Cox on Venice: Tear down my shack!

It's time for the Australian pavilion at the Venice Biennale to go, says the architect who designed it. Michael Hutak reports.
Prominent architect Philip Cox, fed up with snipes from the artworld, has declared he would support tearing down his "temporary" Australian pavilion in the elite Giardini della Biennale in Venice, the official venue for Australia's participation in the world's most prestigious artfair since 1988.
"I would be very pleased if the Australia Council or the Australian Government replaced that building because it is a temporary structure," Cox told The Age. "I am completely behind putting a permanent building there."
Currently occupied by Patricia Piccinini's critically-acclaimed suite of mutant sculptures, Cox's construction clings to a bank that falls away steeply to a canal, squeezed into a backlot behind the leafy, spacious environs enjoyed by the other 25 national pavilions. Australia was the last country to be granted a permanent pavilion.
Cox said the critics who "always moan about why we don't have something of the order of the French or the German or the English pavilions forget that it's a very cheap building put together in 10 minutes".
"They forget the whole project was virtually gifted to the Australia Council. We donated our services and we got BHP to provide the steel and Transfield to also provide materials. And on the record and to be perfectly frank, it gives me the f---ing shits considering we all worked so hard for nothing to put it there."
The 1988 Bicentennial project bears Cox's trademark prefabricated steel tubing, and might have made a luxurious split-level beach shack for a 1980s high flyer. But as a showcase venue for contemporary art, it routinely comes in for a biennial bashing as an almost unworkable space, one that dictates to the artist, not vice-versa. Wall space is cramped and large paintings are almost impossible to hang favourably. This year, Piccinini was praised for making best use of the difficult space by choosing to display three-dimensional work.
Cox concedes these criticisms, but says the artworld has short memories when it comes to the building's genesis. "The brief was - well, there wasn't a brief," he said. "The Venetians made it a case of either you fill the space quickly now or you'll miss out."
Cox then had a seat on the Australia Council's design board and realised that to be completed in time, the construction had to be prefab. The building permit was issued on May 25, 1988, and Arthur Boyd's show curated by Grazia Gunn opened less than a month later, on June 24. It then promptly closed for two weeks to allow builders to finish the roof, fit missing windows and repair the floor that had been covered by tarpaulin.
Several sources in Venice this year close to the Australia Council said official moves were underway to finally do something about the pavilion, however Australia Council chief executive Jenny Bott confirmed that the venue would remain unaltered for the 2005 Biennale at least.
"We need to develop a 10- year strategy for Venice," Bott said. The council spent around $900,000 on this year's Venice adventure, but Bott said "any capital expense would never come out of our budget".
However the Australia Council's temporary lease over the treasured block this year moved to permanent status, clearing the way for a complete rethink of the building.
In alternating years Venice's Architecture Biennale consumes the Giardini. However the Australian pavilion remains mothballed because, says the Australia Council, "architecture does not fall within (our) brief".
Under moral rights amendments in 2000 to the Copyright Act, any substantial changes to the pavilion would have to meet with the architect's approval.
Cox says he hasn't been approached by the Australia Council but would nevertheless give his imprimatur to a new, more suitable structure.
"I would love the opportunity to design it," he enthused, "but you'd need $10 million to do something decent and where would you find that sort of money for a single arts project in Australia today?"
---
First published in The Age

more...

Europeans fancied to lift Melbourne Cup

MELBOURNE, Australia, Nov 5 (AFP) - Irish entry Far Cry and England's Enzeli have firmed as favourites to lift the Melbourne Cup on Tuesday -- Australia's biggest and richest race.

Bookmakers report strong support for both the Martin Pipe-trained Far Cry, which has firmed into 7-1 second favourite, and 1999 Ascot Gold Cup winner Enzeli, which has been heavily backed this week into 10-1.

The other two European entrants, Arctic Owl and Godophin stables Lightning Arrow, both from English stables, also feature prominently in the market but have yet to be significantly backed in ante-post betting.

At a press conference Sunday, the visiting trainers all expressed satisfaction with the way their horses had settled in and preparedness for the big race.

"Far Cry is just as good as he was going into the Ascot Gold Cup when he ran second to a very good horse in Kayf Tara," said Pipe.

"Hes very laid back, doesnt worry about anything but he comes to life in a race so were very happy. We wouldn't change a thing going into the race."

Barring Arctic Owl, the European entries faired well in the crucial barrier draw.

Enzeli is perfectly placed in lane six, as is Far Cry in 10. Lightning Arrow in 14 will need luck, but they all do in two mile (3,200 metres) races with 24 runners.

Arctic Owls Newmarket trainer James Fanshawe said he was "not too disappointed" with the horses draw in barrier 21.

"Theres a long run to the first turn at Flemington so he has plenty of time to get into a position," he said.

While Fanshawe was concerned at the horses lacklustre temperament early last week, it worked strongly Sunday morning and was "much brighter now and more like his old self."

Enzelis Epsom Derby winning mentor, John Oxx, said his horse had not been flashy in his workout but he was still happy.

He did though sound a note of warning on the task ahead: "In these days of international competition in racing, to come halfway round the world and win this race is a much bigger task than people realise."

Melbourne property developer and former casino owner Lloyd Williams bought Enzeli last month from the Aga Khan for an undisclosed six figure sum, and promptly engaged local jockey Greg Hall for the Cup ride.

"We would normally have brought over Johnny Murtagh," Oxx said. "But Greg Hall is retained by Mr. Williams and he has the local knowledge.

"There is always a debate about who might be best -- the jockey who knows the horse or the jockey who knows the track. But the Melbourne Cup is a unique race, a tough race and Im not sorry to see Greg on the horse."

Godolphin stable manager Brad Marzato was bristling with confidence over Lightning Arrows prospects: "He has really picked up in his work and I couldnt be happier."

However, the five-year-old lacks the class of his fellow travellers and is the least fancied of the international runners.

Certainly he is rated inferior to Godolphins runner last year, Central Park, which ran a mighty race for second behind Bart Cummings 11th Melbourne Cup winner Rogan Josh.

Incredibly, Cummings will be without a runner this year after Oxford Dollar was balloted out of the race on Saturday night.

No Northern Hemisphere raider has been successful in the worlds greatest two mile handicap since Vintage Crops courageous Cup victory for Dermot Weld in 1993.

Every year international runners such as Double Trigger, Oscar Schindler, Arabian Story, Faithful Son and Travelmate have been touted as vastly superior to the home breds, but almost every year the local heroes win.

This year the John Hawkes trained Freemason will carry the Australian hopes.

Other local runners to attract betting support are Diatribe at 7- 1, and New Zealand's Kaapstad Way at 8-1, which will not run if the track is severely rain affected.

But after drying winds in Melbourne over the weekend, the track is likely to be in good order for "the race that stops a nation."

---


First published by Agence France-Press

more...