the new suburbs prices in Sydney have almost doubled in creating a sense of privacy and as a feature many large windows. Windows the last 5 years.2 A radio midday news barrier to prevent the outside world bulletin recently proclaimed that 'housing imply the pleasures of looking out at the from looking in. affordability was at a 16 year low'.3 There world. Sweeping views of the houses is even a 'Housing Affordability Index' across the street from the main bedroom CATHERINE ROGERS which attempts to measure such things. mean that there is an uninterrupted view

Seven television shows a week are back. The brickwork of the wall next door 2 THE AUSTRALIAN. 26 NOV. 2003, P 6 specifically devoted to home ownership: can be seen close up from the child's TABLE HEADED 'BURSTING POINT' 3 ABC RADIO, 27 NOV. 2003 Better Homes and Gardens, Room for Improvement, room. The view of the garden from the DIYRescue, Auction Squad, Burke's Back Yard, kitchen sink, however, has lately been 4 FOR THE WEEK OF 10-16 NOV. 2003 CATHERINE ROGERS Born Sydney, Australia. 1952. Lives and works in Sydney, Australia.

SELECTEIj) GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY

2002 ijj/SITE. CURATOR EWEN SUE BEST . SYDNEY PHOTO- MCDONAUD, SOFA GALLERY, GRAPHED. MUSEUM OF C H R I S T CjHURCH, NZ _2001 CONTEMPORARY ART, SYDNEY, INDICIUfi. CURATORS MICHAEL 1994, PP 43, 56, 57 CRAYFORD 8 LYNDEL WISCHER, J. EWINGTON, 'AUTUMN IN INSA ART SPACE, SEOUL, NOVEMBER', ART MONTHLY. SOUTH KOREA _2000 CURRENT DEC/JAN 1990/1991 SELECTED SOLO EXHIBITIONS SHIFTS-FOUR PHOTOGRAPHERS. CHECKLIST HELEN M AXWELL GALLERY, ANNA GIBBS, 'LOST AND FOUND: _2003 PHOTOGRAPHS OF PHOTOGRAPHS OF HOME CANBERRA AUSTRALIA _1996 MEMORY AND MYTH IN THE HOME . MORI GALLERY, 1996-2003 RE$ERVQI1, CURATOR EWEN URBAN LANDSCAPE, INDICIUM. SYDNEY, AUSTRALIA _2001 1-35, EDITION OF FIVE MCDONAL D, LAKE MACQUARIE PENRITH REGIONAL GALLERY, DECONSTRUCTED CITY, MORI PIGMENT INK-JET PRINTS ON CITY A T GALLERY, NSW, SYDNEY, 2001, PP22-28 GALLERY, SYDNEY, AUSTRALIA ARCHIVAL WATERCOLOUR PAPER AUSTRAL IA _1994 SYDNEY _1998 PHOTOGRAPHS (OLD AND ANNA GIBBS, V. NIGHTINGALE, 760 X 560 MM p h q t q g r APHED. CURATOR NEW DREAMS). MORI GALLERY, CATHERINE ROGERS, ATTEMPTING LINDA MICHAEL, MUSEUM OF >CIMAGES PP135-1383 SYDNEY, AUSTRALIA _1995 DEMOCRACY. ARTSPACE, SYDNEY, CONTEMP ORARY ART, SYDNEY, WORK AND IMAGES COURTERSY OF THE insignificant m o m e n t s , 1994 AUSTRAL [A _1993 DEATH. ARTIST AND MORI GALLERY, SYDNEY AGOG, CANBERRA, AUSTRALIA CURATOR > FELICITY FENNER _1994 ATTEMPTING DEMOCRACY: HELEN GRACE, 'A SHROUD OF 8 ANNE LOXLEY, IVAN IT'S A FLAT FLAT FLAT FLAT EVIDENCE', PHQTQFHE?: AN DOUGHEI Y GALLERY, SYDNEY, WORLD. ARTSPACE, SYDNEY, AUSTRALIAN PHOTOGRAPHY AUSTRA A _1 991 AUSTRALIA _1993 THE NATURE READER. POWER PUBLICATIONS INTERNflTIONAL PINHOLE AND AUSTRALIAN CENTRE FOR OF EVIDENCE <1, ? & 3), PHOTOGRAPHY EXHIBITION. CHISHOLM GALLERY, LA TROBE PHOTOGRAPHY, SYDNEY, 1999, S B. BESOLD 8 E. UNIVERSITY, MELBOURNE, PP 261 -268 THE REED WHIPPLE AUSTRALIA; VOYAGE: LOOKING/ LAS VEGAS, USA; J. R. HUGUNIN AND E. SEEING. ARTSPACE, SYDNEY, OF THE HANDCRAFTED RENNER, 'NOTES TOWARD AUSTRALIA _1992 RIVER: PHOTOGRAPH. CURATOR RUSSELL A STENOPAESTHETIC', THE ASYLUM, BRIDGE, HQ$PITAL, YOUNG, THE AULTMAN MUSEUM, INTERNATIONAL PINHOLE, HOUSE. FACTORY. PRISON. TRINIDAD, COLORADO, USA; EXHIBITION. CENTER FOR SCHOOL . AGOG, CANBERRA, THE INTIMATE EXPERIENCE. CONTEMPORARY ARTS OF SANTA AUSTRALIA _1990 HEAVEN ON CURATOR BELINDA WEBB, IVAN FE, SANTA FE, USA, 1989, EARTH, MORI GALLERY, SYDNEY, DOUGHERTY GALLERY, SYDNEY, PP 1 3, 47 AUSTRALIA _1989 TRAVELLING AUSTRALIA _1989 METROMANIA. IN SPACE. AGOG, CANBERRA, A. JONES, METROMANIA. PERTH, ARX, CURATOR ADRIAN JONES, AUSTRALIA 1989 PERTH, AUSTRALIA ERIC RENNER, PINHOLE JOURNAL, VOL. 3, NO. 1, 1987, PP 2 3

ERIC RENNER, PINHOLE PHQTOQRAPHY: REDI$QQVERINQ A h i s t o r i c a l t e c h n i q u e , FOCAL PRESS, BOSTON, 1994 8 2000, PP 82, 87, 90, 91

L. TORTORA, THROUGH A PINHOLE DARKLY, FAMLI NEW YORK, 1988 S i t e M SANGEETA SANDRASEGAR

£1191

C i ! isiisiiGA TH E SHADOW- LANDS OF SEXUALITY types develop to enable a socialised and integrated discourse, which simultaneously protect the knowledge of the private act.

In India it is termed Nagabandha - the coupling of the cobra; in China, 'Mandarin Ducks', and in the West it is commonly referred to as spooning'. Despite the In the explicitly erotic writer we may therefore recog­ varying images each name inspires, all nise one who uses the symbols of sex to give voice to describe a specific sexual position where­ something else, and this something else, after a series in the woman nestles her back into the of definitions that tend to take shape in philosophical front of the man, so that they meet like and religious terms, may in the last instance be rede­ two spoons, cobras or ducks! Through the fined as another and ultimate Eros, fundamental, varying processes of sexual signification, mythical and, unattainable. the same act com es to reflect a multi­

ITALO CALVINO 1 plicity of agendas, views, cultures and acceptances. My artwork is concerned with the inter­ The installation of my work is pivotal for section of cultures. It draws from these depicting the nuances and interrelated­ meeting points and investigates the ness I perceive within these themes, and inherent similarities and their socio­ towards the struggle of redefining these These are fragments that remain as fragments: cultural disparities by researching into 'Third' spaces. Predominantly the scale splinters of light that illuminate our journey while recorded histories both literary and visual. of my work is small, inviting close simultaneously casting questioning shadows Over the past four years, this investigation inspection and this serves to establish along the path.3 has been engaged with cultural repre­ an intimacy between the viewer and art sentations of sexuality. I am interested The visual exchange between artwork, object - a particular audience relationship in the various ways the three structures shadows and audience becomes repre­ that hopefully evokes a conversation of culture, sexuality and selfhood have sentative of the multiplicity of concepts: about erotica rather than pornography. become inextricably linked in the formation political, social or sexual, which inform my The paper cutouts as 'floating signifiers' of new modes of cognition, and how as work. Relationships, in either construction are installed specifically to cast shadows, each one alters it impacts simultaneously or deconstruction, continually remake an and these shadows are crucial to under­ upon the other two.2 identity, which is constantly developing standing the project. They are intrinsic to and changing, constantly in flux. It is the The language of the sexual union contains viewing the linear aspect of the image ambiguity and nuances that surface in the a paradox, for it attempts to circumscribe and for creating visual shifts between confrontation between identities, through the space between what is perceived as the art piece and its shadow. At first, the the spaces inhabited by the lover, migrant consummate knowledge against the pro­ visual artifice of the shadow appears as or hybrid that I term shadowlands. found intimacy encountered by the indi­ a subtext to the primary image as it falls vidual. Implicit to the discourse is not behind the paper cutout. However, the SANGEETA SANDRASEGAR only the duality of two people, but also interdependency of the relationship the binaries of the personal and the • between cutout and shadow is soon 1 . ITALO CALVINO, THE USES OF LITERATURE. P 66 secular, private and public. evident, as the viewer often needs to 2. THE HEURISTIC BREAKTHROUGH IN As such, because of the varying levels navigate the shadow to perceive the CULTURAL STUDIES WAS IN RECOGNISING of definition between the individual, the imagery of the cutout. This form of THE INTIMATE MANIFESTATIONS BETWEEN THE VARYING ISSUES OF IDENTITY couple and the community, the language installation - dependent on the viewer's CONSTRUCTION. SEXUAL POLITICS LED TO FEMINIST AGENDAS, WHICH WERE of sex is often inexpressible. It is only distance from the cutouts, the lighting, RE-CONTEXTUALISED WITHIN THE CASTE/ through the representation of sex, and its visual angles and perspective points - ELITE POLITICS OF POST-COLONIAL, IMMIGRANT AND GLOBAL THEORY, AND connected signification within a culture, proposes a revision of the initial art AS SUCH QUESTIONS THAT DEALT WITH reference and a re-questioning of the IDENTITY FORMATION SLOWLY BECAME that discourse begins. Stemming from INSEPARABLE. cultural signifiers that are presented, the innate desire to understand the 3 IAIN CHAMBERS, MIGRANCY. CULTURE. individual experience, cultural stereo­ both as paper object and ethereal line. IPENTI TY/ P- 3. SANGEETA SANDRASEGAR Born Brisbane, Australia, 1977. Lives and works in Melbourne, Australia.

