SCANZ2013: Crossing borders – identity, culture and place

29 01 2013

On Tuesday we had an excellent workshop where the topic was focused on ‘crossing borders’ and what that meant in terms of negotiating different scenarios. The speakers came from a range of perspectives including a Māori leader, scientists, and people who have worked extensively with Indigenous peoples.

One of the things that has really been powerful for me is how Māori people identify people they meet. When you meet Māori the way you introduce yourself is through where you come from (where you were born) and your ancestors. This is very different to a European or ‘western’ way of knowing a person, say through their qualifications, work and academic achievements. For me, the connection to place as informing identity and ‘meeting’ each other, offers a rich possibility for linking and sharing experiences.

A lot of my work as an artist over the years that been an exploration of ‘where’ and ‘how’ I fit, in terms of a relationship to land and place, especially in the Fauxonomy project. But even when I was working on Big Banana Time Inc, there was a need to discuss issues around place and identity within an appropriate context, given my ‘bitza’ migrant heritage. In many ways I have struggled with this question of ‘where’ I am from, in terms of a sense of belonging. I often tell people that I was born in Brisbane, brought up in Darwin and since then have lived in Victoria, Sydney and now Canberra. In terms of where I felt ‘connected’, I always think of Darwin, the countless hours I spent walking on the rocks at Nightcliff beach, and I still have dreams of diving off the rocks into the tropical waters of the Timor Sea. It was the place where I witnessed the power and beauty of nature, through monsoons, sweltering humidity and lush vegetation. The stars were like an enormous sparkling blanket and I realised as a child that humanity is such a small part of the story of nature.

Lightning Over Nightcliff Beach, 14 Nov 2010 by Andrew Brooks

Lightning Over Nightcliff Beach, 14 Nov 2010 by Andrew Brooks

The problem (in my mind) with claiming a place as ‘where’ I am from is a direct result of my migrant background. By living in Darwin and going to school with kids from remote communities all of the Northern Territory, I learnt that in Aboriginal cultures there is a wholistic connection between land, spirit, language and identity, that manifests in ritual, art, song and performance – as all of these elements are connected. In ‘western’ culture all of these elements have been described and located into separate compartments, called ‘disciplines’. Anyway, that is a much bigger topic that I won’t get into here…

I have been considering ‘where’ I am from and have had some very rich conversations around this topic with other SCANZ residents. When I think about it, I wasn’t actually born in Brisbane, I was born in Redcliffe, about 30 kilometres north of Brisbane. It was the original site of the colony of Brisbane, which was later disbanded for the current site of the city. Mr Wikipedia says:

Before European settlement, the Redcliffe Peninsula was occupied by the indigenous Ningy Ningy people. The native name is Kau-in-Kau-in, which means Blood-Blood (red-like blood).

Redcliffe holds the distinction of being the first European settlement in Queensland, first visited by Matthew Flinders on 17 July 1799. Explorer John Oxley recommended “Red Cliff Point” – named after the red-coloured cliffs visible from Moreton Bay – to the Governor Thomas Brisbane for the new colony, reporting that ships could land at any tide and easily get close to the shore. The party settled in Redcliffe on 13 September 1824, under the command of Lieutenant Henry Miller with 14 soldiers, some with wives and children, and 29 convicts. However, this settlement was abandoned after one year and the colony was moved south to a site on the Brisbane River at North Quay, 28 km (17 mi) south, that offered a more reliable water supply. For more information on Redcliffe’s history see http://www.redcliffehistoricalsociety.com

Redcliffe became a pastoral district in the 1860s and in the 1880s boomed as a seaside resort town with the paddlesteamer Koopa making regular trips to its jetty from 1911.

Postcard from Redcliffe

Postcard from Redcliffe

When we moved back to Brisbane from Darwin, I had huge issues adjusting to the culture and environment of Brisbane, I was extremely unhappy and became very rebellious, causing my parents more than their share of grief. One of the ways my parents would cope would be to send me to my Godmother, who lived in Redcliffe. When I would visit her, we would go for long walks along the coast and swim, and in many ways, when I think back, it was very healing for me to be near the sea.

Redcliffe

Redcliffe

So considering all of this, perhaps I need to explore and identify more with Redcliffe as the place I am from, or at least try and find and build the connections. In Māori introductions, you invoke your mountain, your river and your ocean. My mountain is Clear Mountain, my river is the Pine River, which snakes through northern Brisbane, though Aspley where I lived as a child and my ocean is the Pacific, deep and blue.

