Glenn Walls – SUPER CREATIVE GRID

The Grid. Le Corbusier, Unite d’Habitation 1946 – 52. 2011 & 2012

Posted in The Grid by Super on February 20, 2011

Glenn Walls. The Grid. Le Corbusier, Unite d’Habitation 1946 – 52 Vs Superstudio. Ink on paper. 2012

Posted in Superlost again by Super on June 17, 2010

THE DUAL MEANING OF THINGS

WESTSPACE, MELBOURNE

20 August – 12 September 2009

Website: https://westspace.org.au/exhi/6232/the-duel-meaning-of-things

Glenn Walls, Duel Meaning of Things, Wood, baseball bats, mirror tiles, fluorence lights, 2009. 

  

Glenn Walls, Dual Meaning of Things, 2009                       Superstudio, The Continuous Monument, 1968 -71

Quaderna designed by Superstudio, 1970. Reworked for Superlost installation 2010. Back image taken from Zonatta Magazine.

SECRET FILES FROM THE WORKING MEN’S COLLEGE

RMIT PROJECT SPACE/SPARE ROOM, MELBOURNE

5 February – 25 February 2010

Artists exhibiting: [Anon], Rhett D’Costa, Richard Harding, Kate Just, Nik Pantazopoulos, Spiros Panigirakis, Drew Pettifer, Jon Riethmuller, Jonas Ropponen, David Sequeira and Glenn Walls.

Website: https://www.intersect.rmit.edu.au/-ps-sr-/secret-files/

Website: https://www.intersect.rmit.edu.au/2010

Superlost. Exhibited at RMIT Project Space and Spare Room, 2010

Posted in Projects for Total Urbanisation by Super on June 17, 2010

PROJECTS FOR TOTAL URBANISATION

RMIT BUILDING 49, MELBOURNE

PhD Examination exhibition
ONE NIGHT ONLY

Friday 13 November 2009
6 – 8 pm

RMIT Building 49
Gossard Exhibition Space
Level 3
67 Franklin St (Just around the corner from Swanston St. Opposite ALDI)
Melbourne

Glenn Walls. Construction of Project for Total Urbanisation No 1. Balsa wood, 2009

Glenn Walls. Construction of Project for Total Urbanisation No 1. Balsa wood and expanding foam, 2009

Glenn Walls. Construction of Project for Total Urbanisation No 2. Balsa wood and metal stand, 2009

Glenn Walls. Construction of Project for Total Urbanisation No 3. Balsa wood and expanding foam, 2009

Prototype for Sophisticated Living 10, 11, 12 & 13

Posted in Sophisticated Living 4 (Team Australia) by Super on January 23, 2009

TEAM AUSTRALIA

CARLTON HOTEL & STUDIO

4 December – 20 December 2008

Jeremy Drape, Emily Ferretti, Veronica Kent, Annika Koops, Brendan Kee, Kiron Robinson, Natalie Ryan, Utako Shindo, Jackson Slattery, Salote Tawale, Glenn Walls.

Curated by Veronica Tello

Glenn Walls.  Installation view. Painting of wall.

Glenn Walls. Prototype for Sophisticated Living 10, 11, 12 & 13 . Installation view.

Glenn Walls. Prototype for Sophisticated Living 10. Baseball bats, mirror tiles. Installation view.

Glenn Walls. Prototype for Sophisticated Living 11. Adidas skull caps sneakers, mirror tiles. Installation view.

Glenn Walls. Prototype for Sophisticated Living 12. Adidas ice skates, mirror tiles. Installation view.

Glenn Walls. Prototype for Sophisticated Living 10, 11, 12 & 13 . Installation view.

Glenn Walls. Prototype for Sophisticated Living 10, 11, 12 & 13 . Installation view.

In the past fifteen years, the Australian art industry has demonstrated a vigorous approach to immersing artists within the international networks of contemporary art. However, for the most part, there remains a feeling, or a concern, that we merely inhabit the margins of such networks. In such light, it is interesting to consider the aesthetics that shape or rupture our perception of Australian art and culture. This exhibition presents a part of the multitude of contemporary art practices and points of view in Australia.

