Tripping Around The Triennial

Finally, during the third iteration of the NGV Triennial, I’ve realized that the appreciation of this exhibition is a matter of mindset.  If you go in with an open mind, keen to see what people are getting up to these days then you may be pleasantly surprised.  But be warned - we are living through troubling times so expect to see some troubling work.   The NGV magazine tells us that the Triennial is anchored in three themes; Matter, Magic and Memory.  Nearly 100 works from over 30 countries have been assembled in this exhibition with overtones encompassing race relations, climate crisis, AI and war.

Julian Charriere, And beneath it all flows liquid fire  (NGV)

Australian Design Review tells us that the theme of ‘magic’ represents the influence of spirituality on constructing an understanding of the world around us, whereas ‘matter’ symbolises how nature and materials shape human culture. The exhibition’s theme of ‘memory’ will illuminate how the histories of people, places and objects continue to impact our contemporary world.  

As with the Melbourne Now exhibition several months earlier, part of the Triennial has its own dedicated spaces whilst other parts are inserted into the permanent collection. 

For some reason, the thoughts of the late Robert Hughes came to my mind when viewing this exhibition.  “The Age of Anxiety” was the title Hughes gave to the final episode of his 1996 TV series “American Visions”.  We are still living with this anxiety today although the focus has shifted from the aftermath of the disastrous Vietnam War to climate change, the loss of habitat and species and the realization that our natural resources are not infinite.  Apparently it’s the intention of many artists participating in the Triennial to address these issues.

Ashley Jameson Eriksmoen, ‘Fell’,  timber salvaged from furniture (Geoff Harrison)

The work “Fell” clearly has environmental and sustainability overtones, but visually it’s stunning.  Eriksmoen is a designer/artist who has won a number of awards including for furniture design.

Tracey Emin,  'Love Poem For CF', 2007  (NGV)

Robert Hughes had real issues with what he regarded as preachy, single issue ‘art’ where “victim credentials can account for more than aesthetic achievement”.  So true, and this came to my mind whilst viewing this work my Tracey Emin - and it’s a recent NGV acquisition.

Agnieszka Pilat, 'Hetrobota 2023' (Geoff Harrison)

Pilat trained these Boston Dynamics robot dogs to behave in distinctly different ways.  Basia is the oldest, the most serious and the introvert; Bunny is the narcissist and the artist while Vanya is the protector, monitoring what’s going on. What freaks me out is the thought that in a few years time we will look back at this work and think how primitive it was, given the relentless advances in technology towards - who knows where?

SMACK, 'Speculum'  (Youtube)

This is meant to be a digital remake of Hieronymus Bosch’s renaissance masterpiece “Garden of Earthly Delights” where ‘the banal temptations of modernity, consumerism and the obsession with technology take the place of the Devil’s apple offered to Adam and Eve, which led to their downfall.’  As a friend pointed out, there is no sex and gore in this remake - I wonder why?

Franziska Furter, 'Liquid Skies/Gywrynt' & 'Haku', climate carpet and glass beads (Artshub)

The carpet depicts multiple satellite images of storms with a shower of glass beads overhead.  This installation is cleverly juxtaposed against wild seascapes painted by J W M Turner and others.  Furter draws constant inspiration from the weather for her work.  “It forces me to become aware of what is now.  As a recurring theme, the weather constantly shapes and changes my work as it constantly shapes and changes the world.”  She is a great fan of the BBC’s Shipping Forecast which has been regularly broadcast since 1861.

Flora Yukhnovich, ‘A Taste Of A Poison Paradise’, oil on canvas, 160 x 275 cm (Hauser & Worth)

This work takes its name from the 2003 Brittany Spears hit song “Toxic”.  Spears was arguably at the peak of her career back then, but shortly afterwards her life imploded with mental health issues engulfing her.  So are we looking at the aftermath of an explosion destroying a beautiful still life in the tradition of the Dutch masters?

Osamu Mori " 3MMM-Rivalry", Camphor laurel, (Geoff Harrison)

The human figure has been carved into a 120 year old camphor tree.  Traditionally, camphor has been employed for its aromatic scent as an embalming fluid, and thus this work could be seen as representing the healing powers of nature.

Jessica Murtagh, "Modern Relic IV, All In This Together, Apart", sandblasted & engraved glass (Geoff Harrison)

The NGV tells us that Murtagh draws inspiration from ancient Athenian ceramic amphoras known for their depiction of scenes from everyday life.  Here we see individuals wearing face masks queuing at a Centrelink office.

Glenn Brown "After Greuze"," After Rembrandt", "After De Gheyn II/Greuze", etching  (NGV)

The ancient art of printmaking as not been overlooked in this exhibition either.  Brown appropriates historical art in his paintings and sculptures and in recent years has extended his conceptual concerns to drawing and printmaking. 

Fernando Laposse, "Avocado Leather Cabinet", avocado skin & walnut (Geoff Harrison)

This is part of Laposse’s Conflict  Avocado series where he exposes the devastating impact the corrupt and violent avocado industry is having on forest ecosystems in Mexico, and on the lives of those who depend on it.

