MONA's ferry, MR-1, about to return to Hobart's wharf via the River Derwent.
Untitled (White Library) by Wilfredo Prieto, consisting of thousands of blank books.
I took few photos in MONA, my attention so regularly stolen by the art and experience. Down the glass lift to the lowest level, you slowly prospect your way back to the surface. The works are frequently ominous and visceral, but in a way that leaves you joyous, having just been transported to some other place that was, minutes ago, unknown. A black light to illuminate the shadows.
Modern art is juxtaposed with the ancient, something made last year placed literally next to, for example, an Egyptian mummy case in excess of 2000 years old. A dark labyrinth of zeros and ones with air vibrating foreboding frequencies houses silver artefacts and a surprise at its centre. Further along, the stench of Cloaca Professional announces the industrial jellyfish contraption, tubes and glass and steel suspended from the ceiling, digesting food into waste.
Is that art? A machine that eats food, digests it and defecates? I don't know, but I'm glad to have seen it.
A mould, of something large and Buddha-like, under construction behind plastic.
Situated underground, MONA looks like a group of wealthy skaters took over a NORAD bunker. A giant playground, or maze, as much a work of art as anything within it.
You just wouldn't want to find yourself stuck in there after lights-out.
A few weeks ago I was convinced at the last minute to go on a one week trip around Tasmania. I'd never been before, but now I'm pleased to be able to say that it's a great destination! So much to see and everyone was very friendly.
Above, in MONA, the Museum of Old and New Art in Hobart, Pulse Room by Rafael Lozano-Hemmer.