What's Hot? Whatas Not?
Loss of identity vs variation for its own sake.
dislocation vs province/locality
Nostalgia For the Perfect/exotic/lost World/untouched; vs The perfect
world is a mapped, conquered and civilised and known.
Leap into the void vs Time/history is chronological
Future/Past vs Future
Past/Future vs Past
I don't Know vs I Know
Sounding like a horoscope special is Theodore modis's title, forecasting Destiny
Predictions, one of the texts used to illustrate the curatorial premise behind
the show Same as it ever was, curated by Clare Firth-Smith. It showed
at 200 Gertrude Street, Fitzroy, Melbourne, during September 1999.
In the same vein as a horoscope, the show attempts to plot lifestyle destinations
and analyses the possibilities available. Seemingly random instances from the
20th century are revisited. and redisplayed in the nature of empty airpockets
of time. Patterns and predictions navigate the territory. Just like the millennium
moments ( adverts, from NZ Tele), there is an obsessive replay to the past century
as some sort of way of identifying with the future, as in The future- is- now
time. The omnipresent science fiction fascination and a passive surrender to
no-identity feature. In this way, the show is a giddy serender to the fashion
of the artworld as it exists in the emerging Melbourne art scene, and in fact,
to fashion. Period.
Some Strategists include,
Love loves to love
Clare Firth Smith has painted a silenced cluster of large stretched canvases
featuring architectural freestanding exteriors, lacking in an inside centre or
core. These coreless structures exude a funky sameness that makes them alot more
likeable than the modernist genius they were born from.
Damiano Bertoli has created a stranded organic ( rocket?), installed against
a pillar, pointing to the sky , and poised to go nowhere. Made out of cardboard
and markerpens and lit by blue lights, it seems badly made when closely inspected.
However, it is impressive in its overall scienfific scheme; seeping out like
a corrupt computer virus.
The Stave-Tree's Produce
Katherine Huang has gathered personal office debris that has now taken on an
impersonal chaos. Strangely, it is the artists touch and not the fiction of the
narrative that is the more apparent in the installation of low table, housing
seethrough packaging of office wastematerial. Facts and figures have become hybrids
because they appear to have lost their owner/source.
Bubble and Squeak
Takes its name from the recipe for leftovers: Julian Holcroft has set up an interractive
video/computer with mouse available for manipulation by the audience at 200 Gertrude
st. There is a home menu, with a choice of 9 electronic clocks pointing at Phil
Conner's Groundhog time of 6.00am. Amongst other exiting destinations, included
are: Exploding buildings wreathed in orange flames. These remember a time when
meaningless killing and destruction was not an issue purely because the 60's
tv land didnt think it was. Paradoxically, publically shown pornography was a
complete no-no.As the video runs backwards,the sweetly anticipated moment of
bare pussy is disabled as the appropriated 60s porno lady gradually puts her
clohes back on. In a way, the void in time loses any association with morality,
because the event never happened.