Gallery

Bunjilaka Melbourne Museum: Bush Mechanics — Ngapa Car 1972 Ford ZF Fairlane

Second whip from Melbourne Museum Bunjilaka Bush Mechanics exhibition. I am very in love with this hoonage.

This 1972 Ford ZF Fairlane was painted with a ngapa Jukurrpa (water creation story) design by Thomas Jangala Rice.

Gallery

Bunjilaka Melbourne Museum: Bush Mechanics — Claymation

More from Melbourne Museum Bunjilaka Bush Mechanics exhibition. Which was smaller than I expected. I was hoping for acres of hoonage, but these are working cars for people who need to travel the outback without a local parts shop to buy slammed and stance at.

In 2015 Pintubi Amatjere Warlpiri Media produced a claymation based on the earlier Bush Mechanics. Some of the original cast members have died, so the live action episodes cannot be viewed by many, as representations of the dead and even the use of their names are forbidden in their home communities. This practice is common in many Aboriginal cultures. The award-winning claymation allowed Bush Mechanics to return to Yuendumu.

Gallery

Bunjilaka Melbourne Museum: Bush Mechanics — 1962/3 Holden EJ Special Station Sedan

Museuming! Hectic run across town trying to remember public transport and speed-walking up to Carlton Gardens, past the Exhibition Building and into Melbourne Museum Bunjilaka for HOONAGE! Fucked if I’m leaving Naarm without witnessing sick wrenching of Bush Mechanics. This is Motorcar Ngutju, salvaged by the Bush Mechanics from the Police compound in Yuendumu and driven to Willowra in the first episode of the series. See man driving a Outback Whip.

Isabelle Schad — Fugen, at HAU3

Isabelle Schad’s Fugen, for which I was artistic assistance, returns to Hebbel am Ufer this week, for two shows, followed by a return of Solo for Lea at Sophiensæle on the weekend.

Dear friends and colleagues,

We would like to invite you to the reprise of the pieces Fugen and Solo for Lea by Isabelle Schad.

Both pieces are part of a series of works that Isabelle Schad subtitles as portraits and will be shown as Double Bill on the same weekend in HAU Hebbel am Ufer and Sophiensaele Berlin.

We would be very happy to see you here or there.

Fugen
Thursday, 05.04.2018, 19:00
Friday, 06.04.2018, 19:00
HAU Hebbel am Ufer, Berlin (HAU3)

Solo for Lea
Saturday, 07.04.2018, 19:30
Sunday, 08.04.2018, 19:30
Sophiensæle, Berlin

Fugen “… is a complex work that challenges both the choreographer Isabelle Schad and her audience in previously unseen ways. And thus creates opportunities to go beyond borders.” (Katharina Schmidt)

With Fugen, Berlin choreographer and dancer Isabelle Schad continues her work between musical concepts and their expression in movement. Coming from a music background and a lifelong interest in the polyphonic work of J.S. Bach, she attempts to look at her own (hi)story and the origins of (her) movement between discipline and pleasure. Fugen is an autobiographical work in which the performer’s body serves as an example for the construction of the individual within disciplines and systems one cannot escape from.

Solo for Lea, “A study in minimalism, a physical portrait and a sculpture in motion … a sublime draft.” (Elena Philipp)

Solo for Lea is a meeting between Isabelle Schad and Lea Moro. The work attempts to draw a very personal portrait of Lea Moro, dealing with the specificities of her body, its rhythms, its contours, colours and energies, playing with form-aspects of cubism and Picasso’s drawings in one dash. Together Schad and Moro engage in constellations of forming and disfiguring, in which the body itself becomes the stage: the space, place and matter that is the subject of observation.

Gallery

National Gallery of Victoria: J. M. W. Turner — Falls of Schaffhausen (Val d’Aosta)

Unexpected sighting of a Turner in Melbourne’s NGV. I was there for the mediæval art (kinda disappointing) and after stumbling through the Triennial in my quite delirious post-performance season state (wildly variable from brilliant to ew — the NGV I mean), took it upon myself to see Art. European Art. More on that another time, when I deal to the images. Turner I like. Especially his later work like this, where my eye and self goes in and drowns in the depths. It reminds me of Australian landscape from space.

Video

NGV Triennial: Richard Mosse — Incoming

One of my favourite works in the NGV Triennial — and in the gallery altogether. Calm, meditative destruction in infra-red black and white in a cavernous, beanbag-filled auditorium. Post-FOLA decompression and collapse, bumping into Paea — again, so many times — and barely assembling a conversation in my shuffling exhaustion. I had a thought watching Richard Mosse’s Incoming that art works for me only when it’s political, and all art is inherently political, existing as it does apart or outside of language (be it written or spoken). When I look at European mediæval art, I see vast political, theological, philosophical arguments being waged in materiality; the same for religious works in other regions I am familiar with enough to make basic statements on. This is what, for me anyway, makes art that purports to not be political so weak, like Iris Van Herpen’s fashion design, pushing material technology in beautiful ways, yet strangely inert in political’s absence. You’re only playing if you’re not political.

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Landing Flughafen Berlin-Tegel

I’ve landed this one so many times. From sun and warmth and Naarm to grey and cold and Berlin — You talking about the taxi drivers, Frances? I’m talking about the … never mind.

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Glory over Baltic Sea

I thought it was called a Sun Dog. Similar, but different. It’s a Glory. Last time I saw a glory was flying into London to work with Onyx on Take This, For It Is My body, early morning end-October last year. That time, the plane raced along at its centre, as a shadow on the ground.

It’s an early morning thing, and cold morning one. This time I wasn’t sure it was real or just my eyes diffracting the scratched plastic and glass of the window. It came and went for some minutes, waning and waxing then departing as we altered course. It wasn’t very pronounced, but still, sun glory over the Baltic, flying from Helsinki to Berlin on the last leg of my first return to Naarm / Melbourne in a decade.

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Hong Kong Chek Lap Kok, Night

I find a quiet byway and stretch myself out. Old habit of transfers, me on the floor in an airport. Later, I go to the bathroom and give my face a scrub and moisturise, brush my teeth. New habit of transfers. My nose is Australian Red from the sun, and compression socks scratch my sunburn. Also a new habit — the socks, that is.