‘TABOO’ comprises a group exhibition in the Level 1 South Gallery, as well as an extensive program of performances, conversations and film presented through to the end of February, in multiple locations around the Museum of Contemporary Art Australia. It is an exploration of race and the evolution of prejudices within society through the collection and presentation of images from advertising, ‘scientific’ artifacts and newly composed new media art. The exhibition coincides with the Anish Kapoor survey and is a wonderfully gritty punctuation to the crispness of the Kapoor show.
Curator Brook Andrew says the exhibition is “raising issues of censorship with ‘daring’ or ‘disrespectful’ devices, ‘TABOO’ aims to re-visit arguments and decisions made out of fear and trauma that have now become verbatim to shut down discourse or even to influence good value in debate, creativity and culture. ‘TABOO’ aims to remove these barricades by juxtaposing ideas that open other strategies to enable visibility, discussion and accessibility.”
Eric Bridgeman recently spent time with his community in Kujip, Jiwaka Province, Papua New Guinea, to initiate collaboration with his relatives under the banner ‘Yal Ton’. The first work from this ongoing project, Haus Man, tells stories of taboo and how these translate today with the idea of the traditional ‘houseman’. This is a men’s only space that will be morphed into a contemporary artwork of inclusion for all to see.
Berlin-based Jimmie Durham has created a neon and photographic installation that draws on early memories of seeing a young boy receiving Holy Communion. This ‘wafer’ experience of the Holy Spirit is questioned not only in regards to its validity as a true union with a spirit, but also as the immense religious act that controls a significant part of the human race.
Bindi Cole’s experience in various London maximum-security jails has broken with her usual concerns with Aboriginal ‘race’ and identity to present a compelling and claustrophobic experience. Cole shows original footage from her jail experience as well as readings from her diary as an inmate, highlighting the shame often felt from such personal histories.
Anton Kannemeyer is arguably the most obviously controversial artist in ‘TABOO’. His clarity in presenting issues close to the bone in his own post-Apartheid South Africa remind us of our own lingering issues with colonialism and the violent histories it espoused. Do not be fooled by his seemingly ‘witty’ cartoons, they reference specific points in South African and international history.
The exhibition is accompanied by a series of performances, film screenings and public lectures. The events are a continuation of the presentation style, which invites people to engage in discussion and debate about the issues on presentation. Here, Andrew is promoting the importance of dialogue and social engagement with these issues. The events are all free and scheduled every Thursday evening and Sunday afternoon.
Featured artists in the exhibition include: Bindi Cole (Australia); Jimmie Durham (USA & Germany); Leah Gordon (UK); Alicia Henry (USA); Ricardo Idagi (Australia); Anton Kannemeyer (South Africa); Jompet (Agustinus Kuswidanato) (Indonesia); Yal Ton (Eric Bridgeman) (PNG and Australia) and Judy Watson (Australia).
Museum of Contemporary Art
Until 24 February, 2013
Sydney
See the website for full details of public programs: www.mca.com.au/exhibition/taboo
Yal Ton (Eric Bridgeman), Haus Man, 2012
Anton Kannemeyer, A Black Woman, 2011, lithograph
Images courtesy the artists, and grahame galleries + editions, Brisbane; State Library of Queensland; and Stevenson, Cape Town and Johannesburg
