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Did
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knowthisplacehasapastil
It
IsperhapshardtoimagineSouthBankParklandsasaoncedensehooppineforest,asthehuntingandcampinggroundsofIndigenouspeople,asathrivingdocksidecommunityorasaderelictlightIndustryprecinct.It'spossiblyevendifficulttorememberthesiteasthevenuefor
Expo
88.Theseimagesandstoriesofthepastarenotalwaysreadilyavailable,orgleanedbyasidewaysglance.Thepastcanbehiddenordisplaced,perhapserased.Certainly,therearetracessuchas'heritage'buildingsandsites-suchasCollinsPlace,theShipInn,ThePloughInn,
the
MaritimeMuseum,theSouthBrisbaneUbraryBuilding,theSouthBrisbaneTownHallandtheAlgasBuilding-onandnearbytheParklandsbutthesecanonlyprovidealimitedviewofthehistoricalandculturallandscapeofthearea.
Skimming
theSurfacehasbeendevisedasameansofuncoveringandconsideringthehiddenhistoriesofSouthBrisbane.EachartworkaddressesanaspectoftheSouthBanksite'shistoryandtheideathatplacesandlandscapesareinaconstantstateofchangeandmovement.Historyisassumedtohavedepth,tobeburiedbelowthesurfaceandthereforerequiresexcavation.~choftheartistshasdonealittlediggingofherorhisowntodevelopanartworkwhichdrawsoutandreflectsoncertain.aspectsofSouthBrisbane'scultural,environmentalorsocialhistory.Ascontemporaryandexperimentalartists,theyarenotattemptingtorecreateorsimulatehistory.butrather,theyareworkingwithvariousideasandrelationshipsthathaveemergedfromtheirinvestigations,asameansofaddressingSouthBankParklandsasthesiteforwhichthisarthasbeenmadeandthecontextinwhichitappears.Inthisrespect,theseworksareasmuchaboutthepresentastheyareaboutthepast.Theyactasbothaninterpretationandameansofinterpretation.Astemporaryorephemeral.theseartworkswillnotdisappearintothelandscapeinthesamewayasthosebronzedfixturesandmonumentswhicharedottedthroughcities,throughfamiliarityorbybecomingpartoftheoutdoorfurniture.Rather,astemporaryworks,theyactasmoresubtleorfragilewaysofmarkingthecityscape:somewillbephysicallyremovedwhileotherswillsimplywashaway.Theybelongtothismomentandwillthemselvesfoldintotheflowofhistoryandthelivedexperienceofthiscity.Theyareinterjectionswhichperhapstransfonnourexperienceandourawarenessof
thls
spaceanditspast
by
contrastingaseriesoffleetingvisions.momentsofbeauty,chanceencountersoralternatepossibilities.Itisdifficulttoevokethepastwithoutmakingreferencetocurrentlandmarks.Wecanonlyeverthinkaboutthepastfromourpresentvantagepoint:weshapeavisionofthepast,bysomehowlookingthroughandunderneaththeselandmarks;bringingtheimageswhichwemakethroughourimaginarytimetravelintothepresentandprojectingthemacrossthosesurfaces.Thisis.inpart,howtheseartworksfunction,bringingattentiontosomethingthathaspassedorfadedandmakingaconnectionwiththepresent.Thethemeoftransienceandpassingresonateswithineachoftheartworks.ItIsnotonlythepassingoftheartworks,butalsoofpeople,erasand._cultures,
of
historyitself.ThisthemeremainspertinenttodayasSouthBankParklandsIsaplaceofconstantchangeandmovement.Weareallvisitorsandwearealljustpassingthrough.Accordingtoearlydescriptionsofthenaturalenvironment,thesouthbankoftheriver
was
aplaceofabundantanddiversegrowthandwildlife.ThereachalongtheriverfromVictoriaBridgetowardMontagueRoadwasparticularlyluscious,whiletheareawhichSouthBankParklandscurrentlyoccupieswasprimarilyhooppineforestwhichstretchedwestward.TheflatofthecurrentParklandsarea
was
swampwithaflood-pronetidalcreekrunningacrossit.ForIndigenouspeople,thisareaprovidedarichsourceofgameandfish.withcamping,meetingandceremonialgroundslocatedthroughouttheSouthBrisbane,WoolloongabbaandWestEndregion.BythetimefreesettlersmovedtothesouthbankoftheBrisbaneRiverintheearly
J
8405,thelandhadbeenpartiallyclearedofforest,trackswerecarvedtothewestandanewtownshipwasbeingplanned.Subsequently,themarkings.occupationsandpathwaysthatIndigenouspeoplehadmadeacrosstheswampyterrainandthroughthehooppineforestoverthousandsofyearswereerasedor
-,
concealed,theirtraditionaluses
of
theareaashunting,fishingandceremonialgroundsweredisplaced.
