An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Daniel Boyd, Untitled (P13), 2013, oil and archival glue on linen, 214 x 300 cm. Collection of Gwen and Stewart Wallis AO, Bowral Photographed by Jessica Maurer. Courtesy the artist and Roslyn Oxley9 Gallery.
Daniel Boyd's paintings, installations, moving image works and artist books are about a relationship to time and space. He is cognisant of the information they contain but a greater ambition is to demonstrate that the nature of perception is not absolute. While on occasion Boyd's subject matter reappraises the documentation of Indigenous peoples and events, his focus is also on the active realm the viewer occupies; 'how I experience a moment in time will be different to how you experience it. This allows me to work within different contexts and with different ideas freely,' he said.
Daniel Boyd was born in Cairns in 1982, and has been exhibiting his work nationally and internationally since 2005. His identification with the Kudjla/Gangalu peoples has come to inform his work which considers Eurocentric perspectives on Australian history and the ethics of colonisation. His work exposes themes of inheritance and explore the effects of memory and time on the interpretation of images. He frequently uses pastels in a reduced palette of predominantly black, white, and grey, to create scenes made out of lots of small dots on a canvas. The reduced, monochromatic palette alludes to the sadness of events in the past and the personal implications of these events on Boyd, in the present.
It’s sad that past is something we can never share,
No matter how close we are the past is between us.
But it’s also nice that without the past,
We’d have never known each other.
No matter how far apart we are, it brought us together
Yoko Ono, 1973.
For Aboriginal and Islander colonised people the violent ‘Age of European Colonialism’ will always come between us. Shadow histories snake through the years and entangle us all. Daniel Boyd’s Pacific Islander roots come out of Pentecost Island, a lush, green, ‘floating forest’, now part of the nation state of Vanuatu. Yoko Ono’s first name translates into English as ‘ocean child’, and like Daniel Boyd, she was born on another volcanic island in the Pacific Ocean (Japan), from another ‘imaginary society’ and another ‘imaginary place.’ Boyd’s current exhibition; Floating Forest, is from the description of Captain Bligh’s ship ‘Providence’, upon its arrival at Port Royal in Jamaica (1793). Laden with two thousand one hundred twenty-six Breadfruit and other spice and dye plants from Asia and the Pacific (mainly Otaheite -Tahiti), the voyage was commissioned by the English botanist Sir Joseph Banks. Six hundred, and, seventy-eight Breadfruit survived the voyage. The plan was to transfer Breadfruit from the Pacific, as a cheap and fast growing food, for the thousands of slave workers on the sugar plantations in the Caribbean British colonies. At that time plants (cash crops) were more important than human lives, it would appear. Alas, forty years later, when eating Breadfruit was common place, following the tortuous Haitian slave rebellion (1791-1804), slavery had effectively ended.
Breadfruit plants have a wide root system, and the tree can be propagated from root cuttings. In a wider context, Deleuze used the horizontal botanical root system (rhizome) for an image that allows multiple entry and exit points of ideas, interpretation, reading, and enjoyment. History, its re-telling, and imagery has many viewpoints, readings and spaces of transit between.
It’s sad that air is the only thing we share
No matter how close we are there’s always air between us
It’s also nice that air’s something we all share
No matter how far apart we are, an air links us
Yoko Ono, 1973.
There is particle theory – a theory that all matter in the universe is made up of small separated particles that are vibrating at varying speeds and spacing, even in ‘the air between us’, some emitting or reflecting light and others remaining dark. There is the existence of ‘dark matter’ in the universe that doesn’t reflect light but the particles of which are four times the number of the reflecting stars. There is, of course, the historical-social metaphor extension of ‘dark matter’-dark people-dark history. The ‘other’ is-are a wild uncivilized untrustworthy violent people. In colonised populations, males are drunks, violent and dangerous-females, cheeky, promiscuous, and equally dangerous. It’s thought by many that a form of ‘cultural colonialism’; the injection of so-called ‘primitivism’ into western art practice, re-vitalised and saved western European art. Daniel delved into his Pacific Islander background, history, and its influence in western art history. It moved him to think of and express a cosmology; of what is the unknown and what do we know.
-Djon Mundine OAM
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