Saturday, 18 August 2012

Museum of Fathers, Robert Lake, Lynne Barwick, Damien Minton Annex Sydney, Eamonn McLoughlin
Museum of Fathers: ACR/MEJ # 13-24 (photographic portraits) & # 26-37 (wood blocks)
Curator: Robert Lake for 2020 (Day 2: with Lynne Barwick, 16 August 2012), 
Gallery: Damien Minton Gallery Annex, Sydney
Photography: EMcLoughlin

Tuesday, 14 August 2012

Museum of Fathers: Deal series, #4

12 July 2013: Ramie Moussa has completed the silicon 2-part mould for this object. We are currently testing materials. 
India Zegan, Sculpture Performance and Installation, Eamonn McLoughlin
Museum of Fathers: Deal #4.0 (inverted knuckle buster), 2012.
Photography: EMcLoughlin


India Zegan Eamonn McLoughlin
Museum of Fathers: Deal #4.1 (inverted knuckle buster), 2012
Photography: EMcLoughlin


India Zegan, Eamonn McLoughlin
Museum of Fathers: Deal #4.2 (inverted knuckle buster), 2012. 
Photography: EMcLoughlin


India Zegan Eamonn McLoughlin
Museum of Fathers: Deal #4.3 (inverted knuckle buster) 2012.                                                                              Materials: Recycled chipboard from a wardrobe and epoxy resin.
Photography: EMcLoughlin


Reference image: My Father's wardrobe, courtesy realestate.com.au 2012


Monday, 13 August 2012

Museum of Fathers, Deal series, #3

Museum of Fathers, Deal #3, work in progress, March 2013
Materials: Cast bronze and recycled Christmas tree trunk. 
Photograph: India Zegan




India Zegan, Eamonn McLoughlin
Museum of Fathers, Deal #3, work in progress 2005- ongoing. 
Materials: Cast bronze and recycled Christmas tree trunk. 
Photography: EMcLoughlin


Sunday, 12 August 2012

Saturday, 11 August 2012

Friday, 10 August 2012

Museum of Fathers: Rooms and Hallways

India Zegan, an Hobbs


Schmatte, 2004, First Draft Gallery. Materials: found objects.
Photography: Ian Hobbs



India Zegan, Ian Hobbs
Schmatte 2004,: detail shot. Photography: Ian Hobbs
Ian Hobbs
Schmatte (2004): detail shot. Photography: Ian Hobbs


India Zegan, Chris Bajic
Bloodlines, 2001, site specific response to the young women's holding cell at the former Children's court, Albion Street, Surry Hills.
Materials: MDF, lead and two pack auto paint.
Photography: Chris Bajic
India Zegan, Chris Bajic
Bloodlines, 2001, site specific response to the young women's holding cell at the former Children's court, Albion Street, Surry Hills.
Materials: MDF, lead and two pack auto paint.
Photographer: Chris Bajic

 

India Zegan, Sydney
My Father's Hallway, 2010. Photo: India Zegan
India Zegan, Sydney
South End of my Father's Hallway, 2010. Photo: India Zegan

 

 

