Male manicurists and armpits: emerging Australian art at Para/Site Hong Kong
Posted by artradar on June 25, 2009
AUSTRALIAN ART HONG KONG
Rare display of Australian contemporary art in Hong Kong
From 20 June to 2 August 2009, renowned nonprofit Para/Site Art Space in Hong Kong makes its space available to the Chalk Horse Art Center, an artist run initiative from Australia for a rare display of Australian contemporary art.
There are less than a handful of commercial galleries (Gaffer and Cat Street being two of the principal ones) which show Australian art in Hong Kong and in the non-commercial arena Australian art is even more rare. So why Hong Kong? …and why now?
Artist Oliver Watts explains: “In Australia there is a lot of interest in Asia right now, a lot of government interest in funding these kind of cultural exchanges. After all our prime minister speaks Mandarin. We approached Para/Site about this project earlier in the year because it has an outstanding reputation in Australia”.
Their initiative was well-timed because Para/Site has become a fertile ground for such a project. At the beginning of this year Alvaro Rodriguez Fominaya took the helm as Executive Director and Curator at Para/Site and he has made it his mission to encourage collaboration and exchange between artists within the Asia Pacific region.
So far this year Fominaya has curated shows by Japanese performance artist Tatsumi Orimoto and Thai installation artist Surasi Kusolwong. This time he is stepping back as curator to allow Australian curator Dougal Phillips to present his exhibtion called The Horn of Plenty: Excess and Reversibility, a showcase of video, performance, installation and painting by young Australian artists.
The double themes of ‘excess’ and ‘reversibility’ refer to the recent juddering reversal of the economy from excess which is represented by the magical horn of plenty. In mythology this horn, which Zeus provided for the goat Amalthea, endlessly overflowed with fruit, flowers and grain.
The title of the show is topical but not an adroit fit with the artworks; no matter though because there is some powerful art on display.
Look out for Christian Bumbarra Thompson’s two compelling video artworks. Thompson is the most senior artist in the show and his The Sixth Mile (2007) was shown at the inaugural National Indigenous Arts Triennale: Culture Warriors which “explores cultural hybridity and recalls nostalgically the importance his father placed on personal grooming”.
In the 34 minute Desert Slippers made in 2007 we see Thompson and his father engaging in repetitive ritualistic movements of armpit touching. Sweat-swapping becomes a disconcertingly intimate greeting ceremony.
A graduate of RMIT in 2004, Bumbarra Thompson (b.1978) is gaining recognition for his multiple talents as photographer, installation artist, curator and writer. His works have been exhibited extensively across Asia Europe and the South Pacific.
Kate Mitchell (b. 1980) too is interested in the the human body as a medium and creates powerful performance art from by turning herself into a human sundial. In the video which records her arresting 8 hour endurance performance in its entirety, Mitchell stands in the blistering sun from 9 am to 5 pm so that her shadow can mark the time of a perfect working day.
Mitchell could probably have done with some serious pampering after her toil and if you feel that you could too, then come to Para/Site space between 24 and 28 June 2009.
Push your way through a curtained door opening tucked right at the back of the Para/Site space and inside you will find a surprise: a perfectly equipped nail salon where, on the appointed days you can receive a free manicure. This art piece has been created by Bababa International, a Melbourne-based arts collective consisting of four young men who, according to a list they scribbled down on our media kit at the show’s press conference, are
- Stephen Russell (tall, pale)
- Giles Thackway (tall, handsome)
- Tom Melick (tall, glasses)
- IvanRuhle (the other guy)
Life appears to be a playful spree for these four and art is just as much of a lark. But it is their humour and endearing humility which allow them, with a light touch, to confront serious entrenched social issues such as the treatment of migrant workers. While they stress that the event is open to anyone they have been working closely with organisations like the Asia Pacific Mission for Migrants to help promote the event to Filipino domestic workers whom they are especially keen to attract. According to a review on SBS.com:
although a nail salon tended by boys, who admit they are still honing their skills in nail care seems like an entertaining spectacle, the project has intriguing socio-political undertones.
The salon is specifically aimed at providing pampering for Filipino maids on their day off after the collective became aware that domestic workers were congregating in an underpass in the absence of public spaces and leisure areas accessible to their socio-economic means.
- Thai installation artist Surasi Kusolwong promises Good News at Para/Site – Jun 09 – a review of a show inspired by the recession
- How art from half of Asia has been missed – May 09 – interview Leeza Ahmady Asian Contemporary Art Week New York about the US perspective on art from Asia
- Video – what inspires Zhang Huan and why he is taking a break from performance art – Feb 09 – a talk by an endurance performance artist
- Sotheby’s to stay in Australia confounding rumours – Jan 09
This entry was posted on June 25, 2009 at 10:32 am and is filed under Art spaces, Artist-run, Artists as curators, Australian, China, Connecting Asia to itself, Domestic, Emerging artists, Family, Hong Kong, Human Body, Identity art, Installation, Migration, Nonprofit, Social, Time, Video. Tagged: Alvaro Rodriguez Fominaya, Australian art, Australian contemporary art, Bababa International, Chalk House Art Center, Christian Bumbarra Thompson, cultural identity art, Culture Warriors, Desert Slippers, Dougal Phillips, Excess and Reversibility, family art, grooming in art, Identity art, Kate Mitchell, migrant art, National Indigenous Arts Triennale, pamper art, Para/Site, rituals in art, service art, The Horn of Plenty, The Sixth Mile. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.