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At the 2004 Sydney Biennale a “traditional wooden dunny” (Bond, 2004),1 imported from New Zealand, featured centrally in Daniel Malone’s A Long Drop to Nationhood. Set at the end of a long corridor and flanked by a mural inspired by Aboriginal artist Albert Namatjira, it is intentionally reminiscent of a scene in Tracy Moffatt’s short film Night Cries, where an adopted Aboriginal daughter wheels her white mother to the outhouse. The outhouse, an “essential common denominator of two closely linked cultures” (Wei, 2004), according to Malone represents the pioneering spirit of the ‘colonial adventure’ in both Australia and Aotearoa/New Zealand. Engaging “with questions of belonging and place”, he also plays on the contrast between the outhouse as “fundamentally associated with waste” and the museum as a place concerned with “high eternal values” (Daniel Malone, 2004). To interrogate such a body/mind split, alongside the cliché of the South as body and emotion, as opposed to to the North as mind and reason, was the concern of the Sydney Biennale On Reason and Emotion.2 1. According to Tony Bond (2004), Malone talked in the catalogue “about the need for us, in Australia, to recoup our Aboriginality if you like. To acknowledge, in fact, that this is an indigenous country and not a colony.” Malone, in fact, used excerpts from Germaine Greer’s “Whitefella Jump Up: The Shortest Way to Nationhood” in the text of his catalogue entry rather than making his own artist’s statement.

Frontiers of Shame and Repulsion