Wednesday, 8 August 2012

The Problem With India Zegan: Schmatte


India Zegan gave me two things to read: Marguerite Duras’s ‘The Cutter-Off of Water’ and a short story by Aleksandar Hemon. Here is some of Hemon’s story ‘Szmura’s Room’:
‘As small as the room was, it echoed with emptiness. Bogdan parked his suitcases flat in the windowless corner, took a sheet and blanket out of the unroped one, and spread them under the murky window – unequipped with mattress or duvet, this was where he would sleep. The room resembled an installation in a vacuous art gallery: the reflection of the ceiling bulb on the wood floor signifying the false surface of existence, the felled suitcases embodying the transitory nature of life – or, more specifically, the life of the subject, shrimped up in the corner against a bare, mispainted wall. Naturally it was very funny. During another poker game at Szmura’s…everyone filed into Bogdan’s chamber and found the installation uproariously amusing: they guffawed to the verge of retching and fell to the existential floor, while Bogdan sat in his corner, perplexed by all the wisecracks about his artsy-fartsiness.’
Bogdan is an immigrant clinging to the fringes of his new world. The poker players laugh because his room is exactly what it looks to be. It suggests artifice but is devoid of any. Bogdan’s room is just coincidentally a mannered tableau, a memento-mori of his tenuous existence.
Szmura is Bogdan’s landlord and flatmate. Szmura’s own room, he tells Bogdan, mustn’t be entered, even with an invitation. He suggests Bogdan think of the room as a minefield. Bogdan collects the notes Szmura leaves out for him: “Rent due Tuesday” and “The fireplace is not real.” Later, inexplicably, the notes are written in verse form:
“The door is either / Open or locked/ I like / Locked.”

Bogdan’s voice has been left back in the Bosnian conflict, where as a Ukrainian national, he was an oddity of a different sort. He is locked out of where he is, as well as where he was. Bogdan’s silence is bound up in place. His room is silent even though it simulates speech.
Marguerite Duras’s short piece ‘The Cutter-Off of Water’ tells the story of a young family also on the fringe of existence. A man, doing his job, cuts off their unpaid for water supply and tragedy ensues. Of the woman who dies without publicly protesting, Duras writes, ‘If she had explained herself she wouldn’t have interested me.’ For Duras it is a story of silence: missing and forgotten speech, absent protests. Duras considers the lost words:
‘Those three words, the last before the implementation of death, were the equivalent of those people’s silences all their lives. But no one has remembered what those words were.’
It is the missing words that India Zegan is interested in too.
India Zegan makes mementoes for places in which trauma has occurred. In a 2001 installation in the grim cells of Sydney’s Old Children’s Court, Zegan exhibited a pencil the size of a child. Another work, site/unseen, consisted of concrete cast into maps of Adelaide beats where a series of gruesome murders occurred in the 1970s and 80s. It is silenced voices and the places in which they were silenced that Zegan returns to again and again. Zegan speculates on the missing words and insists on doing so in the face of art’s inability to alter what has occurred. More than that, Zegan’s artworks directly engage with art’s own silent and muffled responses to other people’s trauma. Zegan asks what art can do beyond memorialising. The problem with India Zegan is that she doesn’t make it easy for us, or for herself. She asks if art fails: if the methods and mannerisms of art get in the way of our seeing of Bogdan’s room. 
‘schmatte’ is named after the Polish and Yiddish word for rag. Guantanamo-orange schmatty are rolled up like bandages and lined up above a makeshift residence. Zegan has staged for us a meeting of art and a life where the water has been cut off. 
References:
Marguerite Duras, ‘The Cutter-Off of Water’ from Practicalities, trans. B. Blay, Harper Collins, London, 1991, pp 90-94
Aleksandar Hemon, ‘Szmura’s Room’, The New Yorker, New York, June 14 & 21, 2004, pp 96-107

Schmatte (Szmura's room), 2004, First Draft Gallery, Sydney
Photography: Ian Hobbs

Lynne Barwick
Sydney, Firstdraft Gallery, August 2004
http://thethingsyoulikebest.blogspot.com.au 

Tuesday, 7 August 2012

India Zegan, Eamonn McLouglin
Museum of Fathers: ACR/MEJ # 37 (1 of 12 wood block plates, 2011-2012). 
Notes: To be printed as a embossed blind print.  
Materials: MDF, ply and shellac. 
Dimensions: Plate size: 24 x 30cm
Photography:EMcLoughlin                                                                                                                                                                     
Reference image: Documentation of Aloneness performance, India Zegan 1996, Sydney College of the Arts.    Performers: India Zegan, Judy Vivian and Sara Knox. Photographer: Brett Smith.

