gone in no time gone in no time*

documentation: one . two . three . four . closing (gone)

15 september - 7 november

not a sound only the old breath and the leaves turning and then suddenly this dust whole place suddenly full of dust when you opened your eyes from floor to ceiling nothing only dust and not a sound what was it said come and gone was it something like that come and gone come and gone in no time gone in no time —'That Time' 1964, Samuel Beckett

one (15-26 sept)

annette lawrence & jacobus capone

two (29 sept - 10 oct)

yhonnie scarce & nicholas selenitsch

three (13-24 oct)

margit brünner & danielle freakley

four (27 oct - 7 nov)

ardi gunawan, katherine huang & jason sweeney

closing performance by domenico de clario & jason sweeney

artist talks

ardi gunawan will be a guest speaker in the Artistspeak program, School of Art Architecture & Design, 1-2pm Friday 30 october, HH4-08, City West Campus, University of South Australia

annette lawrence presented her work 1-2pm Thursday 17 september Iris Cinema.

Free entry, bookings are essential, email info@eaf.asn.au

nick selenitsch will be a guest speaker at Artistspeak program, School of Art Architecture & Design, 1-2pm Friday 9 october, HH4-08, City West Campus, University of South Australia

gone in no time gone in no time proposes the eAF exhibition space as a site for making and being, as opposed to its usual function as container of objects/actions made/devised elsewhere. Eight artists have been invited to occupy the exhibition space for a period of two weeks each and engage in creative action through the duration of their residency. Throughout their ‘occupation’ of the exhibition space the artists will each afternoon reveal their ‘making’ process to interested visitors and engage in whatever dialogue ensues.

Transforming the exhibition space as a site for ‘making’ rather than ‘containing’ can lead to the question of how an artist might manage an understanding of ‘being’ concurrently with that of ‘making’. The material residue of the artist’s engagement with such questions will constitute the substance of the next resident’s contribution to the project, suggesting that the outcome/installation filling the exhibition space at the end of the project will resist notions of authorship. The artists will occupy eAF during usual gallery hours but will be available for an interaction with interested visitors only between 2-5pm from Wednesday to Saturday.

aeaf director Domenico de Clario has posed a set of questions for the artists to consider:

“The eAF gallery space, like other contemporary art spaces, is normally used to present strategized solutions/answers/responses to particular issues arising in an artist’s individual practice; these responses are mostly prepared in private studios and the unfolding of a particular final form/strategy does not usually include any aspect of an audience interaction. Consequently the dynamic between the artist’s initial inquiry and the formulation of a response strategy, including audience interaction, cannot manifest before the work’s first public viewing. By this time the form of the artist’s response has necessarily crystallized into its final shape.

 

Can the gallery space be the site in which the entirety of the process is experienced? In other words can the artist’s initial point of enquiry/curiosity, the strategy chosen to address it and the unfolding of his/her response all take place within the gallery and be made accessible at particular times to an interested audience?

 

Could the artist then extend this interaction further and engage the audience directly, even embodying, if this strategy concurs with the artist’s line of enquiry, aspects of this process within the syntax of the work itself?

 

If so the Experimental Art Foundation then becomes the experimental Art Foundation.”

*gone in no time gone in no time was devised by Domenico de Clario and is dedicated to the memory of Noel Sheridan (Dublin 1937- Perth 2006), the inaugural Director of EAF from 1975 until 1980. Noel Sheridan was invited to perform Samuel Beckett’s ‘That Time’ at Spectrum Project Space in Perth on the evening of June 21 2006, for Domenico de Clario’s twenty-four hour live event titled ‘the round ball game’.

→ media release

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artist's bios

one (15 - 29 sept)

→ documentation(video & still images)

annette lawrence (15 – 26 sept)

Annette Lawrence is an internationally–recognized artist based in Texas for close to twenty years. Her art is widely exhibited and held in museums, and private collections including The Museum of Fine Arts, Houston, The Dallas Museum of Art, The Rachofsky Collection, ArtPace Center for Contemporary Art, Jack S. Blanton Museum of Art, and American Airlines. She recently completed a commissioned large-scale permanent installation titled Coin Toss at the new Dallas Cowboys Stadium. In January 2009 her solo exhibit titled Free Paper received national coverage through the Associated Press. She received the Dozier Travel Award from the Dallas Museum of Art in 2009 for travel to Australia. Lawrence has participated in artist in residence programs in Houston, Texas, Skowhegan, Maine, Johannesburg, South Africa, Tanera Mor, Scotland. She has taught as a visiting artist at American University, and The Yale School of Art. She will be an artist in residence at Monash University in Melbourne Australia August - October of 2009.

