Tag Archives: Brunswick

More Microparks

Microparks, or how local city councils in greater Melbourne are learning to practice the art of urban acupuncture trying to hit the magical lay lines of psychogeography. Melbourne is well known for its parks; Victoria’s car license plates once sported the slogan “the garden state.” Large parks surround the city but beyond that parkland in the inner city can be sparse. Local councils are finding vacant land between two buildings, at a corner or on an under-used section of road to rejuvenate an area with a park.

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The City of Yarra wants to create new open spaces in Collingwood as the area was originally overbuilt. Wandering the Collingwood gallery district I find a new park on Oxford Street with lots of decking, a drinking fountain and contained patches of grass. It looks as if it is primarily intended for sitting and eating lunch. There is another new small park only a few blocks away on Peel Street with its curved red seating and piles of concrete blocks, as if that part of it was designed using Minecraft.

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Compared to the earlier micro park on the corner of Gertrude and Smith Streets, where two benches and a hippy looking garden bed is dominated by the billboard advertising, these new parks are masterpieces in urban architecture and design. Novelty seats by artists are out, now seating has to have design features. (See my post Crazy City Comforts) and, basically be a comfortable place to put your bum. The architecture of discipline is out for these parks; the anti-sleeping, anti-skateboarding bumps are not visible but rather subtly understood in the design. Design is the key feature of these parks, not an anonymous utilitarian effort nor a naive hope that the community will do the rest.

In Brunswick off Sydney Road there is Wilson Avenue existing pop-up park from last year is now to be made permanent. Wilson Avenue in Brunswick, off Sydney Road. An urban bouldering wall allowing people to do more than just sit in the park.

Temporary or permanent these spaces are mostly about rejecting the dominate car culture to provide more space for pedestrians. It takes more than a few seats and a little bit of vegetation to make a successful urban micro park or pedestrian space. If you build it will they use it?

On the subject of sitting, with the television full of documentaries about Tony Robinson, Will Self or Alan Cummings going for a walk, I have decided that sitting is going to be the next big thing. Sitting is what is required for style and comfort. My cat does a lot of sitting; for her there are seats of power, seats of comfort and seats to explore. In the 21st century everything is extreme and there is the extreme sitting of Maria Abranivich sitting in MOMA for day after day. Public seating is a civic necessity for the aged, the sick, the tired. Having public seating reduces isolation. The Guardian reports on the City of Dijon in France introduced public armchairs, as it is easier for the elderly to get up from a seat with armrests.


Shopping Centre Art

What was I doing at a VIP event at Barkly Square shopping centre in Brunswick?

What has happened at Barkly Square is that the service lane that bisected the shopping centre running parallel to Sydney Road has been change from a problem into a feature. The lane has become, according to the media release, “… a new arts and entertainment precinct which will celebrate the artistic and culinary soul of Brunswick.”

Ghostpatrol Barkely Square 9

A collaboration between Ghostpatrol and Bonsai fill two sides of the wall of the lane. Kyle Hughes-Odgers, a Perth based artist, has a wall with a brickworks reference as Brunswick once had a brick making industry. On another wall there is a giant owl by Twoone.

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It is not all street art, Tobias Horrocks, a local artist work with a post-minimalist ideas and cardboard. This was his first permanent installation. The basic cardboard form is repeated blocking and filtering the light from the window above the entrance.

Barkly Square is just a small inner-city shopping centre, a bland location for a few chain shops, near the beginning of the Sydney Road shopping strip. It is not the first shopping centre in Melbourne to feature street artists on its walls; QVC and Southbank both invited street artists in years earlier.

Media maker and festival director, Marcus Westbury has, what he describes a “strange obsession” with “he fate of old suburban shopping arcades.” He explains why on his blog. “I am, as far as I can tell, pretty much alone in believing they’re a rich vein of untapped urban and suburban gold. Or, to put it in language that hipsters, planners and local politicians can reflexively and instinctively respond to they’re kind of like lane-ways.”

In this case the it not so much as trying to artificially reproduce the iconic Melbourne lane but assimilating the rest Brunswick into the shopping centre. The usual mall food court has gone from Barkly Square, now there are cafes with outside seating in The Laneway, as it has been prosaically and practically named. The transformation of the area is the usual mix of work by street arts, planters, bollards, bike racks and funky design elements. It is still a working service lane but now is a mix use urban area.

