Stuff we are planning to do

David Walsh

There is an old Soviet joke that insists that ‘the future is certain. It is the past that is unpredictable’. Despite my endless rambling about the pointlessness of prediction, I thought I’d highlight a bunch of projects that Mona has on the go, for the self-serving reason that I want to establish our tourism credentials in the light of Federal Hotel’s tactic of promising expenditure conditionally on their pokies licence being extended.

Mona is here for good (in at least one sense). None of these projects are contingent on the casino going ahead (including the casino), but Monaco might make it a little easier to pay for all this. However, they are contingent on many other things, like planning and building approval. And me not shuffling off this mortal coil. (I heard that Rene Hidding, when told that I was planning for the consequences of ‘being hit by a bus’, said: ‘That won’t happen. I’ve had a word with our bus drivers and they are going to be very careful’.)

As an aside, when I first opened Mona, I expected to see some services (coffee shops, restaurants etc.) cropping up in the area. I don’t know why that hasn’t happened, except that there may be some zoning issues, but Local Pizza recently opened in Claremont, and it is exactly the sort of business I was hoping for. I hope it is the vanguard of more quality, consumer-oriented businesses to come. So, start selling stuff in the Glenorchy region. I’m buying.

For us, the first cab off the rank will be an extension to the gallery to house four James Turrell works. As James’ works always are, these will be light works, but not lightweight works. Also in the extension will be a bar and restaurant, possibly serving tapas, which will double as another function venue. The whole thing cantilevers off the tunnel between the museum and the Round House. It would extend about 20 metres over the Derwent. Astute observers might notice from the plan that there is a dead-end tunnel going back towards the winery. That will eventually (five-seven years?) connect to a much larger extension, west of the winery, that will house some offices (our staff is growing, but not our facilities) and a museum gallery extension. This will be a large building, and I suspect it will cost about as much as the original museum. If it never gets built, the tunnel to nowhere might well cause some wild speculation on the part of future archeologists. Aliens will have been involved in some capacity, I’m sure.

An extension to the gallery to house four James Turrell works.

An extension to the gallery to house four James Turrell works.

We are also pretty advanced in designing a hotel for Mona, HOtelMOna, or HOMO. In fact we have now mooted the plans for more than twenty hotels for the site, starting long before Mona opened, but we finally have something that we feel justified in building. I believe a hotel should make exactly the sort of statement that Mona avoided: it should shout where Mona whispered. The building will house a decent library (I think the Mona library isn’t a design triumph, and we have a great deal of rare books and autograph manuscripts that we have never displayed [Stop Press: last night I bought an early edition of The Origin Of Species autographed by Darwin]), function centre, restaurant, bar, a theatre, some retail, and a spa, as well as around 160 rooms. Some of the rooms will be designed by artists: Marina Abramovic and James Turrell have agreed to participate, as well as our own Brigita Ozolins.

HOtelMOna, or HOMO.

HOtelMOna, or HOMO.

The casino is a different beast, or more precisely, a different flower. I’ve engaged a Mexican organic architect, Javier Senosiain, who seems to understand the sort of thing I want, despite neither of us understanding the other. Casinos are closed edifices of steel and gloss. That’s not what I want. I want an open garden. Our customer base could never be that of the standard casino world, but it is a big world, and we need very few customers. And when we don’t have customers, I’d like the casino to be worth a visit, just from an art and architecture point of view. Anyway, it might never be licenced, so it needs to function at a level beyond that of a cash palace. These early models don’t quite intersect with the present hotel, because they were designed for a slightly earlier iteration. The principle will remain, however.

Monaco

Monaco

On top of the Turrell extension I am planning a playground from Toshiko MacAdam. Although this isn’t very far along the design path, here I enclose the work that encouraged us to pursue this artist. We imagine something similar.

One of the best works of art I’ve ever seen is the Richard Wilson work 20:50. I liked it so much I wrote about it in my autobiography. And now it’s mine (nearly, I paid a deposit). As yet, I don’t know what I’m going to do with it, so it won’t surface for a few years.

Conrad Shawcross featured when Mona opened, and he will feature again when the hotel opens. The centrepiece work for the entrance chamber to the hotel is a giant, asymmetrical rope-making machine. That means nothing to you, of course, but it will be amazing. Conrad has been working on it for quite some time, but he still has nearly a year to go.

