Gubbaworld is derived from the Koori name for white people. The exhibition parodies the notion of the museum diorama cabinet and is inspired by past museum (mis)practices. The work is constructed in both a 2D and 3D format, and offers a pseudo-historical narrative of Victorian settler history. Drawing on references from the Aboriginal dioramas of Melbourne Museum and the Great Colonial Exhibitions of the late 1800s, the work’s themes focus on settler and Indigenous contact, offering parables and inversions that satirise the ideas of the great Southern land, the Noble Savage and white colonisation.
GUBBAWORLD: Colonial Pseudo-Histories and other Follies feature the themes:
Terra Incognita (The Unknown Land) – Scenes of an isle of designer dogs, yowies, big budgies, giant eels and octopuses.
An Indigenous Picturesque – Considering Ruskian notions of paradise, where the noble savage lives in harmony with his landscape – albeit in a long-lost ruined monastic site. "This is what England must either do or perish, she must found colonies as fast and as far as she is able." J. Ruskin 1870.
A New Jerusalem – Parodying notions of the transplantation of British culture onto the Indigenous landscape and the discovery of the holy grail on Flagstaff hill.
Batmania – A surreal re-imagining of early colonial Melbourne with tourists camped out to witness the popular Koori sport of sheep spearing.
Black Wednesday, Thursday and Friday – Mother Nature’s revenge and the land ravaged by bushfires, pestilence and really big sheep.
Sharon will be presenting her work alongside Koori Allsorts.
To accompany Sharon West's Gubbaworld, we are presenting a group show, Koori Allsorts, to help celebrate NAIDOC Week in July. The exhibition will feature recent work from Indigenous (Gunditjamara, Wemba Wemba & Yorta Yorta) artists including Jarrod Atkinson, Mandi Barton-Travis, Andrew Travis, Charlie O and Carol Wright. Held from 6–13 July 2008, NAIDOC presents events across the country to celebrate the historical and cultural achievements of Aboriginal and Torres Straight Islander people. Each year NAIDOC gets bigger and we are very pleased to be part of the celebrations!
Gubbaworld & Koori Allsorts will be opened by guest speaker Aunty Bunta Patten, 6–8pm Friday 4 July.
Continually Genuine is a performance project based on the artists’ process of applying for Australian residency. Kubota Fumikazu and Tania Smith were obligated to prove that their union was “genuine and continuing”. Recollections of tender moments were retold to a stranger in the sterile surrounds of a government office. The absurdity of this situation, and the broader issues in contemporary politics regarding immigration constitute the basis for the project.
Performance will take place once on the opening night – 6-8pm Friday 4 July.
Type C print 120 x 80 cm (Edition of 5)
Daniel Dorall has worked in Melbourne since arriving from Malaysia in 2003 and has quickly made a name on the local scene with his intricate and maze-like spatial sculptures. This set of 'Life + Death' are based on a diptych of mazes of the same name. It represents a major shift in his work, from the earlier, more rigid grid formations, to a more organic construction. The works explore notions of space and claustrophobia via narrative tableaux of good and evil. On view at Majorca Building (corner Flinders Lane and Centre Place Melbourne). Daniel is represented by Dianne Tanzer Gallery and will be holding a solo show there in September.
10 March 1960
The photograph presented is an extract taken from Greek-English Dialogues, a handbook given to my grandma before coming to Australia from Greece in 1960. It shows the inside back cover of the book where my grandma practiced writing the English alphabet. This is one of the few pieces my grandma has kept that mark the length of her living in Australia. I don’t know what she was feeling or thinking as she practiced the letters, but it’s these small details left behind that build the larger picture. I’m not seeking the truth about my grandma’s life, her origins or her history, but instead want to form a relationship with these things through the material object left behind. The object acts as a trace of a life past as I never knew it, therefore reminding me of the passing of time and the trajectory my grandma’s life has taken since migrating to Australia.
-- Victoria Stamos
 McKenzie, Robyn, Between the Lines (essay: My Library Story From…), Heide Museum of Modern Art, Melbourne, 2006, p.10
Eat the City
Architectural models and various plant species
Eat the City is an installation of architectural models planted out with edible and non-edible plants, seeds and seedlings. Eat the City invites the viewer to re-imagine the urban environment transformed by plants in ridiculous, beautiful and sometimes violent ways. Coupled with portraits of revolutionary gardeners, Eat the City suggests possible incursions of the domestic suburban garden on the CBD and its inhabitants.
Watch it grow over a 26 day period in the Platform cases.
Prototype for a Nightlight Toy featuring Vertical Axis Gyroscope
Paul Spence is a 44 year old Melbourne design artist with a passion for furniture, lighting and the decorative arts. A keen enthusiast of early to mid 20th century design/iconography, his current work; showing for the month of June at "Vitrine" entitled; "Streamlined Adventures by Nightlight" is a celebration of light and the streamlined form. It explores the notion that the aesthetic of the streamlined object has the ability to impart on the viewer; a sense of elevated emotional calm.
In our first animation exhibition for the year, Jody has timed the arrival of the Pope Benedict XVI with Flowered, her "consideration of creed, it’s extravagance; and how faith and systematic beliefs relate to nature and sexuality in Australia."
Surrounding the ornately framed animation is a painted wedding ceremony (see Platform Pages for pic), sculptured puppets and painted animation stills.
Type C photograph
Majorca's latest installation is a photographic series of self-portraits by Melbourne photographer Ebon Bowtell. Richly moody and intensely personal, these photographs explore the violent implications of stereotypes, and are a fight toward re-gaining power. Ebon uses unconventional techniques such as long exposure and movement to achieve this powerful series.
In her own words:
"FucKEdUp, SHotUp, WACKedUp, bAnGedUp, SpatlTup, CouGhEdup, KNoCKedUp, LoCkeDup, BEAtUp, BasHedUp, ShutUp, GOttaLoveThat, FedUp, WokeUp, HadEnOUGh, cLEAnEDup..............STOP"