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

Five prejudiced affairs with Mona (or, Anica and Mona, sitting in a tree)

1. The art of knowing whether you are flirting
or
The art of consuming modern art

You never know what to expect, when you first walk in. Something, nothing. Something that turns out to be nothing? Nothing that becomes something? But that’s part of it, it’s part of what you crave. The not-knowing, the possibility, the risk, the anticipation.

Or, you walk into it, always, knowing that you want something. Anticipating. Breath-held wonder and the greed for Meaning. For something Beyond. For Something.

Forgetting that you always bring something, too. Into that space filled with sound and furious signifiers. A look, a wink, a glance, a colour, an ellipsis of thought…

And sometimes it feels like there is a lot of empty space here. Whatever that means. It doesn’t mean space with nothing in it. It just means space where what’s in it isn’t something you know how to find. But that’s part of it too. And if you don’t crave that, then there’s no room for you to become anything else.

Every visit, every interaction has a memory of the last, and the last-but-one, and the very first, and all those between. And not just your own, but everyone else’s too. Whether that makes you feel good or not. You can never be independent of it. You don’t even have to listen carefully to hear it. There’s nothing new here, and nothing old either – everything exactly as you see it as you come to it at this moment: the wink, the shadows, the abstract moment, the ambiguous words.

You ignore what doesn’t speak to you. Dismissive. (And yet you still think you’re better than the girl beside you who snaps a photo, winks a wink, pretends to see something, sees nothing.) You sidestep around the arti/fact for a moment, you make it what you want it to be, you read it, you act on it, you understand it, you live by it, you love by it, you are – for those moments and their repercussive pre-dawn awakenings – defined by it, and it by you.

And then you turn a page, a corner, a blind eye, and you discover a new star (or disavow an old one – all your past loves are eventually Plutos).

I stop near the end, as always, to check that my heart is beating. As always, it’s not. As always, I pretend I don’t care.


Pulse Room, 2006
Rafael Lozano-Hemmer
Photo credit: MONA/Leigh Carmichael

 

 

 

 

 

2. Don’t touch

There’s water dripping through the walls here. I’ve never noticed before. I’ve read about it, in all those things that people write, but I’ve never seen it. That interests me. To know about a thing and to touch a thing are not the same at all. At all. Peter Carey, in the voice of Lucinda, once said as much. I bookmarked it – a real bookmark, subcutaneous in the skin of a book, not a click on a word that once meant something real. Before ‘bookmark’ was a verb in my vocabulary. When it was still a noun I could touch. I held that page, with my bookmark, and came back to it over and over. And over. I could still find the page, I think, just with the curve of spine from so many visits.

Lucinda’s knowledge was about sorrow – about suffering and conceiving of suffering. Mine is about something else. About seeing what you want instead of what’s there. At least I think it is.

(Well, wouldn’t you touch that wet wall?)

3. The idea of absence

This place is just filled with your voice – literally, literarily. It’s all you. I can’t imagine how it feels to experience this place without you. On my own, with anyone else.

I think I’ll visit here when you die, and I’ll forget what it means to die: it won’t make any sense because you will be here and everywhere and I won’t understand the idea of absence.

That’s assuming that you die first. And I don’t know why you would. Maybe I’ll die first. And if that’s what happens, then I’ll come here after I die. I’ll haunt your words and your presence here and then you won’t know what it’s like to be here without me.

4. The blind leading the blind (after Peter Buggenhout)

A great hulking thing hangs above me. I think maybe it’s art. Or maybe dread. Or maybe love. It is huge and blackish in the blackness, embarrassed by its own size. An apologetic, deformed monster trying desperately and writhingly to disappear backwards into cracks nonexistent: a mutant spider, an octopus, without the proper experience of its species, to disappear into cracks. For every limb it squeezes into one corner, two more vomit themselves out of another: messy, dripping, scrabbling for purchase on the surfaces, alive yet utterly inert. Grasping at the ceiling, ashamed of its own clumsy bulk, its corners are impotent and its curves broken. Its rusting creaking groaning strength is a kind of unkind joke against its ludicrous body. It is Kafka’s Gregor, horrified by its own existence. I am afraid to stand beneath it. It is some kind of nightmare – to itself?

And also I want nothing more than to be closer to it in the half-light, for it to somehow ingest me, excrete me, validate me.

5. Why shouldn’t we?

I finally manage to book in for one of Tattoo Tim’s tours of the Wim Delvoye exhibition – his third-last tour. He’s had a few days off, and he says he hasn’t been so nervous in a long time. He’s buzzing. He greets us all individually, welcomes us, tells us that he’s not here to explain the art, but just to tell us a story. His story is his way of giving us the gift of recognising what he calls the ‘beautiful absolute irrelevance of our existence’. And somehow I think I understand what he means.

He talks to us for seventy minutes, in between the pigskins and the sharp points of the laser-cut steel. He is funny, self-deprecating, self-important, performative, honest, naive, cynical, charismatic, entrancing, exploding with energy. I suppose he has a lot of time to come up with clever things to say, sitting for five hours a day on his plinth with his tattooed spine towards his audience, his eyes on his one small white speck in the middle of the black window shade. During the tour, we never once see the tattoo. But we see the impact of it on his life, on his experience of being in the world. And it’s bizarre and mundane all at once.

