#archie moore

[victusinveritas]

"This is a really big deal everyone............

Archie Moore was born in Toowoomba.

He is a First Nation's Kamilaroi/Bigambul man.

He has also just been announced as the first Australian to ever win a first prize (The Golden Lion) at the biggest and longest running art and culture exhibition in the world - the Venice Biennale, in Italy (it first started 129 years ago!) Archie's work- is his family tree - that Archie wrote in chalk on the walls and ceiling at the exhibition space - it took him 2 months to complete. This massive family tree goes back 2,400 generations.

This is a huge deal......

The Australian art world is reeling with delight.

From K'town to Venice we say 'Congratulations Archie Moore.'" -Katherine Regional Arts KRA Facebook group.

[allurlsaregone-blog]

Archibald Lee Wright, Archie Moore, was the longest reigning World Light Heavyweight Champion of all time (December 1952 – May 1962). As of December 2020, BoxRec ranks Moore as the third greatest pound-for-pound boxer of all time.

[marcogiovenale]

jpg.biennale24_5 / fabio poggi. 2024

Archie Moore (nato a Toowoomba, Australia, nel 1970 da madre aborigena e padre di discendenza inglese), kith and kin L’artista ha tentato di ricostruire un albero genealogico dei nativi che si estende per 65.000 anni di storie documentate o solo orali, di invasioni coloniali, massacri, esodi, oblio. A quest’opera, scritta con il gesso nel padiglione Australia, è stato assegnato il Leone d’oro…

[lobbycards]

Breakheart Pass, Italian lobby card (Fotobusta), 1975

[mcgiggers]

Venice - May 2024

Just back from the Floating City which served as a beautiful backdrop for the 60th edition of La Biennale di Venezia, the world’s longest running and most extravagant contemporary art festival. Thematically grouped under the banner Foreigners Everywhere – Stranieri Ovunque, the exhibit privileged lesser-known artists from the global south who are foreigners, immigrants, expatriates, diasporic, exiled or refugees, and it showcased craft, tradition and the handmade which often is considered outsider or strange in the world of fine arts. The result was a marvelous adventure where some initial trepidation was quickly assuaged by an explosion of colours and creative renderings. In addition to the Biennale, numerous other exhibits and museum shows were staged concurrently throughout the city and visiting many of these in the two and a half days at hand made the experience that much more memorable.

Training for the Venice marathon was held in the hilltop village of Petritoli in the Le Marche region of Italy, where swims in the Adriatic, biking between neighboring towns and hiking in the Sibillini Mountains prepared the mind, body and soul for the viewing experience to come. The prelude to Venice also included a short stop in Monza and Carlazzo where family and food were graciously celebrated. Fuel throughout was local fare and featured Il Grecale’s calamarata in San Benadetto del Tronto, Antonio’s wood fired margherita pizza in Carlazzo and Osteria Ai Do Farai’s carpaccio di Branzino in Venice.

This year’s Biennale presented the works of over 330 artists, mostly first-time participants, and over 85 countries were represented with their own national pavilions. The principal venues were the Arsenale, a former Venetian military dockyard, which housed themed exhibits as well as some national pavilions, and the Giardini, a lush garden area at the mouth of the Grand Canal that is home to 30 or so permanent national pavilions and a Central Pavilion that featured a curated selection of works by artists from Latin America, Africa, the Middle East and Asia. In addition, there were numerous other Biennale offsite locations scattered about town.