Shopping centres need to reinvent themselves, in the wake of on-line competition, they need cater for more than just shopping. The holy grail of urban design to create a ‘meeting place’.

Samuel Louwrens, the Operations Manager for Barkly Square Centre Management is feeling inspired at the art and developments on the lane. He is enthusiastic about his new lighting for the art and was waiting for more suggestions from the public about what could be done with the lane. He pointed out that there are still more large blank walls at the far ends of the lane.

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At noon on Wednesday there was a launch of the lane in a temporary VIP area outside a cafe in the lane listening to a guitarist, Grey Milton launching Barkly Square’s busking program. Grey finished his set. There were two short speeches from the corporate investment manager of the property group that owns Barkly Square and then the Mayor of Moreland. Then the Melbourne Ukulele Kollective took over by this time there weren’t just invited guests but a small crowd of people enjoying the spectacle. To have about a hundred people in the lane showed that, at least for the moment, the plan was working.DSCF0329

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Ghost Signs of Melbourne

New Theatre

On the corner of Flanigan Lane there is the hand painted sign stating: “New Theatre”. Jeff Sparrow and Jill Sparrow give a short history of the New Theatre in their book Radical Melbourne. The sign dates from around 1937 when the New Theatre occupied “an old tin-doffed loft above a dishes garage next to the Duke of Kent Hotel on La Trobe Street.” (Sparrow and Sparrow Radical Melbourne p.28). The New Theatre was established by the Communist Party in 1937 and  continued into the 1990s. The theatre at Flanigan Lane saw the first performance of Bertolt Brecht in Melbourne. In 1939 the theatre was declared unsafe and closed down but the sign remains on the stone wall.

There are plenty of other ghost signs in that small network of lanes but the new theatre was the only one that I researched. The interest in finding and photographing ghost signs grows. My own take on it is less about the hand painted signs and more about the history and culture that the sign represents.

Telephones

The “Do Not Spit” signs at Flinders Street Station tell of a past Melbourne with an expectorating population that had to be told not to. The metal “telephones” sign in the Degraves Street underpass points to a locked door behind which banks of telephone booths once stood before mobile phones made them obsolescent. The boomerang shaped sign from former Brunswick continental supermarket on Lygon Street and Australian identity; for more see Our Fading Past – Our History in Old Signs.  I have not been able to find out anything about the sign for Balkan Club in Melbourne, but there has always been a Balkan Club somewhere around the city.

Loucas & Christororou boomerang

I am suspicious of the ghost signs from around Chinatown like “Commit No Nuisance” Heffernan Lane in Chinatown. These signs looks too good, perhaps they were restored in an earlier revival of interest in ghost signs. I saw them listed as number 4 selfie spots in Melbourne.The aesthetic popularity of ghost signs is leading to some being purposely revealed, restored or rectified.

commit no Nusaince + paste-up

After the collectors, the fans and the academics, comes the photography exhibitions of ghost signs. Stephanie Stead’s “Signs of Our Times” at the City Library in July was the first of these that I’ve seen but I’m sure that there have been others. Stead’s silver gelatine prints are black and white except for the signs that have been hand coloured in oils. This old fashioned technique matches with the old signs producing beautiful nostalgic images.


Nauru, Art and Refugees

As a teenager I briefly landed on Nauru as the single aircraft in Air Nauru was the cheapest way to fly to Japan from Australia. I was in the cockpit as we landed, sitting behind the captain; it was common practice back then for the captain to invite children into the cockpit, although being in the cockpit during a landing was unusual however there were so few passengers on the flight that my brother and I were the only non-adults.

The island is tiny, the runway being the largest feature of the island seen from the air. There was a policeman manning a boom gate that stopped the cars crossing the runway as the plane landed. It looked like the dullest place in the world; it was dull for me and yet there were fat, bored locals sitting at the airport just to watch the plane arrive, probably the most exciting thing to happen all week on the tiny island.

This was at the time when Nauru’s sovereign wealth fund made it, per capita one of the richest countries in the world. It was during this period of prosperity that Melbourne was given a “gift of the people and government of Nauru” the sculpture “Three Businessmen Who Brought Their Own Lunch: Batman, Swanston and Hoddle” (aka “the metal men”) 1993 by Alison Weaver and Paul Quinn.

