My First 25 Days In Melbourne

The world is clearly very much your oyster rather than your myki.



I write this with my aircon on full blast, thongs on my feet, vegemite toast in hand.  That’s right, folks, I’ve been living in Australia for 25 days now. Tomorrow I’ll be starting my first week studying at the University of Melbourne so I thought I’d reflect on a few things I’ve learned from these first few weeks here…

You can burn through clouds. Perhaps basic knowledge, but, alas, took me a few days to realise. There’s also some crazy levels of UV round here, which just makes all that skin radiation and burning even more jolly.

The smile of someone who does not realise they'll look like Rudolf the next day. 

An emu’s foot could rip your heart out. Just a generally good thing to know.

Some things only sound good in an Australian accent. Including but not limited too: How you going? (Asked by every shop assistant as soon as your foot steps through the doorway). Esky. (Ice box). Arvo (afternoon). Crikey. (Yet to hear anyone say this un-ironically). Prahran. (A suburb of Melbourne that magically is only one syllable when said by a local.) If you try to pull any of these off as a foreigner, your visa may be revoked.




Australian Dollars are real currency and should not be treated like Monopoly money (unfortunately). It has, admittedly, taken me 25 days, and many shopping trips to fully accept that.

Boomerangs are actually a hoax. Yep, I actually don’t believe anyone has ever managed to get it to come back.

Yep, not one of these boomerangs came back. 

Kneeling on a surf board can feel like the biggest accomplishment in your life. Yes, I never actually managed to get to my feet, or stay on the board for more than a few seconds. But kneeling on the board seemed like a huge improvement after spending most of the session clinging desperately on it whilst lying on my tummy like a terrified pancake.

House hunting is a bitch. Because most Aussies live at home, there doesn’t seem to be as many student house shares for internationals as there would be in England, making it a pretty savage process. At one viewing I went to I was greeted by Australians sitting around glaring at me saying ‘not someone else with an accent…’ Nuff said.

(Almost) everything here can kill you. Some of the deadliest species on earth are sharing this country with me right now. Meaning I have had many moments of having to tell myself no, that ant is not a giant bull ant about to crawl into your sandal and bite you. That’s a shadow not a sting ray. That’s a rock not a shark.
Air Brunei has a multicolour light show before landing, because why land in normal lighting if you can land in a rainbow?

It is possible to watch Stranger Things Season 1 in a day. With the help of Netflix on your ipad and a flight from London to Melbourne, (with stop overs in Dubai and Brunei), it can in fact be done. Expecting the phone call from Guinness  World Records any. day. now.

Myki is the more stressed out, sunburnt cousin of the Oyster card. The Underground is a complex system, but most people manage to navigate it with the help of Oysters. The Aussie version, known as Myki seems to have thrown all logic out the tram window. You have to tap on, except you have to remind yourself to do so as there’s no barriers. However, you don’t have to tap on in some areas known as the ‘free’ areas. Except they’re not actually free because if you tap on you get charged anyway. You are told to tap off. But it doesn’t seem to always make a difference if you do or don’t, and most locals don’t seem to bother. The world is clearly very much your oyster rather than your myki.



The longest streets in the world are all here. Ok, I don’t know if that’s true. But I’m ready to bet it might be. Melbournians seem to think it makes the most sense to have extremely long streets that cross multiple suburbs and can have huge park right in the middle, and keep the numbers going to a million rather than just split it into a few shorter streets… Looking at you, Lygon and Drummond. 

View from Naked for Satan, Fitzroy. (You do not have to be a nudist nor in a Satanic cult).
It’s illegal to drink in public places or on transport. But perfectly fine if it’s in a park. Did Australians miss the memo on the idea of a wholesome family park? They obviously think it would be better to have it covered with people drinking coz they have nowhere else to go.

A very accurate depiction. 
.
A rubber glove is a valid costume idea. We’re cockatoos, okay!

Getting to that central position did involve narrowly missing kicking a woman in the face with my socked feet. 

