Domain House proved a wonderfully theatrical setting for the initial conversations around ‘After the Missionaries’. On Melbourne’s coldest night of the year, a few brave souls ventured through the howling winds and rain, into the gloom of the domain, past the eerie Shrine of Remembrance, into what was for many years Melbourne’s centre for contemporary art, the old ACCA.
We were there to ask a simple question – how the world has changed? We considered the familiar politics of the past decade, with anti-globalisation protests, mockery of Bush and despair at Howard, and the push for reconciliation. And then the new scenario, with an inspiring US President, anti-neo-liberal orthodoxy, and the new global balance with countries like China taking greater initiative.
But wait. Is all this politics relevant to what’s happening in contemporary art? Kelly Fleidner talked about writing on Nathan Gray’s residency in Brazil, and how there was awkwardness in raising issues about power relations in what seemed like an innocent creative exchange. But when Australian artists are in poor countries like Brazil, they often have unlimited license to film, photograph and make with locals. Whereas if they were to try this in rich countries like Australia, they would require release forms and contracts, and probably then decide it wasn’t worth the trouble. This question established a basic principle of reciprocity that formed the rhythm of the conversation that was to continue.
Adam Broinowski introduced the question of Asialink residencies, which featured strongly in this Artlink. He spoke about what an amazing archive there was of reports by Australian artists of their experiences in Asia, but considered that for many it was still just a stepping stone to Europe or USA. For Adam, it was interesting to consider where Japan fits into the changing global scene. The legacy Japan’s WWII imperial ambitions still casts a shadow. There is still unfinished business, like how to deal with some of the positive memories of Japanese occupation in countries like East Timor.
Reciprocity returned again with the question of how this interest in Asia might be reflected back. Was it possible to consider that there might be residency programs for Asian artists in countries like Australia (organised from Asia, that is)? Elizabeth Presa talked about working with students in Beijing to uncover what is happening with contemporary Chinese philosophy. It seems timely to ask this question.
We talked a little about Australian craftspeople travelling to find authentic craft traditions and ending up in new urban craft factories. Sue Thomas had an interesting reflection on the nature of Haute-Couture and how it defined by its small artisanal production.
The conversation continued, the red wine flowed, and the bowls of spicy crunchies diminished. It seemed a good time to be reconsidering old habits. The principle of reciprocity promises to uncover many new perspectives. A cold night, but a warm start.
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