Tag Archives: Taring Padi

Warehouse vs ARI

Daniel Lynch posted on Facebook today. “If you have ever been helped out by the warehouse. If u ever crashed there while u found your way. If u ever painted the walls. If you shot a film here or even just came to party, well come hang out today. I got a garage sale all day and I will be working around the place ripping the old beast down.”

Will Coles, cellphone flower, wall of Good Times Studios

Will Coles, cellphone flower, wall of Good Things Studios

I was looking at Facebook as I was thinking about how to reply to an email from an artist about volunteering at 69 Smith Street. The combination started me thinking about arts warehouses vs ARI; so instead of going to hang out one last time as Daniel ripped the studio walls down I thought that I’d write a blog post. I’d been to Good Things Studio on Coco Jackson Lane in Brunswick a couple of times for various reasons since Daniel established it in 2011. (In a 2012 post I call it Coco Jackson Studios I don’t know if it has changed its name or I just misnamed it with its address.)

There are some important art warehouses in Melbourne arts scene: Irene’s Community Arts Warehouse (where I first met some of the Indonesian artists involved in Taring Padi) and Blender Studios.

So how does this compare to ARI? ARI (artist run spaces) emerged in the 1980s; in 1982 Roar Studios in Fitzroy was Melbourne’s first ARI. Aiming to be bridge between the art school and major art galleries, ARI’s became part of the institution of art exhibiting. They look the same as the major galleries only the white walled spaces are smaller. But perhaps they have run their course especially as exhibiting in a gallery space is no longer essential to contemporary art and when even commercial galleries are opening what they call “project space” or dropping the word “gallery” from their name.

Warehouses combining artists studios and other events have been around since the 1990s. Warehouse parties, Warhol’s Factory and the old mystique of the artist’s studio all contribute to the warehouse vibe. The flexible warehouse space provides better matches contemporary art that might be seen on the street or a site-specific location. It allows for both artists who exhibit in galleries and those who don’t. It mixes the arts; musicians, film-makers and visual artists mixed at Good Things Studio. The community of artists working at the warehouse has a more direct influence on the work of the artist’s involved than the opportunity to exhibit.

For a young or emerging artist in Melbourne establishing an arts warehouse is more artistically significant than establishing an ARI.

Indonesian Art @ Bus

Having seen “Kompilasi: A survey of contemporary Indonesian art” at Bus I would have to conclude that contemporary art in Indonesia includes a lot of performance elements. Having missed the opening of the exhibition I was mostly looking at the ghosts of the performances in the galleries, ghosts captured in photographs and videos.

The star of the show is Jompet Kuswidananto’s “Java – the ghost warrior”, a video installation. It is instantly engaging and entrancing, the slow motion dancer on the video and the figure made from empty helmet, drum and boots. And then I realized that Jompet has done something amazing; the ghostly drummer beats his drum in time with the video. Having made such an impressive impact I was well prepared to meditate on Jompet’s post-colonial themes.

Attending artist Tintin Wulia’s wall painting map “Terra Incognito etcetera” was the remains of a performance, with its trays of flags and wine glasses with dried paint. Bambang ‘Toko’ Witjksono’s installation and performance “Future House” felt as ghostly as an empty real estate office in a new suburb. The table of colour printed and die-cut cardboard box houses looked like McHappy Meal boxes.

Angki Purbandono’s “Anonymous project” and “The Indonesian Wedding Photo Ritual” looks at the ordinary performance of ordinary people in photographs, like wedding photographs. Angki Purbandono playfully examines the structure of Indonesian pre-wedding, during wedding and post-wedding photographs. The inclusion of a mock Gilbert and George performance in “The Indonesian Wedding Photo Ritual” series is more insightful than a simple homage.

The Taring Padi collective have 2 large woodblock prints on canvas banners in the exhibition. In 2002 I first encountered the art of Taring Padi in a small exhibition of posters, publications, banners and videos of their performance at Irene Warehouse in Brunswick. At that time the Taring Padi collective had been working for 4 years, now they are over 10 years old. 10 years later Taring Padi’s people art style is still recognizable and is even more intense.

Curators Kritis Monfries, Tim O’Donoghue and Georgie Sedgwick have made an excellent selection of contemporary Indonesian art. The exhibition fills the whole of Bus gallery including the stairs and in a painting on the front wall of the gallery. The selection of contemporary Indonesian art is fun and engaging without any loss of serious content. Not having a lot of knowledge of contemporary Indonesian art I don’t know if “Kompilasi” is representative survey but it is a good exhibition.

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