Twenty years ago the Counihan Gallery was established by Moreland City Council in 1999. In the following decades it has become a cultural hub for Brunswick. The regular exhibition openings bringing people together in a physical space. Now it has expanded and is once again open after renovations.
There has been a small change to the large foyer with the addition of two vitrines both hung with prints by Noel Counihan from the gallery’s collection. It always seemed a shame that there wasn’t any of his art on exhibition in a gallery named after him.
Inside the gallery there is a dramatic change; it is now over a third larger. The new space merges seamlessly with the rest of the gallery. The same flooring, the same curved marine-ply ceiling panels hang in the new space. And, most of important of all, at the end of the new gallery space, there is a large window facing onto Sydney Road bringing natural light into the gallery. Curious people passing by look in, some of them now aware that there is something going on in the building.
There was a launch of this new space and the first exhibitions for a new year on Saturday 8 February with a “Welcome to Country” by a Wurundjeri Elder, a couple of speeches and a performance by Djirri Djirri, Wurundjeri Women’s Dance Group. I was there enjoying a glass of wine, a pumpkin kibbe (shout out to Zaatar’s, a great local cafe, this is a personal endorsement with no quid pro quo received or expected), meeting new people and catching up with acquaintances.
The three current exhibitions:
At first I didn’t really get Histrionic by Marion Abraham, Saffron Newey and Tyler Payne. There were plenty of attractive and engaging works to look at from Payne’s installation with iPads to Newey’s large painting of a great, green, sea monster. Then Abraham’s art historical references in her two large paintings lured me in to deeper thoughts about contemporary life.
Screen Time is an interactive installation by Chris Bowes with lots of messy black cables contrasting with the clean colour digital images. It looks like the output of high modernism: the cubist break down of the image onto seperate screens, the dots of colour of the pointillists, and the readymade an-aesthetic of the physical installation.
And in the new space there is f_OCUS; a selection of works by women from the galleries permanent collection. Twenty artists whose names or works should be familiar to anyone interested in Melbourne’s art; Hoda Afshar, Wendy Black, Megan Cope, Destiny Deacon, Emily Floyd, Fiona Foley, Marlene Gilson, Helga Groves, Gracia Haby & Louise Jennison, Joy Hester, Deanna Hitti, Regina Karadada, Carmel Louise, Mandy Nicholson, Rose Nolan, Jill Orr, Carol Porter, Nusra Latif Qureshi and Judy Watson. I remembered first seeing Nusra Latif Qureshi’s post-modern take on traditional miniature painting at the Counihan Gallery’s Women’s Salon.