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Queanbeyan gallery crawl I
It’s been a while between gallery crawls, so we went all the way over the border (Queanbeyan is actually right next to Canberra, but there is a mindset about the distance as it’s in the next state). My friend had never been there before and really enjoyed the different architecture and more organic street design.
There was an open day and sale at Schwarzrock Curtis Glass, the workspace and small gallery area were light-filled and very laid back. It would be nice to work at the desk growing all those fragile tentacles.
Curtis Glass workshop
Dangerous territory with all these lovely things for sale, like glass tumblers in a triangular shape which were just made to hold.
Curtis Glass wares
Then we traipsed to Benedict House but were too late for tea – a shame. The beads and products in the rooms had been moved about for Christmas lunches (yes, one of my 2014 resolutions is to do things in a more timely fashion, as evidenced and betrayed by the seasonal baubles below).
Christmas at Benedict House
There were some lovely glass beads from Italy and I wondered if getting beads from the Canberra Glassworks would have a better local focus. I adore Benedict House, but I noticed that it didn’t have the same musty smell that reminiscent (get it?) of my Grandma’s house – sad for me but maybe good for them.
Italian glass beads
Maxley and the other dog (who wouldn’t stay still for me to read their name tag) were pretty pleased to see us, but I don’t think that’s a unique trait – they were pretty excitable in general.
Benedict House’s Maxley
We headed over to Form Studio and Gallery, who are co-located with a plumbing shop as evidenced by the pipey sculpture out the front.
Form Studio and Gallery
I should have paid more attention to opening hours as unfortunately they were closed. A resolution for next year!
Canberra art exhibition opening crawl
Last night there were four art exhibition openings in Canberra, all starting at 6pm. Is that a record? I attended them all – briefly – just to confirm it was possible! It took just under 2 hours and only 22 kilometres of travel. The sheer volume of exhibition openings demonstrates that there is a lot happening in Canberra, but perhaps it could be better coordinated – a similar issue to some of the Centenary events’ scheduling proximity. To address this kind of calendar bulge, Genevieve has suggested that ACT-based galleries could plan their exhibition openings with staggered starting times, with a dedicated arty bus for assisted crowd control.
While the arty bus would need to be a regular, possibly fortnightly, endeavour, it has already occurred as a one-off celebratory occasion. This project occurred in September 2012 – Craft ACT’s “Capital of Culture” bus tour. I heard it gave a wonderful experience of either North or South cultural tours during Floriade (possibly too much of a time chunk, though), but unfortunately I wasn’t able to attend. The Tour Guide is worth downloading just for the lovely design, but could also be reused as a fun gallery Bingo sheet. Last night’s openings could have had a Bingo sheet! I wonder if anyone else was able to attend all of them?
Visual Arts Graduate Season 2013
ANU School of Art Gallery, ACT (till 27 April 2013)
Modern tools by Christina Clarke
2 artists are exhibiting their Doctor of Philosophy works, with Christina Clarke’s Greek Bronze Age vessel contrasting with James Steele’s photographic works exploring place and identity. There is so much movement and information in the exhibition, with James’ projected images as well as videos of Christina’s process for painstakingly creating a hydria, that it has to be seen in person.
You can see Christina’s final piece in the 1/2013 exhibition catalogue, LM IIIA1 Hydria (2012) on pages 12 and 13 and James’ work on pages 28 and 29. The image on the left shows part of Christina’s process for creating Greek Bronze Age vessels.
100% Books by Canberra Artists, curated by Ampersand Duck
Watson Arts Centre, 1 Aspinall Street Watson ACT (till 28 April 2013)
100% Books with Shells by Genevieve Swifte
20 artists from Canberra take part in the region’s long history of book production. Each artist is exhibiting both old and new work to show their developing interest in the book form. The exhibition hopes to “…challenge notions of what a book can be in an art context. From fine press through to more sculptural pieces to street press and zines, this exhibition provides a mere sample of the breadth of contemporary book arts.” (Watson Arts Centre, Sales Catalogue, April 2013, p. [1]).
