One has to applaud The Artists Foundation of Western Australia's Emerging Curators project which provides practical assistance, including mentorship and funding, to prospective curators. The first project candidate is Michelle Siciliano and Loop the inaugural exhibition..
The program (a catalogue will be available on conclusion of the show) warns us to "be prepared for the 'next generation' of contemporary practise" and promises "an array of connections and cross-references that will link you, the site and the work as you travel through the space" via "intersecting perspectives between local and global contexts" and no doubt that's what was originally intended but somehow didn't come to fruition. The program goes on to say "loop is out there" and it must be as there's very little of interest in here. We had a hard time finding any 'cross-references' or 'intersecting perspectives' between the installations except that all include white and are set up in the one site. The only contemporary connections are to power sources while the one global context that provides a link between all exhibits is 'what a waste'.
We attended the day after the official opening to find Caroline Mazza's exhibit was not operational; a typed note to that effect was posted at the entrance. But the program offered no title for, or explanation of, her contribution so we're left to consider if she was totally unprepared for the exhibition or if the dark empty space is in fact her 'installation'. Are we expected to return at a later date to see if anything is in the space and if it too will be white? Perhaps when we return to collect the exhibition's catalogue that also wasn't prepared in time for the opening. I think it will be a waste of time.
Kate McMillan comments on affluence, or the lack of it, with her installation In the Beginning is the End. It consists of empty white grain bags arranged quietly but not mutely, in a neat grid. Vanessa Mazza's Twinkle Twinkle Little Star installation consists of two light globe framed mirrors and a white shag floor mat that causes us to reflect on how inflated vanity or celebrity doesn't change reality. Both exhibits suggest the pursuit of success, be it fame or fortune, is a waste of effort. Then too, the exhibits suggest not much effort was wasted in preparing them.
We can waste some time playing with Katrien Jacobs's exhibit Libidot and Bubblejet 2001 Sexy Flowers yet it does make a serious comment on how love and sexuality are used, abused then thrown away, like so much waste paper. Select a porno site, print out a page and cut, tear, fold, spindle or mutilate the paper into a flower to add to the installation. It's fun and obviously many are participating.
The program names and thanks all those involved with each exhibit. One has to appreciate the generosity of artists who help each other set up installations, erect scaffolding or install electronic equipment so it won't crash, all labour intensive work. The best thing about this exhibition is how the helpers' efforts say more about friendship then the art says about ... whatever.
The exhibition Loop is the first of AFWA's emerging curators projects and if nothing else we hope it will prove to be a valid leaning experience for the participants. If so, then the exhibition must be deemed a success in its educational focus and the program should continue.