Among the national pavilions, the Australian entry featuring Archie Moore’s monumental family tree dating back 65,000 years took top prize among in-the-know jurors.  Other standouts included: Canada with Kapwani Kiwanga’s sculptures and all-over bead work; Nigeria which featured the photography, sculpture and painting of eight artists; and Italy with Massimo Bartolini’s labyrinth of metal scaffolding and sound machines. The highlights in the themed sections included: Costantino Nivola’s “Bozzetto per lo show-room Olivetti a New York”, 1953, plaster casting on sand and polychromy; Dalton Paula’s “Chico Rei”, 2024, gold leaf and oil on canvas; Pacita Abad’s “You Have to Blend In, Before You Stand Out”, 1995, oil, painted cloth, sequins, buttons on stitched and padded canvas; Fanny Sanin’s ”Oil No. 7”, 1969, oil on canvas; and Kim Yun Shin’s “Add Two Add One, Divide Two Divide One”, 1979, Korean red pine wood.

Piggybacking on the Biennale fanfare, numerous museums and converted palazzos and churches also staged wonderful shows all over the city. Stops included: The Peggy Guggenheim Collection which displayed its permanent collection of 20th century masterworks by leading European and American artists; the “William de Kooning and Italy” exhibit at Galerie dell’Accademia di Venezia; Pierre Huyghe’s “Liminal” at Punta della Dogana; Julie Mehretu’s “Ensemble” at Palazzo Grassi; the “Beati Pacifici: The Disasters of War and the Hope for International Peace” from the Bailey Collection at Chiesa San Samuele; and Berlinde De Bruyckere’s “City of Refuge III” installation at the Abbazia di San Giorgio Maggiore. Particularly memorable were: Pierre Huyghe’s “Offspring”, 2018, sensor based self-generative system for sound and light; Julie Mehretu’s “Among the Multitude XIII”, 2021-2022, ink and acrylic on canvas (48 x 60 in.) and “Black City”, 2007, ink and acrylic on canvas ( 120 x 192 in.); and magnificent de Kooning statues, including “Cross-Legged Figure”, 1972, bronze (edition of 7 plus 3 AP) and “Clamdigger”, 1972, bronze (edition of 7 plus 3AP). As for the Bailey and De Bruyckere exhibits, both were eerie and beautiful and set in surreal repurposed church spaces which were worth seeing on their own.

Meanwhile, crunch time hoops were being played in the new world. Regrettably Crazy Eyes and his Pacers were efficiently ousted by the Celtics, and with that, Dino fans on the legacy bandwagon were left a bit short of reliving glory days through the success of former players. The show nonetheless must go on, and the finals will tip off featuring the dominant Celtics and the surprising Mavericks and arguably the best guard matchups in the game. As for the Dinos, the focus turns to the upcoming draft and planning for next season. As of yet, neither Crazy Eyes nor OG-Wan Kenobe have signed with the teams they were traded to, and, by now, they surely must realize that change is overrated. So maybe, just maybe, is a return to Jurassic Park a possibility? Highly unlikely. The Biennale runs through November 2024. With the next edition two years away, it would be great if the Dino rebuild was on the same timeline, but that’s probably being a bit too optimistic. The next few years will truly test the mettle of fans.

For more information on the Biennale, the other exhibits and the ongoing Raptor reset, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[takmiblog]

Foreigners Everywhere

　国別参加の金獅子賞はオーストラリア館で、先住民族の作家であるアーチー・ムーアが受賞した。彼の作品は壁と天井にチョークで書いた3484人の名前からなる6万5千年の歴史をさかのぼる祖先の家系図である。空間の中央には、勾留中に亡くなった先住民族の検視報告書が祭壇のように積み上げられて、生命の連なりと、非人道的な行為による命の断絶が対比される。

（中略）不均衡と断絶が際立つ世界の中では、誰もがよそ者になり得て、誰もがつながっていることを強く感じさせる展覧会であった。

2024/05/28　朝日新聞　夕刊

ベネチア・ビエンナーレ開幕

寄稿：木村絵理子（弘前れんが倉庫美術館館長）

不均衡と断絶の世界　つながりは

繰り返す占領や植民　「よそ者だらけ」をテーマに

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Wishbone, wells

[onedegreeofsoniccomics]

Ducktales (2011) #1: Cover B

Pencils/Inks: Jonathan H. Gray

Colors: Lisa Moore