Art Writing
art writing.
PAULINA OŁOWSKA
"The Painter" (2016)
- Oil and acrylic on canvas, 220 x 170cm
© National Gallery Victoria
the painter (a study in ekphrasis)
Throw the grey underbellies from the clouds of rain-laden skies onto a canvas, and I am looking at The Painter - and she looks back at me.
Looks at me as much as she looks through me
with eyes tired and understanding,
of knowing what she must do next, not quite sure when to do it though.
A tired and empathetic mirror carefully crafted that you only see yourself if you stand and look for long enough.
FREEFALL
23.02.18 - 18.03.18
Art:1 Museum, Jakarta, Indonesia
© Liandro N. I. Siringoringo
EVERYTHING YOU WANT IS ON THE OTHER SIDE OF FEAR: EXAMINING VANESSA VAN HOUTEN’S FREEFALL
How hard the journey of reconciliation must be when it is almost impossible to do ourselves. This process, of finding what is at the core of oneself, ones culture, ones femininity (or lack thereof) has been flooding into the doors of our galleries as of late. It is everywhere (and so it should be), but particularly for a country like Indonesia, it has come at a pivotal point in time. Still young in their contemporary art scene, to look upon it in Jakarta is like looking upon a toddler. Fumbling through a walk, trying to find a voice, but importantly full of promise. At the moment, one of the prevailing discourses in Indonesian culture is where and how the collective place themselves (or choose to place themselves) against the backdrop of the world.
There is always something interesting about the how displaced see and approach the rest of their society. For Vanessa van Houten, there was the advantage of seeing with a different set of eyes, of ones which would always be outside, but which were somehow also within. Her solo exhibition Freefall depicts honesty in a heart-shatteringly vulnerable way, and shows that there is a certain type of patience that revolves around not understanding, although always trying to […]
THE TALE #001 (a study in fiction)
The end of her life cam in icy blues and shrouds of snow.
She breathed out.
This wasn’t really the first time they had done this, although it was admittedly cleaner – neater – than their last attempt.
Hell was colder than she expected.
It actually wouldn’t have been that hard for it to freeze over. People needed to stop saying that, she thought to herself. Faces folded in on one another in harmony; in beautiful synchronization and in dreadful despair. Punishment came in tortuous pain, disguised as beauty, encased within the lust for life.
Hell was prettier than she expected.
They hid their faces in the leaves of trees, their eyes wrapped in the tangle of vines, and their sight woven into the roots winding through the murky soil. The sky bled into the earth and the earth disappeared, but her feet stood as surely as the sun would never rise again. There was no sun. The water fell upwards.
“I don’t quite think this is Hell,” murmured the larger of the two.
She glanced over at him, half of her wishing she could agree.
“I don’t quite think the two of us could’ve ended up anywhere else, really.”
FX HARSONO
Wipe Out #1 (Penghapusan #1) 2011
acrylic on canvas
160 x 200 cm
© Sotheby’s
WIPE OUT (THE HOUSE)
This house does not have a porch or a backyard with a working light. So whenever I need to have a cigarette, I go outside, to the front, with the cars and the trees. Into the cold, into the sun, into the wind, into the whatever. Sometimes I’ll sit on the hood of my car with my coffee and I’ll watch the smoke of my own death blow out in front of my face. My friends all tell me I have a problem, and I never tell them they’re wrong.
Tonight it is raining. It has not rained in a while, but tonight it has ebbed and flowed in waves. Sometimes I hear it bashing furiously against the walls of the house, sometimes it gets so quiet I forget it was ever raining at all. I’m sitting alone but the house behind me is filled with a tired sort of life.
It’s fucking freezing and I really should’ve worn that second jacket - should I go and get it?- but I’ve already lit my cigarette and I can’t take it back inside but jesus christ my arms are freezing and the wind grips my forearms with frosty fingers and fuck I’m cold.
I see a man through the rain. He is writing something over and over and over again on the glass of a window stained with the teardrops of the world and I wonder what it is that he writes about. To write about something over and over and over again is endless and endlessly tiring and I wonder if the words he writes holds stories or answers or both […]
DISTANCE
Leave your house with a pair of scissors and 9 envelopes. I want you to find a place that is crowded and familiar, somewhere you recognise that is comfortable. We are going to play with this. Find a partner. A person. Your teacher, your friend, a friend who is no longer a friend, anything, anyone will do, really. It can be one of the passerbys on the street, but you need something or someone who can respond to you. (Someone with something to offer, and that could be almost anyone or no one). Hand them the scissors and offer some of your hair in exchange for a secret. How much they cut is up to them, where they cut is up to them. Ask them, as they are cutting, what is their greatest shame - I am sure there are many. If they insist on none, ask them of their greatest sorrow, greatest burden. There will be a few of these. If you so wish, tell them one of yours also.
Break away. Before you do, tell them you will yell this into the world. They have made their secret yours. What you do with it is up to you. Place your cut hair into the envelope and in turn, hand them this piece of yourself. Take two steps back, take five, take as many as you want or as you need, in any direction you fancy, until you feel you are a comfortable distance now from this person and their greatest hatred, sorrow, or burden, but as you stretch this distance, I ask you to hold this secret in your mind. Right at the front, pressing against your temporal lobe, yearning to escape in all of its unease […]
© Namroud Gorguis
of you and I (on station elation) (a study in reading performance)
I could not tell you
no, believe me, I would try to place it if I could
but I really could not tell you now soft
how just absolutely soft it felt
to be encased by the beginnings.
Lulling, lulling,
and there is a tap-tap-tapping that comes
just so light.
[…]
VANESSA VAN HOUTEN
RAW Series (2016/2018)
© Liandro N. I. Siringoringo
raw (a study in poetry)
Sorrow breathes life,
and although we do not realise it
it is when we are both at our strongest and at our most vulnerable,
but not at our weakest.
Sorrow does not father weakness, though many people will tell you that it does.
Rather, sorrow births strength.
If you can carry such a behemothic burden, I can promise you, that you can hold most anything.
They line____________the walls like soldiers
tired of the battles they have fought
knowing they will have to fight another
but that it possibly cannot be as hard as the battle they have just relived to you […]
TEAMLAB
Moving Creatives Vortices and Vortices Create Movement (2017)
Installation view: NGV Triennial 2017-2018
© teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
SENSORY PLEASANTRIES IN THE NGV TRIENNIAL
Managing to attract even those who do no regularly attend galleries, one of the NGV’s largest affairs, may have turned out to be one of its most disappointing. Pleasing to the visual senses, so aesthetically stunning that it warrants being immortalised on Instagram, and just captivating enough that you battle it out to the end, the Triennial was a curatorial hotpot made by a chef full of ambition.
With good intentions to work “from the art up”, the Triennial spans across all three levels of the NGV, and although viewers have the option to acquire a map on their way in, the through-line is clunky and messily articulated. It becomes a treasure hunt to find certain works, disrupting the flow of the entire narrative the Triennial hoped to focus on: a conversation around movement, body, virtual, change and time. Bringing together 100 artists and already working with a wide scope to begin with, it was only inevitable that a single exhibition could only hope to be able to shallowly penetrate these ideas. Working with the notion of the exhibition as a mixture of concepts, the curatorial choice fails in its intention to allow for the ebb of movement and the modulation of different energies throughout the gallery. The changes in pace instead interrupts immersion with frustration, and the conversation between artworks falls on deaf ears. Although not a suggestion to return to the tired form of curating in thematic, working in slightly tighter clusters could have perhaps served Simon Maidment and his team well […]