In the image you can catch a glimpse of Genevieve Swifte’s Shells (2006): Hand sewn boat-like structures, paper, linen impregnated with salt. The salty threads have a rhythmic sense of the tide that simultaneously give movement to the vessels but also anchor them in white space, like the flow of words in a conversation that sometimes get moored in a speech bubble.
pod, Shop 11, Lonsdale Street Traders, 24 Lonsdale Street, Braddon ACT (till 21 April 2013)
Jewellery by FIVEFOLD artists
5 contemporary Canberra jewellers have joined forces as FIVEFOLD, an artist-run design collective, and this was their first inaugural exhibition. In the pod space, plinths have emerged like stalagmites bearing glittering trophies as sacrifices to the Lonsdale Street Trader entities. Danyka Van Buuren’s hoops have mysteriously transformed sequins into elegant colour blocks and the other pieces were enticing but tricky to get up close as there were lots of people!
The exhibition invitation is a very pretty DIY five-fold brooch – I made mine in the car so the crumpled state didn’t fully reach the attractiveness potential, I also didn’t have a pin so I just stuck it down my shirt. Other more organised people had very smooth brooches and one of them would have won a limited-edition handmade Shibuichi sterling silver brooch. There are detailed folding instructions for the invitation from FIVEFOLD’s Tumblr. As a librarian it’s exciting to see unusual invitations, as art libraries collect art ephemera as information on artists and exhibitions. This means that people can see the brooch invitation in the future as a resource to contextualise the artists’ work, and to see ephemera (invitations, posters, business cards) as art in their own right.
THROWAWAY: exhibition by Holly Granville-Edge
Canberra Contemporary Art Space (CCAS), 19 Furneaux Street, Manuka ACT (till 21 April 2013)
THROWAWAY exhibition installation view
Holly Granville-Edge’s photos play with the idea of manufactured sentimentality and value in the captured image. The exhibition includes a collection of “dusty junk-shop picture frames scrounged from op shops”, which charmingly contain their own portraits with eerie self-awareness of their new-found meaning and artistic elevation. Escape down the rabbit hole.
Nighty-night!
Liedekijn opens plus talks and roses
Liedekijn, the group exhibition, opened on Thursday with great fanfare and corsetry. Gavin the Thomson has taken some great photos and written a lively summary of the night on his Sketchbook Scribbles art blog.
You have till 8 April to see the exhibition at The Front Gallery, and the art-books are available from Impact Comics Canberra and All Star Comics Melbourne until sold out. In the photo below you can see an installation shot, with Katie Winchester’s work on the left (with part of the liedekijn tale above) and my collaborative work (made with Wes Hobday) on the right.
Left: Winchester,
Right: Barfoed/Hobday
In addition to the exhibition opening, there was a follow-on liedekijnish “comicky ziney dinner night” which featured wonderful talks by Katie Winchester, Tim McEwen and Bruce Mutard, and the industrious Gavin has also written a summary of the talks and the reluctant star of the night, dramatic exploding beer.
What I really took away from the talks was the link between commercial work or jobs for the cash dollars and personal projects. Katie spoke about the importance of having a passion or interest in client-directed work to make the process more enjoyable and productive, and it was interesting to see Tim’s searchlight intelligence approach in linking concepts (everything’s connected, like the commercial-personal dialogue), and Bruce’s painstaking approach to research really showed his passion for war narratives in comic format.
This connection between commercial and personal work conjures a vague memory of reading (a long time ago!) that artist René Magritte had a job creating rose designs for wallpaper, and how this bled into his own work. I need to verify this in his catalogue raisonné as I am unsure if I have somehow created this fact by melding fact and fiction in my brain (so this paragraph might change!).
Katie talked about having your heart in a work, and look, I have found an apt reflection on Magritte’s work and hopefulness of the soul – “My heart fills the world like Magritte’s rose.” (Maso, 2000, p. 109). Maybe it’s appropriate that Magritte’s rose in works such as The Tomb of the Wrestlers (Le Tombeau des lutteurs) (1960) apparently responds to (but does not illustrate) Leon Cladel’s themes of unrequited love and stabbing one’s own heart with a dagger (Stotzfus, 2011, p. 174). Perhaps the stabbing occurs not only in instances of broken-hearted wrestlers (as in Cladel’s book), but when commercial artistic works don’t make the heart sing (or stabbing in the liedekijn tale, but this is less self-inflicted).
Oh well. As Maso says, “Every rose pulses.” (Maso, 1995, p. 26). Remember to visit the liedekijn exhibition and make your pulsing heart sing.
