MIKE PARR | SUN­SET CLAWS | PART 2

  • Mem­o­ries of Underdevelopment, 2023
    Pho­to­graph­ic paper
    161.5cm x 110.5cm (indi­vid­ual), 1972cm x 320cm (over­all)
    Instal­la­tion view, Anna Schwartz Gallery, Naarm/​Melbourne
    Pho­to: Chris­t­ian Capurro

  • Falling Self Portrait (Occlusion), 2023
    Single channel video, 14 minutes and 56 seconds
    Performed in Gallery 2, Anna Schwartz Gallery, Melbourne Saturday 11 November, 2023
    Performers: Mike Parr, Robert Campbell, Renato Colangelo Fixed Video Camera: Gotaro Uematsu
    Photography: Zan Wimberly
    Framed etching, 1990

    Photo: Christian Capurro

  • Falling Self Portrait (Occlusion), 2023
    Single channel video, 14 minutes and 56 seconds
    Performed in Gallery 2, Anna Schwartz Gallery, Melbourne Saturday 11 November, 2023
    Performers: Mike Parr, Robert Campbell, Renato Colangelo Fixed Video Camera: Gotaro Uematsu
    Photography: Zan Wimberly
    Framed etching, 1990

    Photo: Christian Capurro

  • Falling Self Portrait (Occlusion), 2023
    Single channel video, 14 minutes and 56 seconds
    Performed in Gallery 2, Anna Schwartz Gallery, Melbourne Saturday 11 November, 2023
    Performers: Mike Parr, Robert Campbell, Renato Colangelo Fixed Video Camera: Gotaro Uematsu
    Photography: Zan Wimberly
    Framed etching, 1990

    Photo: Christian Capurro

/

An exhi­bi­tion in 3 parts
Part 2: Mem­o­ries of Underdevelopment

16 — 25 Novem­ber 2023
Anna Schwartz Gallery

Mem­o­ries of Under­de­vel­op­ment is the sec­ond stage of the 3 part exhi­bi­tion, SUN­SET CLAWS. 36 black and white neg­a­tive ​“pho­to­draw­ings” are installed 2 deep in Gallery 1, the ground floor of Anna Schwartz Gallery. 


In these works, ​‘Rem­nants’ of the Self Por­trait Project from the first, done in 1982 to those from the end of the cen­tu­ry, Parr is as much inter­est­ed in the con­nec­tion as the dis­con­nec­tion between these draw­ings. They are all invol­un­tary forms of the Self Por­trait Project, images which have float­ed to the sur­face in the after­math of many years: these are all orig­i­nals despite the use of pho­tog­ra­phy; they are com­plet­ed by the dis­place­ment of the medium.


Under and over expo­sures are a cru­cial aspect of the indi­vid­ual draw­ings and of the field as a whole. The orig­i­nals were drawn on sheets of A4 typ­ing paper and on past draw­ing boards. At var­i­ous times Parr has made pho­tographs of draw­ings, par­tic­u­lar­ly small draw­ings sub­merged in the morass of the draw­ing boards, to iso­late them for future thought. Mem­o­ries of Under­de­vel­op­ment is a ​“long durée” selec­tion of 35 neg­a­tives that have been scanned to a high lev­el and print­ed in the final form as draw­ings much big­ger than the orig­i­nals; those stud­ies, now dis­persed or lost. 

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