Using strategies of response, appropriation, reenactment, or mimicry, the artists in team australia present a variety of interpretations to the concept of Australian art history. In the series Between a Rock (2008), Brendan Lee signals to a variety of iconic Australian symbols such as the gum-tree, a Chico roll at Cronulla beach, and cultural products such as Peter Weir’s Picnic at Hanging Rock (1975), Frederick McCubbin’s Lost (1886) and Bruce Beresford’s Puberty Blues (1981). Lee’s Between a Rock places at its centre the artist’s pre-occupation with notions of place and its history, especially as it is produced and reiterated by popular culture. As Lee’s work demonstrates, such re-presentations of iconic landscapes can paradoxically bring about a sense of dislocation, or antagonism, rather than an association or nostalgia, for what can and does ensue is a negotiation of clichés about Australia, perhaps such as those gratingly provoked by pop culture products such Baz Luhrman’s Australia (2008). In Natalie Ryan’s semi-precious (d.h skull) (2008), a lamb’s skull is used to appropriate the celebrity artist Damien Hirst and his diamond-encrusted human skull For the Love of God (2007). Ryan’s work mimics the presentation of Hirst’s art as intensified spectacle, as evidenced by its price tag of US$99 million and the amount of security surrounding the object, which as Hirst’s business manager has stated is “more synonymous with an international airport than an art gallery.” With economic restraints, Ryan mimics Hirst’s work and its presentation, transformed of course by the decaying environment of the Carlton. Ryan and other artists in this exhibition formulate an aesthetic that is thoroughly intertwined with a sense of internationalism, where the overwhelming influence of European and American art is emphasized. This sense of internationalism can come in the form of artist-in-residencies and their effect on artist’s practice, as demonstrated by Koops who undertook a residency in Rotterdam’s Foundation B.A.D during 2007-2008. Her work for this exhibition, Untitled (2008) is a continuation of her research in the Netherlands, particularly on Dutch Renaissance painting, and is also an excavation of art historical resonances in current visual culture. Koops states, “By means of comparative analysis, my work examines the ambiguity of gesture, expression, and contextual meaning…these images present altered and constructed states, which cross-fertilize and muddle meaning and status as well as the methodologies related to production and their perceived categories”. Within the context of this exhibition, it is also important to note the effect of artist-in-residencies on Australian contemporary artists, which has arguably given birth to a vigorous and focused approach to contemporary art discourse, and the possibility of interpolation within and outside Australia. This inside/outside dichotomy is also presented by Jackson Slattery and his small, detailed, and engrossing watercolour works. Slattery’s Mistakes We Wish We’d Made (2007-2008) is a series of false representations of Russia, which have been assembled from a variety of image sources derived from the photo-sharing site Flicker. As such, they are reflections of an outward-looking and perhaps omnipresent subject, who knows of the subject matter that he depicts through a series of assumptions. This outward-looking mode of being is also found in Emily Ferretti’s Punching Bag (2008) and Training Curls (2008). An image of the word ‘training’ is placed parallel to an image of a punching bag hanging on a gum tree. The artist describes the combination of this text and image as a reference to a working-class psyche of ‘training’ to better one’s economic situation and an obsessive form of discipline employed as a means to reach a higher plane. The artist, as a marginalised figure within Australian culture, is replaced by the allegory of the boxer.

In the work of Tawale and Walls, the work of the British artist Sarah Lucas and the Italian group Superstudio is appropriated respectively. Lucas’ autobiographic work suits Tawale’s own concern with her discomfort of the stereotypes that accompany the tags of identity – she is an ‘Australian-Islander lesbo artist’, a point that seems to be the relentless focus in the interpretation of her work. Tawale’s use of kitsch materiality (after Lucas) emphasises what she perceives to be an awkward stereotype relevant to her identity. Here, the ‘collaboration’ with Lucas, for the purpose of extracting an effective working methodology for Tawale’s artworks, is a case in point about the multiple influences on Australian artists. Likewise, in Walls’s work, the radical architect group Superstudio, which was founded in 1966 by Adolfo Natalini and Cristiano Toraldo di Francia, plays a significant role in informing Walls production of objects, which he dubbs Prototypes for Sophisticated Living. In 1969, Superstudio presented The Continuous Monument project, visually defined by a series of grids, which form the material and formal basis of Wall’s presentation of mini-architecture or mutated commodities, such as the Adidas shoe. Walls explains “the apparently endless framework of a mirror or black and white grid – which was to become the group’s [Superstudio] best-known motif – extends across the earth’s surface in a critique of what Superstudio saw as the absurdities of contemporary urban planning.” This absurdity and complex relationship to space is at the core of Walls own critical explorations of contemporary space and commodity culture. Veronica Kent’s work, Duck Traveller/Where Babies Come From (2008) is a development of her investigations into telepathy, bestiality, fainting, and haunting and is also, as the artists says, a development of her explorations into “the stories and aesthetics of Greek mythology, Christian parables and ‘new age’ imaginings (along with the wilder assertions of psychoanalytic theory and metaphysics).” Throughout these works, the influence of Euro-American art history and discourse is palpable.