Everything he says to us is engaging. But at the end, in the dark room standing against the projected reality of Delvoye’s Art Farm, where the tattooed pigs grunt and shove and scratch and sleep, he gets to the part that hits me most. He orates a kind of fanatical frisson of absolute adoration for Mona, and that’s part of his story now too. He tells us, from the outside, that ‘everything has changed here in the last 14 months’ – this city isn’t the same one it was before. I could not be more convinced by his arguments.

At the end of Tim’s tour, I’m shaking. He’s articulated a passion for this place that I’ve heard around me since the museum opened. I hear it everywhere – in the museum, away from the museum, on airplanes, interstate, in supermarkets, everywhere. It’s an uncontainable and weird sense of ownership, pride, excitement, gratitude, wonderment. I feel it too, and I resent it. I hate feeling so sentimental and I don’t want to be one of the anonymous masses who somehow feel that since it has entered our lives, we now have some righteous connection to this place. Last year I went for the first time to MoMA, the Guggenheim, the Neue Gallerie, The Dali – so many wonderful American museums, but all the time I was holding this secret smugness that I live in the place where there is Mona. I couldn’t wait to come back and visit. It feels unsophisticated to experience so much joy about a place, especially this place. I am embarrassed by my passion for this place. But why shouldn’t we feel in love – what’s so incredibly wrong with being joyful?

Mona has done something to me that nothing in my life has ever done before. It’s connected me to people I don’t know and don’t ever want to meet. It’s torn a gash in the emotional, creative, psychological space/time continuum – a great fissure that allows glimpses into everything we dream of, and forget to dream of, beyond the everyday. The things we search for in love, in religion, in our unknown selves. Meaning, connection, extraordinary grief and extraordinary radiance, and – more vitally – things wholly intangible, but so deep that they lift us away from everything else.

I thank Tim; he hugs me. I walk away fast, because I need to find a dark space to be alone and cry my guts out, because I can’t remember the last time anything made me feel so alive.

When I come back outside into the air, the steady rain takes me by surprise. But I don’t remember, anyway, what kind of day it was when I went inside. It was a million years ago. As always, when I leave here, I’m new. Better. Taller. Hungrier. More alive. More certain. More uncertain.

That’s all.

-Anica Boulanger-Mashberg

Anica is a writer, editor and critic. She has an ellipsis tattoo and if you notice it and identify it correctly, she might fall in love with you. We don’t know how to pronounce her name.

Tim, 2006 – 2012 (ongoing), with various pigskins
Wim Delvoye
Photo Credit: MONA/Remi Chauvin

Something for Easter

Eleanor has asked me to write something about Easter. Eleanor is our Blog Mistress.

I was wildly disappointed with Alain de Botton’s Religion for Atheists. I usually like de Botton very much, and this book was bland and preachy.

I have been prepared lately to consider the uses of religion: for social cohesion, community-mindedness, and a structure for kindness, for instance. My argument so far has been thus: if you pick and choose the bits to believe in – that it’s good to be good to your neighbour, and to feed the poor, but not good to admonish gay people, because come on, it’s the twenty-first century – you prove to yourself that you didn’t need religion in the first place. Moral relativism and responsibility is encoded in us naturally. All you’re left with, without God, is the problems with religion – obviously the wars and stuff, but also sloppy mindedness and waiting patiently for happiness.

So, like I said, I have lately been prepared to consider the other side. Not of course that God exists but that religion might be good for us. Consider: Richard Dawkins said, at a conference I’m hideously ashamed of myself for attending, that gratitude is imbued in us by evolution. Just like being co-operative can be a passive, unconscious ‘strategy’ for our genes to cycle into the next generations. The conference was for atheists. Guess what, stupidity and atheism are not mutually exclusive. Worse than the lynch-mob jeering the placard-bearing Christian soldier out the front of the Melbourne Exhibition Centre was the presentation on ‘Feminism and atheism’. Who cares, went the argument, chicks rule (cheer) and God’s dead (woo hoo). It was hideous.

Anyhow, the reason I’m thinking about whether religion might be healthy somehow is basically because I’m getting old and conservative. (Comparatively). I’m mostly worried about people being nice to each other, except for Mummy Bloggers, who I despise and wish to put an end to, a final end. I also really like watching rom-coms; I routinely veto films in which a parent dies or any pets are sick or sad (emotionally scarred by Dumbo).

I’ve teased (and tested) my friends a bit too, about the possibility of finding Jesus – me, who is known to her loved ones as a ‘fascist’ and ‘zealot’, and also ‘aggressive and arrogant’, when it comes to preaching about why religion isn’t good for us. A particular sticking point for me, at least me in my pre-rom-com state, is ‘tolerance’: if you believe in magic, I will think you’re weird and stupid. Why should I ‘tolerate’ you? Dressing up your belief in magic with words like ‘spirituality’ and ‘fate’ will make me ‘tolerate’ you even less for your sloppy logic, i.e. if you are going to believe in fate, have the guts to call it God.

