学生作品ガイド
著作権 この作品は、現在も著作権の保護対象です。susan jane norrie は 1953 に生まれ、没年は記録されていません。著作権は、作者の死後 70 年間存続します。この画像は教育目的の参照用として掲載されており、権利は権利者に帰属します。
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Dissent — susan jane norrie
Shaded: susan jane norrieの生涯 (1953–?)
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Dissent — susan jane norrie
For the 19th Biennale of Sydney, renowned Australian artist Susan Norrie presented her film Dissent (2012) in the atmospheric Powerhouse building on Cockatoo Island.Shot in Tokyo at night, Dissent depicts scenes of recent Japanese protests against nuclear power. In the wake of the Fukushima nuclear disaster in 2011, the largest such event since Chernobyl in 1986, all of Japan’s nuclear reactors were closed down. In mid-2012, just over a year after the disaster, two plants were reopened, prompting large rallies and protests outside Japan’s parliament. Despite official police reports of 14,000 protestors, organisers of the rally claim that up to 200,000 people, including children and the elderly, took part. Norrie’s moving and cinematic images of protestors, replete with candles and banners, depict the ceremony of the demonstrations, capturing the public’s spirited hope for change.For the better part of the last two decades, Norrie has presented audiences with scenes of terrifying beauty; an apocalyptic world on the brink of ruin. Using art as a means of political commentary, she creates videos that elaborate on the theme of natural and man-made disasters, ruminating on the fragility of nature and human existence.A concern for ecology and the environment is at the core of Norrie’s artworks, pertinent topics in our contemporary political atmosphere, where debates surrounding climate change continue to dominate election campaigns and influence party policy. Norrie’s imagery of disruption and disaster – of earthquakes, dust storms, volcanic eruptions and drought – should make such warnings difficult to ignore. These scenes reveal first-hand the devastating effect of human intervention on the landscape, not only in our impact on a changing climate, but through industrial damage, nuclear testing, depleting resources and pollution.Unlike other artists who highlight environmental issues, Norrie does not work in a documentary style. Emerging as an artist in the 1980s, she initially made a name for herself as a painter. The sensual textures and techniques gained from this practice are evident in Norrie’s visceral approach to creating moving-images, which appear as a marriage between fine art, documentary and cinema. The use of montage and film-editing techniques, informed in part by pioneering filmmakers Sergei Eisenstein and Dziga Vertov, allow her to combine her own footage with existing material – blurring the boundaries between fact and fiction.In recent years, Norrie’s practice has displayed a particular interest in the Asia-Pacific region, shedding light on the many environmental and humanitarian disasters that have befallen the area. Havoc (2007), set in East Java, is a 16-channel installation profiling the mud volcano Lusi, which has been a source of continued disaster for the people, villages and environment of the region.Norrie studied at National Art School, Sydney, and Victorian College of the Arts in Melbourne. Since the 1980s, her work has been the subject of significant solo exhibitions worldwide, including ‘SHOT’ and ‘Enola’ as part of Edinburgh International Festival at Collective Gallery (2009); ‘UNDERTOW’, Australian Centre for Contemporary Art, Melbourne (2002); and ‘THERMOSTAT’, Museum of Contemporary Art Kiasma, Helsinki (2001). Norrie has also participated in numerous international group exhibitions, most recently ‘Among the Machines’, Dunedin Public Art Gallery (2013); ‘Porta Nigra’, Hidde van Seggelen Gallery, London (2012–13); 4th Yokohama Triennale (2011); and ‘Molten States’, Royal Academy of Arts, London (2008). She has participated in three previous iterations of the Biennale of Sydney (1986, 2004 and 2008), and was one of three artists representing Australia at the 52nd Venice Biennale (2007).Shot in Tokyo at night, Dissent depicts scenes of recent Japanese protests against nuclear power. In the wake of the Fukushima nuclear disaster in 2011, the largest such event since Chernobyl in 1986, all of Japan’s nuclear reactors were closed down. In mid-2012, just over a year after the disaster, two plants were reopened, prompting large rallies and protests outside Japan’s parliament. Despite official police reports of 14,000 protestors, organisers of the rally claim that up to 200,000 people, including children and the elderly, took part. Norrie’s moving and cinematic images of protestors, replete with candles and banners, depict the ceremony of the demonstrations, capturing the public’s spirited hope for change.For the better part of the last two decades, Norrie has presented audiences with scenes of terrifying beauty; an apocalyptic world on the brink of ruin. Using art as a means of political commentary, she creates videos that elaborate on the theme of natural and man-made disasters, ruminating on the fragility of nature and human existence.A concern for ecology and the environment is at the core of Norrie’s artworks, pertinent topics in our contemporary political atmosphere, where debates ../..
