MERCY STREET

!LANNA,ORENZON
#*#ONWAY
+AORI+ATO
3HERRY-C,ANE!LEJOS
.ICHOLAS7ADDELL

#URATOR!NUSHA+ENNY

MERCY STREET
14 May – 12 June 2010
Gertrude Contemporary Art Spaces

Mercy Street has been developed

as part of Next Wave and Gertrude
Contemporary Art Spaces’ Emerging
Curator’s Program 2010


4HISEXHIBITIONTAKESITSTITLEFROM!NNE3EXTON´S
POEM-ERCY3TREETWHICHSPEAKSOFFRUSTRATION
FAILUREANDFORGIVENESSINTHECONTEXTOFAPERSONAL
HISTORY4HESECONCEPTSOPERATEBOTHOUTSIDEAND
INSIDETHELAWSHADOWINGPERSONALASWELLASPUBLIC
RELATIONSHIPS-ERCY3TREETWILLEXPLOREHOWPRIVATE
UNDERSTANDINGSOFMERCYAFFECTPUBLICDECISION MAKING
ANDFORMALIZEDIDEASOFJUSTICE

4HE½VEARTISTSINCLUDEDINTHEEXHIBITIONSHAREAN
AWARENESSOFTHEPRECARIOUSNESSOFETHICSANDMORALITY
INSCRIBEDINTOTHEIRWORKSTHROUGHAESTHETICFRAGILITY
CONSTANTMOTIONANDINTERMITTENCE)NCONTRASTTOTHE
BLUNTNESSOFLEGISLATIONTHEWORKSINTHEEXHIBITION
FORMALISEEMOTIONANDADDRESSHUMANFRAILTYWITH
COMPASSIONAND¾EXIBILITY5LTIMATELYTHEEXHIBITION
ISANELEGYTOTHOSEWHOHAVEBEENABLETOSHOWGRACE
WHENREVENGEWOULDBEJUSTASAPPROPRIATE


4 HEYOUNGPHILOSOPHER3IMONE7EILONCEWROTE
THAT³)TISNECESSARYTOUPROOTONESELFTOCUT
DOWNTHETREEANDMAKEOFITACROSSANDTHENTO
FORMALLYDENIEDTHROUGHADEVICETOPROTECTSELF
INTERESTALLNOISEMERCYISLOUDITISAMBIGUOUS
ANDBOTHHATEFULANDLOVINGINTHESAMEDELIVERY
CARRYITEVERYDAY´
³"LESSEDARETHEMERCIFULFORTHEYSHALLOBTAIN
)WONDERIFSHEHADFOUNDINHERSHORTLIFETHAT MERCY´-ATHEW
TOCARRYTHEBURDENOFTHEHUMANITARIANCROSS
RATHERTHANTHEVIRTUOUSTHEOLOGICALONETHAT 7HOTHENANDBYWHOSEAPPROVALAREWETOBE
SHEHADFOUNDASORTOFRESTLESSPEACELIKETHE MERCIFUL7HOJUDGESAPERSONOFHIGHERWORTHA