Apparently, if I do eventually locate Jesus, I won’t have many friends left, not even a boyfriend (‘It’s a deal-breaker’). Those of my friends who were at my eighteenth birthday a decade ago know that I once knew Jesus very well. My mother decided that my birthday party was the perfect time to wheel out the religious poetry I wrote when I was ten: God gave me hands to touch the earth / Beneath the moonlight sky/ And eyes to see the little birds / flying in the, um, sky. Funnily enough, should I ‘fall’ again, my boss David would probably let me keep my job, and might even stay my friend. After all, he employed me and was nice to me when I was in the throws of cult hysteria (i.e. at university) and thought it was funny when I told him that postcolonial and feminist theory were not, in fact, a way of thinking, but a religion.

Clearly we have tendencies in that direction: gratitude, spirituality, a greater purpose for us. That’s ok (see how grown-up I am). We also have tendencies in the direction of violence, sexual exploitation of each other, and not liking people who look different to us; being ferally competitive about our children, or worse, revealing to others the details of their eating and sleeping habits. There was a letter in the Age last week, to the sex therapy agony aunt, that said something like: ‘Help – I’m a feminist, but I want my husband to spank me!’ Clearly grown-ups should, in this order: respect such urges (to be sexist / grateful to God / write mummy blogs) and then, promptly, quarantine them – to the bedroom, in the case of the spank-me feminist. That’s what makes us civilized.

So spanking is akin, then, to celebrating Easter? The safe expression of a baser urge? Not quite sure how I ended up here but there you go, something for Easter.

-Elizabeth Mead

Afterthought

Blog Mistress here – that sounds kinkier than it is, particularly in an afterthought to a blog that compared a good spanking to celebrating Easter. I feel that it’s my duty to let the blogosphere know that the Wim Delvoye exhibition ends on Monday 9 April. It’s an appropriate closing weekend, and not just because there’s a four-day holiday, if you’ve seen the exhibition you’ll know why, if you haven’t, then you should visit this weekend and find out.

Also, I think I tend to agree with Mead in that maybe religion does have something to offer. Although I do firmly believe in her first argument on religion, before she was older and more conservative, that the good bits are nice because they’re nice ways to behave towards your fellow human, and what you’re left with is an excuse for the bad stuff; wars, hate crimes, greed, closed mindedness and rejection of that which is considered ‘other’. But maybe that’s the same for any societal group, religious or otherwise. Anyway, her post prompted me to think about this, in time for Pesach (Passover).

Technically, I’m Jewish, on my mother’s side: Judaism is generally considered matrilineal; if your mum was a Jew then you are too. This makes sense to me because, let’s face it, it would have been a lot easier for people to be more certain of who your mother was than who your father was. Anyway, when both of my grandparents passed away recently I experienced my first Jewish funerals. They were vastly different to any other funeral I’ve been to. There were no hideously expensive coffins, no elaborate bouquets of flowers, no dressing of the deceased in their ‘Sunday best’ – none of which relate strictly to other religious funerals, by-the-by. Instead the bodies are stripped naked of all of their material belongings, wrapped in a plain white shroud and laid to rest in an unadorned, simple casket. Firstly, this seems like commonsense again – I like Judaism’s practicality – because, I’m dead and I don’t give a shit what I’m buried in. Sure, if it makes you feel better about it all then go ahead, but personally I’d rather you gave the money to people who were still alive and could enjoy it and benefit from it (take note future offspring). But that aside, what this process is meant to symbolise is that we are all equal in death, and I like that idea too. Whether you were a king or a pauper you’re one and the same once you’re dead. That’s the nice part of the religious ritual that I took away from the experience. However, after I extracted that I was left with the problems, some of which are what have made me decide to steer clear of Judaism, or any other religion, since I escaped mandatory ‘religion classes’ in (public) primary school and my mother’s fleeting and halfhearted attempts to introduce me to the religion as a child. The women and men were segregated, sitting on opposite sides of the funeral home, the men closest to the deceased. After the burials, first of my grandfather and then a few weeks later of my grandmother, came their respective Shivas, traditionally seven days of mourning, during which there were prayers for the deceased’s soul. The catch, though, is that we needed an orthodox Minyan, a quorum of ten Jewish males who are aged thirteen years or more. Women’s prayers don’t count for much, apparently. We had a tough time wrangling up ten capable Jewish gents at my grandparents’ nursing home. We managed, so I hope their souls benefitted. I left enjoying the really beautiful aspects I took from the experience, while missing my grandparents terribly, but also feeling like Judaism remains horribly sexist.

I also find it weird that I feel odd and put out when people mention the holocaust and being stingy, and when I studied The Merchant of Venice. Oh, and that I don’t purposely buy pig products or shellfish.

That’s a long afterthought. I guess what I’m trying to say is, I agree with Mead, don’t I?

You might not, feel free to let us know.

Either way, go and see the Wim exhibition before it ends.

-Eleanor Robb (aka Blog Mistress)