학생 작품 가이드
저작권 이 작품은 아직 저작권 보호 대상입니다. susan jane norrie는 1953년에 태어났으며 기록된 사망 연도가 없습니다. 저작권은 작가 사후 70년 동안 유지됩니다. 본 이미지는 교육용 참고 자료로만 제공되며, 모든 권리는 저작권자에게 있습니다.
문맥상
Dissent — susan jane norrie
Shaded: susan jane norrie의 생애 (1953–?)
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작품 정보
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 ../..
아티스트와 미술관
출생지 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.
전시 중인 장소 시드니, 호주
호주에서 가장 역동적인 도시 경관의 중심부에서,
는 단순한 전시를 넘어 2년마다 전 세계 현대 미술의 지형을 재정의하는 리듬감 있는 맥박으로 등장합니다. 1973년, 상징적인 시드니 오페라 하우스에서 프랑코 벨조르노 네티스의 대담한 구상으로 시작된 이 축제는 지적 호기심과 문화적 대화를 이끄는 깊은 촉매제 역할을 해왔습니다. 과거를 담아두는 정적인 저장소 역할을 하는 전통적인 미술관과 달리, 비엔날레는 현재의 시급한 담론을 우선시하는 살아 숨 쉬는 유기체입니다. 이곳은 예술의 경계가 끊임없이 시험받는 장이며, 수집가와 애호가 모두를 초대하여 정체성, 생태, 그리고 사회 정의에 대한 우리의 인식을 뒤흔드는 혁신적인 목소리들을 마주하게 합니다.
비엔날레의 본질은 영구적인 소장품 대신 찰나적이면서도 강렬한 주제적 여정을 지향하는 변혁적인 큐레이팅 비전에 있습니다. 매 회차는 미지의 세계와 벌이는 정교하게 설계된 만남이며, 우리 시대의 긴박한 복잡성을 다루기 위해 여러 대륙의 작품들을 하나의 직조물처럼 엮어냅니다. 안목 있는 관찰자와 세련된 수집가들에게 이러한 전시들은 단순한 미적 즐거움을 넘어, 인간 경험의 근간과 맞닿은 깊고 본능적인 교감을 선사합니다. 관람객은
NIRIN
(2020)에서 탐구된 심오한 원주민 지식 체계에 매료되거나,
rīvus
(2024) 전시 속에서 상호 연결성의 유동적인 은유를 따라가게 될 것입니다. 현재 진행 중인
Ten Thousand Suns
는 우리를 순수한 상상력의 영역으로 초대하며, 예술을 도구 삼아 우리의 공동 미래를 재상상하는 이 축제만의 독보적인 능력을 증명하고 있습니다.
비엔날레의 건축적 영혼은 그 프로그램만큼이나 역동적이며, 종종 시드니의 산업 유산을 재해용한 방식을 통해 가장 인상적인 표현을 찾아냅니다. 거대한 산업 단지였던
화이트 베이 발전소(White Bay Power Station)
가 광활한 전시 공간으로 탈바꿈하는 모습은, 기존의 구조와 관점에 새로운 생명력을 불어넣고자 하는 축제의 사명을 보여주는 숨 막히는 은유입니다. 이처럼 다양하고 장소 특정적인(site-specific) 공간을 전략적으로 활용함으로써, 예술은 결코 하얀 벽 안에 고립되지 않고 도시의 조직 속으로 스며들어 거리 곳곳에서 자발적인 대화를 일으킵니다. 산업 건축물이 지닌 황량하면서도 골격적인 아름다움은 변화, 쇠락, 그리고 재생이라는 주제를 다루는 작품들을 위한 완벽한 배경이 되어주며, 일반 방문객과 학자 모두를 매료시키는 몰입형 환경을 조성합니다.
시드니 비엔날레를 진정으로 차별화하는 것은 탈중심적이고 포용적인 미술사를 향한 흔들림 없는 의지입니다. 유럽 중심주의적 전통에서 벗어나, 이 축제는 아시아 태평양 지역과 그 너머의 예술가들을 위한 핵심적인 옹호자가 되어 창의적 교류를 위한 글로벌 네트워크를 육성해 왔습니다. 이러한 진화는 소외된 목소리가 무대의 중심으로 격상되는, 더욱 형평성 있는 문화적 지형을 향한 광범듬은 움직임을 반영합니다. 이곳에서 제공되는 경험의 총체는 타의 추종을 불허하며, 다음과 같은 경이로운 작품들을 선보입니다:
머빈 카마라 루분자(Mervyn Kamara Rubuntja)
가 생생한 수채화로 그려낸 숨 막히는 노던 테리토리의 풍경은, 원주민의 권리와 주거 정의를 위한 깊은 투쟁을 투영합니다.
호르헤 니콜슨 무어 바라다스(Jorge Nicholson Moore Barradas)
의 사이키델릭한 디지털 콜라주는 층층이 쌓인 색채와 몸짓의 흔적을 통해 추상 표현주의의 가공되지 않은 에너지를 불러일으킵니다.
헨리 쿰스(Henry Coombes)
의 최면적인 흑백 필름 탐구, 예컨대
I am the Architect
와 같은 작품은 초현실주의와 구조적 요소를 결합하여 예술과 건축의 교차점을 탐색합니다.
현대적인 움직임의 정취를 담고자 하는 인테리어 디자이너나 비판적 성찰을 유도하는 작품을 찾는 수집가들에게 비엔날레는 여전히 필수적인 목적지입니다. 이곳은 불편한 진실에 맞서고 내일의 무한한 가능성을 구상하는 작품들의 안식처이며, 국제 현대 미술계의 초석으로 자리 잡고 있습니다.
wahooart.com/ko/art/download/susan-jane-norrie-dissent-D673PK-en/
자세히 보기
Dissent — susan jane norrie
자신의 언어로 답변해 주세요. 정답은 없습니다. 오직 스스로 설명할 수 있는 답변이 있을 뿐입니다.
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