FEELINGOFBEINGROMANTICALLYALONETHATSHEHAD PERSONTOBEAPERSONABOVEJUDGEMENT
FOUNDTHETRUEMEANINGOFMERCYORDEBUNKEDITS
MEANINGALTOGETHER 4HEARTISTSIN-ERCY3TREETADDRESSTHEETHICAL
ISSUESOFJUSTICEANDMERCYANDRECONCILIATIONAND
3HIFTINGFROMASKINGFORMERCYTOBEINGMERCIFUL FORGIVENESSANDWHATCONTRADICTIONSPERVADE
ISTHESHIFTOFTRUECOMPASSIONANDONLYIN 7HATITISTOEXISTWITHTHEGRACEOFINNOCENCE
COMPASSIONCANWEBEFREETOACTFORCOMPASSION ANDTHEGRAVITYOFGUILTWHATITMEANSTOBE
COMESATTHEPRESENCEOFTRUTH4HOUGHWHEN UPROOTEDTOSEEWHATITISAS7EILALSOLATER
WEARESHELLEDBYTHENATIONS´WORLDS´OBSESSION WROTETOEXPERIENCEALANDSCAPEWHEN)AMNOT
WITHJUSTICEANDRETRIBUTIONWELOSESIGHTOFTHE THERE
HUMANANDGRAPPLEWITHOUROWNPOWERTOBANISH
THEOTHER7HATITFEELSLIKETOBESUBJUGATED )FWEARETO½NDTHECROSSANDCARRYITIFWEARE
IMPRISONEDISOLATEDANDDENIEDLIBERTYBECOME TO¾YOVERHEADANDBEONTHISSAMEGROUNDTO
PAPERIDEASANDWEHOLDTIGHTTOWHAT³THEY ½NDWHERETRUTHLIVESTHENCANWEBEFREE¯TO
DESERVE´ FORGIVEANDBEFORGIVENTOLOVEANDBELOVEDTOBE
EQUALSTOSPEAKTHEWORDSANDHEARTHEMSPOKEN
-ERCYISDELIVEREDFROMTHEPOWERHOLDERTOHURT TOSEEUSLIFTTHECROSSANDFOOTANDTAKETHE
&ORGIVENESSISDIFFERENTITISTHEFACULTYFORACTION HANDANDHOLDITTO½NDWEWEREFREETONEVER
ONEQUALTERMS)FEARTHEWORD-ERCY)LOOKINTO DENYFREEDOM
THEBLACKCANVASTHEBOARDINGTHEREDPAPERTHE
TOPOGRAPHICALMAPSANDSEETHEFURORETHESELF )ASKITOFTHESEARTISTSANDTHEIRWORKSANDWE
KEEPERTHEFEARING'ODTHEWRETCHEDAXEFALLING AREDRAWNTOOTOASKITOFOURSELVESWHATAREWE
THEPRIDETHEGLARINGPOWERFULWHOADMINISTER MEASURING
ANDDISMISSTHOSEFROMTHEPATHSOFLIVING
TOGETHERANDOFMUTUALRECOGNITION/FFORGIVING

