To the ends of the earth and back: PART I
I was raised in Australia and my immediate family still resides there, necessitating regular pilgrimages to the ends of the earth and back. That is no exaggeration. Australia is a hell of a long way away from anywhere, which may actually explain why everyone there is just so-o-o nice! One of my art goals this time round was to visit the wryly named Museum of Old and New Art (MONA) in Tasmania. This relatively new museum has placed sleepy Tasmania, the large island to the south-east of the main continent, on the global art map. Tourists are flocking in to visit this unique museum which is reached by ferry from Tasmania’s capital, Hobart.
The understated exterior architecture represents the tip of the iceberg of this underground museum, which was dug into the cliff face and descends six floors down into the bowels of the earth. I personally prefer a museum to literally vibrate with natural light. It was only several days after an intense visit to MONA that some research revealed that the museum is in fact perfectly designed for the collection. But I am getting ahead of myself. The story behind the art museum is almost as interesting as the art itself. The $80 million wonder houses art estimated at over $100 million and has already been hailed as the Bilboa of the Southern Hemisphere. Not too shabby considering that the collection belongs to one individual – 50-year-old multi-millionaire David Walsh, a homeboy who made his fortune by gambling. A modern-day tale ripe for the big screen. For a truly fascinating read into Walsh’s unorthodox thinking and anarchic personality take a peek at Amanda Lohrey’s interview for The Monthly.
Even before learning of Walsh’s anti-citadel approach to museums, the cave-like undertones mirrored the often dark and disturbing art. The collection is at once wild, downright gross and superb. And every so often the parade of mostly contemporary works is interrupted by ancient treasures such as a mummy in its own temperature-controlled room, or prescious Ming dynasty vases dotted around the various halls. It must be wonderful to be David Walsh, to be able to purchase art which appeals only to your sensibilities and not blink at the outrageous price tags, nor worry about pleasing the public, the board of directors or the donors.The works were relentlessly challenging and the scope overwhelming. I am devastated that I did not conscientiously research the names of the artists when I took photos of the following artworks but in the absence of any labelling, I am not entirely to blame.
One of the very coolest features offered by the museum is the option to view your own personal tour of MONA after you leave. The touch screen on the museum’s smart guides record the artworks you tapped and when you are done for the day you can request a link to your individualized experience for future reference, with full info and 3-D images of the art you saw. Please check out part of my personal tour (use the password firstname.lastname@example.org). My tour focuses on the enormously talented Wim Delvoye, creator of the poo machine, illustrator par excellence and unparalleled conceptual artist. Click here for the latest revolutionary exhibition Theatre of the World.
So next time you think of Australia solely in terms of koalas and kangaroos, think again…!
(Postscript July 10, 2012: Astronomical Tax Bill Stalls MONA Expansion: In Australia, quirky art collector and professional gambler David Walsh is in hot water over a backdated tax bill to the tune of over $40 million. While Walsh denies that his personal finances will force the closure of his private museum, Tasmania’s Museum of Old and New Art, he acknowledged that a planned expansion, which has already cost him $180 million, will have to be put on hold. [Sydney Morning Herald])