Venue: Hustle & Flow Bar (Redfern NSW), Nov 1, 2016
Devisors/Performers: Liam Benson, Curly Fries, Chantelle Jamieson, Tim Kemp, Lou Pollard, Courtney Stewart, Ronan Sulich, Paul Wilson
Image by William Suen
In a small bar, a drag queen by the name of Aphrodite greets us, as we gather to participate in a rare happening, a throwback to art events of the sixties that most have only read about. The performance is carried out by all in presence, as everyone is required to invest into the playacting that creates a scene of a high-status auction. First part of the show involves a series of presentations that investigate the 5 lots being put on sale. Classic Greek statues, brought to life by 5 actors emulating poses and reciting classic verse, while a cameraman zooms in tightly into a single spot on their bodies. A screen shows us skin and hair in hyperbolic detail. Thereafter, the crowd is encouraged to bid on the items, using money previously distributed by Aphrodite.
The crowd very quickly begins to pool their cash. We realise that these iconic objects are beyond the ownership of single persons. Entities begin to form, and wars break out over these relics of beauty. Ronan Sulic, the auctioneer from Christie’s is conducting the proceedings and we are all swept up in his verve and excitement, for the art, and for the money. Frantic contests to acquire esteemed works of art have occurred since the rise of the middle class, but it is an unusual episode for independent theatre and emerging artists. Our society values art, but not all of it. Money is channelled to certain people, while others languish in neglect. The system pretends to be based on merit, but it is not. In its alleged estimation of values such as beauty, skill and social significance, artists are placed in a triangular hierarchy that favours few and subjugates many. It is a problem of economic rationality, and a problem of applying capitalistic principles to how art comes to be in our lives.
When the crowd battles it out for their desired articles, it is the squabble that becomes the centre of attention, and any intrinsic qualities each statue might have had, fade into irrelevance. Art is social, and in this case, it is about who comes out on top, and who faces defeat. Of course, we all understand that great works should exist in the public domain, and not be controlled by individuals or organisations, but we are unable to fulfil that idealistic principle in how we actually carry out the business of art. Our institutions fail us, and our governments fail us. The increasing privatisation of everything in Australia, means that how we do art, is in accordance with how the elites will profit from all activity in the industry. The big guys are a dictatorship that determines the rules of what art should look like, and the small guys have to choose whether to submit to a career of emulation and placation. Forces in the economy want everyone to believe in the survival of the fittest, and when artists forget to question things, which is their most sacred purpose, art will die. In The Adonis Procedure however, subversion and interrogation of norms is its intent, and the key to making a kind of art that is lively, surprising, and necessary.