The two artists, the curator and the photographer, sat before a crowd of about 100 people at the National Art School in Sydney yesterday. Behind them, two rows of photographs alternated between images of the Melbourne skyline and more intimate views inside the Sofitel Hotel, creating the illusion of being high up in a luxury skyscraper.
“Who wouldn’t say yes to six weeks in a luxury hotel?”, photographer, Anne Zahalka said during the talk to celebrate her restrospective exhibition currently showing.
While the photographs from Melbourne were not in a “traditional photo documentary style”, due to privacy considerations for guests staying there, the series of photographs was deeply inspired by her experiences. Many of the photographs featured friends who visited her at the hotel.
Zahalka and the curator also discussed a series inspired by Bondi, reimagining iconic imagery of the area. The famous Bodysurfer by Max Dupain, though not actually shot at Bondi, served as a starting point for one of Zahalka’s photographs. The image depicted a person with striking red hair and pale skin, androgynous in appearance. While many viewers assumed it was a woman, Zahalka revealed the subject was male, emphasizing the photo’s gender-bending quality.
The artist talk accompanying the retrospective at the National Art School was both informative and engaging. Zahalka spoke about her early fascination with art—meticulously cutting out images with a scalpel—and her influential residencies, including a year in Berlin during the 1980s. Her vivid descriptions of the pre-reunification city transported me back to my own brief visit, where I, too, had been captivated by the soft, warm European light.
Having attended opening night a couple of days earlier, I remembered it was almost exactly a year since I’d attended an exhibition opening while still in hospital recovering from lower limb amputation surgery. With the invaluable support of my friend, Kate, I’d navigated the challenging Darlinghurst footpaths in my wheelchair, creating a night filled with unforgettable memories, including a surprising encounter with a hospital physiotherapist. https://jamesobrien.id.au/2023/08/exhibition-opening-in-a-wheelchair/
Now, while no longer reliant on a wheelchair, I still felt unsteady on the historic grounds. The predominantly dark clothing of the crowd and their engrossed conversations added to the challenge of navigating the uneven surfaces. After a near-miss, I hesitantly asked a woman to share her seat. Reluctant at first, she graciously agreed upon seeing my leg.
A chance meeting with a friend I hadn’t seen in years added to the evening’s magic. He shared a heartfelt story about Anne photographing him and his late partner, Steven.
After a brief overview of the exhibition and speeches, I returned on the weekend for a more leisurely experience. Immersed in the art without the distractions of a crowded opening night, I more fully appreciated the artist and curator talk. However, the desire to revisit the exhibition with even fewer people lingers, perhaps on my upcoming day off.
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