DIY studio party with live performance and exhibition, Fitzroy

 
Melbourne is packed full of back street warehouses bursting with creative exploration and DIY events.

One door closes, four doors open...

me @ Dark Horse Experiment, Australian's are very trusting with their expensive IT Consumables

I met up with a friend fresh off the boat from London for an evening in Melbourne. Having just arrived in Australia with his boyfriend and contemplating where to call home for the foreseeable future - Melbourne or Sydney.  My own decision was a relatively simple analysis - the amount of interesting people I encountered whilst wandering the streets. Which of course was Melbourne, rich in ethnic diversity, fashion identity, musical individuality and pretty trams.  However as my companion pointed out (something he wasn't prepared for) was Sydney's WOW factor, skyline, beaches, great weather and a capital city feel.  Add to that the thriving magazine and fashion industry Sydney on first inspection was out shining Melbourne!

Sydney folk are very complimentary about Melbourne, they love the food, music and fashion, however the reverse is less generally less favourable with Melburnian's regarding there big brother as brash, in-your-face and money orientated, perhaps a touch of sibling rivalry.

To appreciate what Melbourne has to offer, requires more than a tram ride around the city, it reveals itself to you slowly, work and time are required to fully enjoy the fruits, there are hidden bars, cafe's and parks tucked away in the northern suburbs that offer something different. A bike ride along Merri Creek, will take you to Collingwood City Farm, where you can observe the peacock's fighting it out in the trees.  A grey winter is peppered with an impressive array of festivals, comedy, music, film, human rights, or a human rights comedy, music, film, festival.

To fly the relatively impartial flag (I have no loyalty to Melbourne or Sydney at this stage) an adventure to unearth the merits of Melbourne was in order.  With that in mind we embarked on a Thursday evening gallery hop, one of the great plus points of Melbourne is the burgeoning art scene both disparate and plentiful, there were eight galleries I knew of with openings that evening - we opted for four in the CBD all within walking/tram jumping distance.

The first, Flinders Lane Gallery, is a slick and rather affectionate money operation, the atmosphere both hospitable and gracious, there is nothing more awful than walking into a fancy gallery and being given the death stare of rejection. Okay you can't afford the art, but you're civilised and educated enough to appreciate it, plus you probably bring the 'credibility' factor up a little. As we drank the complimentary wine (best wine of the evening) and if nibbled on the remaining strawberries from the cheese platter, we engaged in conversation with one of the gallery representatives, the works in the main room had sold out all bar two. William Breen's oil on linen paintings were enticingly nostalgic yet modern depictions of Melbourne.  These candid still lives captured the more edgier side of Fitzroy, Collingwood and Northcote in an endearing light and fitted perfectly into any design based environment. I was impressed by the tones and use of shadow and wondered if my home might one day be captured in the same way. The side room was home to industrial sculptures, less accessible, Scott remarked they 'belonged in the lobby of a large corporation', perhaps a mining one? Anyway we were less enthused and headed onwards.

William Breen at Flinders Lane Gallery
  William Breen at Flinders Lane Gallery William Breen at Flinders Lane Gallery
 

We were lucky enough to be shown paintings by William Breen from a previous exhibition. 
 

Up seven floors of the Nicholas Building sits Blindside Gallery, an artist run space, it has the worst and most expensive wine on offer, last time I was there I actually laughed at how bad the wine (and art) was. This time the wine was as bad as I remembered, yet the art had improved slightly, still conceptual, the back room displayed work inspired by an essay written by an Academic who I've witnessed in a pool of vomit one drunken evening.  It was a mix up of kryptonite and power lines, perhaps I should get round to reading the essay, however if the paintings by Piers Greville are anything to go by, I'm sensing it will be a tale of pre-apocalyptic meltdown. We gagged our wine down, engaged in pleasantries and moved on.

Piers Greville at Blindside Gallery
 

Next was a most unfriendly bunch, unhindered by the energies in the room, it was interesting to gauge how different each venue and crowd was. If I could equate the audience to a certain social set, it would be a brief period of severe insecurity when realising art school was about who could out cool each other, not through style but sheer intimidation and pretentious demeanour. The gallery, Daine Singer was cute and hospitable paintings by Sean Bailey were small and abstract in form, colour blocking and without context left me underwhelmed. A respite came in a trip to the toilet, we had to be escorted through the architecture studio upstairs, lots of fancy apples and high ceilings, swish.

Sean Bailey at Diane Singer

Sean Bailey at Diane Singer
 
Our last stop ended on a high, Dark Horse Experiment gallery home to a solid selection of medium to large scale figurative paintings by Adrian Doyle with decorative abstract fills - a modern day Klimt, the owner dressed in skinny leather tie was masquerading as a waiter, interacting with his clientele and creating an inclusive vibe. We were lead through a door into a large collaborative open studios, with music playing and around each desk were people encouraging you to observe their work, they are hosting a full on party on the 23rd December, so watch this space for details.