Now that the phosphate mines on Nauru and it administer sovereign wealth fund has been exploited and mismanaged Nauru has once again become, in all but name, a colony of Australia that uses it as a concentration camp for refugees. There are currently more refugees on Nauru than citizens.

I was reminded of this when I saw Kelvin Skewes, What was taken and what was given an exhibition of photograph at the Counihan Gallery. Skewes photographs of Nauru’s destruction shows the mix between the tropical island and the industrial wasteland, the jagged limestone exposed by the phosphate mining and the new industry of abusing refugee’s human rights.

This not the first time that landscape of Nauru has been the subject of art. In 2010 “The Nauru Elegies: a portrait in sound and hypsographic architecture” by architect Annie K Kwon and musician Paul D Miller, aka DJ Spooky. (See my post.)

Also at the Counihan Gallery is local artist Liz Walker’s The Wave, that also refers to the Australian regime’s criminal treatment of refugees. In the middle of the gallery Walker’s impressive post-minimalist boat made of 37,697 sticks (one stick for every refugee who has travelled by boat to Australia from 1976-2012). One wall of the gallery is covered in old suitcases, Memorial to the beginning of an unknown end, each of the open suitcases contains an assemblage, like Joseph Cornell’s boxes, with a reference to refugees coming to Australia. Walker’s use of worn and aged found materials combines both the poetic and the polemic. (For more on Liz Walker’s art do a search using the search box at the top of the right bar, put quotation marks around her name – there are about ten posts.)


The Commons Graffiti

The Commons is a Brunswick residential complex design by Breathe Architecture’s Jeremy McLeod that received the 2014 Victorian Architecture Award for Sustainable Architecture as the year’s ‘‘exemplar of apartment living.’’ Read more about the architecture award in The Age but I want to examine the way that it integrates with the locale in particular the graffiti in the area.DSCF0137

It is not an inspiring locale, at the end of a dead end street on a block between train tracks and a panel beaters. It was previously the site of a single story factory/warehouse stood surrounded by a chain link fence. In its favour it is close to Sydney Road and very close to Anstey Station train station. Anstey has the standard utilitarian construction of a Melbourne railway station from the 1970s, the chain link fence, only the signage has been updated.

I have watched the developments progress as I passed by on my regular ride along the Upfield bike path or when traveling by train in and out of the city.

Now plants are growing up the chain balcony rails, of this multi-story building with an attractive facade facing the railway. On the ground floor there is the coffee shop, Steam Junkies and two large rainwater tanks sit out the back. It contributes and improves its locale rather than exploit it. The Commons is the only building with an entrance to the Upfield bicycle path.

There plenty of graffiti along the bicycle path but the brick walls beneath the second decorative story facade of The Commons had only been tagged a couple of time since its construction. The tags were not removed. It was unlikely that the walls were going to stay that way as they were along the graffiti covered Upfield bike path and it appears that it was never the intention.

Then this week came the Sinch tribute, a massive legal piece that covered The Commons lower walls and water tanks. An awesome group effort featuring parts of the AWOL and Id crews along a few others. See Land of Sunshine for more photos. There aren’t that many graffiti tributes in Melbourne (see my post Rest In Peace).  Sinch (1988 – 2014) died in June; Benjamin Millar “Tributes for street artist electrocuted while train surfing” in The Age.

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The Brian Robinson Mix

Working on culture in a post-colonial world is more than just cultural maintenance. The post-colonial experience of travelling between different cultures is reflected in the visual culture just like the music and stories. Brian Robinson is like a DJ, or a curator, he was a curator at the Cairns Regional Gallery; mixing and making new sense out of diverse elements. He creates a visual culture mix, like a DJ mixing different sources with a beat to create new music to keep on dancing to.

Brian Robinson makes the kind of art that is loved by judges and the people; the kind of art that art writers and curators enjoy to write about and he clearly enjoys tells the stories of his art. Robinson also clearly enjoys making images with linocut, paper, spray paint, plastic toys, wood and even a shell can be the image of a shell. Story-telling, the myths and legends, are based on visual images as well as a words and his pictures often say more than a thousand words.

I went to his ‘floor talk’ Saturday 21 June at the Counihan Gallery. Robinson shines with friendly, informal, relaxed manner and he has a lot to talk about mixing memories of childhood with detailed knowledge of literature, Greek myths, Roman Catholic, Phantom comic books and popular culture. See a video interview with Brian Robinson on Creative Cowboy.

