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Article Excerpt
Art and Human Rights Abuses, Australian National University Drill Hall Exhibition, 2003.
The Drill Hall exhibition comprises a range of work from international and Australian artists employing, as one would expect, a variety of media, including installation, text and image. It is not an easy exhibition to come to grips with; these works have particular referents: Chile, South Africa, Australia, India. This is art which deals with history, with the real, and involves a kind of detail that is hard to pin down in historical understanding. It was engaged and the viewer was reliant on background information for fuller appreciation of it. Having been drawn together from across the globe, these pieces open up a type of dialogue between the different arenas of social conflict which have produced them, and the various artistic strategies at work.
The work of Chilian artist Alfredo Jaar, now resident in New York, like that of William Kentridge, foregrounds both the act of looking and the tools with which we and the artist look, record or fashion an image. Jaar's installation Fading, 1991, demands that the onlooker bend to inspect the work, part of the artist's practice of making the image difficult or uncomfortable to access. It comprises light boxes filled with water, containing photographs of Vietnamese refugees in small boats, including close-ups of faces and tightly-framed shots of figures. In the catalogue we read that these are images of displaced people...
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