The Harbour International Arts Residency

The Harbour International Arts Residency was an experimental creative laboratory that brought together established and emerging artists from Australia, Indonesia and Timor Leste. Over four weeks, four artists collaborated, experimented and exhibited new works at the DVAA artist run studios as part of the 2015 Darwin Festival.

The project brought together international artists Jompet Kuswidananto from Indonesia, and Mariano Goncalves from Timor Leste, Melbourne based artist Dale Gorfinkel and local Darwin based artist, Weniki Hensch.

ABC TV Darwin Footage, August 2015

 

Dale Gorfinkel’s Gallery

Looking at Dale Gorfinkel's work

Banality of Evil by Dale Gorfinkel

(gardening irrigation, sprinkler, ceiling fan, latex gloves, bullets, plastic containers, horn, back scratchers, plastic knives, motor, air pump)

Banality of Evil

Banality of Evil by Dale Gorfinkel

(gardening irrigation, sprinkler, ceiling fan, latex gloves, bullets, plastic containers, horn, back scratchers, plastic knives, motor, air pump)

Banality of Evil

Banality of Evil by Dale Gorfinkel

(gardening irrigation, sprinkler, ceiling fan, latex gloves, bullets, plastic containers, horn, back scratchers, plastic knives, motor, air pump)

 

Top Brass

Top Brass by Dale Gorfinkel

(Brass instrument, brass tap, brass bullets)

Top Brass

 Top Brass by Dale Gorfinkel

(Brass instrument, brass tap, brass bullets)

 

 

 

Culture Projects Nature Objects

 Culture Project Nature Objects by Dale Gorfinkel

(bird cages, bird whistles, air mattress pump, gardening irrigation, local feathers, DC motors, data projector)

 

Some notes from Dale

  1. Culture Projects Nature Objects (bird cages, bird whistles, air mattress pump, gardening irrigation, local feathers, DC motors, data projector)

In human to human interaction, there has been much discussion about objectifying ‘the Other’ especially in regards to colonial cultures and forms of racialization. These things are often about domination and power. ‘The Enlightenment’ for some coincides with slavery for others.

Ideas are projected onto others which affects the perception of reality.  It is complex because it is not just a one-way interaction. Those being viewed can have the ability to move, dance around the gaze, and gaze back too.

So what about the human to non-human relationship? It is clear that people’s perspective of ‘nature’ or ‘the environment’ is influenced by their different cultures and societies. Nature is entwined with culture.  It is important to be aware of how people project onto the non-human world and why. For example the creation of anthropocentric cultures might be useful for purposes of exploitation. There are other kinds of projections too, such as romanticisation and animism.

This work plays with projection/screen, human/non-human, and analogue/digital. Things are not black and white. The birds too can dance around and reveal the colours of our projection.

2.Top Brass (Brass instrument, brass tap, brass bullets)

 ‘Top brass’ refers to the intersection of music and social organization. The institution of an orchestra is arranged in a hierarchical regimented way like the military under the general’s baton. Perhaps this way of arranging people is no longer relevant in today’s world. Music can provide a space to safely explore different social structures. ‘Top brass’ is a phrase given to those up the top of the hierarchical ladder but it is also the name given to trumpets and bugles, instruments which have historically been used to signal battle and acknowledge the dead. Lest we forget the blood that top brass spills.

3. Banality of Evil (gardening irrigation, sprinkler, ceiling fan, latex gloves, bullets, plastic containers, horn, back scratchers, plastic knives, motor, air pump)

​Before coming to Darwin I spent a few months in Indonesia. I was fortunate to be able to spend time with Jompet. Some of the issues we talked about included violence, crowds, and the relationship between the individual and the state. Since Jompet grew up under authoritarian regime in Indonesia, our personal experiences of these things are very different. However looking beyond personal perspectives, I came to realize that there are global social, political and economic systems at work. An act of individual violence can be an impotent response to systemic violence which pressurizes communities. Situations arise which create a latent violence that can emerge at any time.

In Indonesia people lived under an authoritarian regime where education and the media was completely government controlled. So at Reformasi in 1998, when the Suharto regime ended, artists such as Jompet started searching for the ‘truth’.  Jompet’s work in Darwin shows how issues in Indonesia and Timor Leste were really affected by broader global conflicts, particularly the capitalist/communist struggles of the Cold War.

