Exhibition Dates: 2nd October 2015 to 15th November 2015. CCP Australia, 404 George Street, Fitzroy
New exhibitions have opened at CCP in Fitzroy. Official opening next weekend with talks from the artists.
Saturday 10 October 2020 | Opening: 12pm | Free Artist Floor Talks: 1pm
Image: Ronnie van Hout
Creature Mummy 2015
detail from The Dark Pool
PhotoTex polyester fabric, 100 x 80 cm, courtesy the artist
Gallery 1 | Ronnie van Hout | The Dark Pool
Presented by Centre for Contemporary Photography in association with Melbourne Festival.
In his latest exhibition, New Zealand artist Ronnie van Hout considers the point where art crosses a line—and society turns against it.
In 1971, successful American toy company Aurora and acclaimed film director Stanley Kubrick both released products into the world that generated strong negative reactions. A firestorm of controversy saw Aurora close its doors, and Kubrick retreat from public life, withdrawing his film from view.
Aurora’s toys and Kubrick’s film crossed an invisible boundary—becoming a threat to the normal social and family structures, threatening to throw them into chaos. Society retaliated, pushing these products back, down to the dark pool, to wait for the day they could return.
Image: Martine Corompt and Philip Brophy
Torrent 2015 (video still)
multi-channel digital animation, 5.1 surround sound
dimensions variable, photo: Martine Corompt; installed at Contemporary Art Tasmania, Hobart, courtesy the artists
Gallery 3 | Martine Corompt and Philip Brophy | Torrent
Presented by Centre for Contemporary Photography in association with Melbourne Festival.
From a tiny trickle to a turbulent vortex, Torrent is an audio-visual maelstrom of light and sound.
Continuing a series of works that Australian artist Martine Corompt has been producing since 2010, Torrent is a mesmerising multi-screen animation that explores the flow of water as an allegorical force. Using simple white and black graphics, we see water trickling, pouring and cascading down the walls, swirling onto the floor then finally draining away to nothing.
The hypnotic visuals are accompanied by an original harp score produced by Philip Brophy, an arrangement that plays on—and against—the traditional associations between the timbre of the harp and the imagery of gently swirling water.