1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 EXHIBITION PROGRAM 2002 28 February to 6 April | 2 May to 8 June | 20 June to 20 July | 1 - 30 August | 12 September - 12 October | 25 October - 16 November | 21 November - 20 December EAF TALKS! (The Modern Nonsense) ALL TIMES ARE IN CENTRAL STANDARD TIME, ADELAIDE, AUSTRALIA 28 February to 6 April DENISE KUM     The Experimental Art Foundation invited Auckland-born and currently London-based artist, Denise Kum, to be artist-in-residence to develop and present a new installation project. Graduating with a BFA from Elam School of Fine Arts, University of Auckland, Denise recently completed her MA at Goldsmiths College, University of London 1999-2000. Denise was a founding member of the artist run gallery 'Teststrip' 1992-97. She has received several awards and Fellowships and is represented in numerous public and private collections internationally. Kum also works as a makeup artist in film and television which serves to further explore simulation and transformation in her work. Kum's practice involves the use of industrial synthetic materials and substances (oils, commercial lubricants and polymers). Her installation project for the Experimental Art Foundation raises issues about concepts of waste and reticulation. Methods of display and dˇcor, and the metaphoric capacities of virulence, mutation and the fictive space. During her time in Adelaide, Denise also undertook a residency at the South Australian School of Art, University of South Australia from 5 to 8 March. Exhibition opened by Chris Chapman, Sydney-based cultural producer, and Director of the Experimental Art Foundation 1998-2001. An artist talk was held on Monday 4 March at the EAF. 2 May to 8 June JUDE WALTON   paralla   x Jude Walton is a Melbourne-based artist and Senior Lecturer in Performance Studies at the Victorian University of Technology. She has devised and directed numerous performances including repertoire in 2000 at the Mass Gallery, Melbourne and SEAM in 1998, commissioned by the Alliance Francaise de Melbourne. "...are we tempted to absorb and conceal the violence in our own immediate life-worlds, in our universities, workplaces, streets, shopping malls, and even families, where, like business, it's terror as usual." Taussig, 1992, p12 paralla x developed as part of an artist-in-residency at RMIT, in the School of Architecture through the support of the New Media Fund of the Australia Council. The residency generated a new series of video and light works that explore: optic and haptic perception in the making of interdisciplinary art; (corporealised) vision, located in sensation; movement , ways of capturing and remembering it ( see Marey, Duchamp, and Futurists); spatial configurations, maps, navigation, travel, knowledge of space through movement;scale, intimate immensity, miniature, gargantuan (Bachelard); underlying state of emergency, nervous tension the Nervous System. Working with projected and screen based moving images the exhibition examines aspects of perception and proposes that '...perceptual constancy is a phantom...' calling into question the solidity of how we know the world. An artist's talk was held on Tuesday 7 May at the EAF 20 June to 21 July RUTH WATSON   CRY ME A RIVER "In the west, we are surrounded by maps in everyday life - street directories, guides, site indicators, road maps. The world map is also a familiar image and who hasn't watched, even if zombie-like, the world maps on in-flight screens showing us the passage of day and night and our little moving sign upon it? Maybe you pored over atlases as a child, or had one on a wall. But we've inherited some unquestioned conventions along with our worldly imaginings- north at the top, the precedence of land over sea, the centrality of either Europe or the Americas, rectangular or near-rectangular projections that privilege northern latitudes, and more... our view of the world and our place in it has been affected by these conventions. Maps, even at their most useful, are finally products of our desire, whether for information, control, or just amusement. Perhaps the metaphoric connection made by musical lyricist Arthur Hamilton - author of the classic song whose title I've poached for this work- isn't only metaphorical, but a reminder that the worlds we feel and understand are mutable, contingent and sometimes fragile." New Zealand born and currently residing in Sydney, Ruth Watson has exhibited widely in Australia and New Zealand including in the inaugural 2001 Auckland Triennale, 9th Biennale of Sydney, and 1997 & 1999 Perspecta exhibitions, as well as in exhibitions and residencies in India, Croatia, USA and Germany. 