References 

Fauxonomy links

Postscript: I just noticed on Facebook that Redcliffe celebrates Waitangi Day – synchronisity!





Review “In the balance: Art for a changing world” MCA, Sydney

1 11 2010

The recent exhibition, In the Balance: Art for a Changing World at the Museum of Contemporary Art (MCA) in Sydney focuses on artists and artworks that respond to ecological concerns. This exhibition features works that address a spectrum of issues including sustainability and recycling. There is also a focus on future solutions as well as addressing past events and changes over time.

Natalie King’s essay Accumulation: the aesthetics of waste and recycling opens with a quote from Douglas Huebler “The world is full of objects, more or less interesting: I do not wish to add any more.” As an artist I think this is an enormous challenge as still in many areas of fine art training, the emphasis is squarely on the production of objects, destined for a market based art economy. My concern about the consumption of art and the object economy was one of the reasons I moved towards the use online media as well as installations where I could reuse objects in different arrangements.

Aside from the above mentioned focus on reuse and recycling, issues of sustainability, preservation and social action are explored in this exhibition. There are so many works worth discussing, but I will focus on the works that had the most impact for me on a personal level.

It is an eerie experience to walk through Lauren Berkowitz’s installation Bags, which is composed of over 600 plastic shopping bags. As you walk through the two parallel walls of air filled bags, they gently move and rustle. In the catalogue essay by Rachel Kent, the walls are compared to a large set of lungs that “heave and sigh gently as people wander between them”. This recreation of a 1994 work is timely given the attention that plastic bags have been given as a waste issue in recent times.

Andrea Bowers work focuses on the activism that has taken place in Alaska, focusing on the 1989 Exxon Valdez oil spill at Prince William sound in Alaska. Banners, photos, drawings and posters appear in this installation that reflects the community sentiment of people whose lives have been affected by this catastrophe. I was impressed that such a work was included as part of the exhibition as there has often been distaste in contemporary art towards work that could be defined as didactic. In her artist statement Bowers comments that

In my project I investigate the complicated politics of dealing with the landscape genre in our contemporary moment. It reflects my struggle to make sense of the uncomfortable relationship of predominately Eurocentric environmentalists traveling the globe in attempts to collaborate with locals to fight against climate change. Almost without exception, the most endangered places are filled with poor people and people of colour. Human rights, corporate sponsorship and the green movement struggle with compatibility.

This quote is a succinct analysis of the complex issues at stake when addressing environmental concerns affecting local and global ecologies. But in simplistic terms, there needs to be an alignment and an equal representation of perspectives as the people impacted most are the same people who have the least economic power.

Truchanas children at Lake Pedder, Tasmania. Photo by Olegas Truchanas. © Melva Truchanas

Truchanas children at Lake Pedder, Tasmania. Photo by Olegas Truchanas.
© Melva Truchanas

The Tasmanian wilderness is a common theme in the work of Bob Connolly, Peter Dombrovskis and Olegas Truchanas. A large slide and sound installation titled Lake Pedder by bushwalker, photograppher and conservationist Olegas Truchanas was used to educate people and community groups about the natural beauty of Lake Pedder before it was flooded in 1972 by the Hydro Electric Commission. Peter Dombrovskis was mentored by Olegas Truchanas and his photographs of the Franklin River were used by Bob Brown and the Wilderness Society in the campaign to save the river in the early 1980s. Bob Connolly’s Franklin River Journey photographs are well known as works used a propaganda to conserve the wilderness area. Glenn Barkley considers how this work sits uncomfortably in the context of a contemporary art museum and comments that “They do however remind us of the redemptive power of images, and the cameras very singular potential as a device with which to change the world.”

Bonita Ely’s work has focused on the Murray river as a theme since the late 1970s. The documentation of a performance work titled Murray River Punch from 1980 highlighted the dire condition of the river. Ely acts as a cooking show host where she mixed a deadly concoction of sulphur, nitrates and faeces  – all of which are evident in the river. Her work is an indictment of the catastrophic impact that human settlement has had on the Murray River.

GhostNet Gear Project is a wonderful series of woven dilly bags, baskets and turtles made from found fishing line. By utilising traditional weaving techniques with found materials, as a viewer I am confronted with the changing ecology of this region. Rising sea levels, overfishing and plastic waste have all impacted on the people inhabiting the Torres Strait and their way of life. Whilst the work is colourful, and fun, there is a another message that tells a story about a way of life that has been greatly affected by ecological changes.