Team Australia catalog essay written by Veronica Tello

Prototype for Sophisticated Living 5, 6, 7 & 8

Posted in Prototype for Sophisticated Living 3 by Super on January 7, 2009

RMIT/SIEMANS Post Graduate Awards Exhibition

RMIT GALLERY

December 2008

adidas-skull-21

Glenn Walls. Prototype for Sophisticated Living 8. Addidas soccer ball. 2008

prototypes-for-sophisticated-living-567-8

Glenn Walls. Prototype for Sophisticated Living 5, 6, 7 & 8. Addidas soccer ball. 2008

prototype-for-sophisticated-living-6-7

Glenn Walls. Prototype for Sophisticated Living 7 & 8. Baseball bat, mirror tiles, Addidas soccer ball. 2008

 

Prototype for Sophisticated Living 5, 6, 7 & 8 where also shown as part of Neo Pop held at John Buckley Gallery 3 December – 7 December, 2009. 

Artist exhibiting: Howard Arkley, Rae Bolotin, Marcel Cousins, Janenne Eaton, Kate Just, Christopher Langton, Callum Morton, Scott Redford, Stuart Ringholt, Carl Scrase, David Wadelton, Glenn Walls. 

 

Review of Neo Pop in The Age Newspaper, December 10, 2008, by Robert Nelson.

Going Home

Posted in Going home (Digital prints) by Super on December 6, 2008

Glenn Walls                                                                                                 Ludwig Mies van der Rohe, Farnsworth House, 1945 – 51

Untitled (Going Home) is a series of digital prints photographed in the house I grew up in. Located in Melbourne the house had been in the family for almost fifty years. However growing up in this house, I dreamt of living in another world, a modernist world. This world consisted of clean lines, white walls and minimalist furniture that had no connection to past histories or memories.

In June 2006,  the house was left vacant and up for sale. Realising the house would soon be out of my family possession, I went back to document my connection to the house, its history and more importantly my memories. For a few short weeks I had the opportunity to act out my childhood fantasy of connecting my family home to a particular form of modernism I only know through books and the Internet, however at the same time allowing the house to shine in its blandness as a place of memory.

 

Broke – Prototype for Sophisticated Living 1, 2, 3 & 4

Posted in Prototype for Sophisticated Living 1 (Broke exhibition) by Super on July 3, 2008

 

BROKE

CARLTON HOTEL & STUDIO

21 January – 5 February, 2008

Andrew Atchison, Danielle Karalus, Marcus Keating, Pip Shea, Glenn Walls

 

Prototype for Sophisticated Living 1 for the exhibition Broke At the Carlton Hotel & Studios 2008

Let’s talk about it, or new utopias

By

Rebecca Coates is an independent curator and writer, Adjunct Curator at Australian Centre for Contemporary Art (ACCA), and currently undertaking a PhD at the University of Melbourne looking at site-specific, ephemeral based installations.

Blubberland: The Dangers of Happiness , a new book by Elizabeth Farrelly, coins a new term for a new form of architectural horrible-ness.  For Farrelly, Western society is now a “Blubberland”, a society in which ‘most of us have more than enough of what we need and more than enough of what we want as well’.  As she continues, most of the inhabitants of Blubberland have far too much and more not only of material goods but also bodily fat, ‘to a degree that is dangerous for them and for the future of the planet.’  Thus the development of the McMansion: vast sprawling architectural monstrosities with too many bedrooms, an equal number of bathrooms, four-space garages, and so many windows that those commissioning them can’t afford the curtains.  And filled they are to groaning point with all the stuff and possessions a family could not possibly want, let alone need.

