The exhibition "Fairy Tales," recently unveiled at Brisbane’s Gallery of Modern Art (GOMA), possesses a deliberate congestion that, under usual circumstances, might be a less-than-optimal gallery experience. However, within the context of this exhibition, the congestion serves as a metaphorical embodiment of the foreboding intrinsic to fairy tales. Despite the evolution of the world since the days of the Brothers Grimm, these enchanting narratives have endured, as evidenced by the sustained popularity demonstrated in this exhibition.
During the exhibition's opening, the lower galleries at GOMA were alive with visitors spanning various age groups. Attendees engaged in reading labels, watching film excerpts, and marveling at iconic objects like Cinderella’s Swarovski crystal glass slipper (2015), on loan from The Walt Disney Company. Notably, Timothy Horn’s Glass slipper (ugly blister), 2001, from his Cinderella Complex series, provocatively challenges gendered ideals of romance. This exhibition successfully intertwines over 100 objects, paintings, and installations that have significantly influenced contemporary art history, often influencing gender politics in the arts, alongside the origins of these tropes through film.
A meticulously curated journey, guided by exhibition curator Amanda Slack-Smith and complemented by a film program curated by Dr Sophie Hopmeier, unveils a symbiotic relationship between visual arts and film. Unlike conventional QAGOMA programming, this exhibition seamlessly integrates a filmic component into the "white cube," presenting a non-hierarchical perspective on the theme. This inclusivity is exemplified by the juxtaposition of contemporary artworks by globally renowned visual artists and movie set frocks.
The exhibition maintains a timeless quality, featuring works ranging from Charles Blackman’s 1950s series on Alice in Wonderland to contemporary pieces like Abdul Abdullah’s Troubling the margins (from the Interloper series) (2022). The curators skillfully weave connections between diverse artworks, creating their own mythical tales of contemporary relevance.
Structured into three chapters akin to a narrative, the exhibition unfolds like a tale. The first chapter, 'Into the Woods,' introduces visitors to a dimly lit and haunting space, gradually overtaken by a writhing installation of branches, including Henrique Oliveira’s jaw-dropping Curupira (2023). As in a fairy tale, the subsequent chapters, 'Through the Looking Glass' and 'Ever After,' lead viewers through increasingly darker realms, featuring evocative artworks such as Jana Sterbak’s glass coffin Inside (1990/2023) and Patricia Piccinini’s reimagined Enchanted Field (2023).
The concluding chapter, 'Ever After,' explores the layered roles of love in mythic proportions, featuring notable works like Timothy Horn’s Mother-load (2008) and Kathryn Del Barton’s poignant animated film, The Nightingale and the Rose (2015). The exhibition concludes with a display of Eiko Ishioka’s elaborate costumes for the 2012 film Mirror Mirror, offering a Hollywood rendition of 'Snow White.'
In summary, "Fairy Tales" emerges as a rich, interconnected, and multilayered exhibition. Its immersive quality, coupled with an extensive summer programming, makes it an exhausting yet exhilarating experience—an ideal exhibition for diverse audiences.
When
2 Dec 2023 – 28 Apr 2024
Where
Gallery of Modern Art, Foyer, Gallery 1.1 (The Fairfax Gallery), Gallery 1.2 & Gallery 1.3 (Eric and Marion Taylor Gallery)