-ERCYISDARKTHELIGHTSAREOUTANDPALMS Tara June Winch

AREOPENATFEET-ERCYHOLDSTHESAMETONE .EW9ORK*UNE
ASPUBLICAPOLOGIESONPOLITICALGRIEVANCESIT
REINFORCESORDEROFRANKTHEMASTERSANDSLAVES
THEHONOURABLEANDTHEDESPISEDTHEWINNERAND
THELOSER)THIGHLIGHTSWHATHASPREVIOUSLYBEEN



!LANNA, OR ENZ ON
!LANNA,ORENZONCOMPLETEDHER"ACHELOROF&INE!RTS0AINTING
(ONOURS AT-ONASH5NIVERSITYIN3HEWORKSANDLIVES
BETWEEN-ELBOURNEAND!DELAIDEWHERESHEGREWUP0REVIOUS
GROUPEXHIBITIONSINCLUDE,INGUA.ATURACCONTEMPORARYARTS
SPACE-ELBOURNEAND,OTSOF0EOPLE(AVE7HAT9OU(AVE
'EORGE0ATON'ALLERY-ELBOURNE



#*#ONWAY
CJ Conway attended the American Academy of Art, and spent
the first half of her life working in Chicago as an art director and
graphic designer. Since migrating to Australia she has completed
a Bachelor of Fine Arts (Drawing) from RMIT in 2009, and she is
undertaking Honours studies in 2010.



+AORI + A TO
+AORI+ATOGREWUPIN(OKKAIDO*APAN3HECOMPLETEDA"ACHELOROF&INE
!RTS(ONOURS ATTHE6#!INANDISUNDERTAKING-ASTERSSTUDIESIN
(ERWORKHASBEENEXHIBITEDIN3HADEOF7HITECCONTEMPORARYART
SPACE-ELBOURNE='ALERIE452-!KITA*APANANDTHE-ELBOURNE
!RT&AIR2OYAL%XHIBITION"UILDING-ELBOURNE3HEWASTHE
RECIPIENTOFTHE7ALLARA4RAVELLING3CHOLARSHIP



3HERR Y - C , A N E ! L E J O S
3HERRY-C,ANE!LEJOSWASBORNIN-EXICOBUTHASLIVEDIN
-ELBOURNESINCE3HECOMPLETEDA"ACHELOROF&INE!RTS
(ONOURS ATTHE6#!IN(ERWORKISCONCERNEDWITHTHE
ESOTERICPHILOSOPHYLINGUISTICSANDSEDUCTION