The night I met Kirsha, my then wife-to-be, in Basel, Switzerland, I also first encountered the art of Jean Tinguely, and he affected me almost as profoundly. His best works are Heath Robinson-esque assemblages of arbitrariness that expend a great deal of effort to accomplish very little. I recently acquired one of these and it will appear in the gallery one day soon.

The phenomenal highlight of the first Dark Mofo, Spectra, those optical towers of alliance, might come to Mona permanently, but only for a few days a year (maybe for a night each on the solstices and the equinoxes). We are in negotiation with the artist, Ryoji Ikeda, and he seems pretty keen for his masterwork to have a permanent home.

My favourite work from our Matthew Barney show will become part of the Mona collection. I saw this piece in his New York studio a couple of years before the exhibition, and it reminded me he is the real deal.

The Swiss artist, Thomas Huber, came up with a great proposal for us, which consists of a couple of giant paintings and a few smaller drawings and watercolours. This should be completed in a couple of years, and I can hardly wait.

A few years ago I admired the diaries of the noted Australian artist, Donald Friend. His flagrant parading of his illicit sexual congress with young boys made me ponder, as I had before and have since, the morality of art based on, or in, the abrogation of ethics. Most of us are still prepared to visit Chartres Cathedral, built on the broken backs of generations of near slaves, or enjoy the benefits of medicine perfected through the torturing of animals. Does a stunningly illustrated story in a corrupt artist’s original hand constitute good art? If not, would a printed copy be okay? Is my highlighting the moral ambiguity of collecting Donald Friend sufficient justification for that very collecting?

And while on the subject of moral ambiguity, is a Nazi war machine (this is an Enigma machine, used for encoding communications within the German military) an appropriate thing to collect? Is it more appropriate given the knowledge that the Polish/English decoding of messages sent between such machines may have contributed to the Allies’ victory?

Earlier I mentioned a plan for a playground. We are actually planning two sets of artistic play apparatus. The other will be by Tom Otterness, who did some wonderful stuff at Doha airport. Here’s a preliminary sketch of one of the proposed works. He is infamously morally compromised. One of his earliest artworks was a video of him shooting a dog. He is still copping shit about it nearly forty years later, presumably from people who abet the murder of 1.2 billion pigs and 400 million cattle per annum.

When I was about ten we went on holiday to the caravan park next to Mona (now known as Treasure Island, perhaps soon to be known as Moab, unless a better acronym comes along). We went there to holiday even though we lived in Glenorchy, and even though it was about a forty-minute journey. And that’s forty minutes on foot – our family didn’t have a car so we walked to our holiday. We had lots of fun. I hope to preserve its affordability, while enhancing the sense of adventure for future intrepid travellers that visit Mona’s near neighbour.

The planned Mona boardwalk is unique is three ways. It’s the only item on this list that is approved; I don’t want to pay for it since it is mainly a community service and I can’t see an external funding source. So it is the only item on the list that I want financial help for; it is therefore the least likely to be built.

Connecting the boardwalk and the Round House library is this potential commission from perennial Mona favourite, Wim Delvoye. Towers seem to be the flavour of the century in Hobart, and with the proposed light tower for Hobart, I hesitated before publishing it. But we’ve been working on it for years, and it’s kind of beautiful. Maybe Hobart, in the tradition of Tolkien, could use two towers?

The parlous state of the beautiful River Derwent due to heavy metal contamination is something I took for granted. My American wife, however, feels a need to do something about it, and together with many collaborators has instigated a number of art projects in an effort to generate awareness. One of the biggest is a thing we call the Heavy Metal Science Lab, designed by the local architectural firm, Room 11. A walking ring about 50 metres in diameter will (given approval is forthcoming) be constructed, supported by hydraulics, so it can be raised and lowered with the tide. The plan is to keep it just below the waterline, so that the procession around it requires gumboots, or bare feet, to provoke contemplation of the state of the water. A number of sampling experiments will also be conducted.

Once we have a hotel at Mona, we need an efficient way for people to get there, and back to Hobart. Running the giant ferry out of hours makes little sense, so I asked our expert ferry collaborators, Navigators, to consider Venice-style ferries. This is their collaborators’ design for a 25-person, million-dollar motoscafi.

