Contemporary Australia: Women

102 Whether comically drawing attention to generational differences ( Film for my nanna ), paying homage to downtrodden stray cats ( The outsider 2007) or protesting against the banality of life ( The silent protest of Anastasia Klose 2005), time and again Klose has pushed social boundaries aside and willingly displayed her vulnerabilities to all and sundry. Is there anything that will stand in her way? Emily Gray centre to beats saved to memory. Similarly, in Together , Klose publicly takes risks and, like Wearing, makes use of signage — in this and other works — to record confessional, contextual or reflective testimonies. In Thehappy artist 2009 — a work (and exhibition) about desire for success and fear of failure — Klose resolutely displays a flower-shaped sign emblazoned with the script ‘wanker boss’. The following year, inspired by MoMA’s 2010 exhibition ‘Marina Abramović: The Artist is Present’, Klose produced I thought I was wrong, but it turned out I was wrong . . . at the Australian Experimental Art Foundation, Adelaide. For one month, Klose spent six hours a day in bed, typing on her laptop, while her thoughts and observations were projected in real time on the wall above her headboard. The outsider (still) 2007 Video/DVD Courtesy: The artist and Tolarno Galleries, Melbourne In the toilets with Ben (stills) 2005 Images courtesy: The artist and Tolarno Galleries, Melbourne Je suis une artiste Aussie! (stills) 2007 Video/DVD Filmed by Elizabeth Presa Courtesy: The artist and Tolarno Galleries, Melbourne Opposite Nanna, I am still searching 2011 Documentation of a performance, as part of ACCA’s pop‑up program at Venice Biennale, 2011 Image courtesy: The artist, ACCA and Tolarno Galleries, Melbourne