Adrian Doyle @ Dark Horse Experiment

 
Adrian Doyle @ Dark Horse Experiment
 



Adrian Doyle @ Dark Horse Experiment

 
Open Studios @ Dark Horse Experiment
 











 
 Open Studios @ Dark Horse Experiment

Magical White Rabbit

Wow, the White Rabbit gallery home to contemporary Chinese art took my breath away, on route to the airport post late lunch we took a detour to what I initially thought would be a shoe box sized gallery. Down an unassuming side street the glass paneled doors opened into a spacious four floored building home to painting, photography and sculpture. The works posed important questions about the world we inhabit and where we they human race is headed. I was overjoyed to find art which surprised and delighted.  Most striking were the images of an overweight panda, rabbit and dear, each plonked in the middle of their own painting surrounded by broken down apartment blocks; large scale illustrations of humans hung alongside animal carcass; giant tree sculpture and Ai Weiwei's path of porcelain puddles. I wish I'd had more time, instead of a whistle stop tour I plan to return for a second visit, the array of Chinese teas in the cafe was enticing enough to tempt me back.

 
Liu Di's surreal photographs of gigantic animals squatting in suburbia
 
 
Black and white painting, giving an almost photograph feel


Easy to get lost amongst the sea of sculptures


Current photographs of Burmese prison camps by Lu Nan

Chris Town for China Heights

Chris Town is no stranger to China Heights being a regular exhibitor for the gallery. Unsurprisingly many of his well priced and accessible prints (which appeared to be collages flattened by a high quality colour photocopier) had several red dots next to them (for those who don't know a red dot indicates sold). The theme for his latest offering 'Randy Credit Ruins Daily Contrast' was born out of his visits to China, where he found life synthetic and polluted. And reworked newspaper cuttings, mostly from tabloid press, exploring the manipulation of the media in a comedic light. The visual diary featuring flowers and advertising is the most engaging and even left me contemplating a purchase.
 
Exhibition runs until October 15th , L3, 16-28 Foster Street, Surry Hills

Kings Ari-ght?

Is a art initiative/studio/exhibition space run by artists for artists, my friend sits on the committee, so I have found myself there on numerous occasions (when I say numerous I really mean twice, the first time I was that drunk I turned up with a bottle of fizzy wine I'd stolen from the previous party.) This exhibition seemed better than the last, although I'm not entirely trusting of my judgment that night. I particularly enjoyed the sculptural nest of tables by Anna Horne, I would have happy given in pride of place in my lounge. Her work consistently invokes a response.




Everyone loves a phallic object, non?
Che
Checking out the tools

The exhibition runs at Kings Ari on King Street until 30th July closing with an artist talk from 4pm.

The For Walls

It seems very popular to have a gallery attached to a pub these days, its not enough to be a pub itself you have to be a lifestyle - represent a scene - to assist in building longevity. The gallery itself can say a lot about its clientele, the type of gigs it holds and its persona in general. For Walls is placed in a quiet (unless there's a band sound checking) enclave at the back of Miss Libertine. It held a group show to celebrate its first birthday, the artists on display were hit and miss, perhaps down to my non-skate/graffiti leanings the pieces that jumped out were more classical in medium and skill. It was affordable art which could happily adorn my walls and pieces that I would never connect with, still taste is subjective as they say.




Watercolours by Lani Siow (I could have happily gone home with one of these reasonably priced works of art)

Urban outfitters in Australia through the medium of art....

I very nearly forgot about this exhibition until I stumbled across the photographs from the opening. It was produced in conjunction with Urban Outfitters the American fashion retailer with a quirky slant, bent on increasing their brand awareness within Australia. Whether it’s to promote their online sales (UK brand ASOS have massively increased sales to Aus by offering free shipping) or they are planning to open a store here (as opposed to Sydney) in the coming months remains to be seen. Either way they spent some cash gaining taste maker kudos, they enlisted Three Thousand/Right Angle Studio to co-promote the exhibition which features 10 up and coming fashion photographers, each with their own style and varying degree of success. The after party/warehouse rave was quite a big affair, I signed up thinking it was a $10 entry job, arrived paid no entrance and was treated to a free bar. It reminded me of the squat parties I used to attend in London (there was only two toilets - however at least these had running water). The club eventually became the toilet queue which was highly amusing, alcohol and weeing go hand in hand. Dear Patti Smith Gallery, Collingwood was home to the smaller art based fronting of the evening, each photographer displayed one massive print, I wasn’t blown away. Perhaps I was missing some information, however I was a little broken from a heavy week, so didn’t hang around too long to find out. My complimentary Rekordelig cider took me up Smith Street and halfway home, maybe the photographers (and more of their work) will reappear at some point.

Heide High Point

Heide museum of modern art can be found in Bulleen, on the northeast reaches of Melbourne. Difficult to access via public transport it took 90 minutes and three attempts (thwarted by bad weather and poor planning) to complete the journey. So happy to finally arrive I take the wrong route and head up the roadside, the long way round, past ditches and speeding traffic.

Heide I, a majestic 1930s chocolate box house in pink and white, gazes out at the road, softened by trees. I imagine John and Sunday Reed’s plethora of cats (they had their own cattery) prancing around the garden and the Heide circle (Sidney Nolan, Albert Tucker, Joy Hester and Laurence Hope), painting in various spots. Inside are small-scale versions of the sculptures found in the garden with 1960s abstract works from the Heidelberg school, intact library and kitchen with built in iron stove.

