Warwick Thornton |
Darren Siwes, Northie Kwin, 2013 courtesy the artist and Greenaway Art Gallery |
The large white room of the Anna Schwartz Gallery is full of such crossovers between this world and its others. In r e a’s photographic triptych Poles Apart (2009), we see the artist, dressed in a black crinoline, running as if pursued (an image more explicit in the associated video not on show here) through a landscape beloved of the Heidelberg School. She blurs and vanishes into her surroundings. In strange juxtaposition Danie Mellor’s native hunters (Bayi Minyjirral, 2013) move through a rainforest rendered in the blue and white of willow pattern, their landscape made alien.
Christian Thompson, Desert Melon, 2012 courtesy the artist and Gallery Gabrielle Pizzi |
Michael Cook, Civilised #10, 2012 courtesy the artist and Dianne Tanzer Gallery + Projects |
Sharing the entrance to the exhibition with the bronze Mokuy (2011) of Nawurapu Wunungmurra is Tracey Moffatt’s film beDevil (1993), its three gothic tales filmed in saturated colour dealing with death and disappearance, and everyday spirits who refuse to leave. Curator Marcia Langton reflects, “When Debil Debil opens it will be 20 years since beDevil first screened in Australia. It was a revolutionary work of cinematic art. Its presence in this exhibition marks a point in our history. Since then, conceptual art work that tackles difficult matters of history and the self has flourished” (Room Notes).
Debil Debil is a thoroughly engrossing exhibition, bringing together some of the most skilful artists of this inventive era.
Debil Debil, curator Professor Marcia Langton (AM), artists Brook Andrew, Daniel Boyd, Gordon Bennett, Michael Cook, Destiny Deacon, Ricardo Idagi, Danie Mellor, Tracey Moffatt, r e a, Darren Siwes, Christian Thompson, Warwick Thornton, Nawurapu Wunungmurra, Anna Schwartz Gallery, Carriageworks, Sydney, 20 April-8 June
RealTime issue #115 June-July 2013 pg. 52-553
© Virginia Baxter; for permission to reproduce apply to [email protected]