There has been an outbreak of the Covid-19 virus in the northern suburbs of Adelaide in South Australia. These new cases are South Australia’s first without a known source of transmission since April 1 2020–7 months ago.
Known as the Parafields cluster it has been traced back to returned traveller from the UK, to a cleaner, on to two security guards and then into the community. The cleaner worked at a medi-hotel (a quarantine hotel) for Australians returning from overseas, and then transmitted to the cleaner’s extended family, some of whom worked as security guards. The particular strain of this virus is showing no symptoms for people who have become infected; it is highly contagious (it was transmitted from surfaces at the medi-hotel in the city); and the incubation is very short —down to 24 hours.
The state government, in response to this second wave, has instituted a very tough mandatory lockdown of the state at midnight on the 18th of November in an attempt to execute a six day circuit breaker, to get on top of the contact tracing and to get every single person that they can into a quarantine situation as quickly as possible. The lockdown is being used to contain the virus, where as in Europe governments only uses lockdowns when things are out of control
Basically we cannot leave our house for the next 6 days and only one person per household can leave the home once a day to visit the supermarket, or if they are in an emergency, or if their home is unsafe. Face masks are advised when in public but they are not mandatory.
I am in the process of working on a third newsletter and the third online exhibition, which is one on abstractions in photography. I am a bit behind schedule due to Light Paths.
Light Paths is currently under construction. It is a community orientated website for art photographers in South Australia. It is currently in ‘coming soon’ mode, but it should ‘go live’ sometime during October. It is premised around the idea of encouraging art photographers to publish their work in progress re the current project they are working on (initially on the blog and then in a gallery); to go on 2 field trips per year; and to have an annual exhibition based on the work produced on and around those field trips.
The Covid-19 pandemic put a stop to my planned travels to both Lorne and the Great Otway National Park with the Friends of Photography Group in April, and to Melbourne’s CBD to continue working on the drossscape project with Stuart Murdoch in June. I found it astounding that a neo-liberal government committed to austerity and financial orthodoxy locked down whole sections of economic activity knowing that this turn to public health restrictions meant jumping over the cliff edge of the sharpest recession in modern history.
Melbourne has become a no go destination due to the city becoming a hotspot with an outbreak of community transmission in a number of suburbs; those areas in Melbourne with high rates of household overcrowding, homelessness, housing affordability stress and financial hardship. A crucial source for the community transmission of Covid-19 was the security guard fiasco at the Melbourne quarantine hotels for those Australians returning from being overseas. The public health response to the failures in hotel quarantine infection control protocols was to reimpose restrictions on family and outdoor gatherings; a widespread testing blitz in the hotspot suburbs assisted by Australian defence force personnel; then a stage three lockdown of Melbourne itself.
I was absent from the book launch and the exhibition opening of Adelaide Art Photographers c1970-2000 at the Royal South Australian Society of Arts in Adelaide. It took place just after Australia had put in place the Covid-19 restrictions for social distancing and social gatherings. I was in New Zealand at the time trying to return to Australia before New Zealand closed its borders. After I returned to Adelaide I went into the 14 day mandatory quarantine. After the quarantine finished we entered a world of lockdown to ‘flatten the curve’ of infections to prevent overloading the health system. The lockdown tempo was set by NSW and Victoria, the two worst affected states.
I have yet to see the exhibition and the books are largely unsold.
The background to the Adelaide Art Photographer’s project is here.
Due to the Covid -19 restrictions the opening was sparsely attended, the book launch was minimal, and the exhibition was opened only for a few hours. Then everything was closed down. However, the exhibition does have some online presence. There are the exhibition images, a walk through of the exhibition images by Paul Atkins and Adam Dutkiewicz and the exhibition opening address by Paul Atkins. Meanwhile the pandemic rages on, many lives are on pause, while many others end.
In this post on the Mallee Routes blog I mentioned the lack of critical writing about local exhibitions in Adelaide and the crisis of independent writing about art in general. An associated problem emerges from the art gallery existing in a digital economy due to the gallery usually having a minimal online presence; a minimal presence that is especially noticeable with respect to their exhibitions. The current Mallee Routes exhibition at the Murray Bridge Regional Gallery is a case in point.
The standard convention is that there is just the odd image from an exhibition online which is primarily used to market the exhibition to the public. This means that an online viewer, in say another state, is unable to gain a sense of, or assess, the exhibition. Secondly, there is little to no engagement, dialogue or conversation with the gallery’s online audience about their exhibitions. This, in turn, means that an exhibition has a limited reach and presence. It’s here today, seen by few, and forgotten tomorrow, unless it is reviewed or there is an exhibition catalogue. The latter only happens to the mega exhibitions of superstars or global artists working in the biennial culture.
The art gallery’s low digital presence provides an entry point into a problematic about how the nature of photography is changing and the significance of these changes. We can begin to explore this through looking at the functioning of the art gallery in a digital economy. Firstly, the gallery continues its role of curating and collecting photography; a role that is designed to sort the image s to incorporate into the canon through the separation of photography as art and not-art. However, in continuing to champion photography as an art form, the curators downplay photography’s role as a reproductive technology in order to emphasise the creative legitimacy of the photographer who pressed the shutter.
Secondly, art galleries continue to rely on foot traffic to view the staging of a contemporary photograph exhibition in the white cube, grounded in aesthetic modernism. It does appear that the curators in the art galleries currently see digital technologies as either a new tool for artists to express themselves, or as a channel for communications and marketing through which new audiences can be targeted and captured. This approach to digital technology excludes is photography’s diffusion into general computing in a digital economy.