Neither Here Nor There
as part of Dark MOFO 2016
Descend into the tunnels beneath Railway Roundabout, as artistic minds merge in confined spaces.
Curated by Rebecca Holmes
- Destination: West Coast
by Natasha Manners and Lucy Parakhina
Responding to the architectural influences of the Memorial Fountain, Manners and Parakhina have transposed a slice of 1950s Californian sunshine into a wintry Tasmanian tunnel. Utilising geometric shapes, warm lighting and select imagery, the installation alters pedestrians views from within the tunnel, reframing scenery and perspectives of the site.
- Water Index, 2016.
by Connie Anthes & James Wilson
in collaboration with the Tasmanian Aboriginal Centre
The artists would like to acknowledge that we are working on Aboriginal land. We pay respect to the original owners of this land, the Muwinina people. We pay respect to the Tasmanian Aboriginal community who have never ceded ownership of this land and we pay respect to elders past, present and future.
Water Index is a site-specific participatory artwork that asks passers by to tell a story in language over 3 days by writing it out word by word in water on the floor of one of the Memorial Fountain tunnels. The artists have built large scale custom brushes and installed a janitors locker and instruction panel on site to guide the action.
Visitors are supplied with a series of palawa kani* words which are at once a list or ‘index’, as well as a story of that particular place: plants, trees, birds, animals, soil, water and weather. As it was before invasion, before the Park St Rivulet was enclosed, before the traffic and spray of the fountain.
Stories and lists are ways of remembering. Over three days these words will accumulate and evaporate, bringing awareness to a place that most people now only pass through and almost never spend time in. It is also an acknowledgement of the continuing trauma of cultural loss for Aboriginal people, of which the loss of language is one important part. Because language records the experiences of people who live or have lived in a certain place – their relationships, beliefs and shared knowledges of that place – reclaiming language is a powerful way to reclaim collective cultural memory.
* palawa kani is the revived language of Tasmanian Aborigines, taught and spoken within the Tasmanian Aboriginal community through the work of the Tasmanian Aboriginal Centre. Thank you to the Tasmanian Aboriginal Centre for their generosity in sharing palawa kani language, and their assistance with this project.
ARTIST BIOSCONNIE ANTHESConnie Anthes is a multi-disciplinary artist currently based in Sydney. She makes paintings, objects and installations that investigate the mechanics of vision and spatial experience, often using non-traditional materials and methods to interrogate these ideas. Anthes has held solo shows in Sydney, Melbourne, Launceston and Leipzig and been the recipient of numerous grants and residencies, both in Australia and abroad. She holds a Bachelor of Design (Hons) from University of Technology, Sydney and a Master of Fine Arts (Painting) from the National Art School, Sydney. Her work is currently represented in the collections of Artbank and Bathurst Regional Gallery. Anthes is an active member of the artist-run community, having been a past director of Firstdraft and a board member at Runway.org.au. She sits on the MCA’s Artist Advisory Group and recently co-founded FrontyardProjects.org, a futuring initiative for the arts.JAMES WILSONJames is a practicing Architect, and holds a Bachelor of Environmental Design from UTAS, and a Bachelor of Architecture (Hons) from Deakin University. James was a founding member of Room 11 (www.room11.com.au). James’ ability and collaborative approach played a pivotal role in growing the company into a National Award winning architecture practice with offices in Hobart and Melbourne. In July 2015, James founded Field Labs (www.fieldlabs.com.au). Field Labs is focused on creating contemporary spaces through considered observation, investigation, and exploration of environment and outcomes.
- The pink eclipse
by Karin Chan and Todd Fuller
According to the North American Innu Nation, Kuekuatsheu was the original lover of the moon who was tricked into leaving the spirit world, taking the form of a dog and losing his partner. Similarly Chang’e and Hou Yi from the Chinese Mid-Autumn festival were destined to watch one another from afar after drinking a magical elixir. In both stories, two lovers, yearn for each other from afar. Starting with the Railway Roundabout Memorial fountain as a meeting place, Chan and Fuller offer these dispersed lovers an opportunity to reunite for one last duet; by the pink light of a tunnel in Tasmania.
Todd is represented by Brenda May Gallery, Sydney.