SELECTED SOLO EXHIBITIONS D GROUP EXHIBITIONS

_2003 QODPESS Q F F.LQ H E R.S, ALE CHASER, GALLERY VCA GALLERY, MELBOURNE, NEY, AUSTRALIA; AUSTRALIA _2002 THAT MONASH UNIVERSITY HAPPENED .WHICH PIP HAPPEN, GALLERY, MELBOURNE, MORI GALLERY, SYDNEY, A; MAVERICK, ROCKET- AUSTRALIA _2001 LADY WHITE WCASTLE, AUSTRALIA; SNAKE . LORD MORI GALLERY, 4A, SYDNEY, LOS ANGELES, USA; ROOM TO IA; A ..THIRD.P-LA.EE, SELECTED BIBLIOGRAPHY CHECKLIST FRIEZE, MORI GALLERY, LERY, CHRISTCHURCH, NATASHA BULLOCK, SYDNEY, AUSTRALIA _2000 l QANPY, c o n i c a l , PAPERCUTS. EXHIBITION SERIES GODDESS OF FLOWERS FLOATING WORLDS, MORI E, AUSTRALIA _2002 CATALOGUE, JULY 2003 2003 GALLERY, SYDNEY, AUSTRALIA; WESTSPACE PAPER CUT-OUT ROOM TO FRIEZE. WESTSPACE , MELBOURNE, GREG DEFTEREOS, WALL CANDY. 415 X 245 MM GALLERY, MELBOURNE, A; INAUSQRAL EXHIBITION CATALOGUE, APRIL AUSTRALIA; $HADQW$ IN THE f q u n p a t iq n „a h ar.O..?. 2003 PRIVATE COLLECTION, SYDNEY LIGHTS . CITY LIGHTS INC., EXHIBITION. SIR HERMAN BLACK UNTITLED NO.30 FROM THE MELBOURNE, AUSTRALIA _1999 GALLERY SYDNEY, AUSTRALIA; TED GOTT, 2 fl.P. i . . . -NAI I.O..NAE SERIES GODDESS OF FLOWERS ADVENTURE? IN U P LQP EAP i n t ejlnaiIQNAk CONTEMPORARY CATALOGUE, JULY 2002 2003 LAND. MOTORWORKS GALLERY, RQINQ ART, LAWSON AN,P.-£.M£. PAPER CUT-OUT SOUTH YARRA, MELBOURNE, MENZIES FLYNN, SYDNEY, RICHARD HOLT, MINE. 415 X 245 MM AUSTRALIA AUSTRALIA; N A J I Q,,N A L. WOR K£ EXHIBITION CATALOGUE, MPR GALLERY AUGUST 1999 PRIVATE COLLECTION, SYDNEY _ 2 0 0 1 A4ART 2.QQ1, WESTSPACE UNTITLED NO.31 FROM THE GALLERY MELBOURNE, EWEN MCDONALD, A THIRD SERIES GODDESS OF FLOWERS AUSTRAL1 PLACE. EXHIBITION 2003 GALLERY SYDNEY, AUSTRALIA CATALOGUE, SOFA GALLERY, PAPER CUT-OUT _ 2 0 0 0 ARTS CENTRE, CHRISTCHURCH, J±EU ON..WHEEL?., PB 415 X 245 MM GALLERY PRAHRAN, MELBOURNE, JUNE 2003 PRIVATE COLLECTION, SYDNEY AUSTRAL* A; A4ART 2000. WEST- APRIL NUTTER, 'ADVENTURES SPACE G ALLERY, MELBOURNE, IN LIP LOP LAP LAND', >CIMAGE P 1393 AUSTRAL* A; WINQECARRjB.EE, CATALYST. APRIL 1999 >CIMAGE MORI G .LERY, SYDNEY, 2002 P1403 AUSTRA A _1999 ANZ VISUAL ART? . F.E.LLOWSHIP AWARD. ANZ > [ IMAGE BE.SIJARlVJi 2002 P142D BANK, ME LBOURNE, AUSTRALIA; COURTEST : THE ARTIST AND MORI MINE. 1 21 VICTORIA STREET, GALLERY, SYDNEY FITZROY MELBOURNE, PHOTOGRAPHER: SUE BLACKBURN AUSTRAL IA; w ,h o ,;.s ..,j l f .R-Ai.d OF THE .AVANTE QARPE? WHO CARE? ? TCB GALLERY, MELBOURN E, AUSTRALIA; QRAPUATE SHOW. VCA GALLERY , SOUTHBANK, MELBOURN E, AUSTRALIA; RE?PQN?E TO PEM M A, VCA GALLERY, SOUTHBANK, MELBOURNE, AUSTRALIA; FIRST FLOOR, FITZROY, MELBOURNE, AUSTRALIA; TCB GALLERY, MELBOURNE, AUSTRALIA _1998 HOW. VCA GALLERY, SOUTHBANK, MELBOURNE, AUSTRALIA 'WE TOLD YOU WE HAD LIVING BREATHING MONSTROSITIES

AVAS EYMOUR

humanism. Created for Public/Private, Seymour's EXotica is a sweeping view of Karangahape Road, Auckland's pre­ eminent sex-drugs-and-rock'n'roll strip. Full of discos and degenerates, it is a street she knows well (Artspace is here; so is her dealer gallery, a few doors down from the old Teststrip], Onto a particular K Road corner, already famed for its In her photomontages of the last decade bizarre mix of transvestite streetwalkers, or so, Ava Seymour has transported figures dildo shops and dodgy eateries, Seymour Although it's a photomontage, Seymour's collaged from magazines, blood-and-bone has installed her own Goyaesque court social panorama pretends to be a photo­ medical manuals and pornography onto of weirdos, happily coexisting at rest and graphic portrait. She puts us in the the streets of communist East Berlin, into at play. Fler freak show takes in rubberists, photographer's shoes; her crew all stare House and Garden interiors, New Zealand at us, as though posing for our camera, state housing divisions, barren fields and leathermen, infantalists, the super-ugly, complicit in their representation. And yet 1960s-ish New Zealand church interiors. the somewhat demented, the very tat­ rubberists and retards really have little For inserting aliens, gimps, misfits and tooed, and someone with a cardboard in common, except in the eye of the gutless wonders into such routine settings, box over his head. Som e were born beholder. Seymour may be for the freaks, Seymour has occasionally been accused freaks, some achieved freakishness, but she accepts society's definition of the of misanthropy, but her work has also others had it foist upon them. K Road is freak. Perhaps she has to. been lauded as a counter to ideology, where we expect to find their like; here, particularly cheesy Family of Man photo­ they seem almost normal, benign. ROBERT LEONARD

AVA SEYMOUR Born Palmerston North, Aotearoa New Zealand, 1967. Lives and works in Auckland, Aotearoa New Zealand.

SELECTED GROUP EXHIBITIONS

_2003 HOME SWEET HOME. NATIONAL GALLERY OF AUSTRALIA, CANBERRA, AUSTRALIA; IKI AND THANKS FOR ALL: THE IKA. CENTRE OF CONTEMPORARY ART, VILNIUS, LITHUANIA; PORTRAITURE: SELECTED SOLO EXHIBITIONS THE ART OF SOCIAL COMMENTARY SELECTED BIBLIOGRAPHY CHECKLIST TE TUHIhTHE MARK, AUCKLAND, — 2003 BLOOD AND Q UT-S— LN JONATHAN BYWATER, EXOTIQA 2004 NZ _2001 SEX. DRUGS AND DEUTSCHLAND. MICHAEL LETT 'EXHIBITIONS AUCKLAND', ART PHOTOMONTAGE ROCK'N'ROLL. CENTRE OF GALLERY, AUCKLAND, NZ; SEVEN NEW ZEALAND. NO. 95, WINTER A TRIENNIAL PRESENTATI CONTEMPORARY ART, CHRIST­ DEADLY SINS. PETER MCLEAVEY 2000, PP40-1 PREPARED FOR ARTSPACE CHURCH,! NZ; IN GLORIOUS GALLERY, WELLINGTON, NZ DREAMS J GOVETT-BREWSTER LOUISE CLIFTON, 'A REVIEW >CIMAGE PP144-1 453 _2001 HEARTLANDS . ANNA ART GALtERY, NEW PLYMOUTH, OF HEALTH, HAPPINESS AND BIBBY GALLERY, AUCKLAND, COURTESY OF THE ARTIST NZ _1997 FOLKLORE: THE NEW HOUSING', NEW ZEALAND NZ; SELECTIVE RETROSPECTIVE ZEALANDERS. ARTSPACE, JOURNAL OF PHOTOGRAPHY. HOCKEN LIBRARY GALLERY, AUCKLAND, NZ; SHARP AND N O . 49, SUMMER 2002 - 3, DUNEDIN, NZ _2000 I'M SO SHINY. GOVETT-BREWSTER ART PP 6- 7 GREEN. ANNA BIBBY GALLERY, GALLERY, NEW PLYMOUTH, NZ AUCKLAND AND MANAWATU ART MEGAN DUNN,'THERE IS NO GALLERY, PALMERSTON NORTH; SHELTERING SKY: THE LAND­ , SARJEANT GALLERY, WANGANUI, SCAPES OF AVA SEYMOUR', SCHOOL OF FINE ARTS, NZ _1998 HEALTH, HAPPINESS ART NEW ZEALAND. NO. 95, CHRISTCHURCH, NZ _1994 150 AND HOUSING. THE PHYSICS WINTER 2000, P P 82 - 3 WAYS OF LOVING. ARTSPACE, ROOM, CHRISTCHURCH, NZ AUCKLAND, NZ; THRILLER. GIOVANNI INTRA, EVERYDAY _1997 HEALTH. HAPPINESS TESTSTRIP, AUCKLAND, NZ PATHOMIMESIS . EXHIBITION AND HOUSING. ARTSPACE, CATALOGUE, UNIVERSITY OF AUCKLAND, NZ _1996 AVA CANTERBURY SCHOOL OF FINE SEYMOUR. DUNEDIN PUBLIC ARTS GALLERY, CHRISTCHURCH, ART GALLERY, DUNEDIN, NZ; RUBBER LOVE. HIGH STREET 1995 PROJECTS, CHRISTCHURCH, GIOVANNI INTRA, 'FROM NZ _1995 RUBBER LOVE. TEST- RUBBER WITH LOVE', MIDWEST. STRIP, AUCKLAND, NZ _1993 NO. 10, 1996, PP 45-7 ENDART GALLERY, BERLIN, GERMANY ROBERT LEONARD, 'THE END OF IMPROVEMENT: IN DEFENCE OF AVA SEYMOUR', ART ASIA PACIFIC. NO. 23, 1999, PP54-9

