Morrissey then took over the role or position of a woman within that group - usually the mother figure. She asked to take her place, and to borrow her clothes. The woman then took over the artist’s role and photographed her family using a 4x5 camera (which Morrissey had already carefully set up). While Morrissey, a stranger on the beach, nestled in with her loved ones. These highly performative photographs are shaped by chance encounters with strangers, and by what happens when physical and psychological boundaries are crossed. Ideas around the mythological creature the ‘shape shifter’ and the cuckoo are evoked. Each piece within the series is titled by the name of the woman who Morrissey replaced within the group.
The word of SHANSHUI means mountain and water in China,not only means the real mountain and water in reality,it reflects more of people’s imagination and yearn towards the natural landscape.Landscape Painting is the most important component part in Chinese art history.For the Chinese intelligentsia, Shanshui (the coexistence of mountain and water - a kind of ideal landscape) have long been considered the key to unlocking the mysteries of the universe and reconciling the life of the individual and of society.
The ideal of the ancient Chinese intelligentsia, The “harmony of man with nature”, is like a daydream now.
In China, the scholarly ideal of the Shanshui landscape blends with natural scenery in strange and interesting ways. Like the way in which the I-Ching describes fortune and misfortune intertwining to create a future that is always breaking in the present moment. To construct is to destroy, and the future becomes the past.It is a commonly-held belief in China that the transience of life and the passing of time are inevitable. Thus, taking hold of the present should be the objective of both idealist and materialist alike.
These pictures illustrate the absurdity of the reality itself. They prove that even the most rational life style can walk into the unimaginable quaintness at any minute. The rising of Karaoke and the KTV culture in Asian conform a kind of comsuming style of spirits in the mass media era——the individual fulfills the double functions: he confirms himself by making use of the right of choice and reconstruction,while he keeps the value communication between the individual and the mass.
Council have confiscated an unofficial public artwork satirising Campbell Newman’s response to homelessness in Brisbane.
A group of clandestine artists installed the artwork they say, to draw attention to a side of a the city being airbrushed away in the interests of commercial priorities
“It seems the friendlier Brisbane becomes for business, the more the cities most vulnerable communities are targeted for harassment and contempt” claim the group.
The work was installed without council permission on the site of a recently removed William St. bus shelter that was popular amongst the homeless sleeping rough in the city.
Titled ‘Bitter Bench (4 Voices)’ the work consisted of a seat fitted with a motion sensor fitted with a motion sensor that triggered recorded voices of homeless citizens while a pressure sensor detected someone sitting on the bench which then very gradually tilted, tipping them off. Engraved in large letters on the seats wooden slats was the phrase “BITTER BRISBANE”. An official looking council plaque accompanied the seat with a quote from Campbell Newman’s repentant alter ego:
“After cutting funding to almost all public programs addressing homelessness and removing many public furnishings where the homeless sought refuge, I offer this bench as my Government’s penance. I have come to deeply regret my support of the most powerful over the most vulnerable. We judged developers and big businesses most deserving of council favours.
It is also true we assumed a constituency of privilege, denying the city should also welcome and support the disadvantaged. These acts will be remembered with contrition. Where once there was cruelty let there now be compassion.”
A spokesperson for the anonymous group claims Newman was intent on hiding the homeless from public view. “While Newman was requesting the expansion of his existing ‘move on’ powers, effectively giving police even more license to harass the homeless, in the very same areas he was doing developer-friendly-deals by sidestepping legal planning schemes to approve developments twice the allowable size. Fortunately, when contested in court, the dodgy approvals were quickly overturned.”
The group claim removing street furniture is a simplistic and cavalier reaction to the complicated issues around homelessness. One of the homeless people interviewed said:
“When you’ve got nowhere to sleep you’ve got no home to go home to - that’s the only place you know you can go to, somewhere where it’s nice and warm and you don’t get bashed by anyone and you know your safe and you’ve got some people around you that will keep you safe. One or two will keep watch while the others sleep and then another person wakes up and then they go to sleep… Benches are like a kind of bed for the homeless, you know, it’s better to sleep on a bench than cold cement. I used to sleep on cold cement and that’s why I ended up in hospital with double pneumonia four times, I only just got out the other day…”
As well as the discriminatory move on laws and the removal of public furniture, Newman also:
—banned long time homeless support vans from accessing and stopping at King George Square
—drastically reduced the number of BCC Public Space liaison officers - undermining important networks and resources to link the homeless with assistance
—defunded the night patrol from Indigenous agency ‘Murri Watch’ —significantly reduced the BCC Community Development program - in previous years much of this work was linked into working with homeless and key support services.
In 2005, defending his ‘move on’ powers, Newman said: it’s about being able to deal with people who are actually causing fear and anxiety who are acting in a way that does not meet normal community standards.”
However the groups spokesperson counters: “The bad old days of indigenous exclusion zones are once again a “normal community standard” for Newman, and although people sleeping rough may cause him fear and anxiety, it’s the homeless who have the real cause for concern. It seems only a certain kind of citizen is welcome in Newman’s Brisbane. In his run for Premiere there is a lot of focus on Newman’s alleged infrastructure achievements, but very little on his social and cultural legacy. However, we will remember, and we will continue to reveal this side of the city.”
Frédéric Chaubin’s recent publication: Cosmic Communist Constructions Photographed reflect the rebirth of imagination in Russia between 1970 and 1990. “These buildings represent a chaotic impulse brought about by a decaying system.” Release from the restrictions associated with the former U.S.S.R. have created a reactionary flourish of creativity that has been preserved through architecture.
This series navigates the realms of the plausible and impossible in a way that perhaps encourages us to examine the function of architecture and it’s relationship to social status, wealth, space and growth.
This Must Be The Happy Ending will be a publication released in early 2012 that exhibits my personal work from a recent trip to the Northern Territory, Australia. Many thanks to Nick Bowers, RIkki Amand, Poly Marsden and Daniel Marsden for their help in developing this collection thus far.