worlding in geelong July 2024 – arrival — part 2

Platform Arts occupies an old re-purposed court house in Geelong|djilong kulcha precinct.

Worlding exhibition in July 2024 curated by Amber Smith, occupied the main exhibition space downstairs, and upstairs mezzanine and theatrette. 

I am here because of the word 'worlding', a project of my own. Part 1 is here.

You can enter by the cafe and go up either side of stairs to see Patrick Pound’s The Palindrome Door (2024). And coming up from the cafe would be my recommendation.

In Pound’s vitrines of twins and twosomes, the postcard of a bronze really caught my Janus-ed eye.

But we had flowed in from the van parked in Little Malop, and so used the other bifurcated stairway. My worlding pump was not primed.

So I first saw, with Mona, at my side.

Just minutes before a horde of playdated Friday morning mothers arrived on the cafe table nearest those open doors. Precautious wards gently closed the double doors to children, strollers and prams.

My days invigilating galleries is still my go to emotional response to these places and events. I sighed and said to Mona, “it takes a long time to overcome my habituation to these special spaces.”

Mona sat down to watch the four-screener.

While I did a quick scout around, the reccie is my go-to hybrid flight/fight response.

I clicked throught Brook Andrew’s stereoscope Systems of Substance (2016), he is a fave of mine. Everyone else gets a nod.

I then sat down next to Mona and watched Madison Bycroft's Waterlogue - four on the floor (2024) through until the loop looped to where we came it to the show —before the throne. I forgot the children.

That's when we each went up one of the one of the stairs to Patrick Pound, and screenings of Daniel Crooks' alley poolmirrored ways in An Embroidery of Voids (2013/14) & Si Yi Shen's dripways in Free Water (2024).

And came back to look at wall labels, and forget. Forget it all.

The next day I went with Mona to the Werribee Sewerage Farm. In the flow we found an island of stilts.