Centre for Contemporary Photography
On show Mathieu Gallois, Jean-Francois Guiton, Tamsin Green, Alex Monteith and Mario Pfeifer, Damiano Bertoli and Sandra Parker with Rhian Hinkley.
Mathieu Gallois' project centres on the history and community of Wellington, a small town located in central New South Wales, traditional home to the Wiradjuri people. Gallois' grandfather Ernest Moulton (1905—1966), a British migrant who settled in Wellington in 1944, purchased the local paper, The Wellington Times, and as editor became a prominent conservative voice in the community for the next twenty-one years. Taking form as an historical analysis To Move Forward To Destiny of Full Epuality: The Wellington Times 1944—1965 (2012) features a series of twenty-one front pages of the paper selected for their rare reference to the Aboriginal communities of the region.
Wellington (2012) is a seventy-page newspaper-styled publication featuring contributions by and perspectives on the local Aboriginal community as a gesture toward writing their narratives back into the recorded history of the area. Wellington draws upon the stories and views of the Aboriginal community as well as contributions from the artist and a number of prominent social historians to chart the history of the Wiradjuri people's post-European colonisation and to contextualise their current situations. The publication represents two years of research and community engagement that has manifested in the publication being widely distributed as an insertion within the Wellington Times in late 2012. The Wellington projects represent an intimate history of Wellington's race relations, the processes of colonisation and the community's tentative steps towards reconciliation, highlighting some of the complexities of cross-cultural engagement as well as issues of censorship and selective historicising.
Jean-Francois Guiton, Tamsin Green, Alex Monteith and Mario Pfeifer
A Taste of Ashes Fills the Air
Curated by Jan Bryant
The works in this show were chosen for a certain sensibility: light, layered, faint…
/ Action folding slowly into a consideration of form
/ Images of landscapes faintly marked by reflections of interiors
/ Text activating the infinite potential of search engine images
/ Still images animated by film…
In each case, the original is lightly destabilised with every attempt to understand it.
Continuous Moment: Sordid's Hotel
Continuous Moment: Sordid's Hotel is the third instalment of Melbourne-based artist Damiano Bertoli's research into two interpretations of Pablo Picasso's play Le Désir Attrapé par la Queue (Desire Captured by the Tail): a 1944 reading in Picasso's studio featuring members of the Parisian intellectual scene; and a 1967 production organised by French artist Jean-Jacques Lebel in Saint Tropez.
Drawing on a limited archive of photographs and anecdotes, Bertoli presents a spatial collage or performance document that recontextualises the play, creating a 'continuous moment' through and across time.
Bertoli's project explores the complexity of appropriation and the idea of revisiting historical works or events. Picasso's text was itself informed by Plato's symposium, Dada, and Surrealism and psychoanalysis.
Written against the backdrop of wartime Paris, its premiere performance in 1967 as a psychedelic Happening negotiated late-1960s counterculture; now considered in terms of contemporary art practice, the play operates as a temporal pivot point.
Sandra Parker (with Rhian Hinkley)
A single-channel interactive video installation, Three Angles invites a personalised, intimate and direct engagement between an on-screen performer and a solitary viewer. The work stems from Parker's interest in the relationship between perception and physical proximity, and explores how where we situate ourselves spatially changes the physical, psychological and emotional interaction between one individual and another. Three Angles aims to create an experience for the viewer that highlights the sensory and physical connection between one body and another; questioning if it is possible to blur the boundary between the physical presence of the subject on-screen and the viewer, and by extension, one human being and another.
Opening Thursday 6 February 6—8pm
Centre for Contemporary Photography
404 George Street, Fitzroy - Australia
Hours: Wednesday–Friday, 11am–6pm, Saturday–Sunday, 12–5pm