Artists and artworks:
Magritte, René. The Tomb of the Wrestlers (Le Tombeau des lutteurs) (1960), Oil on canvas. Accessed via Bridgeman art: http://www.bridgemanart.com/asset/171571/Magritte-Rene-1898-1967/The-Tomb-of-the-Wrestlers-1960-oil-on-canvas/
McEwen, Tim. Greener Pastures. http://greenerpasturescomic.blogspot.com.au/
Murtard, Bruce. Bruce Mutard: graphic novelist & illustrator. http://brucemutard.com.au/
Winchester, Katie. Katie Winchester: Animation-Illustration. http://kwanimation.net/ (it’s also her artwork on the left in the photo)
Liedekijn book retailers:
Impact Comics Canberra http://impactcomics.com.au/web/index.php or phone (02) 6248 7335
All Star Comics Melbourne http://allstarcomics.com.au/ or phone (03) 9642 0071
References:
Maso, Carole. “An excerpt from “The Room lit by Roses””. Bomb, No. 73 (Fall, 2000), 108-111. Accessed via JSTOR, 30 Mar. 2013.
Maso, Carole. “Carole Maso: An Essay”. The American Poetry Review 24.2 (Mar/Apr 1995), 26. Accessed via JSTOR, 30 Mar. 2013.
Stoltzfus, Ben. “Magritte, Cladel, and the tomb of the wrestlers: roses, daggers, and love in interarts discourse.” symploke 19.1-2 (2011): 173-190. Accessed via Literature Resource Center, 30 Mar. 2013.
Thomson, Gavin. “Liedekijn – Exhibition opening night!”. (29 Mar. 2013). Retrieved from http://sketchbookscribbles.com/liedekijn-exhibition-opening-night/ on 30 Mar. 2013.
Thomson, Gavin. “Recap of the comicky ziney dinner night”. (30 Mar. 2013). Retrieved from http://sketchbookscribbles.com/recap-of-the-comicky-ziney-dinner-night/ on 30 Mar. 2013.
Liedekijn art exhibition opening and book launch
What is liedekijn? It means “little song”, the title is from a medieval Dutch folktale, ‘The Song of Lord Halewijn’. Here’s the quote from a translation: “Halewijn zong een liedekijn” = “Lord Halewijn sang a ‘little song’.” Thanks to the wonderful Emma for clarifying the meaning, I have a silly (and incorrect) habit of defaulting to ‘little story’. If you like fantasy, gore, corsets and bravery, liedekijn will probably like you too – a group of Australian and international artists have created work in response to the folktale’s translation.
liedekijn (detail) by Sonja and Wesley
So apart from a little song, liedekijn is a beautiful shiny book and real-life art exhibition. Once you have the book you can open it anytime, but the exhibition itself opens 7pm Thursday 28 March (today!) at The Front Gallery, Wattle Street, Lyneham shops, Canberra (near the lane next to Book Lore). We would love to see you at the opening, or during the exhibition (it runs till Monday 8 April). The detail you see on the left is from the drawing that Wesley and I submitted to the exhibition – come along to see it in full!
You can buy the accompanying liedekijn art-book at the Front Gallery (opening night only!), Impact Comics, or other wholesome publication outlets. The book has all the works from the exhibition plus cover art by Melbourne illustrator Douglas Holgate. I am impatiently waiting the library catalogue record for the liedekijn art-book (this should be exciting for non-library people too – if it’s being catalogued in RDA then it will perhaps have all the names of the artists and the translator because the rule of 3 doesn’t matter! But I digress.).
Remember to love liedekijn on Facebook and follow the official liedekijn twitter or liedekijn tumblr if that’s more your flavour.
Perhaps you’d like to see a picture of Miss Cat sitting on my liedekijn drawing or a 62 year old book on Halewijn (it has etchings! People always accept invitations to see etchings). Then you’ll enjoy clicking the liedekijn tag for other posts.
See you at the opening, and remember to take care in the forest!
Liedekijn variations
The nights are getting colder, so be careful that you’re not lured into the forest by a captivating song just like Machteld in the Song of Lord Halewijn. A group of artists (including my collaborative work with Wes Hobday) created works about this tale, the results will be exhibited in 27 days! It’s quite gruesome, here’s an easy-to-read version from Ansuharijaz on Reginheim (our version is slightly different). Some of the drawings will be a surprise, but you can see selected works in progress on the liedekijn tumblr.
