The life and times of Urs Fischer’s “Francesco” at Canberra’s National Gallery of Australia
While our current situation is making it difficult to enjoy and share first-hand encounters with art, I’ve taken the opportunity to return to a work that left a lasting impression on me when I first saw it at Canberra’s National Gallery of Australia just over one year ago. I’m also taking the time (since there’s so much more of it!) to experiment with a video delivery of what I’d normally put into written word and still image. This is the first one, and it’s far from professional, but I’m willing to be wobbly with something new. Feel free to comment on either the content or the format – or both!
While there is often a lot to be gleaned from the subject matter explored in art, there are instances when an artist’s choice of materials and techniques can make the meanings and ideas expressed in his/her artwork even more profound. I’ve chosen to share the work of two very unique APT9 artists, who have produced enormous commissions for the exhibition, with two key elements in common; both are comprised of thousands of objects intrinsically connected to cultural heritage and personal histories, and both have been shaped by empowering and meaningful practices and techniques.
transformation, community relationships and urban development in Cambodia are
central themes in Vuth Lyno’s work. His APT9 contribution, House – Spirit, is a beautiful and poignant sculptural construction
that references Phnom Penh’s iconic White Building, a vibrant residential hub
for artists, musicians and craftspeople, that stood in the heart of the city
until its demolition by a foreign developer in 2017.