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陈列您的艺术作品给每天无数的访客观看
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| Gaby Grammeno | |
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Born in Sydney, Australia, in 1951, Gaby Grammeno has been painting irregularly since the early 1980s. |
| 关于此艺术家 | |
Over the last three decades, Gaby Grammeno has been increasingly drawn towards activism in relation to social justice issues and matters of national policy. In late 2002 she was dismayed to see that Australia was about to follow the United States into an invasion of Iraq and resolved to express her opinion via a visual artwork. This prompted the building of an installation to illustrate what she perceived to be an underlying reality of the relationship between Australia and the United States. This installation subsequently became something of an icon of the anti-war movement in Australia, was widely used in news reports and exhibited in public on seven occasions from February 2003. |
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Johnny close up
2003 (modified 2004) |
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| Detail: Close up of Johnny (part of installation including dog and frame).
After being used in three anti-war demonstrations in early 2003, the installation was taken out again to greet the US President on the occasion of his visit to Canberra. It was subsequently exhibited in a show comprised of anti-war art at the Pine Gallery in Chippendale (Sydney), opened with an address by John Pilger. It was also used to film a sequence (not televised, in the end) for the TV show CNNNN.
An activist group “Now We the People” (who had nothing to do with its conception or construction) used a photo of the installation on a poster, and some other individuals used photographs of it for their Christmas cards.
The dog’s nose was modified before a pre-election (“End the lies”) rally in October 2004.
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George alarmed
2003 (modified 2004) |
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| Detail: Close up of George (part of installation including dog and frame).
Mounted on carrying poles, the installation was built to be light enough to be carried by four people, such that when the carrying poles are held at waist height, the paws of the dog are at head-height, so that the figures are visible above the heads of the crowd. It was designed thus in order to attract the eye of the television cameras which would convey the image to a wider audience as a unique vision, unlike the banners more conventionally used at such protest rallies.
George was also used independently (the installation was constructed to be disassembled for transport) at the “One Van Puppet Festival” at Katoomba New South Wales In January 2007, in a cabaret sketch.
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George looks over his shoulder
2003 (modified 2004) |
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| The figures lampoon the canine submission and obedience which hundreds of thousands of Australians felt our Government was demonstrating in relation to the US’s agenda with regard to Iraq. Constructed from wire and paper mache, the two effigies form a three-dimensional political cartoon in the tradition of the court jester, who tells the truth, exposing the reality underlying the spin.
Its presence at the Sydney anti-war rally in February 2003 created a large amount of mirth. As it was carried around the Archibald Fountain and down the path to Elizabeth Street, with the string mechanism being operated at varying intervals, gales of laughter swept the crowd in time with the pulling of the string. Each time the string was pulled, it seemed as though ten thousand people laughed at once. This helped to create the peaceful, good-humoured atmosphere that prevailed on that occasion.
Footage of the effigies in operation has been used irregularly ever since on various TV programs such as the ABC’s 7.30 Report, where it featured again during coverage of the proposed sedition laws. One item on the TV news opened with footage of the effigies in action, and the question “Is this sedition?”
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Johnny and George go for a wal
2003 (modified 2004) |
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| The installation in use during an anti-war rally in Sydney in February 2003.
The conceiver and maker of this installation received a very large number of comments on it, including a whole lifetime’s ration of positive feedback. It was variously described as “the most effective piece of activism I’ve seen for a long time” (by a Catholic priest), an “icon of the anti-war movement” (this comment was made by dozens of individuals), and repeatedly as “the best thing about the big anti-war demonstration”. It was also described as having “caught the zeitgeist of the times”. Its maker has also been approached by a potential business partner with a proposition involving customers paying to have their photograph taken with it, and cards made from the resulting pictures.
Its art lies in its capture of a complex set of ideas, formulating them into a simple image with a pointed message that everyone can immediately understand. It is unambiguous, and by using no words, transcends linguistic and national boundaries, hence the media attention it received around the world. As an artwork, it is unique in the level and nature of its interaction with the public, through the media and on the streets. As well as provoking laughter and applause, it has prompted some citizens to vent their spleen with public figures by attacking the effigies. One old man who set upon the dog with a large black umbrella had to be restrained.
Its combination of form and function is also unique, mechanized installations of effigies for bearing in public demonstrations not having been used before as a medium for a political cartoon.
Its appearance on the streets contributed to the public debate about the nature of Australia’s alliance with the US, and its appearance coincided with a new profusion of efforts to make more creative use of visual art in the service of political activism.
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The Puppy
2003 (modified 2004) |
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| This portable mechanized tableau was constructed in January 2003 as a protest against the impending invasion of Iraq. The effigies of the dog (resembling the Australian Prime Minister) and the US President make a comment on the nature of the relationship between Australia and the USA. Excessive subservience was seen by many to be a characteristic of Australia’s foreign policy in relation to America’s war on Iraq. Iraq was a friendly country with which we had a trading relationship, they were not threatening us, and it seemed a clique of US “hawks” had an agenda left over from the 1991 Gulf War. There was no real evidence of any connection between Al Qaeda and Iraq, UN weapons inspectors were not being given the chance to complete their work, and the whole notion of “containing” terrorism by attacking Iraq was a dubious assumption at best. The talk of Iraq’s “weapons of mass destruction” appeared to be a beat-up put forward to justify an attack with another agenda, and millions of people around the world came out on the streets on 16 February 2003 to call for a peaceful resolution of the issues and to protest against the forthcoming violent attack. The worldwide anti-war protest rallies that day created history – never before had so many millions of people around the world been so demonstrably united in the expression of their opposition to an imminent military intervention. The effigies of Johnny and George were carried in the rally in Sydney to make the point that it was unseemly for our country to follow the US into a reckless and unnecessary war, and to make this point in a peaceful and humorous fashion. Set on a wooden frame, the figure of the dog slides forward when a string is pulled, and nuzzles the presidential posterior in a graphic illustration of the objectionable nature of the posture the Australian Government had adopted. The effigies were extensively filmed by the media covering the rally, and appeared on the TV news on all channels that evening. The footage was relayed around the world and was also seen in New York, Germany, Spain, Alaska, Japan, Korea and Indonesia, according to feedback subsequently received on the second and third occasions when the installation was taken onto the streets during anti-war demonstrations in March 2003 and later. Literally thousands of people had their photos taken with it over the seven occasions in total when it was taken out, and it was also photographed for newspapers from Baghdad to Bangkok. Over time, personal communications from individuals who had been overseas in February 2003 and had seen it on TV or in the newspaper revealed that it had featured in the news coverage of the anti-war protests in at least 17 countries. |
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| 教育程度与个人自传 | |
| Though not formally trained in art, Gaby Grammeno’s paintings have been exhibited and sold via a solo exhibition at the Holdsworth Galleries, Woollahra; she was an invited participant in the 1982 Delmar Gallery’s annual watercolour exhibition and numerous other art shows, and has received awards for her miniature paintings from the Royal Agricultural Society’s annual exhibition. Her design for an exterior mural on a child care centre was executed with the assistance of a grant from the Australia Council, and she has been commissioned to produce portraits for a number of private clients. | |
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