.ICHOLA S 7A D D E L L
.ICHOLAS7ADDELLCOMPLETEDA"ACHELOROF&INE!RTS$RAWING
ATTHE6#!INTHEYEARHEALSORECEIVEDTHE*OHN6ICKERY
3CHOLARSHIPFOR$RAWING(ISWORKHASBEENEXHIBITEDLOCALLYAS
WELLASINTERNATIONALLYAT4HE$IVISIONOF(UMAN7ORKS.EW9ORK
THE%UROPEAN-EDIA!RT&ESTIVAL/SNABRUCK'ERMANYANDINTHE
%DINBURGH!RT&ESTIVAL3COTLAND





-ERCY

4 HEPREMISEFORTHISEXHIBITIONWASDRAWNFROM
ANEWSSTORYPUBLISHEDBY4HE!GEIN
TITLED³6ICTIM´SFAMILYBEGFORMERCYFORDRIVER´4HE
"EHINDTHEPUBLICVITRIOLICDEBATELIEPRIVATE
UNDERSTANDINGSOFMERCYANDJUSTICE4HEEXHIBITION
TAKESITSTITLEFROM!NNE3EXTON´SPOEM-ERCY
ARTICLEOUTLINEDTHATTWOYOUNGMENBESTFRIENDS 3TREETWHICHSPEAKSOFFRUSTRATIONFAILUREAND
WEREINVOLVEDINACARCRASHANDTHATTHEPASSENGER FORGIVENESSINTHECONTEXTOFAPERSONALHISTORY
HADDIEDWHILETHEINTOXICATEDDRIVERSURVIVED 4HESECONCEPTSOPERATEBOTHOUTSIDEANDINSIDE
7HILETHESECIRCUMSTANCESARENOTUNUSUALWHAT THELAWSHADOWINGPERSONALASWELLASPUBLIC
WASNOTABLEWASTHATTHEFAMILYOFTHEVICTIMHAD RELATIONSHIPS-ERCY3TREETENDEAVOURSTOEXPLORE
USEDTHEIR6ICTIM)MPACT3TATEMENTNOTTOEXPRESS HOWPRIVATEUNDERSTANDINGSOFMERCYAFFECTPUBLIC
THEIRANGERATTHEDRIVERBUTTOPLEADFORALENIENT DECISION MAKINGANDFORMALIZEDIDEASOFJUSTICE
SENTENCEBECAUSEIMPRISONINGHIMWOULDBELIKE
LOSINGANOTHERMEMBEROFTHEIRFAMILY 4HEPROCESSOF³FORMALIZATION´CARRIESTHROUGHFROM
THELEGALTOTHEARTISTICINTHAT³SHAPE´CANBEGIVEN
4HEGRACETHISFAMILYDISPLAYEDINWHATMUSTHAVE TOAMORPHOUS¾UIDCONCEPTSAPROCESSFULLOFRISK
BEENTHEMOSTTRAUMATICMOMENTOFTHEIRLIVESWAS ANDCOMPROMISE4HE½VEARTISTSINCLUDEDINTHE
HUMBLING4HISSTORY¯AMINORNEWSITEMINTHE EXHIBITIONSHAREANAWARENESSOFTHEPRECARIOUSNESS
MARGINSOFTHEPAPER¯SPOKETOSOMEOFTHEMOST OFETHICSANDMORALITYINSCRIBEDINTOTHEIRWORKS
FUNDAMENTALSOCIETALQUESTIONSAROUNDFORGIVENESS THROUGHAESTHETICFRAGILITYCONSTANTMOTIONAND
JUDGMENTANDJUSTICE7HILESUCHTRAGEDIES INTERMITTENCE)NCONTRASTTOTHEBLUNTNESSOF
OFTENSPARKEMOTIONALLYCHARGEDANDPOLARISING LEGISLATIONTHEWORKSINTHEEXHIBITIONFORMALIZE
PUBLICDEBATESTHEASSUMPTIONSUNDERLYINGSUCH EMOTIONANDADDRESSHUMANFRAILTYWITH
REACTIVEPOSITIONSARERARELYEXAMINED9ETTHESE COMPASSIONAND¾EXIBILITY
ASSUMPTIONSCANPLAYAPOWERFULPOLITICALROLEIN
INFORMINGCRIMINALLEGISLATIONASWELLASSHAPING !LANNA,ORENZON´SPRACTICEISDRIVENBYTHESEARCH
SOCIETALUNDERSTANDINGSOFMORALITY FORWHATSHEDESCRIBESASA³POETICLOGIC´)N