ROBERT LEONARD, 'AVA SEYMOUR: I'M SO GREEN', CONTEMPORARY VISUAL ARTS. NO. 29, FEBRUARY 2000, P 70

T J MCNAMARA, 'PURITY AND PATRONISING SNOTTINESS', NEW ZEALAND HERALD. 12 JUNE 1997

AVA SEYMOUR, HEALTH . HAPPINESS AND HOUSING. EXHIBITION CATALOGUE, ARTSPACE, AUCKLAND, 1997

MARIA WALLS, 'RUBBER', CANTA. NO. 29, APRIL 1996 IMAGES BETWEEN IMAGES: LORNA SIMPSON'S POST­ NARRATIVE CINEM

The work of Lorna Simpson engages one of the defining principles of cinema: the relationship between image and language. From the beginning of Sim pson's career until the late 1990s, this relationship was expressed in large black-and-white photographic works in which the black female body sat or stood, turning away from the camera or faceless, overlaid with unsettling fragments of text. In the late 1990s, the collective social invisibility of the black female, so enigmatically articulated in these still tableaux, was given another narrative form when Simpson began to work in film. Her six film works, Interior/Exterior, Full/Empty (1997), Recollection (1999), CallWaiting (1997), Duet LORNA SIMPSON (1999), Easy to Remember (2001) and 31 (2002) all use cinematic narrative as a conceptual tool, making its artifice visible through a series of deliberately constructed A kerm an's Jeanne Dielman, 23 Quai du reflects a general engagement with cognitive dislocations. Commerce, 1080 Bruxelles (1975), disjunctive classic Hollywood cinema, which began scenes of a housewife and prostitute's in 1978 with Cindy Sherm an's film stills, Simpson's shift into the moving image was domestic life are punctuated by her and reached its climax in the late 1990s, informed by a number of early cinematic unexpected and dramatic murder of a when classic cinema disappeared only to influences, from the independent films of client. Mangolte, who worked as camera- John Cassavetes and the post-narrative re-emerge in countless installations, woman on Jeanne Dielman and was strategies of Jean-Luc Godard and Chantal photography, experimental films and Simpson's teacher, made What Maisie Knew Akerman, to the experimental films of artists' films. Sim pson's film works (1975), in which five characters appear Babette Mangolte and 1940s Hollywood stand apart from the majority of the in interwoven fragmented narratives, film noir, including the tragic career of installations and films by artists generated seen from the point of view of a female the black actress Dorothy Dandridge. In during this period in their structural use character, Maisie, who is, by implication, most cases, these early influences centre of narrative. Her early training by Mangolte behind the camera, constructing the around the role of a woman, black or had exposed her to cinematic strategies narrative from a female, rather than the white, as a sexualised, threatening or such as the fixed frame, disjunctive conventionally male, viewpoint. assertive presence. Cassavetes' classic narrative structure and the distanced film Shadows (1958-59) depicts the racial The non-hierarchical strategies of film- shot. Like Isaac Julien, Simpson also tension that emerges when the white making that Simpson absorbed through deconstructed the classic forms of this early exposure to experimental and male protagonist discovers that his light­ Hollywood cinema to formulate a new independent film were articulated skinned girlfriend is black. Godard's Two approach to issues of black identity and or Three Things I Know About Her (1966) through the lens of the multicultural representation. addresses the social implications of deconstruction and post-narrative consumerism and the female subject cinema of the early 1980s, when she Sim pson's film works dismantle three through a fragmented diary of the daily first emerged as an artist. The film noir oillars of cinematic hegemony: the female life of a Parisian prostitute, whilst in cinematography of her 1990s film works orotagonist as passive, domesticated object of desire; the inscription of level, three of the tableaux present works, Simpson deliberately complicates whiteness as the cinematic and social women engaged in erotically charged the reading of female identity in racial norm; and the unified subject within a conversations. In one, a woman in a terms, substituting the invisibility of the continuous storytelling narrative. In each hotel bedroom dressed in a silky slip black female with the invisible, often piece, black women act out assertive answers the phone and lies back on the telephonic presence of an unknown and roles, sexualised yet in control, desirous, bed as she talks to the unknown caller racially unidentified woman. as well as desired. The woman is the in intimate tones, laughing softly and The telephone plays a prominent role in betrayer rather than the betrayed, and reassuring them of her imminent return. Sim pson's films, as a conduit for, and when betrayed, considers murderous As she resumes her packing, something symbol of, communication, intimacy, revenge. Sim pson’s position as a black about her eroticised presence and the betrayal, dramatic tension and voyeuristic woman behind the camera inverts the hotel bedroom setting suggests that she pleasure. Marshall McLuhan noted the conventional assumption of the white might be returning home from an illicit contrast between the importance male gaze, questioning the presumed encounter. It remains unclear whether assigned to privacy in the mechanical age whiteness of the viewer, and re-writing this suggestion of betrayal is real, or of the nineteenth century, and the sub­ the iconic narrative tropes of cinema. simply a triggering of stereotypical stitution of privacy for communication in assumptions regarding the dangerous the electronic age of the twentieth.3 The Yet Sim pson's film art is not politically femme fatale, and the black female as telephone was the first electronic medium didactic. Her challenge to the natural sexually avaiable wanton. to break down the notion of privacy, whiteness of the cinematic environment collapsing physical distance and, as rejects the binary reading of 'good' black as Sim pson cites the black American film McLuhan argued, 'transport[ing] us the uncritical substitute for a conventional actor of the 1950s, Dorothy Dandridge, instantly wherever we choose. The fixed reading of the bad' white norm. As as a model for the actress in this first very nature of the telephone, as of all Isaac Julien and Kobena Mercer have vignette of Interior/Exterior, Full/Empty. Yet, electronic media, is to compress and argued,1 the issue is not one of a binary as multicultural literary scholar unify that which had been divided and moral substitution, which only serves to Marguerite Rippy has observed,2 specialised... The phone is a participant reiterate whiteness as the dominant although Dandridge's depictions of the form that demands a partner, with all the model, but a more general re-articulation victimised black female shifted the limits intensity of electric polarity.'4 McLuhan of the meaning of ethnicity, including of what could be represented in white assigns to this intensity an erotic meaning, cinema, her adoption of the traditionally whiteness, in which race no longer because of the closeness with which the white role of femme fatale could not erase operates at the margins as an issue of telephone unites the voice and the ear. the deeply engrained symbolism of the representation. Sim pson's film tableaux In Sim pson's vignettes, the telephone black, sexual female as debauched, even unsettle the viewer partly because we operates as an editing tool, through which prostituted, and set apart from the are not able to confirm the black [and one character or narrative is both inter­ domestically inscribed sexuality of the in Call Waiting and Duet, also Latino and rupted by and linked to the next, piercing white female. In Interior/Exterior, Full/Empty, Asian] characters in each piece as the integrity of each single, private, self- four of the seven vignettes occur in unequivocally 'good', and thereby rescued contained space with erotic tension. domestic settings. In one of the four, two from representing what white is not. black women sit on a wicker sofa in a The role of electronic media in the sub­ This moral ambiguity surrounding each sitting room, their backs turned to the stitution of temporal simultaneity for the character is often constructed by the camera, as one recounts to the other an progression of one narrative step to the presence of an invisible protagonist with incident concerning the adulterous next is illustrated most directly in Call whom the main character intimately behaviour of a third woman known to both Waiting [1998], in which the narrative is converses by telephone, and whose of them. The women are scandalised and developed through a series of telephone identity and motives remain hidden. We titillated by the m istress's bold and conversations between six male and are made uncertain of the true meaning unfeeling confrontation of her lover's female characters, each interrupted by of each tableau by our own voyeurism, our wife, and by her lack of shame in being the call-waiting signal, which triggers inaccessibility to the full story provoking discovered. The 'good', domestic role the next narrative section to begin. The a half-known, disjunctive narrative. In played by the fascinated women, for narratives interweave sexual and emotional Interior/Exterior, Full/Empty (1997), an whom fidelity, love and security are the tensions between past and present lovers installation comprising seven small assumed goals, bears an ambiguous with confidential conversations between black-and-white projections positioned relationship to the 'bad' mistress, whose the same characters and a friend. The round the walls of the gallery at eye ethnicity is not stated. As in all her film structure of Call Waiting evokes Chantal Akerm an's film Toute une Nuit (1982], environment, of the flaneur: a man who Sim pson's female subject appears to be where several characters and locations wandered the city streets, reflecting on circumscribed by this continuing power comprise a collection of micro-narratives, his immediate environment, 'transcendling] structure, contained within the grid of between which, as film theorist Ivone modern alienation through an epistemo­ the weeks making up a month in her Margulies argues, despite a thematic logical process of intensive perception. personal and public routine. Yet close resonance, 'no completion is allowed, He is a dreamer, historian, character, examination of her activities reveals that and the promise of convergence is never reader and author, who transforms his she is not always where she is meant to fulfilled'.5 Margulies describes one of observations into ... latently filmic texts.'8 be. Sometimes she wakes in an un­ Akerman's female protagonists dancing The gaze of the flaneur, discussed by familiar bedroom. Sometimes we discover with a man as she waits for someone else, male writers from Walter Benjamin to her in an unexpected situation, in which interrupted by a telephone call, which Siegfried Kracauer, underlines the her purpose is unclear. Her movements occupation and perception of public she takes whilst the man lies on her bed. break out of the regulated structures by space as an exclusively white male activity. Akerm an's narrative evokes the second which all our lives are governed, under­ Images of empty parkland have appeared vignette in Call Waiting, in which a black mining the strictly controlled parameters in a number of Simpson's photographic woman receives a phone call while in bed of social space. As in every aspect of her and film works, within which black men, with a male lover, and denies flirtatiously work, Sim pson's refusal of the unified women and couples quietly appear and that she is being interrupted, shifting her subject, and her revealing of the hidden, disappear through the trees, seen from focus to the invisible caller as the lover or repressed - the images between a distance. In these enigmatic images, lies in bed. The lover seeks to redress images’ - suggests, as Margulies argues, black subjects appear as distant figures, the balance of power by making a phone an unrepresented reality that belies, by observed by a voyeuristic camera (or call himself, to another female. Both the implication, a hidden totality. This totality flaneur], tentatively occupying a social narratives of Akerman and of Simpson looks towards a new enquiry into space from which they have been largely echo the early radical films of Yvonne representation, suggesting a relationship excluded, and fading out of it as unobtru­ Rainer, in which, as Margulies observes, between image and language in which sively as they entered. no single character is allowed to pre­ black will be defined not as a colour, dominate, refusing the construction of a In 31, thirty-one small screens portray but as a constantly evolving political and unified subject and identity.6 colour images of a woman moving cultural construct. through her apartment, the street, the As Robert Ray points out,7 spatial and CHRISSIE ILES office and various recreational spaces temporal discontinuity has defined our over the period of a month, or thirty-one 1 ISAAC JULIEN AND KOBENA MERCER, 'DE relationship to the surrounding world MARGIN AND DE CENTER', THE FILM ART days. McLuhan's simultaneity of space OF ISAAC JULIEN. CENTER FOR CURATORIAL since the emergence of the modern STUDIES MUSEUM, BARD COLLEGE, ANN and time is given concrete form in the AND ALEON HUDSON, 2000, P 65 urban environment in the nineteenth temporal and spatial grid, within which 2 MARGUERITE H. RIPPY, 'FEMALE century. The emergence of film during this Simpson's female subject moves pur­ SEXUALITY AND BLACKNESS IN THE period served, then as now, to render an ICONOGRAPHY OF DOROTHY DANDRIDGE', posefully, contained and closely observed. CLASSIC HOLLYWOOD. CLASSIC increasingly anonymous and alienated WHITENESS. DANIE BERNARDI (ED), Sim pson's tracking of a month in the life UNIVERSITY OF MINNESOTA PRESS, environment familiar and legible, by MINNEAPOLIS, 2001, P179 of an unknown woman evokes Godard's ordering naturally disjunctive images 3 MARSHALL MCLUHAN, ESSENTIAL MCLUHAN. depiction of twenty-four hours in the into an artificial, narratively coherent ERIC MCLUHAN AND FRANK ZINGRONE (EDS), life of a prostitute in Two or Three Things I ROUTLEDGE PRESS, LONDON, 1995, P 280 composition. Sim p son 's refusal of the Know About Her, in which Godard uses 4 IBID., P 289 unified subject translates the early 1970s fragmentation, jump cuts and non- 5 IVONE MARGULIES, NOTHING HAPPENS: dismantling of this nineteenth-century, CHANTAL AKERMAN'S HYPERREALIST hierarchical space to rupture cinematic EVERYDAY. DUKE UNIVERSITY PRESS, model of narrative composition into a new DURHAM/LONDON, 1996, P182 and narrative convention. As Gleber notes, strategy that expresses the exclusion of 6 IBID., P 104 and as the females of both Godard and the black subject from the process of 7 ROBERT B. RAY, 'SNAPSHOTS: THE social familiarisation, inclusion and Simpson demonstrate, in the world of BEGINNINGS OF PHOTOGRAPHY', THE IMAGE IN DISPUTE: ART AND CINEMA legibility. The social alienation of the the flaneur, the female always appeared (and continues to appear] in the street in ANDREW (ED), UNIVERSITY OF TEXAS black subject is interwoven with the PRESS, AUSTIN, 1997, PP 293-305 purposeful engagement, performing more general issue of the alienation of 8 ANKE GLEBER, 'WOMEN ON THE SCREENS the female within social space in 31, domestic tasks, on her way to work or AND STREETS OF MODERNITY: IN SEARCH OF THE FEMALE FLANEUR', IN IBID., P 55 Sim pson's most recent film work. Anke to an appointment, and thus always the 9 MARGULIES, OP. CIT., P104 Gleber describes the emergence, in subject rather than the initiator of the TEXT REPRINTED WITH THE KIND the modern, nineteenth-century urban reflective, even cinematic, gaze. PERMISSION OF THE AUTHOR LORNA SIMPSON Born Brooklyn, New York, USA, 1960. Lives and works in Brooklyn, New York, USA.

