RONE in Geelong

Public art galleries need to attract paying customers if their funding derived from government grants is being cut. To pull in the punters, galleries have to resort to “blockbuster” exhibitions. In these uncertain, post lock-down times, the lack of international tourists means that galleries are forced to focus on local audiences. It’s good to showcase local talent in the shape of conquering heroes returning to their roots.

These may have been some of the arguments behind the Geelong Art Gallery‘s decision to mount a retrospective exhibition featuring the work of street artist Tryone Power (aka RONE). Of course, the planning began long before COVID struck, but otherwise the above assumptions would seem to be valid.

Let’s acknowledge the positives of this show: First, it is certainly pulling in the punters, and helping to bring in visitors and their wallets to the town. Second, it is hopefully creating a platform for future exhibitions, and public engagement with the Gallery itself. Third, it’s nice that a locally-born artist is being recognised (even if he has had to travel afar to make a name for himself at home).

Unfortunately, that’s where it ends, for me. My recent visit was probably the shortest time I have spent in an exhibition which I had paid to see. Overall, I found the work vapid – there was nothing of substance (nor anything challenging) underneath the painted surface, or behind the concept of “beauty and decay”. As a street artist, RONE does not have the wit or depth of a Banksy; as a conceptual/installation artist, he’s no Christo. The main images he creates or imposes on his work are highly stylised and extremely idealised portraits of young women – it’s a very limited exploration of “beauty”. At best, the work reveal something interesting about abandoned and overlooked locations. At worst, the installation reeked of interior decor magazines and displayed a taste for romanticised and sentimental kitsch.

Which is all a great shame, because given RONE’s apparent interest in deserted and decaying structures, there is a deep and rich vein of Australian Gothic he could have tapped into. (In comparison, think of the work of Nick Cave, Peter Weir, Peter Carey, Julia deVille, Rosalie Ham, etc.)

Despite the use of physical objects, this exhibition felt very one-dimensional. Artists as disparate as Helen Chadwick, Paola Rego, Cindy Sherman and Rachel Whiteread have all deployed notions of female beauty, decay, abandonment and destruction to far greater effect and impact.

Next week: Intersekt FinTech Pitch Night

NGV Triennial

As Melbourne and Victoria continue to emerge from lock-down, it was great to see that the NGV International has re-opened for the summer with the latest edition of its Triennial show. And while we should all be grateful to have the opportunity to visit this exhibition in person (rather than on-line), it’s not without some shortcomings.

Refik Anadol: Quantum Memories (image sourced from NGV website)

First, the good news: no doubt it was a logistical headache to co-ordinate this exhibition while Melbourne was in strict lock-down for much of the past 10 months. Making admission free is also a wonderful public gesture given that the local population was starved of art exhibitions for most of last year – in particular, we missed out on the NGV’s winter blockbuster season.

The curators are also to be commended on assembling a diversity of artists, work and media; and for placing a great number of these new pieces among the NGV’s permanent collections, which forces visitors to assess these contemporary exhibits within the context of historic work.

But that’s probably where the positive ends.

A major drawback of this exhibition is the lack of anything truly ground-breaking, innovative or even challenging. It all felt very safe – but maybe that’s just what we needed after our extended social isolation: work that is comforting, familiar, cozy, cuddly, soothing, and certainly bright (lots of lively colours).

As a result, however, there seemed to be an emphasis of form over substance, technique over content, and scale over context. Much of the three-dimensional work felt flat and one-dimensional. Even the opening centrepiece, Refik Anadol’s “Quantum Memories” that dominates the entrance lobby, is a classic example of the “medium is the message”. Comprising a giant digital screen (incorporating a clever trompe-l’œil 3-D effect) to stream animated, computer-programmed images, ultimately gave the impression that this was all about the technology and the scale of the work. It was difficult to identify any meaning beyond mere decoration.

And unfortunately, “decorative” was a recurring theme, alongside some rather kitsch and lazy imagery – especially the digital and animated wallpaper that featured in several of the permanent galleries. These “displays” reminded me of cheesy son et lumière or pedestrian CGI effects – it may be technically adept, and even stylish to some degree, but that’s as far as it goes. Perhaps “deep” and “complex” are out of favour at the moment, as we make way for “shallow” and “simple”.

