
Embracing darkness with Akil Ahamat
In their debut solo exhibition Extinguishing Hope, now showing at UTS Gallery, Akil Ahamat uses darkness—both literal and metaphorical—to examine what can be gained when everything is lost.
Cai Guo-Qiang China, b. 1957 Heritage (detail) 2013 Animals: polystyrene, gauze, resin and hide. Installed with artificial watering hole: water, sand, drip mechanism Purchased 2013 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artist Photograph: Mark Sherwood, QAGOMA.
Cai Guo-Qiang China, b. 1957 Heritage (detail) 2013 Animals: polystyrene, gauze, resin and hide. Installed with artificial watering hole: water, sand, drip mechanism Purchased 2013 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artist Photograph: Mark Sherwood, QAGOMA.
Cai Guo-Qiang China, b. 1957 Heritage (detail) 2013 Animals: polystyrene, gauze, resin and hide. Installed with artificial watering hole: water, sand, drip mechanism Purchased 2013 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artist Photograph: Mark Sherwood, QAGOMA.
Cai Guo-Qiang China, b. 1957 Heritage (detail) 2013 Animals: polystyrene, gauze, resin and hide. Installed with artificial watering hole: water, sand, drip mechanism Purchased 2013 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artist Photograph: Mark Sherwood, QAGOMA.
Cai Guo-Qiang China, b. 1957 Heritage (detail) 2013 Animals: polystyrene, gauze, resin and hide. Installed with artificial watering hole: water, sand, drip mechanism Purchased 2013 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artist Photograph: Mark Sherwood, QAGOMA.
William Forsythe America, b.1949 The Fact of Matter 2009 Site-specific installation comprising gym rings, fabric straps, gym mat and truss system. Dimensions variable. Pictured: Installation view, William Forsythe: Choreographic Objects, The Institute of Contemporary Art, Boston, 2018-19 Image courtesy the artist. Photograph: Liza Voll. © William Forsythe.
William Forsythe America, b.1949 The Fact of Matter 2009 Site-specific installation comprising gym rings, fabric straps, gym mat and truss system. Dimensions variable. Pictured: Installation view, William Forsythe: Choreographic Objects, The Institute of Contemporary Art, Boston, 2018-19 Image courtesy the artist. Photograph: Liza Voll. © William Forsythe.
William Forsythe America, b.1949 The Fact of Matter 2009 Site-specific installation comprising gym rings, fabric straps, gym mat and truss system. Dimensions variable. Pictured: Installation view, William Forsythe: Choreographic Objects, The Institute of Contemporary Art, Boston, 2018-19 Image courtesy the artist. Photograph: Liza Voll. © William Forsythe.
Olafur Eliasson Denmark, b.1967 Riverbed 2014 (detail) Site specific installation. Pictured: The Louisiana Museum of Modern Art, Humlebæk, Denmark Courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles Photograph: Iwan Baan.
Angela Tiatia, New Zealand, b.1973, Holding On, 2015, (still) Video installation / 12 minutes Image courtesy the artist. © Angela Tiatia.
Water is incontrovertibly a necessity for the survival of all life on earth, yet we often take it for granted and literally pour it down the drain. This summer, the exhibition Water, which features 40 works by both Australian and international artists, asks visitors to take the time to really think about this precious resource.
In Australia we seem to alternate between having too much and not enough water – communities are either inundated or parched– and this gives the show a timely sense of urgency. As the curator Geraldine Kirrihi Barlow explains, “There are a number of key reasons Water is relevant now as an exhibition and subject for shared thinking and conversation – our continuing experience of drought, water shortages and extreme events such as bushfires, cyclones and floods, and connected to this, climate change.”
In his series The Blue Fossil Entropic Stories, 2013, Berlin-based artist Julian Charrière presents photographic documentation of a performance in which he attacked an iceberg with a blowtorch for eight hours. As Barlow points out, this is “a dramatic illustration of ‘man’ melting a glacier.” Danish-Icelandic artist Olafur Eliasson makes the same point with more subtlety, she says. His sculptural installation Riverbed resembles the rocky landscapes in Iceland, “where the major glaciers are all shrinking.”
But despite the highly political and distressing issues it addresses, Kirrihi Barlow hopes that visitors will also immerse themselves in the beauty on show in Water. “I love being in the water myself, diving beneath the waves,” she says. “I hope the exhibition captures these aspects of the subject, a sense of wonder and emotion, and allows us to laugh even when we might be tempted to cry!”
Water
Queensland Art Gallery and Gallery of Modern Art
7 December – 26 April 2020
This article was originally published in the November/December 2019 print edition of Art Guide Australia.