Visiting Brisbane Part 2 of 2
After stopping in Brisbane to visit the Asia Pacific Triennial, CA+E Archivist Sara Frantz and I flew to Melbourne for meetings with Guy Abrahams of Climarte, a nonprofit that uses art to address climate change, as well as to see Linda Williams and Leon von Schaik at the Royal Melbourne Institute of Technology schools of Art and Architecture, respectively. We then toured the Heide Museum of Modern Art grounds and archives with director Jason Smith to discuss possible collaborations with Climarte. In between everything else, we worked in a visit with artist Mandy Martin and conservationist Guy Fitzhardinge at their pastoral property, Pennyroyal, where Mandy has a large studio and Guy runs a large network that connects organizations such as The Nature Conservancy and Bush Heritage with cattle ranchers and Aboriginal groups.
Visiting Guy and Mandy was prelude to our flight to Alice Springs, at 55,000 people the largest city in the Australian interior. Imagine a country the size of the United States with one paved road connecting the south coast–let’s say New Orleans–with the north coast–that would be Canada in U.S. terms. And along the way the only center of any size is a single town. That would be Alice. It’s there, at the Araluen Arts Centre, that the Paruku Project opened this spring.
If you look at the map, you’ll see in the upper left of the country a blue patch called Lake Gregory (not to scale, obviously). That lake is the central feature of the Paruku Indigenous Protected Area, where a remarkable project was created by Mandy and Guy, along with artist/writer Kim Mahood, CA+E Research Fellow John Carty, and others. The Paruku Project has helped a local Aboriginal art center expand and produced a conservation plan.
I visited Paruku in summer of 2011, and have been working with everyone involved since then to bring back to the CA+E a large archive and body of art produced by both the visiting artists and scientists, and the local people. You can find a longer description of the project on my blogs from fall of 2011. The reason Sara and I were in Australia was to attend the opening of the exhibition at Araluen, and to arrange for that archive and collection to be shipped to Nevada, where it would join other art & science projects from around the world.
The work and archives have now arrived and will be exhibited in the summer and fall of 2014, part of our Art + Environment season timed to coincide with the third A+E Conference, more about which later this year. The Paruku Project is the first Aboriginal art exhibition by the Museum with more to follow in subsequent years. The painting above is one of the related artworks produced by Mandy Martin that was shown at Araluen.
Visiting Brisbane, Part 1 of 2
After the sunless days in Tromsø this last January, it was positively antipodal to fly into Australia during February with CA+E Archivist and Librarian Sara Frantz. We were there to help open the exhibition of the Paruku Project in Alice Springs, which we’ve been working on for two years. Alice would be about 90ºF warmer than Tromsø–but more about that in the following blog. First, let me tell you about visiting Brisbane and the seventh Asia-Pacific Triennial of Contemporary Art (APT).
Most of Australia’s population is concentrated in the three largest cities of its East Coast: Sydney, Melbourne, and Brisbane. Founded in the state of Queensland around 1825, Brisbane is the youngest of the three, but its conurbation now runs to three million people perched around the serpentine spine of the city’s perpetually flooding river. Global warming every year brings closer the possibility that saltwater crocodiles from up north will be documented in downtown Brisbane waters.
We flew out of Los Angeles and crossed the international date line to arrive in Brisbane fourteen hours and a day later. With a long layover, we decided to take the train into the city so we could visit the APT, which was at the Queensland Art Gallery | Gallery of Modern Art. The APT is the museum’s signature contemporary art event. It focuses on Asia, the Pacific region, and Australia, and is unique among biennials by virtue of commissioning and collecting significant portions of what it shows.
Once inside the museum, we were greeted by Huang Yong Ping’s Ressort, a fifty-foot-long aluminum snake reminiscent of a dragon stripped bare by the artist that connects sky and water. If Ping’s sculpture is a metaphorical totem for the deconstruction of traditional Chinese symbols, then the large-scale commissioning of a facade akin to those found on a Papua New Guinea men’s spirit house was a more literal recreation of totemic architecture. These two works set up a dialogue that would be carried throughout the exhibition between old and new, original and appropriated themes, the minimal and the maximal.
One of our favorite works was Takahiro Iwasaki’s cedar model based on the Byodo-in, a tenth-century temple outside Kyoto. This elaborate miniaturized structure, suspended from the ceiling to hang in front of viewers, was so elaborate it seemed more like a hologram than a solid object. The play in scale between Ping’s snake and Iawasaki’s temple was yet another oppositional strategy in the exhibition.
Perhaps the most striking concatenation of old and new was the translation by Aboriginal painter Daniel Boyd of his dot paintings into a multimedia experience. Luminescent dots coalesced, broke apart and reformed constantly in a darkened gallery bringing alive the duration and experiential nature of Dreamtime.
APT7 mounted more than 200 works by 75 artists from 27 countries. Its contents ranged from works that would once have been considered ethnographic objects more fit for an anthropology museum than an art venue, to multimedia works that would rest seamlessly in the Venice Biennale. Its very strength, in fact, rests upon the diversity of the region, which was reflected almost–but not quite–to a fault in the massive exhibition. Urbanization, industrialization, the overthrow of traditional icons, the creation of cultures neither Eastern nor Western–overall we found it exhilarating. Then it was back on the train to the airport and a flight to Melbourne and the interior.
Travels in Australia: Paruku — Part 1 of 6
In August I flew from Reno to Los Angeles to make a 14-hour flight to Brisbane, Australia, caught a connecting flight for another three-and-a-half hours to Alice Springs in the center of the country, then hopped into a four-wheel-drive truck with artist Mandy Martin and drove another day-and-a-half to Lake Gregory–Australia’s equivalent to the Great Salt Lake. Mandy, along with Center for Art + Environment Research Fellow John Carty and prominent Australian biologist Steve Morton, has been working since April on the “Paruku Project,” a multi-disciplinary and cross-cultural look at how “global drivers are modifying Indigenous Traditional Owners connection to Country in the Tanami Desert.” I was along in two roles: as a writer for the project and as the curator of the project archive we’re collecting for the CA+E.
Our camp spot was in a stand of small white-bark gum trees surrounded by spinifex, the ubiquitous grass of the arid interior. People in Aboriginal communities burn the spinifiex on a regular basis at this time of year in order to forestall catastrophic brush fires caused by lightning, and the entire time we were there the horizon was a thick gray band that made for vivid sunsets and moon risings.
Men and women from Mulan, the town in the center of Paruku, the regional Indigenous Protected Area, took us down to Lake Gregory, walked us out into the water, and covered our arms and legs in mud, introducing us to the great serpent that lives in the lake and asking him not to harm us. And thus began two weeks of work rich with art, ancient stories, and archeology along the shores of a lake that was once ten times larger than it is now, and that is still the most important inland wetland of the continent.
I’ll be writing about those three aspects of the project in several subsequent blogs, but if you’re interested in more information, including the science and conservation aspects of it, you might check out the project’s own blog site:
For those of you attending the second Art + Environment Conference at the end of this month, Mandy Martin and John Carty will be presenting as part of a panel titled “Navigating the Waters of Art and Science in Australia.” Guy Fitzhardinge, a cattle rancher and conservationist who was working with the Paruku Rangers as part of the project will also be in attendance.