Herr Halewijn title page etching by Hermann Metzger
Halewijn’s story has inspired many variations and drawings. I recently saw Hermann Metzger’s prints in Charles de Coster’s Herr Halewijn (translated by Albert Wesselski). Metzger created 19 etchings (20 if you include the cover) that illustrate the story from Halewijn acquiring the spell, to murdering women and Machteld’s response.
The beautiful etchings balance a warm background of plate tone against the pure white of the valiant horse, carrying the boldly outlined Machteld (and her dubious trophy) through the pages.
The deckle edges of the paper echo a jagged dirt path through a forest that barely contains the energy of the drawings (all hand signed by Metzger, quite a feat as there were 500 of these limited editions). Halewijn’s body dances with the spell as he struggles to maintain his new-found beauty and ensuing thirst for maidens’ blood. I wish I had paid more attention in German class, as I can only understand the names of the characters Halewijn and Machteld.
We’d love to see you at the liedekijn exhibition opening at the Front Gallery and Café, details at the Facebook event. If you can’t make it to the opening or the exhibition, the works have also been made into a wonderful art book which you can buy from the liedekijn big cartel site.
Melbourne Gallery Crawl I
Braving Melbourne’s variable weather, ARLIS/ANZ delegates iced the conference cake with a gallery crawl on Saturday.
Here are some quick notes and photos which won’t do the spaces or the works justice, visit them soon as the shows finish on Saturday 15 September.
Hand Held Gallery & Palmistry, Suite 18 of Paramount Arcade, 108 Bourke Street
Gallery owner Megan Herring is currently showing an exhibition of her works crafted from surprisingly expansive tea bag paper. The work reflects on the ephemeral nature of items that were once treasured, a bit like Schwenger’s book “The tears of things: melancholy and physical objects” which explores objects as custodians of our memories. Herring has created tea cups, elaborate doilies, remade teaspoons and beautiful lacy bunting and shelf paper edging. Hand Held Gallery is a charming space focused on the small/hand held and manages to fit lots of tiny zines, jewellery and knick knacks for sale. The gallery shares the space with a palm reader, and I really hope that they will one day offer arty high teas along with the palm readings.
Westspace, Level 1, 225 Bourke Street
Westspace was showing lots of work and was full of lots of people attending the Feminist Forum Day, linked to the show “A Dinner Party: setting the table” by Caroline Phillips and Victoria Duckett. The most telling feminist artwork was a graph from the C0untess showing art school enrolment and female representation in galleries. There are a few more feminist-related events – a talk on 13 September and films on 15 September listed on the Westspace calendar.
There are lots of other works in the other parts of Westspace, my favourites were David Capra’s “I must tell you this” and Jeremy Bakker’s “Satellite” – a marble swallowed and passed through the body undigested (it was still very shiny).
Kings ARI, Level 1, 171 King Street
Kings ARI was showing work by Anna Fuata, Rachel Haynes, and Diego Ramirez. Nina Mulhall’s work was in Dudspace. We accidentally embraced the concept of Ann Fuata’s “Song for the Mountain” waiting room installation and sat on the chairs – very convincing! This was paired with screens showing a dog in desolate landscapes – imbued with what my mother-in-law describes as “quiet, pensive sadness”.
Rachel Haynes’ “Muscleflex” had an amazing multicolour saturation of giant swathes of t-shirts, wall painting and beautifully mesmerising texta drawings. Diego Ramirez’s “Touch me Tiger” considered the role of gendered communication in media like music videos with a nightclub-like installation, and challenged our responses to the microphone in disruptive and surprising ways. Ramirez gave a fantastic talk which traversed music video innuendo, self-observation, perception of a person’s space in the world and the ways that the audience has interacted with his work.
I especially enjoyed Nina Mulhall’s “You came out of me”, which was a video of people imitating their mothers. Her work is in Dudspace, finding it is almost a secret challenge – you might be able to see from this photo that you need to squeeze through an opening on the left to see the video work. It’s in a corridor past the kitchen and near the bathroom! Finding it was really exciting, like Heidi finding Edelweiss on top of a mountain, but with less hiking.
Bus Projects, Basement level, Donkey Wheel House, 673 Bourke Street
Bus Project’s exhibition “TV Dinners” really lives up to its name and tests normal gallery behaviour by transforming the space into an intimate home environment:
“Visitors are encouraged to sit back and relax on couches and even order and eat takeaway food. Within this setting, the artists’ and art collectives’ elaborations on the creative force of nostalgia and its influence on contemporary culture come to the fore.” – Alana Kushnir (2012) in TV Dinners exhibition catalogue, [p. 1].