DEVELOPING3EA/VER-OUNTAIN3KY ,ORENZON TOTHEREWARDSOFMEDITATIVEPRACTICE,ORENZON
WASDRAWNTO3IMONE7EIL´SASSERTIONTHATALLOF WHOHERSELFPRACTICESMEDITATIONDAILYSUGGESTS
THE³NATURALMOVEMENTSOFTHESOULARECONTROLLED THATHERWORKPROVIDESARESPITEFROMTHECONSTANT
BYLAWSANALOGOUSTOTHOSEOFPHYSICALGRAVITY´ MOVEMENTOFTHEOUTSIDEWORLD)TISAPLACEOF
SUCHTHATTHERISEANDFALLOFHUMANEMOTIONS ELEVATINGSTILLNESSBUTREQUIRESCONCENTRATED
ARECONTROLLEDBYFORCESANALOGOUSTOWEIGHT AWARENESSANDDISCIPLINE4HISSTILLNESSISINA
MOVEMENTSUSPENSIONANDGRAVITY7EILWOULDCALL SENSEA³DISOBEDIENCE´TOTHECONSTANTMOVEMENT
³'RACE´THEONLYACTIONDEFYINGHERLAWINVERSELY FORWARDDEMANDEDBYTHEMODERNWORLD
SHEWOULDCALLSUBMITTINGTODESIRETOHURTTHOSE
WHOHAVEHURTYOU³OBEDIENCETOTHELAWSOF 4HISCONSTANTMOTIONISEXPLOREDIN#*#ONWAY´S
GRAVITY´WHICHSHESAWAS³THEGREATESTSIN´ 4HE7ORLDIS"OUND"Y3ECRET+NOTS A
KINETICMAGNETICSCULPTURETHATEXPLORESTHEVISIBLE
$RAWINGTOGETHERROCKSDELICATEWORKSONPAPER ANDINVISIBLEFORCESTHATDRIVEHUMANACTION
SOUNDANDSINGLEWORDSORPHRASES3EA/VER 4HETABLEISCONSTRUCTEDFROMTWOSHEETSOFGLASS
-OUNTAIN3KY COMBINESASENSEOFCALM SUPPORTEDBYSTACKSOFBOOKSBORROWEDFROMTHE
WITHASENSEOFHEAVINESS,ORENZON´SINTERESTIN ARTIST´SUNIVERSITYLIBRARY4HEBOOKSSEEMTOBEA
THEPOETICSOFGEOLOGICALMATTERANDTHEEROSIONOF RANDOMSELECTIONFROMALLOFTHE7ESTERNWORLD´S
LANGUAGECONNECTSHERPRACTICETOTHATOF2OBERT ½ELDSOFENQUIRYPHILOSOPHYARTPSYCHOLOGYAND
3MITHSONWHOWROTETHATTHEMINDANDEARTH SCIENCEAMONGSTTHEM/NTHETABLESMALLMAGNETS
³AREINACONSTANTSTATEOFEROSIONMENTALRIVERS ARECONSTANTLYMOVINGPULLEDANDREPELLEDBY
WEARAWAYABSTRACTBANKSBRAINWAVESUNDERMINE EACHOTHERANDTHEINVISIBLESTRINGSCONNECTEDTO
CLIFFSOFTHOUGHTIDEASDECOMPOSEINTOSTONES ROTATINGMOTORSHIDDENONTHEROOF
OFUNKNOWINGANDCONCEPTUALCRYSTALLIZATIONS
BREAKAPARTINTODEPOSITSOFGRITTYREASON¨´4HE %SSENTIALTO4HE7ORLDIS"OUND"Y3ECRET+NOTS
DISINTEGRATIONOFTHEWORD³0,%!3%´UNDERLAYERS  ARETHEUNSEENMAGNETICFORCESTHATSUSTAIN
OFSEDIMENTLOCATEDINADETAILOF,ORENZON´S ITSMOVEMENT#ONWAYISINTERESTEDINTHEWORK
INSTALLATIONCARRIESAGENTLEEMOTIONALRESONANCE OFSEVENTEENTHCENTURYPHILOSOPHERANDSCIENTIST
4HEWORDANDITSATTENDANTSENTIMENTSEEMSTO !THANASIUS+IRCHERWHOCONSIDEREDTHEMAGNETIC
HAVELITERALLYBROKENUPALONGITSFAULTLINESUNDER FORCESOFATTRACTIONANDREPULSIONASTHEDRIVING
THEPRESSUREOFLAYERSOFTIME3MITHSONWROTETHAT FORCESOFALLASPECTSOFCREATIONGOVERNINGLOVE
POETRYITSELFISFOREVERERODING³ANALWAYSDYING SYMPATHYHATREDCHEMICALREACTIONSPLANETARY
BUTNEVERDEADLANGUAGE´APRODUCTOFEXHAUSTION ACTIONMEDICINALPLANTSANDSTONESTHEWIND
!TTHISPOINTOFEXHAUSTIONANDEROSIONRATIONALISM HYDRAULICSTHETIDESMUSICALHARMONYANDEVEN
GIVESWAYANDINITSPLACEANENLIGHTENEDSORTOF THENATUREOF'ODHIMSELFWHOM+IRCHERDEEMED
SPIRITUALITYEMERGES ³THE#ENTRAL-AGNETOFTHE5NIVERSE´(OWEVERFOR
#ONWAYTHEREISNOSINGLE½XEDPOINTOFATTRACTION
4HETABLEAUOF3EA/VER-OUNTAIN3KY HAS 4HECENTRECANNOTHOLDANDWHATISLEFTISASTATE
ASENSEOFCOMPLETENESSINITSCOMPOSITIONAND OFCONSTANTINSTABILITYDRIVENBYINVISIBLETENSIONS
STRUCTURE4HEWORKSREQUIRECONCENTRATIONAND !LTHOUGHTHEWORKGIVESTHEOVERALLAPPEARANCEOF
DISCIPLINEBUTPROVIDEANELEVATINGSTILLNESSSIMILAR BALANCEANDSYMMETRYATCLOSERANGEITBECOMES