Monday, 6 August 2012

Museum of Fathers: ACR/MEJ 21/03/1968 objects

India Zegan
ACR/MEJ 21/03/1968: Work in progress, studio photo, June 2011. 
Notes: There are a total of 12 objects in this series. These objects were conceived as portraits of  a football team plus one on looker. They directly reference a primary document. 
Photo: India Zegan



India Zegan
Studio installation ACR/ MEJ for Salmagundi Open Studio, June 2012. 
Materials: ply, laser prints, velvet and found object
Dimensions variable, approx 3m x 2m x 1m. 
Photo: India Zegan



Sunday, 5 August 2012

Museum of Fathers #53: 'O' (2013-2015) and MOF#39: 30 irregular minutes (1999-2013)

India Zegan| Museum of Fathers #39| Work in progress, '30 irregular minutes' (1999-2013)

India Zegan| Museum of Fathers #39| Work in progress, '30 irregular minutes' (1999-2013)
India Zegan| Museum of Fathers #39| Work in progress, '30 irregular minutes' (1999-2013)

India Zegan| Museum of Fathers #39| Work in progress, '30 irregular minutes' (1999-2013)

India Zegan| Museum of Fathers #39| Work in progress, '30 irregular minutes' (1999-2013)

India Zegan| Museum of Fathers #39| Work in progress, '30 irregular minutes' (1999-2013)

India Zegan: Museum of Fathers| Work in Progress- 'O' (2013-2015)


India Zegan: Museum of Fathers| Work in Progress- 'O' (2013-2015)
 
 8th July 2013: Thrilled to be working with Ramie Moussa who is an excellent mould maker. Ramie's studio is next door to mine at Salmagundi Studios. 

Ramie is in charge of all things moulds, while I make the last adjustments to the remaining 2 objects in this suite. His work is as fine as any object that I saw at the Gipsformerei der Staatlichen Museen in Berlin last year. 

The image below shadows adjustments made to one pattern.


India Zegan| Museum of Fathers# 39| Work in Progress- '30 irregular minutes' (1999-2013)

India Zegan| Museum of Fathers| Work in Progress- 'O' (2013-2015)
India Zegan| Museum of Fathers| Work in Progress- 'O' (2013-2015)
27 June: Final sanding with '0000' grade steel wool to be completed this weekend. Silicon moulding commences on 1st July 2013.

13 June: Final edit to 'O' prior to silicon mould making. Black marker 'x' notations identify completed hand-polished diamond points. 'O' markings identify diamond point losses that require consolidation with a two-part epoxy and final sanding.



W.I.P '30 irregular minutes', end of May 2013.

25 May 2013: Iphone photo: India Zegan
24 May 2013: Iphone photo: India Zegan

24 May 2013: Iphone photo: India Zegan


24 May 2013. Iphone photo: India Zegan
Work: 18, May 2013. Test more fronts for 'H'. Iphone photo: India Zegan
Work in progress: 13, May 2013. Iphone photo: India Zegan
Work in progress: 13, May 2013. Iphone photo: India Zegan
Work in progress: 12, May 2013. Iphone photo: India Zegan




Work in progress, January 2012
Photograph: India Zegan
Work in progress, January 2013
Photograph: India Zegan


Work in progress, January 2013
Photograph: India Zegan

Work in progress, January 2013
Photograph: India Zegan



India Zegan, Eamonn McLoughlin
Work in progress: Editing text and consolidating mdf losses to manhole cover pattern #1(1995-ongoing). Diameter: 1075mm, depth: 32mm. 
Notes: To be re- cast as a limited edition in resin.  A/P poured 1995. 
Photographer: EMcLoughlin
India Zegan, Eamonn McLoughlin
Work in progress: Manhole cover pattern #2 (1999- ongoing). 
Diameter: 700mm, depth: 64mm.                               
Photographer: EMcLoughlin
India Zegan

Reference image: found object 2010. Photo: India Zegan