We visited this on the 17th of September, which feels an age ago though it’s not really. We only spent a day and so didn’t get to see as much as I would have liked. Nevertheless there were lots of terrific exhibits. My favourite was How to Fly by Erik Johansson from Sweden; exhibited in the Mining Exchange which was the perfect venue for his large works.
They’re described as surreal landscapes – sure are! A mother is taking her children on holiday; how to get to the hotel is the question.
And wouldn’t a full moon delivery service be a wonderful thing.
These are made by the artist combining photographic elements to create believable images, but the inconsistencies make us question what we see. Like an escalator in a forest. You can see how big the photographs are by comparing this to the figure of Joe on the right.
His work incorporates Nordic nature, wide open landscapes, and small red houses. I loved this bridge of houses.
Despite what you initially might think there are no computer generated elements, just his own photographs, combined seamlessly together.
He was giving workshops during the festival explaining how he makes them which would have been good to see. Each work takes a long time and he only makes 8 new images a year. You can see why that’s the case.
I didn’t realise until the end, we came in the back door, that they all had names, so I didn’t capture them. This one is called Falling Asleep, 2018.
I was not so keen on what was billed as the highlight of the festival, People Power – Platon. This was described as an exhibition of arresting portraits of some of the most significant people of our time. I counted only three women in the main gallery – Michelle Obama, Madeleine Albright and Cristina Fernandez de Kirchner. No Hillary – really! Perhaps she was sensible enough to refuse to sit for him. There was a video of him photographing Powell and making him cross. But I didn’t think any of the portraits were terribly illuminating about the character beneath the public figure – except perhaps for Bill Clinton who always comes across as a good ol’ boy, and very pleased with himself to boot.
I loved all of the photos in UV Songlines: Illuminating ancestral roots by Colleen Raven, exhibited in a temporary gallery in Lydiard Street North. Her captivating portraits radiate an invigorating force, instilling a renewed perspective … illuminating and immersing viewers in the mesmerising tales and sacred songlines of First Nations elders. The photographs were so vibrant and the subjects full of pride. This is Zane Weetra, Cultural Rites Family Bloodline 2023.
And this is Savannah Stawiarski, 7 Sisters 2023. The vibrance is achieved by the method. These are all photographic print on fabric lightboxes.
I could have photographed them all, there weren’t many. This is Shaylee Wanganeen, Connection Story 2023.
I loved all of the photos in Vessel by Michael Jalaru Torres exhibited upstairs at a temporary space in Lydiard Street North. He draws inspiration from the unique landscapes and people of the Kimberley region. This wonderful image is called Shaper Path 2023.
And these three are Arrival Blood Bloom 2023.
I liked his black and white photos as well. I think this series of six paintings is called Object Punishment 2023. But I’m not sure, there were separate titles for each image but I didn’t capture them all.
Here are close ups of two of them. Lots to think about.
Lots to think about.
Downstairs in the same space was The Real Thing curated by Jeff Moorfoot who founded the Foto Biennale in 2005 and was involved until 2015. Fifteen regional Victorian photographers had their work displayed here. I liked a lot of them but in particular that by Macedon photographer Jacqui Henshaw, grouped under the title Badizo which is Latin for go walk run. Prompted by the Covid-19 lockdown when simple things became a priority, a walk, a run-in nature on the agenda. I loved the green she captured in her photos. This is Badizo I 2023.
And this is Badizo V 2023.
These were all in the core, ticketed programme but as usual there were lots of great exhibitions in the open programme as well. Including (a)musing by Erin M. McCuskey, which was exhibited in the Regent Cinema, Marble Room; a beautiful venue upstairs at the cinema – check it out if you’re ever in Ballarat. Described as a series which explores the muse and the pursuit of her own work rather than being dominated by the male gaze. I thought they were all wonderful. Beautifully displayed in the beautiful room.
I found it hard to work out who was who in the pictures which are all digital prints on quilted velvet adorned with braid and fringes. All powerful images of impressive women.
I think this might be the artist. My sister Pauline knows who some of the subjects are.
And this I think is the artist Deanne Gilson. None of the women are named in the badly arranged title notes, and I’m not sure that I should do so, but I have one of Deanne’s beautiful paintings so think I can – it’s a great image.
We saw lots of other exhibitions where I didn’t take photos but I’ll mention the photographers for future reference. Stephen Dupont gave us Fucked Up Fotos which were photographic mishaps. Neverlasting by Ian Kemp featured beautiful landscapes imbued with an otherworldliness. There were some lovely photos by William Yang, Claiming Heritage displayed outside the Xin Jin Shan Chinese Library (who knew about that place?). I liked the dreamlike photos of flowers by Gaye Beal in Realms of Beauty exhibited in Il Piccolo Gelato (and yes we bought an ice-cream!).
A couple of negatives. I usually like the Martin Kantor Portrait Prize but none resonated this year and I was cranky there were only five women photographers. I wondered whether the organisers were embarrassed because the featured two of them (and no males) in the programme. And who needs to see any more Andy Warhol polaroids – surely we’ve seen them all by now!
We only had the day which was a bit disappointing and so this is a very partial look at what was on offer. I really like the Foto Biennale and will be back next time for sure.
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