The disillusionment and rejection of modernist architectural ideals by the 1960s Italian group Superstudio might be akin to a similar rejection of today’s faceless, tasteless, mass-consumist architecture in what was once the green belt.  Once only the domain of savvy architects and design aficionados, Superstudio’s little-known architectural vision is undergoing a cult revival as architects and artists look to articulate their dissatisfaction with popular trends and developments.
Founded in Florence by a group of radical young architects in 1966, Superstudio laid out their vision of a built environment, ‘an efficient minimalist space that provides an ordered existence .. [The space should] not [be] constructed on the whims of consumerism and fashion.’   The location of this new form of avant-garde thinking is of course not accidental: Florence, Italy: a town ‘where all such contradictions become evident … [a town which] stands historically symbolic.’   And what better vehicle to launch their manifesto than Italian Vogue: anarchy and avant-garde are nothing if not fashionable.

To read the full transcript click on the Articles icon on the right hand side.

Room 1

Room 1: Preparing the gallery space.

Room 1: Preparing the gallery space.

Room 1: Preparing the gallery space.

Room 1: Preparing the gallery space.

Room 1: Preparing the gallery space.

Room 1: Prototype for Sophisticated Living No 2. Mirror tiles, Nike SB shoes, self-adhesive vinyl, plastic mat.

Room 1: Prototype for Sophisticated Living No 2. Mirror tiles, Nike SB shoes, self-adhesive vinyl, plastic mat.

Room 1: Prototype for Sophisticated Living No 3. Adidas soccer ball, wood, fake fur, self-adhesive vinyl.

Room 1: Prototype for Sophisticated Living No 4. Adidas Skull Cap sneakers hand made from Balsa wood, felt, Baseball bats, self-adhesive vinyl, skateboard deck.

Room 1: Prototype for Sophisticated Living No 2. Mirror tiles, Nike SB shoes, self-adhesive vinyl, plastic mat.

Room 1: Prototype for Sophisticated Living No 4. Adidas Skull Cap sneakers hand made from Balsa wood, felt, Baseball bats, self-adhesive vinyl, skateboard deck.

Room 1: Installation view.

Room 1: Prototype for Sophisticated Living No 3. Adidas soccer ball, wood, fake fur, self-adhesive vinyl.

Room 1: Prototype for Sophisticated Living No 4. Skateboard deck.

Room 1: Prototype for Sophisticated Living No 4. Adidas Skull Cap sneakers hand made from Balsa wood, felt, Baseball bats, self-adhesive vinyl, skateboard deck.

Room 1: Prototype for Sophisticated Living No 2. Mirror tiles, Nike SB shoes, self-adhesive vinyl, plastic mat.

Room 2

Room 2: Prototype for Sophisticated Living No 1. Mirror tiles, Skateboard wheels, mirror perspex.

Room 2: Prototype for Sophisticated Living No 1. Mirror tiles, skateboard wheels, mirror perspex

How to avoid Modernism

Posted in How to avoid modernism (Video installation) by Super on July 3, 2008

HOW TO AVOID MODERNISM

GERTRUDE CONTEMPORARY ART SPACES

    April, 2008.

 

 

How too

 

In 2005 l created a scale model of Philip Johnson’s Glass House (1949). As with Farnsworth House I was attracted to Johnson’s simple lines, geometrical forms and large floor-to-ceiling windows that opened up the interior to the outside world. It was not until 2008 that the thought of using the model for the work How to avoid modernism (2008) came to fruition and was exhibited at Gertrude Contemporary Art Spaces in April 2008 (slide).

 

Glass House 1

Philip Johnson, Glass House, 1949

Superlost

Posted in Superlost by Super on July 3, 2008

SUPERLOST

SEVENTH GALLERY

2007.

Superlost

Text Me

Posted in Text Me by Super on July 3, 2008

TEXT ME

SPACEMENT

17 August – 2 September, 2006.

Artists: Gabrielle De Vietri, Danielle Freakley, Sanne Mestrom, Rose Nolan, Pandarosa, Glenn Walls.

Curated by Glenn Walls.