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_2004 LORNA SIMPSON: 51, VINCE ALETTI, 'REVIEW OF MARY S LEIGH BLOCK MUSEUM LORNA SIMPSON AT SEAN KELLY OF ART, NORTHWESTERN GALLERY', THE VILLAGE VOICE. UNIVERSITY, EVANSTON, IL, NEW YORK, 16 OCT. 2001, P 75 USA _2003 LORNA SIMPSON. LESLIE CAMHI, EUGENE JOO IRISH MUSEUM OF MODERN ART, AND MARTA GILI, LORNA DUBLIN, IRELAND; LORNA SIMPSON. CONSORCIO SALAMANCA SIMPSON. CONSEJO NACIONAL SELECTED GROUP EXHIBITIONS CHECKLIST 2002, SALAMANCA, SPAIN, 2002 PARA LA CULTURA Y LAS ARTES, _2003 IMAGE STREAM. WEXNER CALL WAITING 1997 MEXICO CITY, MEXICO _2002 SIRI ENGBERG AND SARAH CENTER FOR THE ARTS, VIDEO INSTALLATION, 16MM LORNA SIMPSON. CAMOES AND COOK, SCENARIOS: RECENT COLUMBUjS, OHIO, USA; BLACK S WHITE FILM TRANS­ APPEARANCES. WHITNEY MUSEUM WORK BY LORNA SIMPSON. TAKTIKEN DES EGO. STIFTUNG FERRED TO DVD, RUNNING OF AMERICAN ART, NEW YORK, WALKER ART CENTER, w i l h e l N l e h m b r u c k m u s e u m , TIME: 13:11 USA; LORNA SIMPSON: 31. MINNEAPOLIS, 1999 DUISBURG, GERMANY; YANKEE EDITION OF 1, 1 AP WHITNEY MUSEUM OF AMERICAN REMIX. MASSMOCA, NORTH COCO FUSCO, 'LORNA SIMPSON' ART, NEW YORK, USA; LORNA >CIMAGES P147, P1503 ADAMS, MA, USA _2002 BOMB. FALL 1997, PP50-55 SIMPSON: EASY TO REMEMBER. XI. KASSEL, COURTESY OF THE ARTIST AND SEAN WEATHERSPOON ART MUSEUM, KELLY GALLERY, NEW YORK G e r m a n y !; w h i t n e y b i e n n i a l . GRACE GLUECK, 'LORNA UNIVERSITY OF NORTH WHITNEY; MUSEUM OF AMERICAN SIMPSON: 31 AND CAMEOS AND CALL WAITING WAS COMMISSIONED BY CAROLINA, GREENSBORO, NC, ART, NEW YORK, USA; COMER APPEARANCES', ART IN REVIEW, THE WEXNER CENTER FOR THE ARTS AT USA; LORNA SIMPSON. CENTRO 0 NO COMER. CASA, CENTRO NEW YORK TIMES. 25 OCT. 2002 THE OHIO STATE UNIVERSITY THROUGH DE ARTE CONTEMPORANEO, ITS WEXNER CENTER RESIDENCY AWARD DE ARTE! DE SALAMANCA, SALAMANCA, SPAIN _2001 THELMA GOLDEN, LORNA PROGRAM FUNDED BY THE WEXNER SALAMANCA, SPAIN; PRINTEMPS CENTER FOUNDATION LORNA SIMPSON. SEAN KELLY SIMPSON: 31. STUDIO MUSEUM DE SEPTEMBRE A TOULOUSE: GALLERY, NEW YORK, USA IN HARLEM, NEW YORK, 2003 IMAGES COURTESY OF THE ARTIST AND FRAGILITIES . FESTIVAL DE _1999 SCENARIOS: RECENT SEAN KELLY GALLERY, NEW YORK PHOTOGRAPHIE ET ARTS KELLIE JONES, THELMA GOLDEN WORK BY LORNA SIMPSON. VISUELS, TOULOUSE, FRANCE AND CHRISSIE ILES, LORNA WALKER ART CENTER, _2001 il'M THINKING OF A SIMPSON. PHAIDON, LONDON, MINNEAPOLIS, USA AND TOUR­ PLACE. UCLA ARMAND HAMMER 2002 ING TO ADDISON GALLERY OF MUSEUM,! LOS ANGELES, USA AMERICAN ART, ANDOVER, MA; BARABARA POLLACK, 'TURNING _2000 OPEN ENDS: ACTUAL UNIVERSITY OF MICHIGAN DOWN THE STEREOTYPES', ART- SIZE. t He MUSEUM OF MODERN MUSEUM OF ART, ANN ARBOR, NEWS. SEPT. 2002, P P 136-139 ART, NEW YORK, USA; THE MI; THE NATIONAL MUSEUM OF 46TH BIENNIAL EXHIBITION DEBORAH WILLIS, LORNA WOMEN IN THE ARTS, MEDIA/ METAPHOR. CORCORAN SIMPSON: UNTITLED 54. THE WASHINGTON DC AND SEAN MUSEUM OF ART, WASHINGTON FRIENDS OF PHOTOGRAPHY, KELLY GALLERY, NEW YORK, DC, USA SAN FRANCISCO, 1992 USA; LORNA SIMPSON. CCA KITAKYUSHU PROJECT GALLERY, BERYL WRIGHT, LORNA JAPAN SIMPSON: FOR THE SAKE OF THE VIEWER. MUSEUM OF CONTEMPORARY ART, CHICAGO, 1992 SEAN SNYDER se Visualse information Centerand various branches i * 7 J U ; p •■iTvv .*s • *- mm* m jm WHEN LEARNING FROM LAS VEGAS. ROBERT VENTURI'S SEMINAL BOOK ABOUT THE AMERICAN CITYSCAPE, WAS PUBLISHED IN THE 70S, IT STUNNED ARCHITECTS BY POINTING TO THE OBVIOUS IN THE THEN CONTEMPORARY AMERICAN CITY: THE SIGNS AND THE STRIP. LAS VEGAS MAKES A CASE FOR THE STRIP, SINCE IT IS (NOTHING BUT) THE STRIP, A STRAIGHT AVENUE WITH BIG SIGNS AND LITTLE BUILDINGS. NOW, THE STRIP IS DUCKS, GAMBLING, WELL INCORPORATED INTO TODAY'S CITIES AND MAKES THE CASE FOR 'MORE OF THE SAME'. THE SIGNS ARE INCORPORATED, TOO. IT'S JUST THAT THEY MUTATE. AND CULTURAL Steven Izenour mentioned the difference from Las Vegas in the 60s and said that BANKRUPTCY; OR today the signs are no longer bigger than the buildings. Since Learning from Las Vegas THE BASTARDISED the same basic signs and commercial buildings (that take on a sculptural form that Venturi called 'ducks') have been URBAN LANDSCAPE transposed over geographic and cultural borders and created a hybridised language of bastardised signs.

IN YOUR WORK, YOU USE CASE STUDIES TO SHOW THE WAY THE VALUES AND READING OF CONTEMPORARY CULTURE MORPHS BY POINTING TO THE SIGNIFIERS OF GLOBAL HYBRID FORMS. WHEN YOU DISCLOSE THE FAILURES OF SOCIETAL AND ECONOMIC UTOPIAS, YOU IN FACT OPEN THEM TO INTERPRETATION. FOR ME, THE PRESENT TIME IS ABOUT SELF-RELIABILITY, INDIVIDUAL INITIATIVES AND SMALL-SCALE PROJECTS. local. Clearly, both are carefully articulated corporate culture travels around the It's true that the expansion of large- sites due to the pressures or opportunities globe as a demonstration of economic scale infrastructure goes along with presented by the economic system. power but also cultural value. Of course, the growth of small-scale settlements. it's happened before when Khrushchev ONE THIRD OF THE OF THE WORLD'S URBAN They are both inevitable parasites of POPULATION LIVES IN SIMILAR STRUCTURES visited New York and set about building different kinds, but only the locations LIKE THOSE FOUND IN SHANTYTOWNS. skyscrapers around Moscow, or the RECENTLY, ARCHITECTS ARE TALKING for commercial infrastructure are ABOUT SUCCESSFUL FAVELAS- OR UNAPPROVED modernisation of US transport being scientifically articulated using satellite CONSTRUCTIONS, IN BRAZIL. I WORK WITH based on the Nazi Autobahn system. URBAN VOIDS AND OVERLOOKED AND ECO­ imagery and feasibility studies. Watered- To imagine that we could 'read' the city, NOMICALLY EXILED SPACES. YOUR WORK ALSO down typological descendants of Las Vegas DEALS WITH VOIDS OF A DIFFERENT SORT, let's go on the assumption there is a still are .now impregnated all over the world THE OCCUPATION OF SPACE INCREASINGLY value in a cognitive interpretation of CREATED BY URBAN PLANNING AND ECONOMIC and the American built environment has EXPLOITATION. space and architecture to explain the become a narrative of the success and unexplainable. To what degree can these If you read the city as a narrative, both failure of capital. When something doesn't cultural signs be decoded? Reading the commercial architecture and the un­ built environment through a series of produce money any more it is abandoned planned structures you speak of are symbols or of signs involves a level of and the voids and reconfigurations of such overlooked. It's interesting that both are speculation. What we notice can be failures are an inherent part of 'the strip'. based on network systems in which they explained through anecdotes... or con­ I THINK WHAT WE ARE ALSO TALKING often gather together in specific areas of spiracy theories. ABOUT HERE IS HOW SYSTEMS TRAVEL... a city in order to support each other. What

You could say that these things are close interests me is how the mechanisms ANOTHER ZONE ALONGSIDE THE CORPORATE neighbours. Right behind large-scale that control the form of a particular site DISTRICT AND THE FAVELA IS THIS SO- CALLED NEW URBANISM. FOR INSTANCE, urban structures and along transit arteries, are open to individual or collective local NEW URBANISM SEEMS TO CLAIM SOUTH smaller-scale structures negotiate space reactions. What we can clearly observe BEACH, MIAMI, A SUCCESS. PLANNERS KNOW that reflects something more human and now is how the language of US modernist THAT BANNING CAR TRAFFIC AND TURNING A STREET INTO A PEDESTRIAN ZONE HAS psychologically out. I have been on some CONSEOUENCES - SHOPS AND RESTAURANTS American military bases here in Germany. FOLLOW. IT IS NOT BY COINCIDENCE THAT It's incredible the amount of expense and HISTORIC CITY CENTRES ARE TURNED INTO SOME KIND OF SHOPPING MALLS, WHERE YOU infrastructure the American military ARE ALLOWED TO SHOP AND EAT, ALBEIT IN transposes to make the people serving in A NICER ENVIRONMENT THAN A REAL SHOPPING the military feel 'at home'. They reproduce MALL. YOU CAN SAY THAT THIS INTERPRETATION OF INDIVIDUALS' NEEDS FIT DEVELOPERS. the same parking lots, shopping centres, BUT AS YOU SEE, PEOPLE LOVE GATED COM­ and drive-throughs that you would find in MUNITIES, SUCH AS CELEBRATION, FLORIDA, America. This is all behind high security AND THEY LIKE THEME PARKS. THIS IS WHERE THE ASPIRATIONS OF THE MIDDLE CLASS AND fencing (of course). I told you about DEVELOPERS COME TOGETHER. Shanghai Links, an American-style gated New Urbanism uses trailerpark com­ community, where all of the components of munities as a model of social interaction. the houses were imported and assembled All the symbols, the symbols of American on site by construction workers flown in modernism, especially the car, become from North America. Even the tap water antagonists. They use forgotten aspects coming into the houses is sterilised. The of American society like pedestrians and name Shanghai Links has ambiguous ecology in their schemes. You could see references, both to the traditional name New Urbanism as a mutation of Venturi's of a golf course and to satellite access. analysis. Actually, some of the main I guess Shanghai Links would be the proponents of the movement were his antithesis of an individual initiative, local students but they ended up promoting network-based system... urban fortresses. A fortress tries to keep MARJETICA POTRC something physically, politically or in conversation with Sean Snyder SEAN SN YDER Born Virginia Beach, Virginia, USA, 1972. Lives and works in Berlin, Germany.

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_2004 GALLERY NEU, BERLIN, _2003 UTOPIA STATION. VENICE NICOLAS BOURRIAUD, SEAN SNYDER IS PRODUCING GERMANY; KUNSTHALLE ST. BIENNALE, VENICE, ITALY; POSTPRODUCTION . LUKAS & A SITE SPECIFIC TRIENNIAL GALLEN, SWITZERLAND TERRITORIES. KUNST-WERKE, STERNBERG, NEW YORK, 2002 PROJECT AT ARTSPACE _2003 COLLECTIVE GALLERY, BERLIN,! GERMANY AND WITHE PARK CHAN-KYONG, ' RYUGYONG COURTESY OF THE ARTIST EDINBURGH, SCOTLAND DE WITT, ROTTERDAM; GNS. HOTEL', FORUM A . NO. 11, _2002 GALLERY NEU, BERLIN, PALAIS PE TOKYO, PARIS, >[IMAGES TOP: KINTQWN, OKINAWA, SEOUL, OCTOBER 2002 (OUTSIDE OF CAMP HANSEN US MILITARY GERMANY _2001 GALERIE CHANTAL FRANCE; LIVING INSIDE THE BASE) 2003, BOTTOM: TEMPORARY CROUSEL, PARIS, FRANCE GRID . NEW MUSEUM, NEW PHILIPPE DAGEN, 'VRAIS ET OCCUPATION 2003 P 1 51□ YORK, USA _2002 PAUSE/ FAUX PAYSAGES', LE MONDE. >[IMAGES TEMPORARY OCCUPATION 2003 GWANgjU PIENNALE, GWANGJU, 12 DECEMBER 2001 P 1531 SOUTH KOREA; CENTRE OF CHARLES ESCHE, 'THE SLOBOZIAN attracti.ON. BALTIC TRIENNIAL >CIMAGES ANALEPSIS 2003 P154D QUESTION', AFTERALL. NO. 7, OF INTERNATIONAL ART. IMAGES COURTESY OF THE ARTIST CONTEMPORARY ART, LITHUANIA; OCTOBER 2002 KENTARO ITCHIHARA, 'VERY AMSTERDAM, NETHERLANDS NEW ART, 2000', BIJUSTSU _2001 TIRANA BIENNALE. TECHO. VOL. 52, NO. 782, NATIONAL GALLERY, TIRANA, JANUARY 2000 ALBANIA; NEW SETTLEMENTS. NIKOLAJj CONTEMPORARY ART MARJETICA POTRC, DISCUSSION CENTER, I COPENHAGEN, DENMARK; WITH ARTIST, ’DUCKS, GAMBLING VI-INTENTIONAL COMMUNITIES, AND CULTURAL BANKRUPTCY; ROOSEUM, MALMS, SWEDEN _2000 OR THE BASTARDISED URBAN NO SWIMMING. KUNSTVEREIN LANDSCAPE', AFTERALL. MUNICH, MUNICH, GERMANY; NO. 7, OCTOBER 2002 ANOTHER PLACE. TRAMWAY, STEPHANIE TASCH, 'SHANGHAI GLASGOW, SCOTLAND; DEUTSCHE LINKS HUA XIA TRIP', TEXTE KUNST IN MOSKAU. CENTRAL ZUR KUNST. NO. 49, 2003 HOUSE QF ARTISTS, MOSCOW; IASPIS GALLERIET, STOCKHOLM JAN VERVOERT, 'JUMP CUT _ 1 999 CITIES ON THE MOVE. CITIES', AFTERALL. NO. 7, KIASMA,; HELSINKI, FINLAND; OCTOBER 2002 CHANGE I S GOOD. MUSEUM KRYSTIAN WOZNICKI, 'IMAGE FRIDERljCIANUM, KASSEL, PROBLEM CITY', CAMERA GERMANY; ARS VIVA 98/99. AUSTRIA INTERNATIONAL. INSTALLATION, PORTIKUS, APRIL 2000 FRANKFURT AM MAIN, GERMANY _1998 BERLIN/BERLIN. BERLIN BIENNALE. BERLIN, GERMANY; JUNGE sjZENE . WIENER SECESSION, WIEN, AUSTRIA; MANIFESTA 2 . EUROPEAN, BIENNALE OF CONTEMPORARY ART, LUXEMBURG, LUXEMBURG AUDITIONS FOR A PAIR OF KOALAS