Janet Laurence’s works Cellular Gardens and Vanishing are both beautiful and evocative. In Cellular Gardens,  a series of glass vessels are housed on plinths made from steel and mirrors. From each of the containers is a medical tube, referencing life support systems and our own bodies vascular and respiratory systems. Inside the vessels is a juvenile rainforest plant in soil and water crystals, sprouting under the artificial light. The mirrors on the plinths create a myriad of reflected light patterns on the wall which are quite lovely. The message of this work is a warning, that we have created a world that can not sustain it’s own species without urther intervention. For some reason, I am reminded of Against Nature, of a novel I read whilst at university by Joris-Karl Huysmans, which challenged my ideas of society and the disconnention between nature and culture. The video work Vanishing creates a feeling of melancholy. The images are close ups of endangered animals, sometimes all you can see is the fur and the movement of breating. The colours are monochromatic, some sepia toned, which emphasised a feeling of loss and nostalgia. I feel sad, maybe it is too late.

Janet Laurence Cellular Gardens (where breathing begins)
© All rights reserved Janet Laurence. Image courtesy and © the artist 2005 Australia
stainless steel, mild steel, acrylic, blown glass, rainforest plants dimensions variable Museum of Contemporary Art, purchased 2005

David MacKenzie’s and Susan Norrie’s video work Korban Lumpur Project (2010) was heart rendering and a terse reminder of how broadcast media so often fails to present issues outside of the mainstream. In short, the work documented the continuing impact that the 2006 Lapindo Brantas oils and gas leak has had on the Sidoajo community in East Java, where boiling mud and poisonous gas still leak from the mine. What disturbed me most about this work was my ignorance of this terrible event and the aftermath. I vaguely remember the news report in 2006, but there has been nowhere near the amount of media attention that the Mexico Gulf oil spill has received. Why is one disaster more newsworthy? Is it because of the relative economic or global power? After all, Java is so much closer to us in geographic terms. For me, this work also underlined why it is so important that there are other communications channels – art, alternative media, viral media and social activism to raise awareness.

Writer and Curator Joni Taylor’s guided tour of the city, titled Wildlife of the City: Urban Wildlife Safari invites participants to re-imagine the the city from the perspective of the flora and fauna that inhabit the inner city of Sydney. A range of local experts including Professor-Emeritus Helen Armstrong, Diego Bonetto, Chris Lloyd, Dr. Peggy Eby and John Lennis shared their knowledge of the area.

Taylor’s blog states that:

The idea came about as a way to find the uncontrolled and untamed elements of urban nature, not the cultivated or the park variety. While these man-made spaces do all add to the greening of a city, it was more interesting to look for new urban ecologies that develop regardless and in spite of human intentions.

flying foxes

Taylor’s tour demonstrates that there is no neat line between the urban and wilderness as spaces or ecologies aside from what we create as a result of cultural understandings.

In conclusion, I walked out of the MCA feeling inspired, frustrated and challenged. As an artist, researcher, sometime activist and someone who works on a project focused on positive  and sustainable behaviour change (www.livinggreener.gov.au), I can see how necessary it is to join the dots. Nature and culture do not exist as separate entities – our culture and quality of life is totally dependant on the ecologies we are immersed in, every day. At LivingGreener our tagline is “It’s what I can do”, which is a sentiment we could act on.

Participating artists: Badger Bates, Lauren Berkowitz, Diego Bonetto, Andrea Bowers, Dadang Christanto, Bob Connolly, Lorraine Connelly-Northey, Nici Cumpston, Peter Dombrovskis, Bonita Ely, Emily Floyd, Euraba Artists and Papermakers, Amy Franceschini and Futurefarmers, Jeanne Van Heeswijjk and Paul Sixta, Lucas Ihlein, Lyndal Jones, Yvonne Koolmatrie, Janet Laurence, Makeshift (Tessa Zettel and Karl Khoe), James Newitt, Mavis Ngallametta, Susan Norrie and David Mackenzie, Raquel Ormella, Cecilia Peter, Frank Petero, Catherine Rogers, David Stephenson, Joni Taylor, The Artist as Family (Patrick Jones, Meg Ulman and Zephyr Ogden Jones), theweathergroup_U, Angela Torenbeek and Olegas Truchanas.

Check out these blogs by artists in the exhibition about their works:
Environmental Audit by Lucas Ihlein
Food Forest by the Artist as Family
Weedbook and weedy connection by Diego Bonetto
Urban Wildlife Safari by Joni Taylor