I couldn’t think of a better exhibition space for Australian artist Lyndal Jones than the Australian Centre for Contemporary Art. Based on the European model of the Kunsthalle, or ‘exhibition hall’, the distinctive architecture of ACCA lends itself perfectly to the scale and experimental approach of Jones’ video work.

Since the 1980s, Jones has been at the forefront of Australian video and performance art. Key works are shown in this survey exhibition, Darwin with Tears, including The Prediction Pieces, The Darwin Translations and her 2001 Venice work, Deep Water/Aqua Profunda.

Upon entering the gallery space the viewer is confronted with text projected onto the ceiling and walls. From the start Jones’ seeks engagement from her audience. The gallery is divided into various rooms housing video pieces and installations. One, The Darwin Translations, consists of a number of components created from 1994-1999. Seen together for the first time, these works explore human and animal sexuality, gender difference and sexual selection. The works require that the viewer immerse themselves in dialogue and imagery that is at once provocative, erotic and intimate.

A striking part of this series is an aviary of live finches. The birds are stunning to look at, and relate to Charles Darwin’s theory of natural selection: specifically, how finches’ beaks evolved to best take advantage of available food sources. Recent research has further shown that the evolutionary diversification of the finches’ beaks has led to the vast array of courting songs sung by these curious creatures.

In a related work in the gallery, in a large video piece across an entire wall, Jones explores the mating rituals of teenagers.

Jones’ works are highly experiential, drawing on personal stories and events. As a viewer you experience the works on multiple levels. The nature of video art is in many ways challenging, requiring that the viewer listen, engage and at times dissect fractured dialogue.

Images of naked men and female voiceovers offer a rare feminist reversal. The beauty of the male body is put on display and eroticised both through the gaze of Jones’ camera and the erotic dialogue accompanying the images. Many of the works are meditative and require ample time to explore. One piece requires that you put on headphones and walk to different points in a room whilst watching an image of a plane moving thorough the air. What is fascinating is the effect that the different sound/dialogue has on how you interpret the visual image.

Darwin with Tears does require a substantial visit or return visits to get the full force of Jones’ practice. This is powerful work that explores the way in which people can alter their lives and effect change on both a personal and collective level.

www.accaonline.org

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