Annette Lawrence was born in Rockville Center, New York in 1965. She received a BFA from The Hartford Art School and an MFA from The Maryland Institute College of Art. Currently, Lawrence lives and works in Denton, Texas and is a Professor of Drawing and Painting on the faculty of the College of Art and Design, University of North Texas.

Annette Lawrence’s work is generally related to text and information, often in response to physical space and time. The work is grounded in autobiography, counting, and the measurement of everyday life. Her subjects of inquiry range from body cycles, to ancestor portraits, music lessons, and unsolicited mail. Lawrence’s string installations are a response to architecture as monumental text. The string presents a visual lightness, balanced by the substantial physicality and scale of the work. References to lattice, woven vessels, suspension bridges, and musical instruments often emerge. The next installation will be at Old Dominion University in Norfolk, Virginia in January 2010.

→ further www.annettelawrence.net & a review of Free Paper on This Road

jacobus capone (15 – 26 sept)

→ watch documentation of performance for gone in no time, film by Jess Wallace, Adelaide-based filmaker and AeAF documents artist-in-residence

Jacobus Capone makes durational performance works that embrace "futility, pointlessness, moments gone". More recently he has dedicated himself to perfecting the art of abstinence. His performances have included ‘work for an unamed island’, 23 Oct 2006, durational performance from sunrise to sunset; ‘disquiet’,144 hour durational performance, 19th-25th April 2009; ‘everything and nothing’, 2007; and a work titled ‘to love’ (2007) – “where a body of water was taken from the Indian Ocean and held on a 147 day walk on foot, to the Pacific Ocean where the water was poured into itself (Perth to Wollongong) – ended whoever I once was.” Jacobus Capone lives in Perth, Western Australia.

two (29 sept - 10 oct)

→ documentation (video and still images)

yhonnie scarce makes conceptually-based sculptural works in glass and other materials. She was born in Woomera, South Australia in 1973 and belongs to the Kokatha and Nukunu peoples. Her work often references the on-going effects of colonization on Aboriginal people whilst commenting on the social and political mores of historical and contemporary Australia. In 2006 she was a finalist in the 23rd Telstra Aboriginal and Islander Art Award, in that same year she held a solo exhibition ‘Forget me Not’ at the National Aboriginal Cultural Institute (Tandanya). In 2007 Yhonnie Scarce was a finalist in Xstrata Coal Emerging Indigenous Art Award at the Queensland Gallery of Modern Art, and her work was included in ‘Another Story–Indigenous Responses to Colonialism’ held at the Festival Centre, Adelaide. In 2008 she was the South Australian recipient of the QANTAS Foundation Encouragement for Australian Contemporary Art Award. Yhonnie Scarce’s work has been collected by The Art Gallery of South Australia, The Museum and Art Gallery of the Northern Territory, The Flinders University Art Museum and The University of South Australia. She is currently undertaking a MFA (by research) at Monash University, Melbourne.

nick selenitsch makes sculptural installations that “embrace an awkward familiarity of opposites. These are points where the serious meets the playful; where the frivolous meets the profound and where the irrational meets the rational. Western Abstraction – as an historical site for finding profound meaning amongst nonsense – can be seen as the central figure in this artistic game-play. It is a game that represents and critiques the goal-oriented exercises accompanying artworks, and by implication, the search to find meaning in our lives.”– (artist notes). Solo exhibitions include ‘Not flying, jumping’, Sutton Gallery Project Space, Melbourne 2008 and ‘Stuck’, Studio 12 Gertrude Contemporary Art Spaces 2007. Group exhibitions include ‘Victory over the Sun’, ‘Utopian Slumps’, Melbourne 2009; ‘Saison Increase’, as part of Axis Bold as Love video reel, CAPC Musee d’art Contemporain, Bordeaux 2008 and ‘Y2K’ Melbourne Biennial, tcb, Melbourne 2008; ‘21st Century Modern’, 2006 Adelaide Biennial of Australian Art, as part of Slave, Art Gallery of South Australia 2006. Nick Selenitsch is represented in Australia by Sutton Gallery, Melbourne. Nick Selenitsch was born in Melbourne in 1979, where he currently lives and works.