ARTIST WANTING TWO PEOPLE TO BE PART OF AN INSTALLATION on the floor, and the last two pairs were PERFORMANCE WORK. FULLY CLOTHED IN ANIMAL COSTUMES, PLAYING organised according to coinciding sched­ THE SCENE OF TWO KOALAS MATING IN AN INDOOR PUBLIC ART SPACE. ules. With the exception of one Australian, AUDITIONS WILL BE FILMED. WEEKENDS FOR A PERIOD OF 6 WEEKS. NON everyone was American and none had UNION PERFORMERS. PAY. BEGINS MID MARCH. CALL KATHY. 718 349 2694 seen a koala in real life. I videotaped the auditions in my then studio at PS1 to have During 1998 I placed the above advertise­ a record to help me decide who would be ment in Backstage magazine and New York's best for the parts. free weekly The Village Voice. I received 80 The final work, Pet Comer, was a perform­ phone calls responding to the advertise­ ance over six weekends in March and April ment. I returned everyone's phone call 1998 as part of P S 1 s Wish you Luck studio and organised auditions with 14 actors. program exhibition. Six of them were couples, two auditioned on their own with the empty koata suit KATHY TEMIN Temin's animals, some of which looked neo-humanoid companions co-exist (in through premeditated rituals: breeding like paintings, appeared at the very a Palm Springs prehistoric paradise]. It was and being bored in captivity. Over the beginning of her project. They stared at the almost as if Brian O'Doherty's 'archetypical course of her work, Temin has devised world with baleful eyes. These inhabitants image of twentieth century art', the gallery ways for her fellow-humans to become of her white-cave paintings soon demanded space itself was being subdivided and more acquainted, in a manner of speaking, housing, they were amply provided for. The leased out to a rowdy group of new tenants. with her different species of animals. She abodes took the form s of bird houses, After all art was over with, wasn't it? has invited us to rejoin the animal world, Dis-Plays through which they sneaked blend with them, watch them and even The snazzy threads of Cat Watching 1994, and sunned themselves, mazes for them mate (crossbreed?). Like paintings in the became a kind of nature video in which to hide in, paintings for the walls made ancient caves, her figures equivocate three male artists were invited to dress from the same materials as their bodies, between authentically 'animal' bodies in fake fur costumes and play human/ and finally 'modern' homes, some of and awkward humans in disguise, just as cat, whatever that might connote. Much which had soft insides and hard edges, her architecture is a kind of living animal. that were anthropomorphic in their own later, in 1998, came Pet Comer with Live GIOVANNI INTRA right. Not to mention the recently prolif­ Action, an installation (arguably a zoo enclosure) at PS1 in Long Island City, THE TEXT IS AN EXTRACT FROM erating repertoire of conversation pits, •LASCAUX 111* IN KATHY. T LCLLH, shag pile, televisions and chic patterning NY, in which a pair of professional actors PUBLISHED BY THE MOET & CHANDON AUSTRALIAN ART FOUNDATION, EPERNAY, in which the artist's animals and their donned koala bear suits and were directed FRANCE, 2000. A pair of koalas' the audition calls for. And camera toting devotees who list the idea yet we know that koalas are notoriously of holding a koala and having their portrait loner by instinct. Coming together but taken with one as their most desired pathos. Several have been abandoned briefly for a bit of nasty [often a matter of Australian tourism activity. It's all hype and by their audition buddy, and so they sit a few uncomfortable seconds where the branding really. The koala, then, symbol­ glumly against the painted backdrop, male grips the female with his sharp ises all the attributes of contradiction so looking listlessly at the empty bag of a claws], and then invariably, in the case sought byTemin. A misunderstood symbol costume where companionship should of the male, ambling off in a huff to sit of place, a creature whose own zoological have been. Blue indeed. One cannot help up a tree and growl, sometimes spit at status continues to confuse - not a bear, but attach a kind of sense of longing to passers-by. The female is invariably quite but its own unique thing - a lethargic this attempt to recreate the nostalgic, antagonistic and aggressive towards the addict, a nocturnal party animal, but by sentimental habitat of the domestic home male after breeding: any wonder after day a sloth: diseased, defiled, a menace and the national place: to seek out a being fastened against the tree. Breeding to be culled. A creature displaced by partner and place to share. koalas in captivity is fraught with failure western cultivation of the land. A native JULIANA ENGBERG and zoologists rejoice at small successes. no longer at home.

Despite good press to the contrary, koalas Temin's koalas work between ambiguities. THE TEXT IS AN EXTRACT FROM UNNATURAL are neither lovable, cuddly, nor all that Some are playful, almost erotic in a kind ACTS IN PUBLIC SPACES IN KATHY TMiill AUDITIONS FOR A PAIR OF KOALAS. tolerant of the hordes of well meaning, of Plushie way. Others convey a lot of EXHIBITION CATALOGUE, 2003. KATHY TEMIN Born Sydney, Australia, 1968. Lives and works in Melbourne, Australia.

SELECTED SOLO EXHIBITIONS SELECTED GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY

_2003 AUDITIONS FOR A PAIR _2003 EXTENDED PLAY: ART YVETTE BRACKMAN, 'THE OF KOALAS. ANNA SCHWARTZ R EM I X I MG MUSIC. GOVETT- CHASSIS AND THE ENTRAILS', GALLERY, MELBOURNE, BREWSTEk ART GALLERY, NEW CLAUSTROPHOBIA (CATALOGUE), AUSTRALIA AND GALERIE VAN PLYMOUTH, NZ _2002 LAUNCH IKON GALLERY, BIRMINGHAM, GELDER, AMSTERDAM, OF A MAGAZINE (AS PART OF ENGLAND, 1998, PP76-81 NETHERLANDS; AUDITIONS FOR A MY KYLIE COLLECTION-)., CLAIRE DOHERTY, GIOVANNI PAIR OF KOALAS AND FROZEN. GERTRUDE CONTEMPORARY ART INTRA, GREGORY WILLIAMS, STAGED AND ABSTRACTED SPACES,|MELBOURNE, AUSTRALIA CHECKLIST KATHY TEMIN. PUBLISHED BY MOMENTS (AS PART OF MY _2001 ART/MUSIC: ROCK. POP MOET & CHANDON ART FOUND­ AUDITION FOR A PAIR KYLIE COLLECTION). HAMISH AND TECHNO. THE MUSEUM OF ATION, EPERNAY, FRANCE, 2000 OF KOALAS (WHITE) 2002 MCKAY GALLERY, WELLINGTON, CONTEMPORARY ART, SYDNEY, 12 PEGASUS PRINTS MOUNTED NZ _2002 FROZEN. STAGED AUSTRALIA _2000 AMATEUR JULIANA ENGBERG, 'KATHY ON ALUMINIUM AND ABSTRACTED MOMENTS VARI ABLE , RES EARQH TEMIN', HOME AND AWAY: 510 X 760 X 15 MM (AS PART OF MY KYLIE initiatives 1900 & 2000, CONTEMPORARY AUSTRALIAN COLLECTION). ROSLYN 0XLEY9 GSTEBORG KONSTMUSEUM, AND NEW ZEALAND ART FROM >[ IMAGES BOTTOM: PP 156-1573 GALLERY, SYDNEY, AUSTRALIA; Gb'TEBORb, SWEDEN _1998 THE CHARTWELL COLLECTION. A U D I TI ON_F 0 R A PAIR FROZEN MOMENTS (A$ PART QF INGLENOpK, FEIGEN AUCKLAND ART GALLERY TOI 0 OF KOALAS (BLUE) 2002 MY KYLIE COLLECTION). ANNA CONTEMPORARY, NEW YORK AND TAMAKI, 1999, P P 126-127 12 PEGASUS PRINTS MOUNTED SCHWARTZ GALLERY, MELBOURNE, ILLINOIS UNIVERSITY GALLERY, FELICITY FENNER, 'FELT ON ALUMINIUM AUSTRALIA IN CONJUNCTION CHICAGO, USA; WISH YOU HABITAT AT ROSLYN 0XLEY9 510 X 760 X 1 5 MM WITH THE MELBOURNE FASHION LUCK. PS1 STUDIO PROGRAM GALLERY', ART IN AMERICA. FESTIVAL _1999 FELT HABITAT, EXHIBITION, PS1 CONTEMPORARY >CIMAGES TOP: PP 1 55- 1573 OCT. 1999, P 176 ROSLYN 0XLEY9 GALLERY, ART CENTER, NEW YORK, USA COURTESY OF THE ARTIST AND HAMISH SYDNEY, AUSTRALIA AND _1996 MANIFESTA 1 . VILLA PHILLIPA HAWKER, 'KYLIE MCKAY GALLERY, WELLINGTON HAMISH MCKAY GALLERY, MUSEUMPARK, ROTTERDAM, -FRAMED AS A CULTURAL REPRODUCED COURTESY OF THE ARTIST WELLINGTON, NZ _1997 SOME OF NETHERLANDS _1995 POODLES ICON', THE AGE. MELBOURNE, AND ANNA SCHWARTZ GALLERY, MELBOURNE MY FAVOURITE THINGS. HABITAT, AND PUSSIES (WITH KATE DAW), 20 MARCH 2002 LONDON, ENGLAND; CAT M A T . TESTSTRIP GALLERY, KATHY TEMIN IS REPRESENTED BY HAMISH CLEVELAND, LONDON, ENGLAND AUCKLAND, NZ _1994 PETER HILL, 'LIVING DOLL', MCKAY GALLERY, WELLINGTON; ANNA _1995 WALL DRAWINGS. OBJECTS SYDNEY MORNING HERALD. SCHWARTZ GALLERY, MELBOURNE; ROSLYN 0XLEY9 GALLERY, SYDNEY; AND GALERIE AND VIDEOS: MADE IN NEW ASTA GRlOTING. EVA HESSE. 'METRO' SECTION, 16-22 VAN GELDER, AMSTERDAM PLYMOUTH. GOVETT-BREWSTER KATHY T EMIN. ROSEMARIE AUG. 2002 ART GALLERY, NEW PLYMOUTH, TROCKEL . RACHEL WHITREAD. NATALIE KING, 'HOME IS ' GALLERY, LONDON, NZ; THREE INDOOR MONUMENTS. FRITH S WHERE THE ART IS', THE AUSTRALIAN CENTRE FOR ENGLAND ; AUSSEMBLAGE. AUSTRALIAN STYLE. NO. 54, AUCKLAN D CITY ART GALLERY CONTEMPORARY ART, MELBOURNE, AUGUST 2001 , PP 66 - 69 AUSTRALIA _1991 THE DUCK- AUCKLAN ), NZ RABBIT PROBLEM. 200 GERTRUDE SHARON KIVLAND, STREET, MELBOURNE, AUSTRALIA 'PUBLICATIONS: KATHY TEMIN, PUBLISHED BY MOET 8 CHANDON/ FRANCE', MA KE. UK, NO. 89, SEPT.-NOV. 2000, P 39

ROBYN MCKENZIE, 'KATHY TEMIN: INFANTILE TERRIBLE, OBJECT RELATIONS AND THE PROBLEM CHILD', ART AND TEXT. NO. 45, 1993, P P 30-35

PRISCILLA PITTS TALKS TO KATHY TEMIN, ’...WHEN I FOUND A REAL BIRD HOUSE, IT LOOKED LIKE A MODERNIST HOME', MIDWEST. NO. 7, DUNEDIN PUBLIC ART GALLERY, NEW ZEALAND, 1995, PP46-52 HULLEAH J. TSINHNAHJINNIE No longer is the camera held by an outsider looking in, the camera is held with brown hands opening famiiiar worlds. We document ourselves with a hum anising eye, we create new visions with ease, and we can turn the camera and show how we see you.