Even though the gallery space is like a cave under the building, it really does have a home-like atmosphere and I rate the couches. TV Dinners includes work by Eddie Peake, LuckyPDF, PsychoanalYSL and Soda_Jerk. Soda_Jerk’s “The Popular Front” juxtaposes internet memes with an iconic film clip, which was a fitting end to our tour – the questioning of our whimsical popular culture and a nostalgic yearning for the past which looped back to Herring’s tea bag paper works at Handheld Gallery.
Thanks to the wonderful John Stevens for introducing us to some of Melbourne’s lovely artist run spaces! There are heaps of ARIs all over Australia, find out more from Crawl’s great ARI list.
Swarms of Lepidoptera
Continental butterflies and more!
I returned home this month from a delightful jaunt through England (and a little bit of Scotland).
During the trip, butterflies emerged as a recurring theme.
I’m collecting moths for a collage, but butterflies seem to market themselves more effectively.
Damien Hirst’s butterfly room
Damien Hirst’s show at the Tate Modern had a whole room dedicated to live butterflies. Plastic ribbons cordoned off the doorways, and special assistants removed errant butterflies from hair and clothing. Photography was forbidden, so all my butterfly photographs are from other venues.
The butterflies hatch from pupae on canvases and fly around the room to feast on fruit and a few begonias.
Patrick Barkham has written more about the emotional experience of the butterfly room here.
I walked through the Hirst exhibition in a haphazard way to avoid the crowds.
However, this meant that I saw the butterfly canvases (wings glued to canvases in the style of stained glass windows) prior to the live butterfly room. The butterfly collaged canvases changed and glittered in the light, the blue Morpho wings would briefly have a pearly lustre and change back to a bright blue.
Changing my path through the exhibition meant that the butterfly room seemed unnatural, as though the butterfly paintings were reanimated.
After regaining life, they escape capture only to be sentenced to stay in a very small room.
Butterflies as drawing materials
Closer to home, Genevieve Swifte’s art uses butterflies in a more subtle way, to mimic cloud patterns. Swifte creates her pigment by mixing butterfly wings with silver leaf and binder on paper.
In “A Study of Clouds I-II”, the scales catch the light and simulate the shifting nature of clouds. The drawings make the connection between flight, air, weather and creatures that inhabit parts of the sky.
The drawings are so delicate that the effect is best seen in person, otherwise they may be viewed on Swifte’s site here.
Atlas moths
I also saw a giant Atlas moth at the ZSL London Zoo – but the ones that Sloane Crosley found irresistible (mentioned in her book, I was told there’d be cake) were at the Museum of Natural History. There was also a great moth talk in the Natural History Museum’s Wildlife Garden.
Butterfly houses and the Morpho “surprise egg”
I visited two butterfly houses – Edinburgh Butterfly & Insect World (Edinburgh, Scotland), and Butterflies and more (Congresbury, UK).
Butterflies and more is tricky to find, but is worth it for the established banana plants, eager turtles, and multitude of Morpho butterflies.
The Morpho is my favourite butterfly, because their lustrous shimmering wings (as glued on Hirst’s canvases) are like a special surprise present. When closed, the wings mimic a brown owl, and when opened, expose a brilliant blue. It’s the nature equivalent of a surprise egg (bath bomb).
The inner vivid blue is an easier beauty to appreciate than the brooding camouflage variations of the undersides of the wings.
Perhaps a preference for either one could be a personality test!
I think there’s a market for butterfly ecotourism…
Roland Henderson – photographs of toy animals, plants & objects
Roland Henderson’s exhibition “Been” concludes at 5pm today, 5 May (CCAS – Canberra Contemporary Art Space, Manuka, Canberra).
CCAS explain the work as a response to travelling, belonging and a sense of place.
The photographs in the exhibition each focus on an object or small group of objects including the reverse side of photo frames, toy birds, cabbages, a dandelion in a cup and doll parts. It’s like a collection of memories.
My favourite was an image of a toy Bactrian camel with a cabbage butterfly perched on each hump.
It almost appears like a flying camel, but given the scale it’s more magical to think about giant butterflies.
So now it’s at home with me – I even got 4 nails with my purchase! (plus a fantastic story about cabbage farming).
