Mirage 1998

Alex Gawronski: Mirage, 1998

South, Surry Hills Sydney

(Timber, MDF, paint, saw horses, tools + miscellaneous installation detritus, garage handle)

Switch 1998

Alex Gawronski: Switch, 1998

‘Sleepwalker; Caravan project’ 1998, various locations Adelaide; curated by Bronia Iwanczak; ‘The Moet and Chandon National Touring Exhibition’ 1999, Art Gallery of South Australia, Adelaide; Art Gallery of New South Wales, Sydney; National Gallery of Australia, Canberra; RMIT Gallery Storey Hall, Melbourne

(Resin, enamel paint, split-pin, wire)

Stylus 1998

Alex Gawronski: Stylus, 1998

191 Regent St Gallery, Redfern Sydney

(Scale model train + tracks, transformer, wiring, sensor)

A replica engine perpetually cycles around a circular track attached to the very top edge of the gallery walls. As a result, the gallery space becomes a resonating chamber with the locomotive now ‘playing’ the gallery. Rather than a mere narrative presentation, the mini-engine circling the room instead transforms the gallery into a kind of machine. The empty, but otherwise heavily encoded site, is activated in the process of its presentation as art.

Withdrawing Breath 1998

Alex Gawronski: Withdrawing Breath, 1998

‘Petrol’, Volvo Gallery, CBD Sydney; curated by Bronia Iwanczak and Philipa Veitch

(MDF, timber, enamel paint, galvanized iron tubing, motor, timer)

In this work, the social ubiquity of the car in contemporary society is interrogated ironically. The abstract constructed object imitates a car boot. A motor vibrates from within the object at specified intervals. Meanwhile the ‘exhausts’ fixed to the wall locate the car equally as an instrument of death by asphyxiation; one only need think of the manner in which the original and otherwise benign ‘People’s Car’ (the Volkswagen) was also deployed under German Nationalist Socialism to suffocate political ‘undesirables’. The car is a status symbol of compromised origins.

Sad Art 1998

Alex Gawronski: Sad Art, 1998

1st Floor, Fitzroy Melbourne

(MDF, acrylic paint, spray enamel, turntables + record – locked groove – cassette player + 6 loop tape, sensor, amplifiers, cable)

Twin objects face each other across the gallery space. Out of one ‘naive’ folk music issues whilst from the other at intervals, comes an endlessly repeated and bombastic orchestral crescendo. The dialogue thus created simultaneously acts as an implicit critique of commodification; insistence of the same dominates the singularity of difference. As for the sadness alluded to in the title, it is a useful means by which artists are rendered by convention, and via a similar mechanism, necessarily both exceptional and dysfunctional. Robbed of agency, other than a representational one, the artists ‘products’ can safely be left then to industry ‘experts’ to define and disseminate. The physical model for these geodesic solids is Albrecht Durer’s famous ‘Melancholia’ etching, an early precursor of an image of the artist beset by the uniqueness of their subjective position that became so desirable for later corporate, bureaucratic societies like our own.

Written by alex gawronski

September 27, 2013 at 8:24 PM

Posted in 1998