2015 Visual Arts & Free Program - Page 22

AUSTRALIA // VISUAL ARTS PHOTO Ronnie van Hout PHOTO Martine Corompt Centre for Contemporary Photography in association with Melbourne Festival presents TORRENT THE DARK POOL CENTRE FOR CONTEMPORARY PHOTOGRAPHY CENTRE FOR CONTEMPORARY PHOTOGRAPHY MARTINE COROMPT & PHILIP BROPHY 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. 22 CENTRE FOR CONTEMPORARY PHOTOGRAPHY FRI 02 OCTOBER —  SUN 15 NOVEMBER WED — FRI 11AM — 6PM SAT & SUN 12 — 5PM FREE www.festival.melbourne Centre for Contemporary Photography 03 9417 1549 ccp.org.au ARTIST FLOOR TALK // FREE SAT 10 OCTOBER at 1PM LEFT: Martine Corompt and Philip Brophy, Torrent 2015 (video still), multi–channel digital animation, 5.1 surround sound. RIGHT: Ronnie van Hout, Punk on a Bed 2015, painted mdf, painted polyurethane and fibreglass on polystyrene, wig, clothing. Melbourne Festival’s free program of activities proudly brought to you by the City of Melbourne. RONNIE VAN HOUT 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.