While some work might attempt to convey a more profound response, when shorn of its original context, the message is lost and the result is a void. I wasn’t necessarily looking for “deep and meaningful”, but I was hoping to be provoked or inspired. Or at least have my curiosity piqued.

Triennial? Could try harder.

Next week: Expats vs Ingrates?

Hicks vs Papapetrou

Another compare and contrast this week, and like last week, based on a current NGV exhibition – this time, head-to-head retrospectives of two Australian photographers, Petrina Hicks and Polixeni Papapetrou.

Petrina Hickson – “Peaches and velvet” (2018) – image sourced from NGV

The challenge for contemporary photographers is the ubiquity of the medium. Anyone with a smart phone can be a “photographer”. At a basic level, the technology to capture photographic images is accessible to all, and no special skill is required. Add to this the impact that advertising, magazines, fashion, portraiture, reportage and social media have had on the way we view images, and there is a risk that audiences detect no difference between what they see on a billboard poster, in an on-line news article, on Facebook/Tumblr/Instagram/Twitter or in an art gallery or museum.

In these two particular shows, I think the NGV is trying to re-establish a platform for contemporary photography as an art form, and not merely as a technical means of capturing and creating images. (Selfies, holiday snaps and wedding photos are all very well, but they ain’t necessarily art.) It’s an admirable ambition, but I’m not sure these collections are the best examples on which to build such a thesis.

Polixeni Papapetrou – “Prize Thimble” (2004) – image sourced from NGV

Both photographers produce highly stylized, almost trademark images, which reveal a very methodical and deliberate approach to their work. Everything is highly choreographed, deliberately posed and meticulously arranged – nothing is left to chance, giving an overwhelming sense of artifice. These photographs are hyperreal yet also quite literal – what you see is what you get. This is not to say they lack formal narrative or even additional meaning, but despite their obvious visual appeal, it’s hard to see much beyond the images themselves.

In Hicks’ case, as well as recurring images, arrangements and visual motifs, the works on display reveal a very defined (even limited) colour palette, especially as many tones appear washed out, almost over-exposed. While Papapetrou’s work mostly feature her own daughter, in various staged settings, some of which allude to well-known fictional stories,  historical events, myths, legends and fairy tales. Despite both these exhibitions being retrospectives, based on these selections you would be hard-pressed to say there was much in the way of artistic development – there’s a sameness to both sets of images.

Despite each photographer having a distinctive style, there are also echoes of many other photographers – notably Julia Margaret Cameron, Madame Yevonde, Claude Cahun, Meret Oppenheim, Cyndi Sherman and Polly Borland among them.

Next week: The Current State of Popular Music

 

 

 

Pitch X’s Winter Solstice

The latest Pitch X event, organised by Academy Xi and hosted by YBF Ventures, was held a few days before the (Southern hemisphere) mid-winter – there may not have been any mulled wine, but there was still a warm atmosphere on a cold and wet Melbourne evening. The judging panel was drawn from YBF, Melbourne Angels, Linfox and Clearpoint Ventures.

The usual format applied: 11 startups were each given 90 seconds to pitch, followed by a 90 second Q&A with the judges. The top three were then brought back for a 5-minute pitch, and 4 minutes of Q&A.

The pitches, in order of presentation were (links in the names where available):

Startup 101

A self-styled online startup school, targeting university students and recent graduates. The core premise is that entrepreneurship is not being taught to undergraduates. The judges asked about the MVP, which was not clear, nor was there a breakeven forecast based on the number of students. The founder is offering a freemium model, based on memberships and services. Looking $500k for software development and marketing in China (a key demographic for this business).

Studio Ninja

This is a cloud and mobile PaaS solution for professional photographers. I first covered Studio Ninja in late 2016, when they pitched at a StartupVic event – and it’s great to see that they have managed to bootstrap themselves this far.