Liberal capitalism sees itself as neutral or normal, avoiding the extreme and ‘system’ labels that it applies to the Others eg dictatorial, authoritarian, communist, totalitarian. It is the elephant in the room full of spectacle and kitsch, and almost impossible to talk about without being framed in stereotypical ways eg lefty/communist/artist/hippy etc. A system free from critique is dangerous, as dangerous perhaps as an authoritarian regime which can be labeled as such.

What lessons can be learnt from history? The title ‘Banality of Evil’ comes from Hannah Arendt’s book on the trial of Adolf Eichmann, the Nazi official charged with carrying out The Final Solution. She says: “The trouble with Eichmann was precisely that so many were like him, and that the many were neither perverted nor sadistic, that they were, and still are, terribly and terrifyingly normal. From the viewpoint of our legal institutions and of our moral standards of judgment, this normality was much more terrifying than all the atrocities put together.”

In this work Indonesian bullets have been transformed into warning whistles, hands inflate and deflate, and crowds gather in pathetic revolution.

Mariano Goncalves Gallery

Water by Mariano Goncalves

 

Music Box by Mariano Goncalves

 

Water by Mariano Goncalves

 

 

Music Box by Mariano Goncalves

 

 

Some notes from Mariano

  1. Untitled

The distribution of water is a big issue for community that are living in remote areas in Timor Leste, because there is no water management. Usually we have a lot of water in Timor Leste, but:

  •    The Community don’t know how to manage a water

After we used the water we don’t like to turn the tap off, we just let water go everywhere. Also, people use water for agriculture, for farming. Sometimes the government come and put water timers in, so that can help the people to manage the water. But what happens is that when the government leave, people take out the water timer. They take it out because some people don’t have much money to pay for water – they only have a enough money for daily needs. If others need water they have take a walk around 1 – 2km to get water.

  •    Political Issues

In Timor Leste, people that contributed to the Referendum of Timor Leste (we call them “veteranus”) – the Veteran, fight amongst themselves to get access to the water. These fights distract the government from getting the water to the community, and the community don’t benefit from this project.

  •    Water Pollution Issues

Because we don’t want to take care of the environment, we throw rubbish everywhere. During the rainy season, we have water almost around the city, and many mosquitoes will come out. In some places people use water pumps to take water from the ground – it doesn’t smell good, because most of the pumped water has been taken from dirty water that flows in the gutter, seeps to the ground and then is taken up in the pump

2. Music Box 

Music is about the feeling, if you hear to it you can feel it, doesn’t mater who you are or where is you from.

So, with the music, it can bring people together.

Even I don’t understand what the music talks about, I just feel it.

Weniki Hensch’s Gallery

Image title coming

 

Title coming by Weniki Hensh

 

 

 

 

 

image title comin

 

 Title coming by Weniki Hensch

 

 

Image title coming

 Title coming by Weniki Hensch

 

 

 

 

Image title coming

Title coming by Weniki Hensch

 

 

Some notes from Weniki

In the Flesh of the Green

The purpose of this work was to create a space with a view to experience the different elements of working with crocodile production. I’ve explored a few of the different senses that really struck a chord with me while I was working there. My encounter with the crocodile had a calm and meditative effect. I have drawn on the crocodile story from own Papua New Guinean heritage, tapping into the culture of the crocodile and its symbolic significance. I’d like to thank the crocodile production team at Crocodylus Park for the opportunity to work closely and experience this amazing animal first-hand. My thanks also to the other artists, that have been part of the ‘Sonic Tides’ residency.

Jompet Kuswidananto’s Gallery

 

Image title coming

 

 Title coming by Jompet Kuswidananto

 

 

 

 

 

Image title coming

 

Title coming by Jompet Kuswidananto

 

 

 

Some notes from Jompet

A Model for a State and Memories

I met Mariano here. This has directed me to share memories with him of being in the same nation in the past. I was encouraged to share the relationship with individuals and a nation-state. It brings me to memorise, especially being under Suharto’s authoritarian regime in the past – where Mariano and I have been. From this short time together, always in our memory about the regime state – is violence. It brought me to a wider context – that the violence done by the state is not stand-alone, it is related to global scenarios. In this project, I put everything together as I collected memories I have from personal experiences, to collective historical perspectives, and are mostly images of violence. The key point of the project is my work as a way to share memories and experience, especially with Mariano personally.

The project was developed by Darwin Visual Arts Association artist run space in partnership with Darwin Festival and Charles Darwin University.

Project Management: Emma Schuberg www.elschuberg.com
Conception and Oversight: Kieren Sanderson www.kierensand.com.au

 

 

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