アーティストと美術館
生誕地 Sydney, Australia
Born in Sydney, Australia, in 1953, Susan Jane Norrie has emerged as a profound and uncompromising voice within the landscape of contemporary art. Her journey began with a rigorous foundation in traditional painting, having studied at the National Art School in Sydney and the National Gallery of Victoria Art School in Melbourne. While these early years provided her with a mastery of visual representation, Norrie’s artistic evolution would eventually lead her away from the singular canvas toward a much more complex, multi-sensory exploration of the world. She developed an ambivalent relationship with traditional painting, finding that the medium alone could not encompass the weight of the political and environmental crises she felt compelled to address. This restlessness drove her toward the innovative use of found film, text, and large-scale video installations, creating a body of work that functions as both a mirror to societal upheaval and a haunting meditation on human fragility.
Norrie’s practice is defined by a unique ability to repurpose the discarded. By meticulously selecting and manipulating existing film footage—often overlooked or forgotten fragments of media—she transforms much of the "noise" of modern life into powerful, cinematic statements. Her work does not merely document reality; it interrogates it. Through the layering of imagery and text, she explores themes of surveillance, memory, and the pervasive influence of media in shaping our collective perception of truth. In her hands, a fragment of newsreel or a piece of found footage becomes a metaphor for the way we confront uncomfortable truths about our existence. This technique allows her to create an atmosphere of terrifying beauty, where scenes of natural disasters—earthquakes, dust storms, and volcanic eruptions—serve as visceral warnings about the devastating impact of human intervention on the planet.
At the heart of Norrie’s oeuvre lies a deep-seated concern for ecology and the precarious state of our global environment. Her work often presents an apocalyptic vision of a world on the brink of ruin, yet it avoids the dry, clinical tone of traditional documentary. Instead, she utilizes a poetic, almost ritualistic visual language to rhapsodize on the fragility of nature. This preoccupation with environmental justice is inextricably linked to her political commentary. A landmark moment in her career occurred at the 52nd Venice Biennale in 2007, where she represented Australia with her installation “Dissent.” This work powerfully confronted issues of social justice and activism, demonstrating her ability to distill complex, global tensions into a concise and emotionally resonant visual experience.
Beyond the moving image, Norrie’s exploration of meaning extends into the realm of the written word. Her paintings and installations frequently incorporate layered text, utilizing handwritten notations and experimental typography to create a dialogue between what is seen and what is read. This integration of text serves to deepen the conceptual rigor of her work, forcing the viewer to navigate through layers of information and interpretation. The following elements are central to her artistic identity:
Found Film and Video: The use of repurposed footage to critique media narratives and explore themes of memory and surveillance.
Environmental Advocacy: A focus on the devastating effects of climate change, industrial damage, and nuclear testing through evocative imagery.
Textual Layering: The use of typography and handwriting to add conceptual depth and a sense of personal, human presence to her large-scale works.
Political Engagement: A commitment to challenging established viewpoints and highlighting social justice movements, such as the anti-nuclear protests in Japan depicted in her work Dissent.
The historical significance of Susan Jane Norrie lies in her refusal to remain within the boundaries of a single medium or a comfortable aesthetic. By bridging the gap between the tactile nature of painting and the ephemeral, temporal qualities of video art, she has expanded the vocabulary of contemporary Australian art. Her ability to engage with the most pressing issues of our time—from the Fukushima nuclear disaster to the global climate crisis—ensures that her work remains perpetually relevant. Norrie does not simply present images; she constructs environments that demand critical reflection and emotional confrontation. As an artist who has been recognized by prestigious institutions such as the Tate and the Guggenheim Museum, her legacy is one of profound intellectual courage and a relentless pursuit of truth within the fragmented pieces of our modern world.