three (13 - 24 oct)

→ documentation (video and still images)

danielle freakley works in drawing, sound, installation and performance. Her project ‘The Quote Generator’ is three-year performance project that involves the artist speaking in quotation and reference wherever she goes in everyday social life. In another of her performances, Artist Running Space (2004-2006), Freakley uses herself as functional Art Gallery Human exhibiting artwork on her “gallery suit” with a number of emerging and established artists in a variety of appropriate environments. Recent solo shows include: ‘The Quote Generator’, Kuala Lumpur Triennial, Malaysia, 2009; ‘Dear Art, please touch me’, NGV, Melbourne, 2008; ‘Opinions are like Assholes and everybody’s got one’, Mori Gallery, Sydney, 2008. Danielle Freakley was the recipient of the QANTAS Spirit of Youth Award in Visual Arts, and Australia Council emerging artist grant to travel with the Quote Generator in 2007. The artists has also performed in Snake temples of Malaysia, Funerals, Weddings, Commonwealth Games Swimming Arenas, Snowfields, Deserts, Aquariums, S&M Clubs, Casinos, Beaches, Public Toilets etc. Danielle Freakley is represented by Mori Gallery, Sydney. Danielle Freakely was born and bred in Perth, 1982. She is currently living in New York.

four (27 oct - 7 nov)

ardi gunawan works primarily in sculpture and installation. His practice focuses on the material encounter with the processes of art production within collaborative situations. Recent of these projects include: ‘Time Racing’, BUS Gallery, Melbourne, 2009; ‘actions, weed displacement, clearing’, with Susan Jacobs, West Brunswick Sculpture Trienniale, Melbourne, 2009; ‘Reconfiguring still: proposals for the super light’, Gertrude Contemporary Art Spaces, Melbourne, 2008; ‘THROW’ with Bianca Hester, Meat Market, Melbourne, 2008; and ‘Substructure’ with Imogen Beynon, Catherine Connoly, Remie Cibis, Candice Cranmer, Peter Fifer, Tamsin Green, John Gilmore, Sally Tape at Conical, Melbourne, 2007. Born 1983 in Indonesia, Ardi Gunawan is currently completing a MFA by research in sculpture at Monash University and undertaking a studio residency at Gertrude Contemporary Art Spaces in Melbourne.

katherine huang makes sculptural installation works with and from smallish ephemeral objects – found, sourced and commissioned. Evocative titles like ‘This piece is about air. There’s nothing there’ (2006) suggest relationships with the innate & resonant materiality of things. She has shown in Melbourne Galleries, State Institutions and overseas in Helsinki and Shanghai. In 2004, Katherine Huang received the Australia Council Studio Residency in Greene Street New York, and in 2008 was the Victorian recipient of the QANTAS Prize for Contemporary Art. Born in Taipei in 1976, Katherine lives in Melbourne.

jason sweeney is a sound artist, musician, composer, performance maker and experimental filmmaker. He writes, records, performs and releases music under the guises Panoptique Electrical and Pretty Boy Crossover. He is a co-founder of the hybrid arts performance collective, Unreasonable Adults. His electronic music duo, Pretty Boy Crossover – in collaboration with Cailan Burns – has been releasing and performing experimental electronic music recording since 1998, recently releasing a CD/DVD project with New York City video artist, Julio Soto. In 2009 he has undertaken a commission as a sound artist for State Theatre Company of SA’s King Lear and for the work We Was Them by Belgian theatre company, SOIT, to be premiered in Brussels in October 2009. He will be artist in residence at Plateau (Nadine, Brussels) in September 2009.

Jason Sweeney's work is archived at www.soundslikesweeney.com