The Second Asia-Pacific Triennial of Contemporary Art, Brisbane, Australia, 1996 : Report

EXHIBITIONS The Second Triennial was larger in scale and complexity than the First Triennial, however, the experience of the previous exhibition enabled significant improvements to be made in the installation process. These included more detailed briefing of the various Curatorial Teams in regard to the nature of available sites within the gallery and the form of lead-in information required of various artists proposals. Other improvements included the establishment of a full-time installation team, dedicated solely to the Second Triennial process, the staging of artists working on site in manageable groups, and the allotment of a more generous time frame for the construction phase. Initial examination of artists proposals commenced in December 1995. Similar to the planning process for the First Triennial a scale model of the exhibition was completed in early 1996. This model assisted with the scaling and placement of the artworks within the exhibition spaces. As in the First Triennial it was apparent that the installation works would provide useful reference points throughout the exhibition. In this exhibition placement of works in accordance with the artists' spatial and other special requirements received greater emphasis in the overall exhibition design. Great care, however, was always taken to ensure that the special presentation requirements intrinsic to installation art did not overshadow other artforms in the immediate area. Assessment of the logistical requirements for artists' proposals were finalised in late June 1996 and the construction phase started in early July. The first artists arrived in the middle of August. Artists and their designated assistants, easily recognised by their 'Pit Crew' style identification, worked in public view in the Gallery spaces completing the installation pieces. This was a fascinating and exciting aspect of the exhibition installation which afforded the public a fuller understanding of the artistic process. To further this public involvement, the scale model of the completed exhibition lay-out was placed on public display in the Gallery foyer. In parallel to the installation of the Second Triennial in the main Gallery spaces, Exhibitions staff were also engaged in preparations for the major gunpowder event proposed by the artist Cai Guo Qiang. Although not realised in its entirety, this project offered the opportunity for many Gallery personnel to participate in the execution of several aspects of this unique work, including the large scale gunpowder drawing Dragon or Rainbow Serpent: A Myth Glorified or Feared (Nine Dragons), 1996, now in the Queensland Art Gallery Collection. The Exhibitions aspects of the Second Triennial were co-ordinated by Exhibitions Officer, Mr Andrew Clark, and involved the Senior Exhibitions Officer, Mr Joe Devilee, who was also a member of the Curatorial Team for Singapore. 9