The Community of Maningrida, Arnhem Land, "Maningrida Fish Fence", Pandanus & natural dyes (Geoff Harrison)

The tradition of weaving goes back a long time in the community of Maningrida.  The Burarra women of Maningrida use natural materials such as pandanus leaves, kurrajong and various bark fibres to produce their work.

Azuma Makoto, "Block Flowers", flowers in resin, (Geoff Harrison)

130 of these boxes have been mounted around a digital video piece titled “Drop Time” depicting the life cycle of flowers in hyper speed.  “A mark of celebration and sorrow, flowers have historically been used to acknowledge life, death and the passing of time”.

"Megacities Project", 10 photographers’ images across 19 suspended screens (Geoff Harrison)

This work was commissioned by the NGV where leading photographers were engaged to capture the environment of 10 mega cities - defined as having more than 10 million inhabitants.  In the 1950’s there were only 2 of them, by 2022 there were more than 30 - with half of them to be found in Asia. 

Any gripes?  A few including the paintings of Prudence Flint which leave me cold; the Yoko Ono installation “My Mommy Is Beautiful” has taken well over a decade to get here and we’ve definitely been short-changed on the work of artist/prankster Maurizio Cattelan.  His banana taped to a wall is hardly the highlight of his career.  I would have much preferred his fully-functioning 18 karat gold toilet titled “America”. 

Many of the works in this exhibition were commissioned by the NGV and will join the gallery’s permanent collection.  Overall, I’m inclined to give this exhibition the thumbs up - as per the sculpture outside the gallery entrance.

References;

National Gallery of Victoria

Artshub

Hauser & Worth

Australian Design Review

To Hell And Back With Tracey Emin

The bad girl of British art Tracey Emin was in the final stages of preparing her exhibition for the Royal Academy in 2020 alongside work of her hero Edvard Munch.  Then she was struck down with an aggressive form of cancer and had several organs removed.  She wasn’t expected to survive and just nine days after the opening, the exhibition was closed for six months due to Covid, an experience she found heartbreaking because it had meant so much to her.  The RA describes the exhibition as an exploration of grief, loss and longing. 

In laying down its policy on Covid restrictions, the British Government ranked galleries and museums alongside nightclubs – a strategy Emin found extraordinary and which she attributes to most politicians having never visited a gallery or museum.

A painter, drawer, sculptor, photographer who works in a variety of media, Tracey Emin became the best known and most controversial of the young British artists who emerged in the late 1990’s.  Her work is largely autobiographical and speaks broadly of the female experience.

Emin once claimed that she had been in love with Munch since she was 18.  Munch died in 1944.  His work which she chose for the exhibition is, she argues, more soulful and mournful than his better known work (such as The Scream) and about women and the emotions they go through, which made him a very unique artist in his time. 

In an interview to accompany the exhibition The Loneliness Of The Soul, it was suggested to her that Munch’s work portrays the tragedy of women whereas Emin’s work speaks of their resilience.  She responded by saying that she has experienced tragedy in her life which has featured in her work. One only has to think of works such as “My Bed” which she entered in the 1998 Turner Prize.  The bed is littered with condoms, cigarette butts, empty vodka bottles etc. and references disastrous sexual experiences and the aftermath.  She refers to the hostility and derision that her work received – one irate critic complained that anyone can submit a bed to an exhibition.  Emin’s response is a classic “well they didn’t, did they”.

My Bed, 1998

She believes that 30 years ago, Munch’s paintings weren’t taken seriously and that The Scream was regarded as a cartoon joke.  But now that there is a greater awareness of the issues many women have to face, there is a greater respect for his work.

Emin explained that what she went through with her cancer treatment was like surviving a plane crash, and she is so grateful to have survived and for every single moment. She now seems a happier and content person.

When I slept I longed ForYou

The issue of rape and sexual violence that appears so often in Emin’s work was raised during the interview.  She came up with an interesting expression.  When she was at school in the 1970’s  school girls would speak of being broken into last night, and they weren’t referring to burglary.  They were referring to their first (most likely unwanted) sexual encounter and this was taken for granted.  Emin claims to have been raped more than once back then and the real issue for her was the aftermath, which included wanting to sleep with just about every guy in her home town of Margate as a revenge and to empower herself sexually.  But she realised that this was diabolical for her self-esteem.

Tracey Emin at White Cube Gallery

After viewing her work, many girls and young women have written to Emin discussing their own disastrous sexual experiences which often resulted in abortions.  Now with the Me Too movement and with women being more open about discussing these issues, she believes that people are starting to pay attention.  But with her confronting work dating back decades Emin was, arguably, well ahead of the whole movement.

Now that she has recovered from her cancer, which included being bed ridden for 3 months, she is planning to open her own art school and residency in Margate where smoking and excessive noise will not be tolerated.  The new Tracey. 

References;

BBC Newsnight

The Royal Academy

ZCZ Films