As
peoplecommittedtoReconciliationinthiscountry,theseartistsandtheorganisersofthiseventrecognisethepriorownershipofthisareabyIndigenousdansandwethankthosetraditionalownersfortheirgenerosityasallAustraliansandinternationalvisitorscontinuetoenjoythesesurrounds.
1
LocatedintheNepalesePagoda,RossBarber'saudioinstallation.
s/eeper/trace
hasanambiguousquality.Thisminimalsoun9workisquietyetinsistent,everywhereyetnowhere.Despiteit'sfleetingquality,thisworkisaboutmarkingterritory:markingplaceandthebody.Thesesoundsfloatthroughand'mark'space,timeandthe
body
whichsleepsandspeaks.s/eeperirracebeginswiththerepetitionofaquestion.'doyouspeakEnglishl'andendswitharecitationoftheEnglishalphabet'svowelswhileambientsoundsofbreathingandbirdsongfillthespacebetween.Thebirdsmarktheirterritorythroughtheirsong.Youmightwonderaboutthecircumstancesinwhichthequestionisaskedandtheenvironmentsinwhichthevowelsareemphaticaliysoundedandechoed.Thisechoisaninsistentreminderofthelearnedrulesoflanguagewhichdominateanunderstandingofaplaceandthemannerinwhich
it
ismapped.T'")ughourIan~e.asthemeansofnamingandmapping,weclaimownership.ln'-6mefirstcOnCa",../ifindeedthosesoldiers,convictsorsettlersstopped
to
askquestions.theaskingofthisquestiontoIndigenousinhabitantswhileabirdsoundsandthelandbeneaththeirfeetbreathesorsleeps.Thelanguageonespeaksbecomesameansofestablishingidentity.commonalityanddifference.Thatisoneofmanypossibilities.Throughouthistory.thisquestionhasbeenaskedtoascertainwherepeople.a!touristsormigrants.arefrom.whethertheyareindeedfromthisplaceandwhethertheywillfitin.Unfortunately,itssoundingcansometimesbethreateningandsinisterbecausebigotryhasahistorytoo.BarberhasbeencannylocatingtheworkinthePagoda,oneofthefewsitesinBrisbanededicatedtoenduringpeace,toleranceandgoodwill.
2
In
TemporalRegion.
PaulaPayne
hasredrawnan1840mapontotheRiversideGreen.
As
averyearlycolonialsurveymap.possiblyasketch
by
thesurveyor,HenryWadeinpreparationforthefirstlandsalesin1842,itdelineatesanumberoflandparcelswithintheblocksborderedbyStadeyQuay(nowStanleyStreet),PeelStreet,HopeStreet,RussellStreet,MelbourneStreetandGreyStreet.ForPayne,themapisa're-discovery'oftheformerCityofSouthBrisbaneactingasamomentwhichaugurschange.Despitetheirseemingobjectivity,mapsareveryloadedwaysofunderstanding,rlefiningandlayi'lalrntoland.}artisthasdrawnattentionto
other
historiesandideasofthelandbym:arking'kermapwithotherlandmarksandimages(suchasmappingsymbols,thewaterratandthe'seamonster'allegedlyfoundbyexplorersontheirjourney
tc
AustraUa.).Shehasevokedtheword,Kurilpa,theJagerawordforratorwaterratandthenamegiventotheWestEndpeninsulaandidentifiedothermomentsoftransitionandpassinginthearea'shistory.Sheaffirmsthatthisplacehasapast,drawingourattentiontocompetingexperiencesofthelandandideasabouthistory:thatthereb;alwaysmorethanonehistoryorthathistoryisasmuchaboutdiscontinuityasitisaboutcontinuity.aboutdisjunctureinasmuchasflow.Sheremindsusthatthesehistoriescanberecoveredandrevealedtoprovideamoreintimateunderstandingofthecomplexitiesofaplace.
3
As
themajorport,SouthBrisbanehandledacontinual
flow
of
ships.sailors,passengersandcargo
to
andfromIpswich.coastal
parts,
Sydneyandoverseas.Theshippingindustrythrivedthroughoutthe1840$providingtheimpetusforfurthercommercialgrowthandsettlement.However,this
was
short-livedwhenimportantdevelopmentssuchasCustomsHousewerebuiltonthenorthernshore.AfterthistheareagraduallybecamearesidentialsuburbintheI850sand18605.
Its
cheaperlandprices
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