Shan Crosbie explores the interplay between animals saved from the slaughterhouse and the media’s reporting of those situations.It emerges from an incident in which a pig escapes from a truck headed to the slaughterhouse and was adopted in a Chinese police station.
The work would have been better housed on a bigger wall in a wider space but it still has lots of power in the corridor gallery at M16 Artspace the work consists of six dozen of A4 size pictures of a pig in largely un coloured formats. The sixteen middle pictures have a large red “Prove it” stenciled over them It is a striking huge piece but the elements are sold individually. Judging by the sales spots the most popular pigs are the one covered with red paint.
Pics and galery material are below
17 March – 5 June 2016
There is another element of the flood of commemoration of the Anzac myth in the upstairs gallery at the Australian Parliament. It is a collaborative display of commissioned prints. Each print takes a different perspective on the ANZAC experience. One looks like a ghostly pale reproduction of the roll of honour at the Australian War Memorial. Another picks up on the difficulty of communicating within the experience of war. The artist uses fragments of things which have a connection with Gallipoli and turn them into a code.
“The portfolio consists of 10 prints, one by each artist: Mike Parr (Aus), Fiona Jack (NZ), Megan Cope (Aus), Daniel Boyd (Aus), John Reynolds (NZ), Shane Cotton (NZ), Sangeeta Sandrasegar (Aus), Helen Johnson (Aus), Brett Graham (NZ), Sriwhana Spong (NZ).” (APH website link below)
The exhibition includes the print which is accompanied by a clear artist’s explanation of their take on the Gallipoli reflection. The project and the exhibition is from the Australian War Memorial. There are a sample of phone pics below to give a flavour of the exhibition. The link below is for the APH page for exhibitions.