HULLEAH J. TSINHNAHJINNIE

Beginning in 2000, Hulteah Tsinhnahjinnie postcards they were frequently used Photographed in military attire he is has become fascinated with exploring the as correspondence and acquire even surrounded by elements from his own cyberspace of eBay, where she frequently more power of individual and collective artworks. A Dine hogan with a plume of finds and buys vintage photographs of memory for Tsinhnahjinnie when there is smoke sits behind him and was the way Indigenous people worldwide. She bids a handwritten message from the sitter in which he signed many of his early paint­ against high-powered commercial dealers or a relative. ings. The Mule Rider (1965) emerges from behind him as a memory of his runaway and collectors, and often wins when the The original ten portraits in story from school, a story he told his sitter is in non-native attire. For dealers, Tsinhnahjinnie's Portraits Against Amnesia seven children many times. Flere again monetary value resides in vintage photo­ (2003) series were all of postcard size Tsinhnahjinnie incorporates the story into graphs of Native Americans only when but in their remembering Tsinhnahjinnie history, as she did within Memoirs of an they are dressed in regalia, or fit 'the has made them into large 20 x 30 inch Aboriginal Savant as well as a recent video white m an's code of Indian, wearing prints, now too large to be misplaced or in his name. feathers and buckskin'. But then the forgotten. Some of the figures are larger dealers are looking at the photographs, than life-size and gaze directly out of the Of the two dapper and handsome young and perhaps cannot see that the sitter is photograph to the viewer, leaving their men who commissioned their portraits, actually looking at them. Unlike many time period behind to be present in 'Che-bon' dons a tilted hat and is dressed 'collectible' vintage Native American the new millennium. The latest digital in a stylish suit reminding Tsinhnahjinnie photographs, the gazes in these portraits printing technologies produce a golden how fashionable some of the dudes are not voyeuristic, not anthropological, luminous finish within the sepia tones were!' Poor fixation of the photograph no.t part of government documentation, that empowers the portraits to fight all has resulted in a chemical effect that and not about the photographer. In these forms of amnesia. fades and disintegrates the image. portraits the authority and power is held Combined with the slight blurriness of In a memorial work, Grandmother, entirely by the subjects who control their Tsinhnahjinnie shows her Seminole the sitter the effects render a romantic, own identity and look directly out of the grandmother surrounded by yellow ethereal quality which was further photograph in the way they wish to be dots which represent all the family enhanced by the artist. The other bow- represented. spirits that helped her throughout her tied young man, 'Istee-cha-tee Aspirations', Through the portal of digital technologies life. 'The spirits that help you before you poses with a hand on his hip, purpose­ Tsinhnahjinnie transports the subjects enter this world, the spirits that help you fully casual with his foot resting on the of her vintage photo postcards through while you're in this world, and the spirit chair, in what Tsinhnahjinnie views as a time and space to convey her own inter­ you will become.' Her father, Dine artist political stance. She draws focus to his pretations and artistic views. For her, the Andrew Tsinajinnie, is featured in 'Dad' hand, a loosely closed fist where she series 'is about not forgetting these images and remains deeply influential for sees his thumb as 'an indirect way of that are floating around deemed of little Tsinhnahjinnie because of her admiration pointing at people, very political, a value by collectors, but should be valued for his endurance and lifelong commitment gesture that former President Clinton and collected by native people.' As photo to creating art until his passing in 2000. often utilised.' Two young children were taken to studios Seminole relatives she has only just met for their portraits and while 'Boy-in-the- and ’how that history is often hidden, so moon' sits atop a studio crescent moon in Grandchildren I raise the issue of inter­ in a room full of bright stars, 'Hoke-tee' racial relations that are put into selective hovers vividly above the surface of the memory, conveniently forgotten.' moon. Another view of colonialism Whether Hulleah Tsinhnahjinnie is Tsinhnahjinnie visualises 'man going to documenting or reclaiming histories and the moon trying to claim it, but when he images, commenting on national and gets there, there is a little aboriginal global politics, or making us laugh, her baby floating around on her little space voice is strong and clear. Communicating scooter. So colonismo spaceman picks through her images, she explores a variety up his bags and takes off because it is of mediums, always cognisant of new just too much!' Remembering one of her directions and technologies. It was a natural and vital step when Tsinhnahjinnie earlier works, Mattie Rides a Bit Too Far, she leaped from photographic hand-collage consciously reverses and compares the to the ever-expansive possibilities of the viewing positions 'where Mattie is looking digital world. She makes Walter Benjamin's out into space, this baby is out in space 'fears of mass dissemination' realised, and looking back at you, confronting your with the ability to bring the Indigenous perceptions!' world together across continents, main­ In Oklahoma, Tsinhnahjinnie transports taining full sovereignty of an enduring two Oklahoma women from their time and persevering Native philosophy. and context to be surrounded by shifting REFERENCES: That was a beautiful day when the and skewed slices of time. 'The planes of TSINHNAHJINNIE, H. J., 'COMPENSATING scales fell from my eyes and I first time we occupy while we are here and IMBALANCES', EXPOSURE 29 (1), 1993, P 30 encountered photographic sovereignty. when we are gone. The planes of time BENJAMIN, W., 'THE WORK OF ART IN A beautiful day when I decided that I THE AGE OF MECHANICAL REPRODUCTION' our memory occupies as we put them would take responsibility to reinterpret into thought.' Tsinhnahjinnie includes SCHOCKEN BOOKS, NEW YORK, 1955, images of Native peoples. My mind PP 217-251 one slice of time, a landscape from her was ready, primed with stories of TSINHNAHJINNIE, H. J., 'WHEN IS A home in Rough Rock, Arizona as a mode PHOTOGRAPH WORTH A THOUSAND WORDS?' resistance and resilience, stories of her own interaction with the portrait. IN NATIVE NATION?; JQVRNEYS IN of survival. My views of these images AMERICAN PHPT9SRAPHI, J- ALISON, This spring, Tsinhnahjinnie and her BARBICAN ART GALLERY AND BOOTH- are aboriginally based, an indigenous CLIBBORN EDITIONS, LONDON, 1998, P 42 mother travelled to Oklahoma to visit perspective, not a scientific Godly EXCERPT FROM 'HULLEAH J. with relatives, some of whom she had order, but philosophically Native. TSINHNAHJINNIE' IN PATH BREAKERS. never met. The portrait Grandchildren EDITED BY LUCY LIPPARD, EITELJORG MUSEUM AND UNIVERSITY OF WASHINGTON visually reminds the artist of the black VERONICA PASSALACQUA PRESS, INDIANAPOLIS AND , 2003 HULLEAH J. TSINHNAHJINNIE Born Phoenix, Arizona, 1954. Lives and works in the American Southwest. Hulleah J. Tsinhnahjinnie was born into the Bear and Raccoon Clans of the Seminole and Muskogee Nations, and born for the Tsinajinnie Clan of the Dine Nation. Exhibited nationally and internationally, Tsinhnahjinnie claims photography and video as her primary languages. Creating fluent images of Native thought, her emphasis is art for indigenous communities.

SELECTED BIBLIOGRAPHY

J C FARIS, NAVAJO AND PHOTOGRAPHY: A CRITICAL HISTORY OF THE REPRESENTATION OF AN A M ERICAN PEOPLE, CHECKLIST UNIVERSITY OF NEW MEXICO PORTRAITS AGAINST AMNESIA PRESS, ALBUQUERQUE, 1996 2002 DIANE FULLER, CALIFORNIA DIGITAL PLATINUM LAMBDA WOMEN ARTISTS: 195Q-2Q00, PRINTS SAN JOSE ART MUSEUM, SAN 9 PHOTOGRAPHS JOSE, 2001 ‘ 762 X 508 MM 1 PHOTOGRAPH H. HAMMOND, LESBIAN ART IN SELECTED SOLO EXHIBITIONS SELECTED GROUP EXHIBITIONS 762 X 648 MM AMERICA. RIZZOLI, NEW YORK, _2003 DEEP ROOTS. SIOUX _2004 WEAPONS OF THE 2000 >CIMAGE TOP LEFT: PORTRAITS AGAINST AMNESIA. BOY IN THE MQQN INDIAN MUSEUM, RAPID CITY, HEART. jTRIBE, SASKATOON, 0. LAHS-GONZALES AND LUCY 2002 P 159] SD, USA; PORTRAITS AGAINST SASKACHEWAN, CANADA; ONLY LIPPARD (EDS), DEFINING AMNESIA. ANDREW SMITH SKIN DEEP. INTERNATIONAL >[IMAGE TOP RIGHT: PORTRAITS EYE: WOMEN PHOTOGRAPHERS GALLERY, SANTA FE, NM, USA CENTER OF PHOTOGRAPHY, NEW AGAINST AMNESIA. GRANDCHILDREN 2002 OF THE 20TH CENTURY. THE P 159] _2001 AN ABORIGINAL WORLD YORK, USA _2003 PATH , VIEW: HULLEAH J. BREAKERS. EITELJORG MUSEUM, >[IMAGE BOTTOM LEFT: PORTRAITS SAINT LOUIS, USA, 1997 TSINHNAHJINNIE. TRIBE, INDIANAPOLIS, IN, USA _2002 AGAINST AMNESIA. HOKE-TE 2002 P159]

