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21/5/2008

Five Exhibitions

Centre for Contemporary Photography - CCP, Fitzroy

Gallery 1
CONOR O’BRIEN - THERE STANDS THE GLASS
There Stands The Glass follows on from Hold On To Each Other, as the second body of work created over a three-year period whilst I was living in Melbourne. These portraits, landscapes and observations explore personal and emotional connections with my surroundings and people I am close to. My aim is to communicate ideas and feelings that viewers can explore and question within the context of their own experiences.
Melbourne-based publisher, Serps Press, will produce a 40-page publication to coincide with the exhibition.

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Gallery 2
PETER JEFFS - TIME AND DISTANCE
Peter Jeffs converted a heavy-duty enlarger to project his images onto a wall for the production of his mural-sized photographic prints. Dispensing with conventional notions of composition, he made these gritty, street images at night whilst working as a Melbourne taxi driver. The use of black and white film exaggerates the impact of artificial light in the darkness, while the size of the images invites the viewer to participate as a passenger in a spontaneous moment. A moment of contemplation and reflection; the taxi mirror reflects a moment just passed. There is more going on than meets the eye in these non-judgmental observations.
Jeffs recently discovered his Wotjobaluk heritage. His thumbprint signature refers to the Aboriginal ‘signatories’ of Batman’s Treaty for the land of the Kulin nation in 1835, where the Centre for Contemporary Photography is situated.

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Gallery 3
HUANG PO-CHIH AND WANG YA-HUI - SELECTIONS FROM PENUMBRA: CONTEMPORARY ART FROM TAIWAN
To be opened by Mr Calvin Yen, Director-General of Taipei Economic and Cultural Office in Melbourne.
Huang Po-Chih and Wang Ya-Hui are two young artists who grew up during the post-martial law era, a period of dramatic socio-political change in Taiwan. Wang Ya-Hui’s projection, Visitor (2007) deftly evokes the nostalgic world of her grandparent’s home. Wang’s camera slowly and lovingly moves through the small timber house in which, as if by magic, a small white cloud descends from the sky and passes through its interior. Technically seamless, this cloud symbolises the act of memory: active and yearning as it passes through the glorious detail and stillness of the home. Classical flower painting and contemporary graffiti art informs the complex technological process in Huang Po-Chih’s twisting mediation on the allegorical and formal properties of flowers. Deconstructed and reassembled with rhythmic vigour Flov’’er (2006) evokes the transience of nature and the transformative power of love. Curated by Sophie McIntyre, Penumbra: Contemporary Art from Taiwan was developed and presented by the Samstag Museum of Art, Adelaide. Penumbra, an astronomical term refers to a partial shadow, as in an eclipse, an area in which something exists to a lesser or uncertain degree.

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Gallery 4
BINDI COLE - “NOT REALLY ABORIGINAL”
Does dark skin make you black or light skin make you white? When Bindi Cole tells people that she is Aboriginal, so many of them respond by saying: “Not really Aboriginal”. What is Aboriginal? According to most white experts, it’s a black person who lives in a remote community, has social issues and claims benefits that are way above what they deserve. So, being white, fairly socially adjusted and living in an urban area in Victoria, where does Cole fit in? “Not Really Aboriginal” explores how black you need to look to be considered Aboriginal and how white Aboriginals cross the cultural divide. Ultimately, it is a celebration of Aboriginality in all its forms.
“Not Really Aboriginal” is presented in association with the 2008 Next Wave Festival.

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Projection Window
KOTOE ISHII - SPINNING
Red wool is a material used constantly in Kotoe Ishii’s work. Through knitting, sewing and tangling the red string tensely by hand, Ishii personalises it as a part of her body. In her video work, Spinning, a girl endlessly pulls a strand of red string from her mouth. The action is one of expulsion and discovery. As she pulls on the string, the girl draws out childhood memories and experiences trapped inside the body, exposing her true self and exorcising her past. While this act appears childish, there are both sinister and sexual undertones to the performance. The red thread is representative of femininity; its extraction symbolic of the uniquely female acts of birth and menstruation. The calmness of the protagonist through this enigmatic action challenges traditional notions of femininity, replacing them with an uncanny speculation on identity and embodiment.
Spinning is presented in association with the 2008 Next Wave Festival.

Opening Thursday 22 May, 6-­8pm

Centre for Contemporary Photography
404 George St, Fitzroy Vic 3065, Australia
Gallery Hours Wednesday–Saturday, 11am–6pm

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