A huge carpet is the most relaxing place ever (and has the added bonus of making you feel like a giant). Courtesy of the National Gallery of Victoria, this giant landscape carpet is the best place ever for a cheeky nap in public.

White Night. 

Walking through a city with millions of other people whilst lights are blasted on famous buildings is simultaneously really cool and really weird. Aka White Night, where the roads are cleared and everyone walks around going to events the whole  night. Still not over the feeling of standing right in the middle of one of the busiest roads in Melbourne.

Another rooftop because why not. 
  
The best place to have a drink is always on a rooftop. After this trip, I’ll never be able to go back to getting drinks with friends in an underground bar in London. I’ll just have to climb onto the stinky grey roof with my umbrella and my drink and hang out up there instead.  

Stay tuned to hear more about my trip...

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Skulls & Swirls at the NGV


It was all colour, shape and excitement at the National Gallery of Victoria’s Triennial exhibition which features the works of over 100 artists from 32 counties. The artworks explore international perspectives through art, design, technology and architecture.

One of the first Triennial pieces is encountered in the entrance hall and summarises some of the most interesting ideas in art at the moment. Xu Zhen’s monumental sculpture, Eternity-Buddha, replicates the reclining Buddha from the High Tang Dynasty.

Xu Zhen, Eternity- Buddha in Nirvana, 2016-17
Covering the colossal body are replicas of some of the most iconic sculptures from the Western canon, including the Farnese Hercules, Milo of Croton and Crouching Aphrodite. It is a hugely powerful piece, not only in its extreme scale, but in its wider commentary on heritage, culture and the arts. Zhen has merged such disparate imagery to create something remarkable, showing Western and Eastern arts should compliment one another. Yet, Zhen has also made the Eastern figure far larger than the Western ones, perhaps questioning whether there is an imbalance in the Euro-centric art market that needs to be addressed. This beautiful, thought-provoking and international artwork represents many of the themes explored by the Triennial.

Francois Poncet's 1782 Venus pointing to Ron Mueck's room of skulls 
The artworks are spread throughout the gallery’s permanent collection, as well as in separate exhibition spaces. It is an all-encompassing display that encourages visitors to take part in the gallery experience. This is not an exhibition that allows for passive wandering through turgid white rooms. As viewers we must look, what is part of the NGV’s permanent collection? What is new here? What is interactive and what can’t be touched?

Ron Mueck's skulls are spread across two rooms, contrasting with the NGV's permanent collection
Ron Mueck’s large scale sculptures of skulls are positioned in the NGV’s international galleries, amongst paintings by Canaletto and Rembrandt. Particularly with regards to Dutch still life symbolising death and mortality, these skulls seem to have rolled straight out of a 17th century painting. In this way, they encourage fresh understanding of older paintings we may feel we already know. Mueck’s artworks are startling, morbid, and yet strangely intriguing and beautiful. They allow for interaction, encouraging visitors to walk through the maze of skulls.

Pae White's installation was a maze of colour and shape 
Pae White’s graphic installation uses acrylic yarn to warp our viewing of the world around us, infusing our space with colours and shapes. It blurs the line between art, craft, technology and architecture. Visitors in this room seemed unsure where the artwork started and finished. It was fascinating to see the NGV security guards tirelessly trying to protect the piece ‘Don’t stand on the string!’ ‘Don’t touch the string!’ It became part of the art itself. At what point does the art become part of our own environment and cease to be art at all? 

Lying on Alexandra Kehayoglou's hand tufted rug, Santa-Cruz River, was incredibly relaxing and almost hypnotically calm
Jonathan Owen's Untitled (2016) was displayed alongside sculptures by Rodin, and provided additional insights into changing views of the human body in art
It would be impossible to give justice to the entire exhibition in its enormity by writing about each piece in turn. It is simply too large and also too interactive and personal. Each visitor will see something different, experience something more. It is successful, not only in its selection and content, but in its display. By viewing contemporary pieces alongside older, more traditional art forms, we are able to better appreciate art in its power, and its transcendence over time. As something that has been recommended by every Melbournian I’ve encountered during my first week here, it is definitely worth visiting.

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