SASKATOON, SASKACHEWAN, THE MASTER PRINTS OF EDWARD MARY WARNER MARIEN, PHOTO­ >CIMAGE BOTTOM RIGHT: PORTRAITS CANADA; DEEP ROOTS. DENVER S. CURTIS AND INDIAN ART/ GRAPHY: A CULTURAL HISTORY, ART MUSEUM, CO, USA _2000 FACTS. SEORGE EASTMAN HOUSE, LAURENCE KING PUBLISHING, >CIMAGE LEFT: NATIVE WOMEN OF HOPE. THE ROCHESTER, NY, USA; PARALLELS LONDON, 2003 SOUTHWEST MUSEUM, LOS AND INTERSECTIONS: CALIFORNIA VERONICA PASSALACQUA, RIGHT: ANGELES, USA _1999 IMAGES WOMEN ARTISTS: 1950-2000. >[ IMAGE 'HULLEAH J. TSINHNAHJINNIE', OF SEMINOLE IDENTITY: SAN JOSlE MUSEUM OF ART, PATH BREAKERS. LUCY LIPPARD DIALOGUES IN ART AND SAN JOSE, CA, USA _2000 >CIMAGE (ED), EITELJORG MUSEUM AND ANTHROPOLOGY. THE CLAUDE AMERICAN DREAMS SIXTH ISTEE-CHA-TEE-ASPIRATIONS 2002 P162] UNIVERSITY OF WASHINGTON PEPPER CHANGING ART GALLERY, INTERNATIONAL t r i e n n i a l , IMAGES COURTESY OF THE ARTIST PRESS, INDIANAPOLIS AND TALLAHASSEE, FL, USA _1994 THE ECOLOGY AND THE ART, SEATTLE, 2003 ALL WORKS COLLECTION OF THE ARTIST PHOTOGRAPHIC MEMOIRS OF AN UMETNOSTNA GALERIJA MARIBOR, ABORIGINAL SAVANT. CN GORMAN MAR I BOR:, SLOVENIA _1998 CAROL SQUIERS (ED), OVER MUSEUM, UNIVERSITY OF NATIVE NATIONS: JOURNEYS EXPOSED: ESSAY? ON CALIFORNIA DAVIS, DAVIS, IN AMERICAN PHOTOGRAPHY. CONTEMPORARY PHOTOGRAPHY, CA, USA _1993 NOBODY'S PET BARBICAN ART GALLERY, THE NEW PRESS, NEW YORK, INDIAN. SAN FRANCISCO ART LONDON,: ENGLAND _1997 1999 INSTITUTE, SAN FRANCISCO, DEFINING EYE: WOMEN CA, USA; HEROES . MERIDIEN PHOTOGRAPHERS OF THE 20TH G TREMBLAY, 'HULLEAH GALLERY, SAN FRANCISCO, CA, CENTURY. SAINT LOUIS ART TSINHNAHJINNIE: TAKING USA MUSEUM, SAINT LOUIS, MO, RISKS', REFLEX. VOL.8, NO. 6, USA _1996 SHARED VISIONS. DECEMBER 1994/JANUARY 1995 HEARD MUSEUM, PHOENIX, AZ, G TREMBLAY, 'REFLECTION ON USA, AND NZ TOURING "MATTIE LOOKS FOR STEVE (AUCKLAND, CHRISTCHURCH, BIKO", A PHOTOGRAPH BY HAMILTON) _1994 WATCHFUL HULLEAH TSINHNAHJINNIE', EYES. NATIVE WOMEN ARTISTS. PARTIAL RECALL. THE NEW HEARD MUSEUM, PHOENIX, AZ, PRESS, NEW YORK, 1992 USA _1992 INTERNATIONAL HULLEAH J TSINHNAHJINNIE, MUNICIPALITY NEJAT F. WHEN IS A PHOTOGRAPH WORTH ECZACIBASI ART MUSEUM, A THOUSAND WORDS? PHOTO­ h a l i c , T u r k e y GRAPHY'S OTHER HISTORIES. DUKE UNIVERSITY PRESS, 2003 Ijane & LOUISE WILSON

StasiCity is a chilling marriage of subject and form. Video, especially in the con­ text of an organisation like the Stasi, is inevitably associated with surveillance and surreptitious image-gathering. It is a clandestine activity. To see these images gathered from the deserted hallways and offices of the Stasi building and then projected in such an epic form is deeply disturbing. The installation conjures feelings of unspeakable dread, as the viewer is forced to imagine the latent narratives that will never be spoken. Stasi City is a brilliant exploration of the banality of evil, as expressed in an obsessive detailing of its abandoned shrine.

ATOM EGOYAN EAST OF EDEN: JAN E & LOUISE WILSON'S STAS I CITY

during the Cold War. The structure of the frame. Midway through the video, a set of narrative is deceptively simple: not more televisions - instruments of observation than thirty frames, it begins at the moment and control as well as artistic tools - is when all of the lights inside the office of perfectly mirrored thus creating a breath­ the last director, Erich Mielke, turn on less, glimmering reflection that suddenly simultaneously. This is followed by a cuts to two lifts moving simultaneously continuous pan throughout the empty up and down. labyrinthine premises of the Stasi head­ The curious doubling is at the heart of quarters where the camera acts as a spy Jane and Louise Wilson's art: an indication quickly moving through the building, of their similarities, contrasts and of each opening doors and glimpsing through a one's individuality. Besides the obvious series of empty offices. The narrative references to the fact that they are twins, ends with the peculiar levitation of a The 1997 installation by Jane and Louise this duality also may be seen as an allusion human figure, one that is indefinitely Wilson, titled StasiCity, consists of two to the double image of the stereoscope, formed and even abstract. double wall projections, two sculptures which in fusing two similar yet imper­ and a series of photographic stills, shot Unlike the other productions of Jane and ceptibly different images bring them to a on location in a group of abandoned Louise Wilson, the sets for Stasi City are single point in another dimension. It is buildings that once housed the GDR's not constructed, with the exception of this specific difference that is needed to intelligence service - the Staatsicherheit the last frame and the interiors’ sordid represent the third dimension, creating - in an area of East Berlin unofficially and tragic theatricality is used in a strict the appearance of reality. Taking this idea called Stasi City. For Jane and Louise cinematic way, as a moving stage. This a step further, the necessity of two points Wilson, this installation heralds numerous use of space differs markedly from earlier of view em phasises the importance of changes and developments in their work works, such as Crawl Space, where the each one and allows the artists to achieve but also develops a recurring theme artists created a mise-en-scene of the a psychological third dimension where body in space, evoking the physical and found in earlier pieces, such as Hypnotic the viewer can experience a deeper, existential presence of the human figure. Suggestion 11993), Crawl Space (1995) and more articulate, and therefore more In Stasi City, one sees a more psychological Normapaths (1996): that is, the quasi­ complex, grasp of reality inasmuch as identical, yet deeply different perception of approach to space in which an almost total every take probes, questions, negates a situation that, once juxtaposed, increases emptiness is.loaded with the memories and counterbalances its homologue the sense of relativity, alienation and and intimations of those who once image in a constant interplay that takes mystery of the human experience. inhabited it. away all certainties about the absolute­ Stasi City consists of a double corner The images in Stasi City are always present­ ness of a single point of view. projection that is reiterated as another ed as two concurrent points of view that Like reality, the double projection of slightly different double corner projection are slightly out of sync and occasionally StasiCity is ambiguous, enveloping and across the same room. The images in juxtaposed. For example, at one moment encompassing as it surrounds the these two sets of twin projections are a floating figure in the left projection spectator with images that create an similar and show a set of office interiors, moves across the frame towards the atmosphere heavy with impending danger hallways and interrogation rooms that right projection, setting off an identical and emotion. The first sound that one were part of the S ta sis headquarters figure's flight towards the edge of that hears as the video begins is the humming of the building's electrical system and of its harsh neon lights, which is then followed by the sound of a clicking camera, hidden - one assumes - in the purse of a woman that is seen surreptitiously leaving Mielke's office. From this instant, Jane and Louise Wilson indicate that through­ out the video they will refer to the acts of observing and recording, in fact to the act of filming, drawing a disturbing analogy between its process and the secret activities of the Staatssicherheit.

StasiCity is also a tale of dark emotion: it coercive and morally bankrupt: a voyage narrates a voyage through the complicated, towards awareness not unlike that of the maze-like office buildings of a large and Writer and the Scientist in Tarkovsky's inhuman bureaucracy. In fact, it follows a film Stalker, who enter the Zone, in order trip through a physical and mental zone to reach a secret room in which their that is hidden by the memory of abuse most secret wishes will be granted. The and legalised oppression. The labyrinth narrative hints, as well, to something of rooms, offices, paternosters, or open tangible and significant beyond the hospital elevators of StasiCity, is a magical events on the screen, a recent and not and yet taboo site, fraught with the so recent past, that is separate from the ambiguous of attraction and repulsion action but that an awareness of proves that compose the theatre of a voyage of instrumental in creating the sense of spiritual initiation. This quest is com ­ moral compression that determines the pressed into five minutes and because chain of events of the final scene. Here, there is no time lapse between the shots, the camera dares to enter the last room it appears to be paced in real time, with (unlike the Writer and the Scientist in a unity of space and action. The Wilsons' Stalker] and the figure that is seen floats cinematic rhythm, exemplified by the in space for a period of several seconds. quick succession of diametrically opposed This brief moment becomes the only images - doors opening and closing, evidence of a state of zero gravity and elevators going up and down - and emotive suspension that finally returns punctuated by the selective sounds of to normal when a flask falls to the ground, steps and of doors closing, transmits an indication of the return of gravity as in each frame a strong sense of the well as that of the horror and chaos that pressure of time, which translates into a THIS ESSAY WAS FIRST PUBLISHED IN once were the norm in 'Stasi City'. moral pressure. It is a journey towards STASI CITY. THE EXHIBITION CATALOGUE PUBLISHED BY KUNSTVEREIN HANNOVER, inner freedom within a system that is PAOLO COLOMBO AND ELIZABETH JANUS 1997. JANE & LOUISE WILSON Born Newcastle upon Tyne, UK, 1967. Live and work in London, UK.

SELECTED SOLO EXH IBITIONS SELECTED BIBLIOGRAPHY

2003 A FREE AND ANONYMOUS CARNEGIE INTERNATIONAL: MONUMENT. BALTIC CENTRE Cl :99. CARNEGIE MUSEUM, FOR CONTEMPORARY ART, PITTSBURGH, 1999 GATESHEAD, ENGLAND; LISSON EGOFUGAL: FROM THE 7TH GALLERY, LONDON, ENGLAND INTERNATIONAL ISTANBUL _2002 KUNST-WERKE, BERLIN, BIENNIAL. TOKYO OPERA CITY GERMANY _2000 STAR CITY, ART GALLERY, EXHIBITION 303 GALLERY, NEW YORK, USA SELECTED GROUP EXHIBITIONS CHECKLIST CATALOGUE, OSHIMA SANTO _1999/2000 , _2003-2|004 REMIND . KUNST- (ED), 2001 STASI CITY 1997 TATE GALLERY, LONDON, HAUS BREGENZ, AUSTRIA VIDEO INSTALLATION ENGLAND _1999 GAMMA. JANE & LOUISE WILSON, _2001 EGO FUGAL. THE 7TH DIMENSIONS VARIABLE LISSON GALLERY, LONDON, TEXTS BY BARRY BARKER, INTERNATIONAL ISTANBUL ENGLAND; STASI CITY. MARY HORLOCK AND JAVIER >[IMAGES, INSTALLATION STILLS, P1633 BIENNIAL. ISTANBUL, TURKEY; HAMBURGER KUNSTHALLE, PANERA, UNIVERSITY OF TOURING! TO TOKYO OPERA COURTESY OF THE ARTISTS AND LISSON HAMBURG, GERMANY; JANE AND SALAMANCA, SPAIN, 2003 GALLERY, LONDON CITY AR[T GALLERY, JAPAN; LOUISE WILSON. SERPENTINE PUBLIC OFFERINGS. MOCA, IMAGES COURTESY OF LISSON GALLERY, GALLERY, LONDON, ENGLAND JANE & LOUISE WILSON. FILM LOS ANGELES, USA; & VIDEO UMBRELLA, TEXTS BY LONDON _1997 STASI CITY. HYPERMENTAL. HAMBURGER JEREMY MILLAR AND CLAIRE KUNSTVEREIN HANNOVER AND TECHNICAL ASSISTANCE: ZEYAD DAJANI KUNSTHALLE, HAMBURG, GERMANY DOHERTY, 2000 TOURING TO KUNSTRAUM, _2000 VISION AND REALITY. MUNICH, GERMANY; CENTRE LOUSIANA MUSEUM OF MODERN JANE 8 , LOUISE WILSQN, D 'ART CONTEMPORAIN, ART, COPENHAGEN, DENMARK; EXHIBITION CATALOGUE, GENEVA, SWITZERLAND; MEDIA CITY SEOUL. KOREAN SERPENTINE GALLERY, TEXTS KUNSTWERKE, BERLIN, BIENNIAL, SEOUL, SOUTH BY PETER SCHIELDAHL, INTER­ GERMANY _1995 NORMAPATHS. KOREA _i999 CARNEGIE INTER­ VIEW WITH LISA CORRIN AND CHISENHALE GALLERY, NATIONAL: C1:99 . CARNEGIE JANE S LOUISE WILSON, 1999 LONDON, ENGLAND AND TOUR­ MUSEUM,! PITTSBURGH, USA; ING TO BERWICK GYMNASIUM MEDIA CITY SEOUL 2000. SEEING TIME: SELECTION GALLERY, BERWICK-UPON- EXHIBITION CATALOGUE, FROM THE PAMELA AND RICHARD TWEED, ENGLAND SEOUL METROPOLITAN MUSEUM, KRAMLICH COLLECTION OF MEDIA WWW.MEDIASEOUL.ORG ART. SAW FRANCISCO MUSEUM OF MODERN ART, SAN FRANCISCO, NORMAPATHS. EXHIBITION USA _1997 HYPERAMNESIAC CATALOGUE, CHISENHALE FABULAT^ONS. THE POWER GALLERY, LONDON, TEXT PLANT, TORONTO, CANADA BY CHERRY SMYTH, 1995 _ 1 995 T HE BRITISH ART PUBLIC OFFERINGS. SHOW 4, SOUTH BANK CENTRE, ACCOMPANYING THE EXHIBITION LONDON, ENGLAND; TOURING TO AT THE MUSEUM OF CONTEMPORARY EDINBURGH, MANCHESTER, ART, LOS ANGELES, THAMES & CARDIFF, UK HUDSON, NEW YORK AND LONDON, 2001

STASI CITY. EXHIBITION CATALOGUE, KUNSTVEREIN HANNOVER, 1997 YUAN GOANG-MING

FIRST LOOK IT WITH THE LEFT EYE THEN LOOK AT IT WITH THE RIGHT EYE NEXT LOOK WITH BOTH IMMEDIATELY THE TRUTH CAN BE DISCOVERED IN A BROKEN DISTANCE THE REFL ECTION IS LIKE AN ILLUSION The main element in this piece of work is THE REASONS FOR INSOMNIA a single-sized bed on which there is a pillow that seem s to breathe on its own with inhale and exhale motions. Accompanying is the sound of someone in deep sleep.