1-30 August dLUX MEDIA ARTS   D>ART 02 The Experimental Art Foundation in association with dLux media arts, Sydney, is pleased to announce the launch of d>ART02 in Adelaide for the very first time. dLux media arts, currently in its 22nd year, encourages and promotes the development and critical discussion of innovative film, new media and sound arts in Australia. d>ART is produced by dLux media arts annually and is Australia's premiere showcase of experimentally driven screen and time-based media art. This year's works are spicy, pivotal and gestural, an offering of the latest in media art forms. In 2002, an installation exhibition strand has been added to the program.The d>ART02 INSTALLATION at the Experimental Art Foundation includes Throw by Mari Velonaki and The Glass Bell by Sophea Lerner with Ryan Sabir, both gesturally triggered, interactive installations, and L'apres-midi d'un avatar by Mathias Antlfinger & Ute Hoerner, Uncle Bill by Debra Petrovich and Shocked by Danielle Karalus. Further info: d.ART02 INSTALLATIONS RICHARD GRAYSON   A DIARY, A HISTORY, A WALK UP THE HILL 12 September - 12 October Richard Grayson is an artist with over 25 years in performance, painting, installation and video, a former EAF Director 1991-98 and the Artistic Director of the 2002 Sydney Biennale. "The works in this installation are part of a rather baggy community of projects that I have undertaken over the last few years. In fact a component part of the exhibition - A History of Reading - is from a couple of years back. As all the works stand alone, but in this context the tapes are different facets of the same concerns. So not only does each component concern itself with narrative in some way, but the three in turn make connections and generate their own relationships. A Diary, some Keys and New York City uses small mundane objects that are seemingly without resonance and embeds them in the matrix of a text written over three months in NYC. A sort of Proustian madeleine strategy, but somewhat reversed. Rather than the object and sensation bringing back the past, here it is more as if the past has washed these artifacts into the present, choreographing them, but at the same time meeting a mute resistance. As a youth I had a great fascination with archeology, and would field walk, finding bits of pot or charcoal or other scraps of living. When you hold these objects in your hand you become painfully aware of how much of their narrative cannot be retrieved, that vast aching history that cannot be recuperated or known, they can now only be articulated in different orderings of use or presumed utility. The objects in the tape flicker between different fugitive states in that dark gap. A History of Reading zooms out a little. It was made in the studio in New York. Different artists had been staying in that studio for many years, and had bought books to read. The ones they didn't want to take back to Australia were left behind. I used every single book that was in the studio plus the ones I had bought myself, (these were books I had bought to amuse me, not to make art with), and I spent a long time finding an arrangement or ordering of the books where they started to make 'sense' where one linked to another, be it through a verbal echo, a visual link or some other syntax. A Walk Up the Hill in Six Different Countries zooms out further and is a sort of immersive video game pan through the landscapes of the Australian bush, breathlessly narrated by descriptions of the imaginary topologies of the Isle of Dionysis, Shangri-La, Narnia, and Utopia. Virtual landscapes that have been drawn from the experience of landscapes and which in turn shape and narrate our own understandings of the world. Here, they are the imported stories that have overlaid and erased the previous narratives that spoke the land in ways that we can now never know." Richard Grayson, 2002 Further info http://ensemble.va.com.au/Grayson/art/AWalkuptheHill.html LUCAS IHLEIN   BILATERAL 25 October to 16 November Sydney-based artist Lucas Ihlein will be in residence at the Experimental Art Foundation 25 October-16 November. Sydney-based artist Lucas Ihlein's stay at the Experimental art Foundation took the forms of an exhibition, a residency (effectively a 'live-in' exhibition), numerous outreach extensions of the show-and-project, and special events that took place simultaneously in different registers: the purely social, the social conceived and judged as exchange and reciprocity, and as a system viewed as or by 'Art'. As an exhibition Bilateral took the form of installation: much of the installation was made up of works produced (for and as installation in some cases) for previous incarnations of the project: installations in Singapore, Hong Kong and Perth. Many of the works recorded the experience of those places - the learning processes involved in adapting to them, the frameworks of thought they gave rise to - from preconception, prejudice, clichˇ, through to a measure of understanding. An effect of Bilatera, then, was to foreground these things in general terms as well as specific - & to promote