Our post today is from Regan Forrest at the Interactivate blog, she is currently researching the relationship between the design of exhibitions and what the visitor experiences in these spaces.
While I was in Brisbane last year, I was surprised to learn that I was sharing a city with Australia’s most visited museum in 2010: the Queensland Art Gallery & Gallery of Modern Art (GOMA), twin museums which together drew crowds of some 1.8 million visitors last year. Once I found that out, I had to drop by and see what all the fuss was about. GoMA in particular came highly recommended, with its 21st Century: Art in the First Decade Exhibition which dominated the museum’s three (I think!) vast levels.
Rather than give a comprehensive review of such an exhibition (when others can do it far better than me), I thought I’d just take the chance to share some images and general observations.
First off, the fact that I can share images at all is probably worthy of a comment in itself: art galleries in particular are often loath to allow photography (usually for copyright or conservation reasons). This might be understandable, but also confers a type of ‘hands-off’ reverence to the experience.As a society, I think we’re becoming more accustomed to documenting and sharing our experiences through photos via social media and other networks; this ability to share becomes often becomes an integral part of the experience itself. I wonder if this relatively permissive attitude to photography is a contributing factor to making the museum feel more open and welcoming, and consequently appealing to a different type of audience (I think I saw more teenagers in the space of one afternoon than I’ve seen in all my other previous art gallery visits put together – and no they didn’t look like a school group).
Teenage girls at a display which allowed visitors to apply bindis to themselves.
Another thing which was unusual in the context of an art gallery: queues. While queues to enter a whole exhibition are common enough, these were queues to see particular exhibits or take part in certain experiences which were only available to small groups of visitors at a time.
I’m usually a studious avoider of queues – probably a sign of an impatient temperament – but since I was on no fixed timetable and was feeling perfectly content to happily wander and lose myself amongst the displays, I did something I almost NEVER do: join a queue when I don’t know what it’s for:
Almost alone in the centre of a large gallery, the brilliantly lit spheres are surrounding a reflective black box that is almost lost in the darkened room; it makes a kind of infinity mirror for the spheres surrounding it. Notice the queue lining the far wall.
The queue was to enter the box in the middle of the room (4 at a time) which closed and surrounded you in a reflective UV space:
The view from inside the box: the floor is a small peninsula surrounded by a layer of water. The UV reflective (ping pong?) balls are suspended by fishing wire.
This was just one of several immersive exhibits, for instance the ‘swimming pool’ which was more than it first seemed:
School children at the bottom of the pool. . . .?
The view from the other side: the water is only an inch or two deep and the rest of the pool is accessed by an almost secretive rear entrance.
As well as the room filled with balloons:
The Balloon Room, or to give it its proper name: Work No. 965: Half the air in a given space (purple) by Martin Creed
This one in particular got me thinking about the blurred boundaries between interactive science and interactive art (in many cases, it’s all in the interpretation). I happened to overhear a young girl say as she left the room: “you could really feel the static electricity in there”, thus spontaneously articulating something which science-based balloon shows have long demonstrated (and may she’s seen that before and made the connection?)
Overall, these exhibits created a sense of fun and delight which you seldom see in the hallowed ground of the art gallery, and in some ways reminded me of the spirit of the science centre. This creates its own challenges – art isn’t made to be bulletproof the same way interactive exhibits are – as was demonstrated by this exhibt made from plastic bags, and which school children couldn’t resist getting under:
But this was one of the few exhibits I saw which was keeping the security guards busy as they tried to direct the enthusiasm of the school kids into non-destructive outlets.
Not all exhibits allowed photography, but I’ll mention just one of these: From here to ear by Celeste Boursier-Mougenot. This installation contained a couple of dozen live finches in a room which incorporated a series of perch structures made from wood, coathangers, harpsichord strings and a sound system. It’s a bit hard to describe but here’s the label which was at the entry to the exhibit:
And that label leads me to my final observation: the technology side of things. The whole museum had free wi-fi access and several exhibits were accompanied by QR codes (like the example above) which allowed you to access podcasts and short movies about particular works. Before this exhibition, I’d never actually got around to experimenting with QR codes. But thanks to the available wi-fi, I managed to download a QR reading app and found it very easy to use. This options also gives you the opportunity to save materials on your phone for future reference.
The 21st Century: Art in the First Decade exhibition closed on April 26 2011. While I wasn’t sure which exhibits were part of that particular exhibition and which might be there on a more permanent basis, I’ll definitely want to visit GoMA again for a second look next time I’m in Brisbane.
To find out what’s currently showing at the GoMa click here
Entry Fee: Free
Location: Stanley Place, South Bank, Queensland 4101, Australia