ACACOPHONYOFVOICESTEXTSTOMESANDPHYSICAL TWODIRECTLYOPPOSINGCONCEPTSANDATTHETIME
FORCESEACHPULLINGINADIFFERENTDIRECTIONCREATING #ANTORWASCONSIDEREDANHERETIC
APERVASIVESENSEOFEMPTINESSANDINSTABILITY
3IMILARLYTO#*#ONWAY´S4HE7ORLDIS"OUND"Y
4HEINSTABILITYISEITHERANXIETY
INDUCINGORFREEING 3ECRET+NOTS +ATO´S!TTUNETOTHE%ARTH
ATANYMOMENTAMAGNETCOULDFALLTHEWIRES  MOMENTARILYRECONCILESOPPOSINGFORCES
COULDTWISTORSOMEONECOULDDESTABILISETHEPILED "ALANCINGGRACEFULLYBETWEENSTRENGTHANDFRAGILITY
BOOKSTHATSERVEASTABLELEGS)NTHISWAYTHEWORK
REMINDSTHEVIEWERTOACCEPTTHETRANSIENCEOFEACH
MOMENT
+AORI+ATO´S!TTUNETOTHE%ARTH HAS
SURVIVEDONTHEPRECIPICEOFDISINTEGRATION3INCE
ITDE½ESTHELIMITSOFITSMEDIUM
3HERRY-C,ANE!LEJOS´VIDEOINSTALLATION/NUS
 ADDRESSESTHEGAPTHATEXISTSBETWEEN
ANEVENTANDITSRECONSTRUCTION4HIS³GAP´
ISOFPARTICULARSIGNI½CANCETOCRIMINALLEGAL
LEARNINGORIGAMIFROMHERMOTHERWHENSHEWASA PROCEEDINGSINWHICHTHE#OURTATTEMPTSTOPIECE
CHILDIN*APAN+AORI+ATOHASBEENINTERESTEDIN TOGETHERTHE³TRUTH´OFWHATHAPPENEDTHROUGHTHE
PAPERFOLDINGANDTHELIMITSOFTHEMEDIUM(ER INTERPRETATIONOFEVIDENCE
SCULPTURALINSTALLATIONISCOMPRISEDOFTHREEBLOOD
REDLAVA
LIKEFORMS¾OWINGOUTWARDSFROMEACH 4HETITLE³/NUS´CALLSTOMINDTHECRIMINALLAW´S
OTHERCREATEDWITHPAPERFOLDEDINTOAPATTERNTHE ³BURDENOFPROOF´WHICHPLACESTHEONUSONTHE
ARTISTHERSELFINVENTED)TISATONCESTRONGAND PROSECUTIONTOPROVEBEYONDREASONABLEDOUBTTHE
FRAGILEINVITINGBUTMENACING4HEWORKEXPLORES GUILTOFTHEACCUSED4HISPRINCIPLEISCRITICALTOTHE
FORMALTENSIONSANDTHEWORKISTHEPRODUCTOF PRESUMPTIONOFTHEINNOCENCEOFTHEACCUSEDAND
MUCHTRIALANDERROR$ESPITETHEWORK´SFRAGILITY THUSISESSENTIALTOWHATOURSOCIETYCONSIDERSTOBE
THEARTISTENCOURAGESADEGREEOFINTERACTIONAND AJUSTLEGALSYSTEM
SEESTHEOBJECTSASTACTILEREACTIVETOCHANGESINTHE
ENVIRONMENTANDALMOSTALIVE &OR-C,ANE!LEJOSTHISONUSISFELTASAPHYSICAL
BURDENONTHEBODYTHESTACKOFBOOKSTHAT
+ATO´SPRACTICEISSCIENTI½CINTHATITEXPLORES SIGNI½EROFLAWANDKNOWLEDGELITERALLYBEARDOWN
THEPATTERNSANDEQUATIONSTHATUNDERLIELIVING ONTHEBODYOFTHEARTIST4HE¾ICKERINGOFTHE
MATTER3HEDECONSTRUCTSTHENATURAL³SUBLIME´ IMAGEANDITSREPETITIONDISLOCATESTHEWORKFROM
INTODISCRETEUNITS¯ANORIGAMIFOLD¯ANDTHEN
REBUILDSANOBJECTTHATAGAINSEEMSTOSURPASSTHE
PIECE
SUMOFITSPARTSTOBECOMESOMETHINGBREATHTAKING
4HISPROCESSBEARSANINTERESTINGRESEMBLANCETO
LINEARTIMEMUCHLIKEEVIDENTIALANALYSISIN#OURT
REQUIRESASUSPENSIONOFTIMEINORDERTORE
ANDORDERWHATHAPPENEDINTHEPAST4HESEOVERT
MARKSOFPOST
PRODUCTIONCREATETRANSPARENCY
THETHEORIESOFTHETHCENTURYMATHEMATICIAN A³LIFTINGOFTHEVEIL´ANOTHERAIMOFTHEJUSTICE
'REGOR#ANTORWHOSEWORKONSETTHEORYIMPLIES SYSTEM
THEEXISTENCEOF³ANIN½NITYOFIN½NITIES´4HE
THEORYRECOGNISESTHATIN½NITIESCANBETREATED 3TANDINGBEFORE/NUS ISLIKEWATCHING
LIKEDISCRETEUNITSANDTHUSCANBEADDEDAND SOMEONEWAITINGTOBESENTENCED¯THEMOMENTS
SUBTRACTEDFROMEACHOTHERASUGGESTIONTHAT BEFORETHEHAMMERORTHEKNIFEFALLS4HEBODY
APPEARSTOBESELF
CONTRADICTORY#ERTAINEQUATIONS ISONALLFOURSTHESTROBELIGHTS¾ICKERANDTHE
REQUIRETHEMATHEMATICIANTOHOLDINMINDTHESE INTENSITYBUILDS4HELAWISBROUGHTDOWNTOITS


