John R Neeson – An International Flȃneur
In an attitude related to the flȃneur and the dérive I began collecting images of random, anonymous arrangements of objects left in the streets of the inner northern suburbs of Melbourne. I recorded these Ready-made Still Life on a basic pocket sized android phone as I traversed the roads and laneways of Fitzroy, Collingwood, Carlton and Abbotsford.
During residencies in the US and Europe I was an international flȃneur collecting Ready-made Still Life images during dérive through Brooklyn, Williamsburg and Manhattan, Venice, Bologna, Rome and Berlin/Neukölln.
Daily immersion in the street art culture of my own city (which is an internationally recognized centre for this work) had influenced my thinking concerning the possibilities inherent in open public access to visual art in While resident in Neukölln I completed a store front project that brought a sequence of poster size Ready-made Still Life images from Collingwood and Fitzroy to the busy thoroughfare Sonnenalle. Images discovered by an Australian flȃneur , brought to Berlin for discovery during dérive by a On return to Melbourne I developed a public art project (The Ready-made Still Life) that returned images collected from Collingwood and Fitzroy back to the streets of the neighbourhood. In this case my role is simply that of a flȃneur/collector and the creative act the curatorial framing of socio-political signifiers, removing them from their original context as recorded images and re-presenting them in a second and related public context.
There is affinity between my collecting evidence of a consumer driven society and the Nouveau Réalisme of 1960’s Paris, the "poetic recycling of urban, industrial and advertising reality" by the flȃneur/curator. However the project extends this philosophy by returning the re-presented images to the egalitarian environment of the street and the flȃneur, as opposed to the hermetic site of the ‘gallery’ and it’s associated conventions.
Glasshouse Wall – The Ready-Made Still Life
This is a curatorial project sourced from a collection images that record random, anonymous arrangements of objects in the streets of Fitzroy and Collingwood.
There are fourteen images in the Glasshouse Wall/The ready-made Still Life project attached to existing metal panels that are spaced the full length of the wall of the National Storage building that fronts Glasshouse Road, 3066.