{"id":7265,"date":"2020-03-24T15:17:02","date_gmt":"2020-03-24T10:17:02","guid":{"rendered":"http:\/\/www.cawater-info.net\/all_about_water\/en\/?p=7265"},"modified":"2020-04-03T15:40:59","modified_gmt":"2020-04-03T10:40:59","slug":"7265","status":"publish","type":"post","link":"http:\/\/www.cawater-info.net\/all_about_water\/en\/?p=7265","title":{"rendered":""},"content":{"rendered":"

As I write these lines, bushfires rage through the ancient forests of New South Wales and our cities are choked with\u00a0smoke. The severity of these fires is fuelled by drought.<\/em><\/p>\n

For this reason, the new exhibition Water at Brisbane\u2019s\u00a0Gallery of Modern Art\u00a0is a timely and necessary contribution to an important question in art: how to best give visual representation to climate change – something that until very recently has been an abstraction for most people?<\/p>\n

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It is impossible to separate Water from the politics of climate change. The relationship, however, between art, politics and our cultural institutions can be uneasy bedfellows. This exhibition asks important questions. What is the role of the institution? To care for our shared cultural heritage? To educate? To agitate for change?<\/p>\n

Water does all of these things. As debates rage as to Australia\u2019s readiness and commitment to transition to a low carbon economy, perhaps this is where the exhibition is most prescient: it sidesteps the politics and instead presents a nuanced and gentle provocation.<\/p>\n

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Cai Guo-Qiang, China, b. 1957, Heritage (installation view) 2013 Animals: polystyrene, gauze, resin and hide. Installed with artificial watering hole: water, sand, drip mechanism. Purchased 2013 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation \/ Collection: Queensland Art Gallery | Gallery of Modern Art \/ \u00a9 The artist.\u00a0Photograph: Mark Sherwood, QAGOMA.<\/p><\/div>\n

With almost 100 works by international and Australian artists, Water spans the entire ground floor of GOMA. Organised into five themes, \u201cA rising tide\u201d, \u201cDeep\u201d, \u201cPulse\u201d, \u201cCycles\u201d and \u201cHeld\u201d, the exhibition is fluid and dynamic, much like water itself.<\/p>\n

Entering, visitors are greeted by Quandamooka artist Megan Cope\u2019s RE FORMATION (2019), a recreation of a midden consisting of cast-concrete oyster shells and copper slag, a byproduct of the mining industry.<\/p>\n

Before colonisation, the coastal shellfish reefs provided a major food source for local Indigenous people and performed a critical role in the health of Minjerribah or Stradbroke Island\u2019s fragile reef ecosystem.<\/p>\n

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Megan Cope, Australia, b.1982, RE FORMATION (Noogoon\/St Helena Island) 2016-2019, Cast-concrete oyster shells, copper slag \/ Dimensions variable Purchased 2019 with funds from the Contemporary Patrons through the Queensland Art Gallery | Gallery of Modern Art FoundationCollection: Queensland Art Gallery | Gallery of Modern ArtPhotograph: Installation view, GOMA, Brisbane, 2019. Photographer: Natasha Harth, QAGOMA.\u00a0Images courtesy: The artist and THIS IS NO FANTASY, Dianne Tanzer & Nicola Stein \u00a9 Megan Cope<\/p><\/div>\n

The flexibility of GOMA\u2019s architecture is exploited to full effect with Danish-Icelandic artist Olafur Eliasson\u2019s Riverbed (2014). The gallery space has been radically transformed to become a monochromatic, craggy landscape that gently slopes upwards. Winding its way down through the space is a bubbling creek.<\/p>\n

The experience is thoroughly performative as visitors are encouraged to physically negotiate the landscape, to pick a line through the scree. In this way, they are transformed from passive spectators to active walkers.<\/p>\n

Eliasson\u2019s\u00a0intentions are firmly political. He believes that greater awareness can be achieved through participation. By creating shared spaces, new modes of knowing can be developed, a way of reframing and transforming our future.<\/p>\n

