This was the gallery visit that really clarified for me that I often enjoy the structure around and staging of art / artworks as much as (or sometimes more than) the artworks themselves.
These were some empty plinths I photographed just before (or just after possibly) an exhibition. So maybe it’s not just the structure, but the absence and the possibility that it suggests? Though … no … I don’t feel absence here. These plinths seem just fine as they are 🙂
This is one of my favourite photos from my trip to Shanghai. It’s taken at the Museum of Contemporary Art (MOCA). It’s not an intentional installation (I assume) but very easily visible if you just look down instead of out at the view across People’s Park. It seems so beautifully, accidentally staged. And then there’s the strange, almost face-like shadow on the footpath on the other side of the glass…
‘Aptly, the entry ticket to the Port Arthur site is a playing card. Each visitor is given a one at random and invited to ‘find the convict’ who corresponds with it.’
I wonder what immersive theatre fans make of sites / experiences like the Port Arthur Historic Site? I think it feels too close to home for me – the tragedy and weight of the history there – I think I’d find it hard to slip into the receptive, playful mindset that’s my norm for shows like Sleep No More and Then She Fell. Or, if I did, I think I’d feel guilty about doing so.
I remember my first trip back to Tasmania after the Port Arthur massacre. I was on the boat from the mainland to Tasmania and as we neared land large groups of passengers (and me) stood looking quietly out the windows. For a minute or two there was no excited – end of a long trip, start of a holiday or return home – buzz. Just quiet. I wouldn’t have known what to say then. I don’t know what to say about it now.