Text Me at Spacement

Text Me at Spacement

Text Me at Spacement

Text Me
Spacement, Melbourne
August 17th to September 2nd 2006

By Christine Morrow.  Curator, Museum of Contemporary Art, Sydney

Published in Eyeline Number 61: Spring 2006

Text Me presented artworks on the theme of messaging. Curator, Glenn Walls, assembled a group that included him, four artists who regularly work with text – Rose Nolan, Sanné Mestrom, Gabrielle de Vietri and Danielle Freakley – together with the design duo Pandarosa.

The works incorporated the motif of text, or oblique references to it, across various technologies of expression not restricted to the typographic form. Although the artists showed an awareness of the history of concrete poetry, conceptual art and particularly the Art & Language movement, they avoided rehashing any of the old concerns of structural linguistics about the systematic features inherent in language’s operation.

The exhibition did not focus on the structures of language per se but its instrumentality in building relationships or communities. By foregrounding the social functions of language and privileging individual utterances, the exhibition closely examined various intimacies created by speech and writing. Certain of the artists achieved this by inserting themselves into the work, or by using first-person to second-person speech, as if to whisper to the viewer, this is about you and me. Others created this intimacy by expressing personal vulnerability. These various strategies seemed to run the spectrum bounded by the two extremes of what the imperative Text me can signify: on the one hand a breezy sign off meaning let’s talk and on the other a neediness of the you never write, you never call…variety.

Sanné Mestrom has become known for large-scale painted wall texts of quasi biblical messages rendered with dizzying spatial illusions. By contrast, in Text Me she presented a series of large black and white images that were so degraded they appeared to be copies of copies. They depicted a performance by the artist that involved smearing her painted body along a wall. There was no typographic text in this work; instead Mestrom presented the evidence of using her body as a writing instrument to create what could be seen to function like a kind of graffiti tag, based on the body leaving behind its own indexical signature on the wall. However, the immediacy of effect it sought to create was undone by presenting the documentation of the work rather than either performing the work or exhibiting the smeared wall.

Pandarosa presented a wall-painting framed by two freestanding cardboard forms painted with ink drawings of each of the two members of the collective. The painted wall featured their signature style of silhouette shapes overlaid with organic-looking spidery drawing. It appeared to spell out Pandarosa. It too functioned as a graffiti tag, but in a more literal way than did Mestrom’s work. The work’s main content was a representation of its own authors who signed it thrice over: once by creating it in their signature style, a second time by writing their name large within it and a third time by presenting images of each of the two of them framing the work like bookends. As we might expect from graphic designers, there was an overt concern with the way text’s typographical features mediate its signification. But in this instance, the duo achieved a kind of anti-typography for there as a partial breakdown of legibility in the individual letters and their sequencing.

Glenn Walls presented an installation that featured a crumbling wall supporting a puzzling assortment of images. These functioned like conceptual clues needing interpretation. This work was also a kind of graffiti tag, or signature writ large, but a very subtle one. By exhibiting a wall, the artist invoked his own surname, Walls, in the form of a rebus. The wall was papered with a repeated pattern of symbols reminiscent of a personal coat-of-arms based on an assortment of mementi mori: including a modernist building, a retro car, three skulls and an urn. An image of the artist appeared separately in each of the framed photographs displayed on the wall, but in them he was not really himself. Instead he functioned as a kind of blank person on which to hang messages and monograms. The entire effect was to generate a slippage between logos, the plural of logo (or logotype), and logos, the word. This wall appeared to simultaneously break down and reconstitute itself; through its self-referential play, it absorbed the signature, transformed and diffused it……….

Christine Morrow

To read the full transcript click on the Articles icon on the right hand side.

Men

Posted in Men (Video installation) by Super on July 3, 2008

MEN

WESTSPACE

Glenn Walls, Edward McMillan, Richard Block

27 May – 11 June, 2005

Gallery 3

John & Steve Construct is a collaborative project between artists, actors, DJs and multi media practitioners. Co-coordinator by Glen Walls this collective have a mutual interest in architecture and the critical analysis of space and how we use and act in it.

The exhibition Men will link the architecture of International Style to the personal lives of its inhabitants. It will result in a installation of artwork, which will present International Style architecture as a metaphor for the display of certain human behavior contradictory to the architecture’s concept of clean, sophisticated living.

Men exhibited at Westspace Inc

https://westspace.org.au/exhi/6390/men

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Digital

Posted in Digital by Super on July 3, 2008