This question of transformation recurs through the exhibition. Rather than\u00a0anxiety-inducing nihilism, Water is playful, optimistic and forward-looking.<\/p>\n

William Forsythe\u2019s The Fact of Matter (2009) occupies GOMA\u2019s central atrium, inviting visitors to take up the challenge of navigating through the grid-like structure. The work is a metaphor for how we are collectively capable of responding and adapting to the challenges that lie ahead.<\/p>\n

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William Forsythe, The Fact of Matter 2009, Site-specific installation comprising gym rings, fabric straps, gym mat and truss system \/ Dimensions variable. Pictured: Installation view, William Forsythe: The Fact of Matter, Gallery of Modern Art, Brisbane, 2019. Courtesy: The artist Photograph: Chlo\u00eb Callistemon \u00a9 William Forsyth.<\/p><\/div>\n

The exhibition encourages us to think differently about water and to reconsider its strangeness.<\/p>\n

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David Medalla, Philippines \/ United Kingdom b.1942, Cloud Canyons No.25 1963\/ 2015Plexiglass tubing, motor pumps, porous stones, wood, water, detergent \/ Six tubes: 300 x 20cm (diam.), 250 x 20cm (diam.), 200 x 20cm (diam.), 150 x 20cm (diam.), 100 x 20cm (diam.), 50 x 20cm (diam.); basin: 200cm (diam.)\u00a0\u00a9 David Medalla, Purchased 2014. Queensland Art Gallery | Gallery of Modern Art Foundation.Collection: QAGOMA<\/p><\/div>\n

David Medalla\u2019s Cloud Canyons No. 25 (1963\/2015) reminds us how mutable water can be, as it somehow straddles the boundary between solid and liquid. This work is quietly in constant motion as it hands itself over to chance and gravity, breaking the rules as to how liquids are supposed to behave.<\/p>\n

Water\u2019s curator Geraldine Kirrihi Barlow cleverly draws from QAGOMA\u2019s permanent collection to create new dialogues and conversations. Favourites such as Cai Guo-Qiang\u2019s Heritage (2013) return.<\/p>\n

Other works such as the video Holding On (2015) by Samoan-born Angela Tiatia have grown in urgency as the peoples of the South Pacific are already feeling the impacts of rising sea levels.<\/p>\n

Tiatia\u2019s performance was filmed on the main atoll of the tiny, low-lying island nation of Tuvulu. Tiatia lies motionless on a cement plinth, as the waves from the rising tide slowly and menacingly roll over her.<\/p>\n

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Angela Tiatia New Zealand, b.1973 Holding On 2015 (still) Video installation \/ 12 minutes Image courtesy the artist. \u00a9 Angela Tiatia.<\/p><\/div>\n

Other strategies exploit the emotive and humorous possibilities of\u00a0speculative fiction. Michael Candy\u2019s video work Little Sunfish (2019) takes its departure point from the 2011 Tohoku earthquake and the ongoing leaking of radioactive material from the Fukushima Nuclear Power Plant.<\/p>\n

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Michael Candy b.1990, Durban, South AfricaLives and works near Tallebudgera Creek, QueenslandLittle sunfish (still ) 2019.\u00a0Image courtesy the artist.<\/p><\/div>\n

A small robot was designed to investigate the damage and named \u201cLittle Sunfish\u201d. As it becomes increasingly anthropomorphised, the robot, in Candy\u2019s hands, is playful and quirky, albeit leaving a trail of radioactive waste in its wake.<\/p>\n

In one extraordinary sequence, Little Sunfish befriends a curious cuttlefish and the distinctions between animal and robot begin to disintegrate.<\/p>\n

This exhibition is a subtly crafted plea for water. Water can give and water can take. Without it, however, we are nothing.<\/p>\n

Source:\u00a0https:\/\/theconversation.com\/<\/a><\/p>\n

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