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‘In three words I can sum up everything I’ve learned about life: it goes on.’
In Radelaide recently (‘Radelaide’ being what appears to be a relatively new and sarcastic moniker for the grand old dame of South Australia, Adelaide) I spent a lot of time walking between Hindley Street, which is the Kings Cross of that part of the world and blogged about below in ‘Every City Has Sex’, an admittedly meretricious title for a post, but, hey, we all want to be wanted don’t we), and Rundle Street, because that wildly wicked Fringe Festival was on at the bottom of the street. So I wore out a fair bit of rubber on the old joggers, which I really should replace, though I don’t want to, because me and those joggers have been through so much – we’ve struck up this friendship and I can’t break it off, not yet.
Hang on, this isn’t about footwear friendships. It’s about chicks. Kind of.
Between Hindley Street and Rundle Street is Rundle Mall, a typical Australian pedestrian plaza filled with chewy-struck brick pavers, reject shops, fashion stores that only those with too little taste would bother entering, bubblers that don’t work, a bit of public art here and there (fat brass pigs banging around fake rubbish bins, that kind of thing), and stranded cafes selling over-priced coffee and cakes that should have been taken to the tip weeks ago. Actually it’s not that bad – I’m just getting carried away with myself…yet again (but getting carried away is my professional obligation, or so I keep telling myself).
But then, on a hoarding for a new fit-out for a department store, I spotted a series of women. Of course, there weren’t really women stuck to the hoarding, though that would have been very interesting indeed – as I said, this was the time of the Fringe, so anything can happen, anything should happen, so a group of women stapling themselves to a temporary facade would have been just lovely. But the images: LIFE-SIZED (I can’t stress that enough) cartoons of young, apparently modern women. There was The Professional Woman, The Casual Woman, and the High Society Woman. There were others but I was beginning to look like a freak as I snapped away at what were essentially marketing images. We live in age when a man with a digital camera in public is either a terrorist or a pervert, and I’m happy to report I am neither.
Despite sounding like a Year Twelve Media Studies teacher, I can’t help asking a question: what do the images want to tell us? ‘If you’re a woman, you too can have the waist the size of a 5-cent piece, the head the size of a hot-air balloon, and the eyes that Walt Disney would kill for.’ If you’re one of the developed world’s larger girls or women, are they saying, ‘Come inside this department store and we’ll make you slim and slinky and beautiful? Just spend some money and walk out carrying a few shopping bags and you’ll have the biggest spring in your step it’ll be like you’ve just shagged 10,000 Jude Laws.’
Are these images saying, ‘Don’t worry about what you eat – just yack it up and all’s well?’ Are they saying, ‘Women don’t really have stomachs – that’s a myth’? Are they saying, ‘Women can be anything they want, so come inside, max out your credit card and validate your freedom’?
I may well be getting all worked up over nothing. Tell me I’m getting worked up about nothing. Except Canadian humourist (and economist, would you believe) Stephen Leacock did say in The Garden of Folly (1924) that ‘Advertising may be described as the science of arresting the human intelligence long enough to get money from it’. He’s got a point, doesn’t he.
Still, tell me to go listen to some wretchedly miserable contemporary rock band (Oh God, he’s going to mention The Antlers again, I hear you cry).
Tell me to just go to sleep and wake up cheery like a normal person.
The above installation is by English artist Slinkachu (as part of the Fame Festival, Grottaglio, Italy, 2009). The playfulness, the mucking around with scale, the intimacy, and – yet again I come back to that word – the fragility. Perhaps it’s also the sense of ‘short story’ that resonates for me. And it’s intriguing to read how the artist leaves his installations in the public realm to see what happens to them – would it be too dark and grim (my usual way, I’m afraid) to want to see pictures of what would surely be the resultant destruction? Either way, I reckon I could flick through the above images all day and still get a buzz out of them. (Christ, I wish that’s all I did all day.) For more information, visit the artist’s site by clicking on ‘Little People’ in the Under the Counter blogroll.
I can’t seem to get enough of this image. There’s something about its fragility, but also its audacity, and if there are two things that really turn my crank, its fragility and audacity.
For more information, visit www.fedor.be.