a degree of selfconsciousness about one's own behaviour or about one's city's attitudes and the degree of sophistication, tolerance, complacency or ignorance this might evince. The viewing of (the) art was also cast as an experience much less neutral than the gallery cube normally implies. That is, the viewer's presence relevantly carried signifiers of social class & caste (as it always does, but not usually to the art's point); the art itself (inviting viewer participation, with the artist present, mediating the experience to a degree) was very much a social situation, with unstated social obligations and codes in place. Ihlein produced new work in response to the live-in experience at the EAF and in response to Adelaide. Associated events included a film night ('Film' Films? Fine!) that, as well as the films, involved the staging of a Fluxus performance event, Albert M Fine's Piece for Fluxorchestra and Ihlein's Event For Touristic Sites - a kind of 'action'. At this last volunteers (and people who joined in on the spot) wore T-shirts at a public tourist site (and on the occasion of the annual Adelaide Xmas Parade) baldly proclaiming the truth of national stereotypes (All Australians are arse-lickers, All Germans are efficient, All Mexicans are loco, All Taiwanese are shifty sort of thing). Naturally, collected like this, they rendered the very formula ridiculous. Ihlein's exhibition/residency attracted a regular stream of visitors and repeat visits. The off-site manifestations were well attended too. Ken Bolton Further info: http://www.bbqproject.de/new/programme_ihlein_2.htm http://www.pica.org.au:80/artist01/TIS/L_Ihlein.html http://www.haresbreath.com/sunburn SQUATSPACE http://www.geocities.com/squatspace STEVEN CARSON   AIR KISS 21 November to 20 December Steven Carson's installation, Air Kiss, was made up of lights (blue and red) in an arrangement that provided an interestingly benign environment for the entering viewer. Red lights made up an irregular field of glowing red spots, radiating an effect that could be read as warmth, infection, or mere, neutral red light of the sort we see regularly in the nocturnal city. Blue lights, suspended individually in a few cases but mostly in a single suspended line down the gallery length, gave a contrast that reads as chill or cool. The two colours blended oddly, giving a wonderfully soft atmosphere. A chief effect is of isolation, of individual spots of intensity, isolated lives or presences. At intervals the opening notes of Prince's 'Air Kiss' would rend the gallery quiet perhaps as if to call the lights to attention, exhorting clubbing devotees of their duty to boogie or to maintain (some) attitude. The globes also cast a faint white back-light onto the walls and ceiling, marks which looked remarkably orthographic and expressive. AIR KISS is part of the visual arts program of the 2002 FEAST Festival. THE EAF TALKS!   THE MODERN NONSENSE 6pm Thursdays 8, 15, 22, 29 August A season of talks which intends to make a space for the informed reception of new art and the ideas that attend it. Sponsored by the Independant Arts Foundation (SA) Inc and held at the Nexus Mutlicultural Arts Centre's Cabaret Space, Lion Arts Centre #1 August 8th, 6 PM THRU TWO GLASSES MIGHTY DARKLY Sam Small & Michael Kutschbach two successful younger artists give an account of the development of their art to date showing initial directions, & changes of form, of medium, & of conception. #2 August 15th, 6 PM NEWBIES Bridget Currie - installation/sculpture & 2 artists working with film James Strickland & Mathew Bradley Some younger artists successfully out of the blocks - & running, ducking, weaving - say 'How I broke in.' And, about these films - Is this a kind of slacker literalism? a faux naif acting of the self? (Hoodlum: "You talk so free & easy, Spade." Sam Spade: "What should I do, learn to stutter?") So, canny, cool intuition - about the authority & hold of film presence? Or just good luck? #3 August 22nd, 6 PM MY BACK PAGES John Barbour John Barbour is a major South Australian artist - represented in Sydney by the Yuill/Crowley Gallery & having had numerous solo exhibitions (including a mini retrospective at the CACSA in 1998). He was part of the Biennale, in San Paolo in Brazil earlier this year. Here Barbour discusses the influences on his work & thinking, looking back to explain - & string seamlessly together - some works, ideas, encounters that have importantly affected his work's shape & direction. #4 August 29th, 6 PM WHAT'S EXPERIMENTAL NOW? Pity the avant-garde: they must always be pondering this question. (Of course, you knew that didn't you? Sorry to interrupt your train of thought. What's the answer then?) The answers, the meaning of the question in 2002, its difficulty and necessity are discussed by critics & thinkers Russell Smith , Teri Hoskin , Michael Newall previous screen    screen top