Robinson is not scared to do the masters, he references them in his linocuts; Leonardo, Michelangelo’s Sistine Chapel, Hokusai’s Great Wave. Why should he be? Brian Robinson from Waiben (Thursday Island), Torres Strait, of the Kala Lagaw Ya language group. He is doing it Straits style, mixing in his own stories and he was the winner the 2013 Western Australian Indigenous Art Award and that year’s People’s Choice Award.

Robinson’s art is beautiful, often intricate but it can also be scaled up as in his massive, mixed media wall friezes. He a fan of the art of M.C. Escher and pays tribute to it in Dawn Raid Strategy, 2011. There is more to this image than just a tribute piece, it speaks of deadly strategies and games of chess. For above all his art is alive because he is playing – he must be a great dad except when he takes his kids toys to use in his art.

Robinson knows what it feels like to look for lost worlds under the sea. In his 2012 linocut, Navigating narrative – Nemo’s encounter in the Torres Strait, he creates an illustration for the one of the several chapters set in the Torres Straits in Jules Verne’s Twenty Thousand Leagues Under The Sea.

“‘Savages!’ replied Captain Nemo in a sarcastic tone. ‘And you are surprised Dr Aronnax, that when you set foot on one of the lands of this globe, you find savages? Where are there not savages, and in any case, are those that you call savages any worse than the others?’”

Twenty Thousand Leagues Under The Sea, trans William Butcher (Oxford, 1998, p.152)

There is so much to see and enjoy at Brian Robinson’s exhibition Strait Protean at the Counihan Gallery in Brunswick. The title says so much about the way the Robinson mixes images; Proteus is the ever changing adaptable sea god. Much of the work in the exhibition was developed during a twelve month long residency that Robinson had at Djumbunji Press in 2010, his skill with lino cutting has been refined and developed to an amazing level. His adaptable vision makes him not just an artist for the present but also for keeping the past alive into the future.


My Top 10 Melbourne Stencils

I’ve been photographing Melbourne’s stencils for almost a decade, I’ve been looking at them for longer. Looking back at all my photos of Melbourne stencils here is my top 10.

HaHa Nicky Wynmar

  1. HaHa, Nicky Winmar, The master of multi layered stencils HaHa’s interest in fame and celebrities is at its best with his stencil of St.Kilda footballer, Nicky Winmar’s iconic reaction to racist taunts. What could be more Melbourne than a footballer?Civil - penny farthing - Irene Warehouse
  2. Civil, The Revolution Will Not Be Motorized. Irene Warehouse. This is my nostalgia moment because it was Civil’s stencils that first got me interested in Melbourne’s stencil scene. Civil’s peaceful and entirely civilised anarchic politics is perfectly expressed in this stencil.Kerpy - Flinders St. Station
  3. Kirpy, Flinders Street Station, On the wall of 696, then an urban node for quality work, curated by the Toby and Melieka who ran the gallery/gift shop. A great multi layered stencil of an iconic Melbourne scene.ELK Chimp Jesus
  4. E.L.K. Ecce Homo (observe the man). In this piece E.L.K. is taking the old English tradition of baboonery from the pages of illuminated manuscripts to the street. E.L.K was Canberra based at the time this was done I’m not being picky about where an artist is based in this list. Cocker Alley Banksy Tributes
  5. Sunfigo, Little Diver Redux, In the same location and referencing Banksy’s Little Diver along with many other Melbourne based street artists. This is the ultimate piece of self referencing street art. (In photo, Sunfigo above, Phoenix tribute below.)DSC09008
  6. Calm, Blue Gnu, At All Your Wall in Hosier Lane 2013 before it was covered in tags but then it anticipated all of that.Toys will be Toys
  7. 23rd Key, Toys Will Be Toys, A good stencil and a great reference to both the graffiti insult and Toy Story. Located in the Land of Sunshine, Brunswick.Hanging-boots
  8. Unknown, Hanging Boots, A simple and well-placed elegant still life in Sparks Lane, Melbourne.The Kid Peek-a-boo
  9. Unknown, Peek-A-Boo, Another simple but highly effective stencil because of its placement.This is Shit
  10. Unknown, This is Shit. Sometimes it just has to be said.

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