KNEESSEXUALISEDHUMILIATEDBUTSTILLCOLDAND ORMASKINGTHECONTRADICTIONSINHERENTINSOCIETY
UNCOMPROMISING4HEREPETITIONSTOPSTIMESLOWSIT THESEWORKSADDRESSTHEREALITYOFTHECONDITIONS
DOWNTOCREATEANALMOSTUNBEARABLEINTENSITY UNDERWHICHHUMANSMUSTOPERATE

.ICHOLAS7ADDELL´SSHRINESTOINADEQUACYFAILURE 7HATEMERGESISACONCEPTIONOFMERCYASDISTINCT

ANDFRAILTYCHALLENGETHEWORSHIPOFINDIVIDUAL FROMJUSTICEANDFORGIVENESSASANEGOTIATION
ACHIEVEMENT(ISPRACTICEBORROWSFROMDIVERSE BETWEENRETRIBUTIVEIMPULSESANDLENIENCY4HE
RELIGIOUSANDCULTURALICONOGRAPHYANDLOCATES ABILITYTOBEMERCIFULSEEMSTOCOMPELUSTO
THEIRPOINTSOFCONTACT(ISVOCABULARYIS½LLED HOLDINMINDCONTRADICTORYCONCEPTSANDTHEIR
WITHCONTEMPORARYREFERENCEPOINTSFOOTBALLSTARS ATTENDANTIMPULSESONTHEONEHANDTHEWRONG
SCHOOLSPORTSTROPHIES:EN#HRISTIANITYCOMPUTER COMMITTEDANDTHEHARMTHATITCAUSESHASTOBE
GAMES ACKNOWLEDGEDBUTONTHEOTHERHANDTHEGOODIN
THEPERSONTHEIRCIRCUMSTANCESANDTHEVALUEOF
&OREXAMPLE3T2OCK PICTURESTHELATE%LVIS OVERALLPEACE!BOVEALLMERCYISANACTOFRESTRAINT
0RESLEYWEARINGA#ATHOLICICONEARRINGFEATURING 5LTIMATELYTHEEXHIBITIONISANELEGYTOTHOSEWHO
THE0ATRON3AINTOF$OGS3T2OCK HAVEBEENABLETOSHOWGRACEWHENREVENGEWOULD
3T2OCKISSAIDTOHAVEDEDICATEDHISLIFETOHELPING BEJUSTASAPPROPRIATE
THESICKBUTWHENHEEVENTUALLYFELLSICKHIMSELFHE
¾EDFROMTHECOMMUNITYTOAVOIDINFECTINGOTHERS Anusha Kenny
)NTHEFORESTNEARDEATHADOGCAMEANDLICKEDHIS -ELBOURNE
SORESWHICHCUREDHIM(ETHENRETURNEDTOTHE
TOWNHEALEDBUTTHETOWNBELIEVEDHEMUSTBEA
WITCHANDSENTENCEDHIMTODEATH

!SENSEOFTHETRAGI COMICISPRESENTIN-R!#ERTO
 INWHICHTHECONTENTSOFADECEASEDPERSON´S
VACUUMCLEANERAREPRESERVEDNEXTTOTHEIRASHES
³!#ERTO´TRANSLATESIN,ATINTO³WITHOUTADOUBT´

7ADDELL´SINTERESTINGAMINGTHEORYISRE¾ECTED
3TEVE"UTCHER³6ICTIM´SFAMILYBEGFORMERCYFORDRIVER´
INTHEUNDERLYINGASSUMPTIONSOFHISPRACTICELIFE
4HE!GE-AYP
ISNOMORETHANAGAMEANDACHIEVEMENTSARE !LANNA,ORENZONINEMAILCORRESPONDENCEWITHTHEAUTHOR
NOTHINGMORETHANPOINTSONSOMENON EXISTENT -AY
3IMONE7EIL'RAVITYAND'RACE4AYLOR&RANCIS,ONDON
SCOREBOARD4HISISGALLOWSHUMOUREVERYLAUGH TRANSLATIONFROM&RENCHBY%MMA#RAUFURD P
ISOVERSHADOWEDBYTHEFACTOFREALEMPTINESSAND )BIDP
2OBERT3MITHSON*ACK&LAMED 4HE#OLLECTED7RITINGS
THEPRESENCEOFTHEONECERTAINTRUTHAND³GREAT 5NIVERSITYOF#ALIFORNIA0RESS#ALIFORNIAP
EQUALISER´THATEVERYONEWILLONEDAYDIE !LANNA,ORENZONINEMAILCORRESPONDENCEWITHTHEAUTHOR
-AY
0AULA&INDLENED !THANASIUS+IRCHER4HE,AST-AN7HO
4HEWORKSPRESENTEDIN-ERCY3TREETAREMARKED +NEW%VERYTHING2OUTLEDGE.EW9ORK¯
BYTHEIRAESTHETICANDTHEORETICAL³PRECARIOUSNESS´ **/´#ONNORAND%&2OBERTSON!(ISTORYOF3ET4HEORY
HTTPWWW HISTORYMCSST ANDREWSACUK(IST4OPICS"EGINNINGS?
MANIFESTINTHEIRFORMALATTRIBUTESANDTHEMATIC OF?SET?THEORYHTMLACCESSED*UNE
CONCERNS&ARFROMPRESENTINGANETHICALMODEL .ICK7ADDELLINTERVIEWWITHTHEAUTHOR*UNE