As CCAS say, “[these]…exquisitely presented black and white photographs brilliantly nailed to the wall suggest that from the right angle – everything is interesting.”
The next event at CCAS Manuka is Cue Funktion, opening at 6pm on Thursday May 10.
This will transform the gallery space into a pop-up venue for live music – combining visual works and musical performances.
Canberra Gallery Crawl
Solstice Eyes (Lisa Twomey), CCAS Manuka
Today’s Canberra gallery crawl began with Lisa Twomey’s Solstice Eyes exhibition at CCAS (Manuka).
The exhibition was a wonderful mix of fashion and painting – and some wonderful glitter elements.
I think I still have glitter on my toes from walking around there.
Sadly it was the last day, but you can see even more artworks at her blog.
We were too early for M16 (Griffith) and PhotoAccess (Manuka), so we went to Beaver Galleries (Deakin) instead.
Denese Oates, Olivia Bernardoff & other artists at Beaver Galleries, Deakin
At Beaver Galleries, we saw lots of art including Denese Oates’ tree sculptures, Olivia Bernardoff’s paintings.
Beaver Galleries’ Palette Café also has the best melting moments. In a perfect world, people would appreciate melting moments as much as cupcakes, cakes on a stick and macarons.
Beaver Galleries is open Tuesday-Friday 10-5 and weekends 9-5.
Bald Archy Prize at The Watson Arts Centre
The Watson Arts Centre was quite busy – and then we realised that it was opening weekend of the Bald Archy Prize.
We voted for number 5 – head along and add to the votes!
The exhibition’s on until 12 March, open daily 10-4 and entry is $5 or $3 concession.
Underwater Abstraction (onacloV) at ANCA Gallery, Dickson
It was also the last day of onacloV’s Underwater Abstraction exhibition at ANCA Gallery (Dickson).
There were beautiful underwater photographs on canvas and large abstract paintings.
You can see more of her work here.
ANCA Gallery is open Wednesday-Sunday 12-5.
Benedict House, Queanbeyan
Then we enjoyed the vintage style of Benedict House (Queanbeyan) – bowls of beads that look good enough to eat.
I think Benedict House is so comforting because of that classic old-house smell, which is hard to articulate but reminds me of those paper dollar plants and old plasterwork.
Plus the vintage wares and delicious cake helps in making it such a welcoming space.
Benedict House is open Wednesday-Sunday 10-5, call ahead for café bookings and their high teas.
While Benedict House doesn’t technically qualify for our Canberra Gallery Crawl, I think this shows that there are things to do in the area.
I need to learn to be quick to get in before exhibitions conclude. Oh well, there is always the next exhibition, and the next…
Renaissance Exhibition: highlights & a challenge list
This week I visited the Renaissance exhibition at the National Gallery of Australia (Canberra).
The exhibition provides a rare glimpse of Renaissance works by many renowned artists, lent by Italy’s Accademia Carrara in Bergamo.
The majority of the art is religious in focus – which is a given, considering the time period and the commissioning of the works – there’s even a whole room devoted to various depictions of Madonna col Bambino.
Here are my exhibition highlights (visual rather than academic!):
- seeing the gold leaf itself/ different styles of gilding and formats of works (diptych, triptych, polyptych),
- portrayal of human bodies, and the contrast between the different styles of babies in the Madonna col Bambino section (in terms of life drawing, proportions and conventions regarding portraiture),
- inclusion of fruit and animals, and
- reflection of fashions and styles, particularly headdresses.
I thought the most interesting works were Love Procession by Marco and Apollonio (perhaps it is depicting a ye olde flash mob) Saint Jerome praying by Mansueti (with the highest concentration of animals in any of the works) and Adoration of the Christ Child by Luini (beautiful imagery of a flying angel in a twinkling starlit sky).
Can you spot any of these items or animals depicted within the artworks?
Test yourself with this challenge list when you attend the exhibition:
- A pair of eyes on a gold platter,
- A brazen parrot,
- A fish carried horizontally (like a carpetbag) with rope,
- A fly (this will be easy as it’s mentioned in one of the captions),
- Two rabbits feeding together in a domestic space,
- A dog that really looks more like a sheep, and
- Capigliara (at least two!).
Let me know in the comments if you spot any of these items or animals throughout the exhibition, or if you’d like to add something to the Challenge-spot list!