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By the entrance to the Melbourne Art Fair is a major commission by Dawn Ng - a video of a frozen block of pigment, that has thawed over 20 hours.
Condensed into a 20-minute video, it's mesmerising, disconcerting and a reminder of the brain-melting effects of rapidly consuming vast amounts of contemporary art.
The Melbourne Art Fair, which opens on Thursday, offers work by more than 100 artists from 70 galleries and Indigenous art centres.
Held at the Melbourne Exhibition and Convention Centre, it's a chance to see some of the latest work by leading artists and check out large-scale commissions that will soon be headed for art institutions.
One of these commissions is a tubular steel installation by Auckland-based artist Yona Lee, that sees her using kinetic elements for the first time.
Could this be the first ever artwork to deploy tubes, clocks, lamps, fans ... and robot vacuums?
The artwork titled Smart sculpture incorporates two of these, one bearing a mop and the other a broom, that meander about inside a steel frame.
Kuku Yalanji/Kalkadoon artist Kim Ah Sam's collection of woven sculptures Our Country are also mobile, although they don't keep the floor clean: made of repurposed materials such as old bamboo blinds, they hover and spin in the air.
The works are inspired by termite mounds and mountains, and each one is the product of hours of weaving and many sleepless nights, the artist explained.
Our Country is installed not far from an artwork that could not be more different - a bedazzled, LED-lit hearse titled F* Me Dead, by artist Paul Yore.
"It used to belong to a funeral home. I found it online, actually - I'm an avid collector of things," Yore told reporters.
New works by well-known artists were also on show at the fair's gallery booths, with dozens of paintings and prints by John Wolseley at Australian Galleries, inspired by the return of endangered animals to the Northern Territory.
At Roslyn Oxley9 Gallery there's the latest series of large scale photographs from Tracey Moffat titled The Burning, frontier landscapes that form the setting for one of Moffat's mysterious dramas, played out in a series of stills.
Meanwhile at Ames Yavuz, Reko Rennie - whose retrospective at the NGV finished up in January - shows off a recent move into figurative painting.
One standout booth is the Australian Tapestry Workshop, where collaborations with artists including Atong Atem and Janet Laurence are on show, and visitors can get a peek at vibrant samples from a major four-by-10-metre weaving project for the Footscray Hospital, due to be installed later in the year.
Possibly the most expensive work for sale is a $US200,000 ($A310,000) four-screen video work by the international art collective teamLab, on show at Sydney's Martin Browne Contemporary.
Whoever buys this will almost certainly be allowed into the Fair's VIP lounge, which is sectioned off using inflatable flesh-coloured walls - worth seeing, even if you can't get inside.
At MARS Gallery, Kenny Pittock continues his long-running series of shopping lists, from the tiniest scrap of paper rendered in ceramics, to a large scale aluminium version that reads "peas, bread cream, my red wine."
The galleries will be hoping Melbourne's art lovers will add some works of art to their shopping lists too.
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By the entrance to the Melbourne Art Fair is a major commission by Dawn Ng - a video of a frozen block of pigment, that has thawed over
20 hours.
Condensed into a 20-minute video, it's mesmerising, disconcerting and
a reminder of the brain-melting effects of rapidly consuming vast amounts of contemporary art.
The Melbourne Art Fair, which opens on Thursday, offers work by
more than 100 artists from 70 galleries and Indigenous art centres.
Held at the Melbourne Exhibition and Convention Centre, it's a chance to see some of the latest work
by leading artists and check out large-scale commissions that will soon be headed for art institutions.
One of these commissions is a tubular steel installation by Auckland-based artist Yona Lee, that sees her using kinetic elements for
the first time.
Could this be the first ever artwork to deploy tubes, clocks, lamps, fans ...
and robot vacuums?
The artwork titled Smart sculpture incorporates two of these, one bearing a mop and the other a broom, that meander about inside a steel frame.
Kuku Yalanji/Kalkadoon artist Kim Ah Sam's collection of woven sculptures Our Country
are also mobile, although they don't keep the floor clean: made of
repurposed materials such as old bamboo blinds, they hover and spin in the air.
The works are inspired by termite mounds and
mountains, and each one is the product of hours of weaving and many sleepless
nights, the artist explained.
Our Country is installed not far from an artwork that could not be more
different - a bedazzled, LED-lit hearse titled F* Me Dead,
by artist Paul Yore.
"It used to belong to a funeral home. I found it online, actually - I'm an avid collector of things," Yore told reporters.
New works by well-known artists were also on show at the fair's
gallery booths, with dozens of paintings and prints by John Wolseley at Australian Galleries,
inspired by the return of endangered animals to the Northern Territory.
At Roslyn Oxley9 Gallery there's the latest series of large scale photographs from Tracey Moffat titled The Burning, frontier landscapes that form the setting for one of Moffat's mysterious dramas, played out in a series of stills.
Meanwhile at Ames Yavuz, Reko Rennie - whose retrospective
at the NGV finished up in January - shows off a recent
move into figurative painting.
One standout booth is the Australian Tapestry Workshop, where collaborations with artists including Atong Atem and Janet Laurence are on show, and visitors can get a peek
at vibrant samples from a major four-by-10-metre weaving project for the Footscray Hospital, due to
be installed later in the year.
Possibly the most expensive work for sale is a $US200,000 ($A310,000) four-screen video work by the international art collective teamLab, on show at
Sydney's Martin Browne Contemporary.
Whoever buys this will almost certainly be allowed into the Fair's
VIP lounge, which is sectioned off using inflatable flesh-coloured
walls - worth seeing, even if you can't get inside.
At MARS Gallery, Kenny Pittock continues his long-running series of
shopping lists, from the tiniest scrap of paper rendered in ceramics, to a
large scale aluminium version that reads "peas, bread cream, my red wine."
The galleries will be hoping Melbourne's art lovers will add some works of art
to their shopping lists too.
Melbourne Art Fair runs until Sunday.
GAY KONTOL
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