展示場所 シドニー, オーストラリア
オーストラリアで最も活気に満ちた都市のただなかに、
は単なる展覧会としてではなく、2年ごとに世界の現代アートの風景を再定義する、リズムを刻む鼓動のように現れます。1973年、象徴的なシドニー・オペラハウスにおいてフランコ・ベルジョーニ＝ネッティスの大胆な構想によって産声を上げたこの祭典は、知的好奇心と文化的な対話を促す深遠な触媒としての役割を果たしてきました。過去を静かに保管する貯蔵庫のような伝統的な美術館とは異なり、ビエンナーレは「現在」という切実な対話を優先させる、呼吸する生命体なのです。そこは芸術の境界が常に試される場所であり、コレクターや愛好家たちは、アイデンティティ、エコロジー、そして社会正義に対する私たちの認識に挑戦する、画期的な表現者たちの出現を目の当たりにすることになります。
ビエンナーレの本質は、その変容をもたらすキュレーション・ビジョンにあります。それは、恒久的なコレクションを保持することよりも、儚くも力強いテーマに基づいた旅路を重視しています。各エディションは、未知なるものとの緻密に構成された遭遇であり、大陸を越えて集められた作品群を編み合わせることで、現代が直面する複雑な課題へと向き合います。審美眼を持つ人々や洗練されたコレクターにとって、これらの展示は単なる視覚的な愉悦を超え、人間体験の根源的な部分に深く、本能的に触れる機会を与えてくれます。
NIRIN
(2ウム、2020年) で探求された深遠な先住民の知識体系に没入したり、
rīvus
(2024年) の展示に見られる、相互接続性の流動的なメタファーを辿ったりすることもあるでしょう。そして現在の
Ten Thousand Suns
は、私たちを純粋な想像力の領域へと誘い、芸術を「私たちの共有する未来を再構築するための道具」として用いるという、この祭典独自の能力を証明しています。
ビエンナーレの建築的な魂は、そのプログラムと同様にダイナミックであり、シドニーの産業遺産を再利用することを通じて、しばしば最も鮮烈な表現を見せます。巨大な工業施設である
ホワイト・ベイ発電所
が広大な展示空間へと変貌を遂げる様は、既存の構造物や視点に新たな命を吹き込むという、この祭典の使命を象徴する息を呑むようなメタファーとなっています。多様なサイト・スペシフィック（場所固有）な会場を戦略的に活用することで、芸術は決して白い壁の中に孤立することなく、都市の構造へと浸透し、街角で自発的な対話を生み出します。工業建築が持つ無機質で骨格的な美しさは、変化、衰退、そして再生というテーマを扱う作品にとって、忘れがたいほど完璧な背景となり、カジュアルな来場者から真摯な研究者に至るまで、人々を魅了する没入型の環境を作り出しています。
シドニー・ビエンナーレを真に際立たせているのは、脱中心化された、包括的な美術史のビジョンに対する揺るぎないコミットメントです。欧州中心主義的な伝統から脱却し、この祭典はアジア太平洋地域をはじめとするアーティストたちの重要な擁護者となり、創造的な交流のグローバルなネットワークを育んできました。この進化は、周縁化された人々の声が舞台の中心へと引き上げられる、より公平な文化的情勢への大きな潮流を反映しています。ここで提供される体験のコレクションは比類なきものであり、以下のような作品群を特徴としています：
マーヴィン・カマラ・ルブンジャによる
鮮やかな水彩画で描かれた、息を呑むようなノーザンテリトリーの風景。そこには先住民の権利と住居の正義を求める深遠な闘いが投影されています。
ホルヘ・ニコルソン・ムーア・バラダスによる
サイケデリックなデジタル・コラージュ。重なり合う色彩と身振り的なリファレンスが、抽象表現主義の生のエネルギーを呼び起こします。
ヘンリー・クームスによる
催眠的な白黒の映画的探求。
I am the Architect
などの作品は、シュルレアリスムと構造を融合させ、芸術と建築の交差点を描き出します。
現代的な躍動感を捉えようとするインテリアデザイナーや、批判的な内省を促す作品を探しているコレクターにとって、ビエンナーレは欠かすことのできない目的地であり続けています。そこは、不都合な真実と向き合い、明日の無限の可能性を構想する作品たちの聖域であり、国際的な現代アート・サーキットにおける礎石となっているのです。
wahooart.com/ja/art/download/susan-jane-norrie-dissent-D673PK-en/
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Dissent — susan jane norrie
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