Image credits

)MAGESCOURTESYOF'ERTRUDE#ONTEMPORARY
!RT3PACESAND3HEA"RESNEHAN

#*#ONWAY .ICK7ADDELL
&RONTANDBACKCOVERPAGES¯ PAGE
4HE7ORLDIS"OUND"Y3ECRET+NOTS 2OMANRINGS
-IXEDMEDIA -ETALFOAMPLASTIC
$IMENSIONSVARIABLE $IMENSIONSVARIABLE

!LANNA,ORENZON PLEFTTORIGHT

PAGES¯ 3T2OCK
3EA/VER-OUNTAIN3KY -IXEDMEDIAONCANVAS
-IXEDMEDIAINSTALLATION XCM
$IMENSIONSVARIABLE
!HUNKAHUNKO´BURNINGUNIVERSALLOVE
+AORI+ATO #OLLAGE
PAGE XCM
!TTUNETOTHE%ARTH
0RISMAPAPER2ED 4HERECLININGOF#HRIST
$IMENSIONSVARIABLE -IXEDMEDIA
XCM
3HERRY-C,ANE!LEJOS
P¯ -R!#ERTO
/NUS -IXEDMEDIA
6IDEOINSTALLATION $IMENSIONSVARIABLE
$IMENSIONSVARIABLE
/UR,ADYOF-ISERY%VERYTHING'ODMAKESDIES
-IXEDMEDIA
XCM

!NUSHA +E N NY
!NUSHA+ENNYWASBORNIN)RELANDANDLIVEDIN3RI,ANKA"OSTONANDOTHER
PLACESBEFORE!USTRALIA3HEISACURRENTLYALAWSTUDENTAT-ELBOURNE5NIVERSITY
ANDISANALUMNUSOFTHE'ERTRUDE#ONTEMPORARY!RT3PACESAND!RT!USTRALIA
%MERGING7RITER´S0ROGRAMASWELLAS0LATFORM!RTISTS'ROUP´S%MERGING
#URATOR´S0ROGRAM0REVIOUSEXHIBITIONSINCLUDE:ERO.OTCO CURATEDWITH
(ELEN(UGHES $OWNSTAIRS*ULYAND,OTSOF0EOPLE(AVE7HAT9OU(AVE
'EORGE0ATON'ALLERY-ELBOURNE5NIVERSITY&EBRUARY(ERWRITINGHASBEEN
PUBLISHEDIN!RT!USTRALIA!USTRALIAN!RT#OLLECTOR!RTLINKAND5NMAGAZINE


Curator acknowledgements

!NUSHA+ENNYWOULDLIKETOTHANK5LANDA"LAIRAND*EFF+HANFROMTHE.EXT7AVE&ESTIVAL
AND*ACQUELINE$OUGHTY!LEXIE'LASS +ANTOR%MILY#ORMACKAND!MITA+IRPALANIFROM
'ERTRUDE#ONTEMPORARY!RT3PACESFORTHISWONDERFULOPPORTUNITYANDFORTHEIRADVICE
PATIENCEANDENCOURAGEMENT!PARTICULARTHANKYOUTO*ACQUIFORHERTIMEANDSUPPORT

4HANKYOUTOTHEARTISTSFORTHEIRENERGYANDIDEAS4HANKYOUTO4ARA*UNE7INCH
!DAM#RUICKSHANK&IONA-AXWELL-ARK3ILIPOAND3HEA"RESNEHAN

Artist acknowledgements

#HERYL#ONWAYWOULDLIKETOTHANKHERFATHER*OHNFORHISCONTINUINGLOVEANDGUIDANCE
+AORI+ATOWOULDLIKETOTHANKTHECURATOR

Gertrude Contemporary Art Spaces is

supported by the Visual Arts and Craft
Strategy, an initiative of the Australian,
State and Territory Governments, and is
assisted by the Australian Government
through the Australia Council, its arts
funding and advisory body.

Gertrude Contemporary Art Spaces and the 2010 Next Wave Festival are supported by: