tag:blogger.com,1999:blog-5265813806993497215.post2810630452363875917..comments2024-01-29T00:22:36.258-08:00Comments on e y e C O N T A C T: Malone livesJohn Hurrellhttp://www.blogger.com/profile/07411877334096071312noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-5265813806993497215.post-72222814395196952012009-08-08T05:07:59.884-07:002009-08-08T05:07:59.884-07:00My God,I certainly got that wrong. Apologies to th...My God,I certainly got that wrong. Apologies to the two Daniels for any embarassment I might have caused.John Hurrellhttps://www.blogger.com/profile/07411877334096071312noreply@blogger.comtag:blogger.com,1999:blog-5265813806993497215.post-47413276340788926282009-08-07T23:48:31.271-07:002009-08-07T23:48:31.271-07:00Hi John, it seems only my first name appears, sorr...Hi John, it seems only my first name appears, sorry for the confusion<br /><br />Daniel MunnDaniel Munnhttps://www.blogger.com/profile/15573764092868938894noreply@blogger.comtag:blogger.com,1999:blog-5265813806993497215.post-58402504085069241652009-08-06T22:59:20.258-07:002009-08-06T22:59:20.258-07:00This comment has been removed by the author.John Hurrellhttps://www.blogger.com/profile/07411877334096071312noreply@blogger.comtag:blogger.com,1999:blog-5265813806993497215.post-57754156886617648302009-08-06T22:35:37.096-07:002009-08-06T22:35:37.096-07:00This comment has been removed by the author.John Hurrellhttps://www.blogger.com/profile/07411877334096071312noreply@blogger.comtag:blogger.com,1999:blog-5265813806993497215.post-87191644855056893372009-08-06T20:44:51.111-07:002009-08-06T20:44:51.111-07:00Thanks very much John for covering this exhibition...Thanks very much John for covering this exhibition; it left me with several questions which I will attempt to answer by adding a few details to your account.<br /><br />Using a single light bulb, Malone then moved around the audience with the mirror, showing them the presence of three documents hidden behind the reflective glass, "You can see yourselves as well... I thought of that."<br /><br />As you describe, Malone's exhibit and performance incorporated "cleverly placed, linking poetic threads," and "interconnected actions [which seemed] ad hoc, almost accidental." The constellation of sculptural pieces also included, before the performance, a silken black cloth hung in the form of graduation gown (or reaper’s cloak) over the mirror. The objects, which no doubt play a part in Malone settling in to his new place of residence and teaching position in Poland, set the scene at Gambia Castle. Through his performance he then supplements this setting with elements from other relevant times and places, (Teststrip, the Govett Brewster, etc) which you list. By incorporating these supplements he places the room of the exhibition seamlessly into a larger story. Malone’s process of constructing the exhibit borrows a quality prevalent in social networking (and also tourism and education) in which engagement dictates the direction and nature of the outcome.<br /><br />Another way in which the performance supplements the exhibition is in identifying accidental elements, unforeseen gaps between Malone's intention and the resulting exhibition. His attempt to bring a copy of the book Malone Umiera to New Zealand which was unsuccessful and lead him to photocopy it. His plans, due to the fact that his Polish teaching visa is expiring, to start a new company and to marry; both of which may offer him a way to stay in Poland. Perhaps also his choice of a small New Zealand Braeburn apple to feature on the teacher’s desk; not one of the luxury grade apples which Billy Apple plans to sell in Dubai, nor a large, shiny Pacific Rose. Like the areas where his white face makeup had rubbed off (or had not been applied) these elements appear to be areas where Malone’s fiction comes head to head with real necessity, failure, and opportunity. <br /><br />Edward Hanfling recently wrote (in Art New Zealand Winter 2009) of Philip Trusttum's work, "The exhibition had none of his recent paintings of toy trucks, which are undoubtedly too big for the gallery, but even those works, gorgeous though they are, are broken up into smaller, awkwardly abutted segments. Would it not be magnificent to see a simple portrayal, with no trifling interruptions, of a big, dumb truck-a vast, unalloyed sheet of Trusttum colour?" Similarly I think one should ask, could The English Teacher and its accompanying performance be refined, and towards what essence? As Malone’s domain is one of engagement, one way in which it could expand is with unexpected partners, sold out in a new country.Daniel Munnhttps://www.blogger.com/profile/15573764092868938894noreply@blogger.com