Public art commissions
New public art commission - Call out to artists
Due date - 10 August 2018
Project theme - 'Where have we come to?'
“Where Have We Come To?“ examines and focuses on the challenges faced by refugees, asylum seekers and the broader community’s shared experiences of displacement and the significant combined contributions made by all to the emerging modern Australian identity.
One of the foremost creative tasks for the project will be conveying the communities shared experience of displacement and migration so it can stimulate empathy, understanding and goodwill as well as to acknowledge strengths and contributions made by refugees to Moreland and Australia.
Artists are encouraged to draw inspiration from contemporary refugee and asylum seeker perspectives, post war migration stories, convict settlement histories and internal displacement of First Nations peoples.
A tour of the site will be conducted on 25 July at 6 pm by Public Art Moreland.
Meet at the Counihan Gallery entrance 233 Sydney Road, Brunswick.
if you have an enquiry, email Dan Mitchell in Arts and Culture.
Where have we come to?
New commission installed at Brunswick Library
YES NO By Matt Blackwood
Matt Blackwood has be awarded the public art commission for the commemoration of centenary of the 1916 and 1917 conscription referendums and anti-conscription campaigns in Moreland.
His artwork, Yes No, has been installed in the Brunswick Library foyer.
Matt Blackwood is a writer and artist. He has received national awards for his short stories and commissions for his locative literature projects. His residencies and projects have been presented in Australia, New Zealand and the UK, and both his analogue and digital locative literature projects have been used as examples of best practice within university curricula for public art and literature within Australia, the UK and America.
North of The Warp
Brunswick Town Hall – Counihan Gallery Foyer Entrance
Artist: Britt Salt
Title: North of the Warp, 2016
Materials: Powder coated aluminium and enamel
Dimensions: 103 x 103 x 103 cm (Individual form), install dimensions variable
This artwork reflects Moreland’s distinct geography and celebrates our relationship with this place.
The undulating folds of the suspended forms reference the geography of The Melbourne Warp, a gentle northwest-southeast flexure in the land that has over time marked a hinge between these areas, with Moreland located to the North.
The slow and constant shifts that have formed this flexure can be seen in the repetitive and ephemeral surface pattern of the artwork; at once solid, yet perpetually changing.
The continuous movement created between the surface and structure of the artwork create a sense not only of connection to this land, but of dynamism and innovation relevant to the unique cultural identity of Moreland today.
Viewers are invited to move around the building, experiencing the myriad perspectives from which the artwork flickers and transforms, considering the evolving relationship between architecture, place and its inhabitants.
Many Hands Make Glenroy
A photographic documentary created by Carla Gottgens has uncovered the hidden treasures of the residents of Glenroy.
The evocative 72 - panel work by Ms Gottgens is on prominent and permanent display on pedestrian barriers along Glenroy Road, in Melbourne's north.
Commissioned by Moreland City Council to highlight the diverse backgrounds of the residents in Glenroy and create an installation that united the community, the photographic documentary involved 18 local households.
Ms Gottgens invited every member of the household to choose a cherished item and describe its meaning and personal significance. Each panel features their words, their name and the number of years they have lived in Glenroy.
"Glenroy has a huge number of long-term residents as well as recent migrants," she said.
"For this project, I chose to focus on each person's hands, holding their chosen object.
"By removing obvious identification factors such as faces and full names, the images are accessible to all passers-by who may relate to the chosen objects through memories of their own history and personal experiences."
Public Works Art on Site – Snell Grove
As a part of the Snell Grove Public Works Art on Site temporary art project titled 'Permeable Barriers' by artist Tim Craker, a short documentary of the project was produced by Worker B Films.
The film documents the artist at work and the concepts and ideas that informed this particular project.
As the street-scaping works in Snell Grove are now completed, the 'Permeable Barriers' have been decommissioned.
The short documentary film provides an opportunity to not only reflect on the 'Permeable Barriers,' but also allows the project to live on in posterity for those interested in its legacy.
Watch the video 'Permeable Barriers' on Snell Grove
New Order by Louise Lavarack, Sparta Place Brunswick, 2009
Moreland City Council installed the public art work New Order by Louise Lavarack in Sparta Place, Brunswick.
Over the past few years, Sparta Place has become a vibrant public space more people are using.
It has been revitalised with major redevelopment and new boutique shops and cafes.
A public artwork will add to the cultural vitality, character and attractiveness of Sparta Place.
New Order consists of five freestanding columns fixed to low concrete plinths spaced along Sparta Place. The form of each Greek-style column is delineated by a cage of galvanised steel uprights and mesh.
The cages are filled with recycled ‘kitchenalia’ – toasters, kettles, saucepans, mixing bowls, teapots, etc made from various materials including stainless steel, chrome and aluminium. Note that a portion of the kitchenalia was donated by members of the local community.
New Order is premised on the sister city relationship between Brunswick and Sparta. The artwork makes a direct reference to the ruined remains of ancient Greek architecture. However in Sparta Place, the universally recognised form of the classic Ionic column is constructed from contemporary domestic materials.
An intriguing interplay between past and present is thus set up. From a distance the line of columns suggests the grand architectural scale of the past, while at close quarters the more modest scale of contemporary domestic detail becomes apparent.
The surfaces of the metal objects will be affected by weathering to some degree and over time New Order will acquire a patina that subtly underscores a temporal reading of the work.