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.