Using the principles of static electricity, when one touches the brass bed knobs on any of the four pillars of the bed frame the projector is activated and various fragments of films are projected on the mattress. Once the fragment ends, there's just the bed and the breathing... YUAN GOANG-MING YUAN GOANG-MING Born Taipei, Taiwan, 1965. Lives and works in Taipei, Taiwan.

SELECTED GROUP EXHIBITIONS SELECTED BIBLIOGRAPHY

_2003 LilMBO ZONE, 5QTH ARON BETSKY, 'YUAN GOANG- INTERNAljjQNAL ART EXHIBITION MING', EXHIBITION CATALOGUE OF THE V e n i c e b i e n n a l e . 01,Q1,Q1: ART IN TECHNO­ ITALY; |THE STRANGE HEAVEN - LOGICAL TIMES. SAN FRANCISCO CONTEMPORARY CHINESE PHOTO­ MUSEUM OF MODERN ART, SAN GRAPHY . i RUDOLFINUM MUSEUM, FRANCISCO, 2001, PP138-139 PRAGUE;! 25HRS BARCELONA, AMY HUEI-HUA CHENG, 'A SELECTED SOLO EXHIBITIONS international VIDEO ART SECRET JOURNEY FROM CHECKLIST SCREENING, SPAIN; CYBER INFINITESIMAL TO INFINITE _2002 T2 YUAN. GOANG-MING THE REASONS FOR INSOMNIA ASIA-MElDIA ART IN THE NEAR - A SUDDEN GLIMPSE OF ■HUMAN DISQUALIFIED', MOMA 1998 FUTURE.! HIROSHIMA CITY AURA', LIMBO ZONE (50TH CONTEMPORARY, FUKUOKA, JAPAN INTERACTIVE VIDEO PROJECTION MUSEUM 10 F CONTEMPORARY VENICE BIENNIAL. INTER­ _2001 HUMAN DISQUALIFIED, INSTALLATION ART, HIROSHIMA, JAPAN; NATIONAL ART EXHIBITION). IT PARK GALLERY, TAIPEI, LCD PROJECTOR, DVD PLAYER, STREAMS! OF ENCOUNTER- EXHIBITION CATALOGUE, TAIWAN _2000 CONTEMPORARY ELECTROSTATIC INDUCTION ELECTRONIC MEDIA BASED TAIPEI FINE ARTS MUSEUM, TAIWANESE ART EXHIBITION CUSTOM CONTROL SYSTEM, ARTWORKS. TAIPEI FINE ARTS TAIPEI, 2003, P 36 VOL. 7 YUAN # GOANG-MING FISH MOTOR, SINGLE BED MUSEUM,| TAIPEI, TAIWAN; ON DISH. MOMA CONTEMPORARY, AMY HUEI-HUA CHENG, 'INTER­ INVISIBLE CITY. VANCOUVER >CINAGES PP167-169D FUKUOKA, JAPAN _1998 THE VIEW WITH YUAN GOAN-MING', INTERNATIONAL CENTER FOR YISHU: JOURNAL OF CON­ INSTALLATION AND IMAGES COURTESY CONTEMPORARY ASIAN ART, OF THE ARTIST GALLERY, TAIPEI, TAIWAN TEMPORARY CHINESE ART. CANADA;! TIROL TRANSFER. __1 992 OUT OF PO S I T I O N , SPRING ISSUE, TAIPEI, 2003, g a l l e r y ! KRINZINGER, MUSEUM IT PARK GALLERY, TAIPEI, PP 86-9 _2002 TAIPEI BIENNIAL TAIWAN FANGWEI CHANG, 'YUAN, 2002: WORLD STAGE, TAIPEI GOANG-MING', 1998 TAIPEI FINE AR(rS MUSEUM, TAIWAN; BIENNIAL.: SITE OF DESIRE, TRANSLATED ACTS, MUSEO DE EXHIBITION CATALOGUE, ARTE CARRILLO GIL, MEXICO; TAIPEI, 1998, PP 190-193 LUNA'S jFLQW, 2ND SEOQl INTERNATIONAL MEDIA ART JANE FARVER, 'YUAN GOANG- BIENNALE. SEOUL MUSEUM OF MING', ART ASIAPACIFIC, ART, SEj0UL, SOUTH KOREA; NO. 37, AUSTRALIA, 2003, P 43 c u l t u r e ! m e ets c u l t u r e ^ MIO IWAKIRI, 'PORTRAIT OF A BUSAN BllENNALE. BUSAN COLONAL CITY - SHIGE (DIS­ METROPOLITAN ART MUSEUM, QUALIFIED) SERIES BY GOANG- BUSAN, T0UTH KOREA; PAUSE. MING YUAN', TIROL TRANSFER. GWANGJU BIENNALE, GWANGJU, EXHIBITION CATALOGUE, SOUTH KOREA _2000 01.01.01: VIENNA, 2003, P P 14-15 ART IN TECHNOLOGICAL TIMES. YU YEON KIM, 'TRANSLATED SAN FRANCISCO MUSEUM OF ACTS - PERFORMANCE AND BODY MODERN ART, SAN FRANCISCO, ART FROM EAST ASIA 1990- USA; TRANSLATED ACTS, HAUS 2001', TRANSLATED ACTS. DER KULTUREN DER WELT, EXHIBITION CATALOGUE, BERLIN, GERMANY; QUEENS NEW YORK, 2001, PP13-29 MUSEUM, NEW YORK, USA; DIGITAL ORGY, THE THIRD SHU-MIN LIN, 'LIMBO ZONE', BANGKOK EXPERIMENTAL LIMBO ZONE. EXHIBITION FILM FESTIVAL. SINGAPORE; CATALOGUE FOR TAIWANESE BANGKOK AND CHIANGMAI, PAVILION, 50TH VENICE THAILAND; HONG KONG; BIENNIAL. TAIPEI FINE ARTS STOCKHOLM, SWEDEN MUSEUM, TAIPEI, 2003, PP 10-12

CHIA CHI JASON WANG, 2002 TAIPEI BIENNIAL: G.R_EA_T THEATRE OF THE WORLD. TAIPEI FINE ARTS MUSEUM, TAIWAN, 2002, P P 186-9

PIN-HUA WANG, 'YUAN, GOANG- MING', EXHIBITION CATALOGUE, 2ND SEOUL INTERNATIONAL MEDIA ART BIENNALE. SEOUL, 2002, PP 176-178

The 2nd Auckland Triennial, in fulfilling the brief of an international survey of projects focused on a selected theme, has drawn upon many diverse energies and resources. First and foremost the curators acknowledge the cooperation and enthusiasm of the artists who are included in the exhibition, their galleries and agents, the writers whose texts have contributed to the catalogue, and the efforts of the design, editorial and installation teams who have realised the Triennial publication and exhibition. We are also grateful to those artists who shared their work and processes with us during the period of research and develop­ ment of this project. The curators extend also their grateful thanks to lenders both public and private, and to colleagues in public institutions and in the commercial ACKNOWLEDGEMENTS gallery network, whose support and generosity have been invaluable - and to this list Ewen McDonald would like to PROJECT TEAM add his employer, Allens Arthur Robinson, Exhibition Curators: Registratioi Sydney, to whom he remains indebted. Ngahiraka Mason & Julie Koke Ngahiraka Mason also acknowledges Ewen McDonald the valued support of Haerewa, the Freight: gallery's Maori Advisory Group, with Director: Dave Pud ney/ warm appreciation to Elizabeth Ellis. Chris Saines Airryde Frei ght Services

Auckland Art Gallery Toi o Tamaki grate­ Director's Assistant: Public Prog rammes: fully acknowledges the support of their Melissa Maskery Kim O'Lou ghlin project partners, Artspace and The Manager Art + Access Education: University of Auckland. In acknowledging Programmes: Roger Tabe mer the financial assistance of the University, Louise Pether the Gallery wishes to thank the University Donna Den ize-Crowhurst of Auckland Visual Arts Board; the Curatorial Assistant / Christine Wildman website co-ordination: Exhibition Committee of The Gus Fisher Research Librarians: Gallery; the Exhibition Committee of the Lisa Rogers Catherine Hammond George Fraser Gallery; Elam School of Triennial Intern: Caroline Me Bride Fine Arts; the Elam Residency Project, Melissa Keys ; The University Business Support: of Auckland Research Committee; The Marketing & Communication: Pat Morgan University of Auckland School of Geoff Penno:se Andre Grobbelaar Architecture. Claudine Bjorklund Andrea Catterall Lynda McLe.a PARTICULAR THANKS ARE DUE TO: Hannah Fyffe Andrea Bi rtwistle Dr John Hood, Vice Chancellor; Professor Conservation: Elizabeth Rankin, Chair of the Gus Fisher Ute Strehle Merchandis1e Development: Gallery Exhibition Committee; Mary- Ingrid Ford Katrina Fleticher Louise Brown, Acting Director of The Rachel Walmsley Installation Crew/ Gus Fisher and George Fraser Galleries; Exhibition Designer: Volunteers: Professor Jeremy Diggle, HOD Elam Cam McCracken Sean Duxfieli School of Fine Arts; Dr Deidre Brown, Gino Edward School of Architecture; Professor Tom Preparators: Barnes, University of Auckland Research Rod MacLeod Wanda Gillespie Committee. ARTSPACE Board: Tobias Darren Sheehan Lisa Hannann Berger; Vicki Henderson; Steve Davies; Glen Campbell Tuhi Hollis Howard Grieve; William Sommerville; Scott Everson Briar March Francesca Rudkin; Stella Brennan; Don Fraser Pam Temppleton Hannah Holme; Reuben Paterson and Craig Collier Gabriel Whilite Tessa Laird. Sean Duxfield Adam Willett::ts FIRST I BLISHED IN 2004 BY AUCKLA ) ART GALLERY TOI o tAmaic:I, PO BOX 5449, AUCKLAN 1, NEW ZEALAND, ON THE OCCASION OF THE EXHIBIT ON PUBLIC/PRIVATE: TUMATAN JI / TUMATAITI AT AUCKLAN ART GALLERY TOI 0 TAMAIC . 20 MARCH - 30 MAY 20C 4.

COPYRIG U © 2004 AUCKLAND ART GAL LERY TOI 0 TAMAKI, NGAHIRA KA MASON, EWEN MCDONAL ), THE ARTISTS ANDIND VIDUAL AUTHORS

EXHIBIT [ON CURATED BY n g a h i r ;KA MASON AND EWEN MC DONALD

ISBN O- 86463-255-X

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PRINTED IN NEW ZEALAND BY SPECTRUM PRINT

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THIS BOOK IS COPYRIGHT. EXCEPT FOR REASONABLE PURPOSES OF FAIR REVIEW PART MAY BE STORED OR TRANSMITT I IN ANY FORM OR BY ANY MEANS CTRONIC OR MECHANICAL, INCLUDING RECORDING OR STORAGE IN ANY INNFORMi ATION RETRIEVAL SYSTEMS, WITHOUT RMISSION IN WRITING FROM THE PUBL HERS. NO REPRODUCTIONS MAY BE MADI WHETHER BY PHOTOCOPY- ING OR BY ANY OTHER MEANS, UNLESS A LICENCE HAS BEEN OBTAINED FROM THE PUBLI HERS OR THEIR AGENT.

PUBLIC 3TAvmq TUMATANUI ITIATAMUT

The 2nd Auckland Triennial AOTEAROA NEW ZEALAND 2004