Heide II is an impressive example 60s modernist design, it reminded me of the writers pad in Clockwork Orange. I sat in the conversation pit, flicking through the book on Heide II, transported to a world of decadent parties, glamour and hedonism. There were a few adjustments to interior, the floating stairs had a banister and glass guard fitted after Sunday's favorite felines had taken a nasty fall. The open banister on the viewing gallery was also contained within glass, parties must have had an air of danger to them, with the cold sandstone walls and tiled floors, save the creaky wooden floorboards in the conversation pit, covered in shag pile. An exhibition of the schools graphic artists was on display throughout the house.




Taken in 1968 of Sweeney and his girlfriend. Sweeney committed suicide in 1979.

The Heide circle was a relaxed commune with open affairs and parties, Sunday reportedly engaged with various artists including Sidney Nolan who was married to John Reeds sister Cynthia at the time. She assisted Nolan in the Ned Kelly series; painting sections of the works, he left under emotional circumstances leaving his entire collection of 200+ works behind. Sunday returned his art yet retained the Ned Kelly paintings; she eventually gifted the works to the National Gallery of Victoria. Joy Hester the only female painter within the Heide circle had a son with Albert Tucker. When her son Sweeney was 3, she was diagnosed with Hodgkin’s lymphoma and passed care of her child to the Reeds. Sunday became infertile after contracting gonorrhea from her first husband.



Heide III is a purpose built gallery space, exhibiting Albert Tuckers Modern Evil series, a fantastically engaging representation of the horrors of war displaced in Melbourne surrounds. Strong symbolism with angular depictions of devil pig women, clowns, prostitute and soldiers, the intensity of the pain sucks you in. Tucker was called up for duty in 1940; he worked as an army artist at the Heidelberg Military Hospital documenting its occupants who had endured disfigurement and mental illness as a result of service. After discharging in 1942 Tucker witnessed a shift in the attitudes and morals of Melbourne, wholesome family life had been replaced with teenagers and soldiers on the rampage. His paintings focused on the fall of women, in particular prostitutes, which he returns to during his years in Europe.




The gardens were beautifully landscaped and adorned with large and medium scale sculptures.

The site set on 16 acres over the Yarra river floodplain was a former dairy farm.

At first I thought it may be an installation, but on further discovery it was home to bees


I definitely got my monies worth the sun was dipping by the time I departed

Suggestive Sax

Von Haus has now become my new favourite place, its small enough to feel friendly and with a discerning eye for the finishing touches which enhance your experience. Upstairs you will discover the Sarah Scout Gallery, once home to Eugene von Gerard in the 1850s the building reeks of character. Inside the space is spans two rooms, one semi office come exhibition space and the other a room in which to view art.

We found ourselves at the opening of a new exhibition by Lou Hubbard who appears to have strong links with the gallery and Claire Lambe (from what I gather a curator in her own right) at the Sarah Scout Gallery. The work is evocative, suggestive and somewhat cheeky, its references are suggestive and play on the feminine. I found myself wanting to pick up the truncheon, squeeze the leather and kneed the clay. It all seemed highly marketable.






One of the highlights of the evening aside the art work of course was when a friend of the artists tripped over the clear perspex, momentarily destroying the work. The clay which was unset, was unable to support the weight of the guy and fell flat, an eerie uncomfortableness swept over as we watched the car crash ensue. He managed to style it out moderately, however the entire room (which was packed) played witness to the event. The artist with a courteous smile on her face and the aid of the gallery owner graciously moulded the work back into its original form (or as near as its ever going to get).


The bathroom was magnificent

YAKETY SAX - Lou Hubbard and Claire Lambe runs at Sarah Scout Gallery, Von Haus building, 1A Crossley Street -19 May to 11 June 2011

Human Rights opens its doors to art... and protest

Human Rights is such a sensitive issue, yet when combined with art it becomes embroiled in a debate as to whether art is the main importance or the message itself, or are the unequivocally entwined - what is art without its message anyway... the selection curated by Joanna Gould and Brooke Tia Silcox, certainly covered all bases - photography, installation, film/documentary, sculpture, painting, live performance. The room at No Vacancy gallery inside the QV building filled up quickly, I was glad to have arrived with a little time to move freely before the polite shuffling began. Skateistan is a project in Afghanistan empowering children by teaching them to skate, the video documentary by Jacob Simkin explores the impact of the project, by working closely with five children, and developing their photographic skills in the process.


Same sex weddings, are forbidden in Australia, the piece documents many couples who would like to be married but are unable to because of their choice of partner.





This piece was fascinating - see shaky (out of focus explanation below).


I became embroiled in a protest outside where some hard nut Palestine protesters were up in arms as their art work wasn't included in the exhibition - it later transpired that a work from the artist was selected, he decided to add a further piece a few days before which was declined as it hadn't even been seen by the curators. I ended up getting shouted at by an angry lady for not being able to argue with her, as I stated that wasn't informed enough to give her the answer she was looking for, this acted like a red rag...