Professional photography is competitive, but margins are low. Studio Ninja offers an end-to-end platform for scheduling, contracts, payments etc. They have now integrated with Xero, QuickBoooks, Google, PayPal and Stripe, and have built a community via their chat app, Facebook group and Instagram account. At a basic $29.95 per month, they now have 4,000 paying subscribers, mainly in Australia, UK and US. but need to reinvest in product development, scaling and building further efficiencies. Users are offered a 30-day free trial, with an average 25% conversion rate, thanks to the hook of discounts for early sign-ups, plus a referral program.

RoamingDuck

Calling itself the “Uber of travel”, RoamingDuck offers travelers access to curated itineraries, based on their personal preferences. Using freelance resources (along the lines of Upwork and Airtaskr), the service uses a travel planning dashboard on which the customer and the curator can collaborate. With a quick turnaround, RoamingDuck can help customers build and review an itinerary within 12 hours. With the ability to consolidate and share, the content is easily accessible to users, who can plan anything – even supporting “self-plan” users with a search function.

Freelance curators come from the ranks of existing travel bloggers and services like Travelo, and are subject to a vetting process. There is also an escrow system, so freelances only get paid when the customer is satisfied. Normal travel agents are quite restricted on what they can access or offer, and services like Skyscanner are great for searching individual fares – RoamingDuck is solving the planning issue, and building the itinerary. Asked whether RoamingDuck can support actual bookings, the founder will likely implement this via APIs.

Wastr

According to the founder, households waste about 20% of the food they buy. Wastr is an AI-powered app that is designed to help consumers use what they purchase, rather than letting to go to waste. The solution allows subscribers to scan their grocery receipts, and in return they will receive recipes, notifications on expiry dates, plus other reminders. The app is offered under a freemium model, with a paid service starting at $2 per month.

VRWalker

Described as “VR for your foot” (or the “mouse” for VR), this is a motorised shoe device that allows wearers to experience”walking” within VR applications, without actually moving.
It’s an idea that has been around for a while, but the founder claims to have filed key patents. The shoes work on the concept of intuitive locomotion (linked to the dantian, or our centre of gravity), and are intended to be much cheaper and much more convenient than existing treadmill-based solutions. The founder hopes to have a working prototype by the end of this year. Likely customers will come from areas like construction, engineering and gaming. The judges asked about how insurance would be handled, and the device could be bundled with existing VR headset devices.

The Nurture Project

The Nurture Project is designed to teach life skills to deal with anxiety issues, which according to the founder, affect 30% of the population. Unlike other solutions, this treats the causes as well as the symptoms, using a well-being model built on 5 core pillars, and delivered via a 12-week online program. It is currently aimed at women in their 30s and 40s.

Natural MedTech

Designed to boost the immune, hormone and nervous system naturally, this has come out of a CSIRO project, with a scientific basis that has been peer-reviewed.

Magicast

This is a decentralised online podcast recording and editing service. Existing podcast software is either too complex, or too expensive. Instead, Magicast uses web-based programme development, publication and distribution, offering a two-sided marketplace for content, sound effects, music etc. The judges asked about international competitors, given that podcasting is very much a cottage industry, with relatively few barriers to entry.

Turtle

Something akin to an Uber courier service, Turtle enables customers to obtain goods from overseas that are not available where they live. Targeting expat and diaspora populations, the platform has an escrow function to provide a level of trust. It was not clear who would be responsible for tax, customs and quarantine issues.

Young Shaman Foundation

Having run a number of leadership development retreats on country for women in indigenous communities, the founder is now seeking funding to develop and extend the program she currently offers.

SecureStack

Helping companies to secure the cloud, with a focus on cyber security, the founder pointed out that key problems are caused by “cloud sprawl” – the uncontrolled proliferation of content, services and applications hosted and running on cloud-based servers. Using a proprietary cloud infrastructure security design, the startup has already secured two clients and $100k in revenues. Now looking to raise $2m, for an 18-month runway, in order to gain 100 clients. The solution is agnostic as to which cloud service clients use. Traditional cloud management and compliance is saturated, whereas SecureStack’s value proposition is in the security layers.

After much deliberation, the winners were:

1. StudioNinja
2. RoamingDuck
3. VR Walker

Next week: The Metaphorical Glass Jaw