We’ve also got lots of offsite projects: upmarket accommodation (on a very small scale) and facilities, including a cooking school at our farm near Marion Bay, a potential hotel collaboration in Hobart (about which I will say no more), the already announced research for Mac Point, and a recording school for disadvantaged rappers in New Orleans. But I’ll stop now, because I’m going to have a look at the tables that Kirsha and her friends are making for an artist’s dinner on Saturday. They will be full of alcoholic jelly, which will hopefully induce some generosity of spirit in those rich art wankers that we invited, on the off chance that they will contribute to as yet unpropounded projects in Mona’s ‘certain’ future. But maybe peer pressure, or the jelly, will inveigle them to do something different, something wonderful, that no one now can foresee.

Off-site projects Marion Bay

Off-site projects
Marion Bay

More Mona

By Elizabeth Pearce

When the museum first opened, this artwork, by Jon Pylypchuk, was displayed alongside a ‘spin’ painting by Damien Hirst. It was an odd coupling, one that seemed somehow to demand that I think about the myriad reasons people make and look at art.

You asked me to come and see your routine, you call this a fucking routine?, 2006, Jon Pylypchuk Back Wall: Beautiful Mis-shapen Purity Clashing Excitedly Outwards Painting (detail), 1995, Damien Hirst

Foreground: You asked me to come and see your routine, you call this a fucking routine?, 2006, Jon Pylypchuk
Back Wall: Beautiful Mis-shapen Purity Clashing Excitedly Outwards Painting (detail), 1995, Damien Hirst

We sold the Hirst and some other works recently, part of David’s scheme to raise money to make MORE MONA – another wing to house his James Turrell fetish.

There’s three artists – Hirst, Pylypchuk, and Turrell – who illustrate the trinity of creativity at the heart of the phenomenon we call ‘art’.

Turrell is a craftsman and magician, tapping into our innate preference for the numinous. If you’ve been to the museum recently you could hardly miss his rooftop spectacular, Amarna.

Amarna, 2015, James Turrell

Amarna, 2015, James Turrell

Hirst is hard. It’s so easy to dismiss him as a charlatan and to point out that he has approx. zero talent as a painter; no actual, nameable, hands-on skill or craft to speak of. But look harder – or in a different way – and he is a deeply traditional artist, in the sense that he is expressing his reality using the most relevant, up-to-date tools available at that particular time; what humans have been doing since they started making marks on the walls of caves with their hands. In post-Thatcher, empire-burn-out Britain (that is, in Hirst’s time), individual virtuosity was subsumed by the economic and nationalist nihilism of the era. In this context, the reverence with which we regard the figure of the artist – as a harbinger of authenticity, specialness, and truth about ourselves – was more than irrelevant, it was simply untenable. Art has always been packaged and delivered to us in a culture industry that stands in awkward (and sometimes arbitrary) relation to the fact of the artist’s actual talent. But for the first time, in turn-of-the-century Britain, the culture industry swallowed the artist and his talent entirely. Damien Hirst was clever enough to run with, rather than against, this sorry state of play, and in doing so made: a) A shit load of cash, and b) Us reconsider what it is we want from art. How far we are prepared to go to defend it. I posit that Hirst’s career ended with his debut as a traditional painter at the Wallace Collection in London in 2009. The public reaction to his exhibition of blue-themed, Francis-Bacon rip-offs – the Telegraph called it ‘one of the most unanimously negative responses to any exhibition in living memory’ – gave us a definitive answer to the question around which Hirst’s entire career had hitherto revolved. Are painting, drawing and individual skill important to us? Yes, they are.

What has this to do with Jon Pylypchuck’s collection of creatures doing unnatural things to trees? First, a little background. Pylypchuck came to art via laziness and apathy. At the time, he was trying to avoid getting thrown out of uni (University of Manitoba, Canada), and had ‘no interest at all’ in making art. Then he just started making this stuff he calls ‘scrap art’ with his friends, and thinking up stupid titles to make each other laugh. I don’t know. It just works. It’s weird and funny, that’s it. The weight of Turrell’s hope for humanity and of Hirst’s disorientating nihilism is crushed beneath its coolness.

David is philosophical about selling the Hirst work, but I am sad. Not because I loved that particular piece but because I have almost forgotten what it was like, in Mona’s early days, to have no set opinions on art, to be trying to work out what it’s all about. Thankfully I’ve still got Jon Pylypchuck here to remind me.