I saw exhibitions in the various galleries at RMIT in May.
Sharon West, who also has work in the exhibition, curates “Girt by Sea” at RMIT School of Art Gallery. (See my reviews of Sharon West’s earlier exhibitions – just enter her name in the search box on the top of the right column). “Girt by Sea” is in observation of Reconciliation Week 2011 and combines the art of indigenous and non-indigenous artists. Maritime themes are not usual for Australian contemporary or indigenous art even though Australia is surrounded by oceans. The most popular work of the exhibition is Kirsten Lyttle’s “Kuki”, the three Hawaiian shirts with images of a dead Captain Cook. They are cool, self-referential (as Captain Cook was killed in Hawaii) and graphically appealing. The variety of art, from Simon Rose’s video work to the folk art paintings of Aunty Gewen Garoni and Aunty Frances Gallagher, in the exhibition is fun and engaging.
First Site had 3 photography-based exhibitions looking at the human subject: subjectively, objectively and “transpersonally”. The 3 photographers were working in different directions looking at the body or thinking about the self as a subject with memories as in Stephanie Peters “I Know You’re Stalking Me”. This installation using video, photographs and online interactions deals with idea of identity, truth is distorted and rearranged, who are you dealing with – I wasn’t sure I wanted to know. Kawita Vatanajyankur takes an external view of bodies as beautiful objects, combining still and video photography, water or sand and the body. In Luciana Vasques “Transpersonal Photography” personal exploration finds new meaning in the interaction between people, objects and photography. Vasques makes excellent use of the space in First Site, a cluster of peep viewers attached to ribbons flutter in front of the air vent and a convex mirror. None of these photography exhibitions are great but they are not bad, there are some good parts and there is nothing wrong with the directions that these photographers are exploring.
Things were not working for me at RMIT Gallery. In Chelle Macnaughtan “Spatial Listening” I tried to listening to “Listening through Stillness” 2011 but my black Dunlop Volleys made no sound on the etched aluminum plates – there was some irritating electric whine going on somewhere in the gallery. I twice became trapped in dead end parts of Ainslie Murray’s “Intangible Architecture”. I didn’t have any problems with Malte Wagenfeld’s “Aesthetics of Air” even though there were warning signs about the lazars. Aside from the warning signs the “Aesthetics of Air” was like a disco without the music or the mirror ball but with the smoke machines and lazars. The aesthetics of air is lightweight.