1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 EXHIBITION PROGRAM 2003 21 February - 22 March | 3 April - 3 May | 16 May - 14 June | 19 June - 19 July | 1 August - 30 August | 12 September - 11 October | 23 October - 29 November EAF TALKS! (The Modern Nonsense) ALL TIMES ARE IN CENTRAL STANDARD TIME, ADELAIDE, AUSTRALIA 21 February to 22 March FRANCESCA DA RIMINI   Los Dias y Las Noches de Los Muertos Adelaide-based Francesca da Rimini is a prolific artist whose multi-layered work encompasses various media including text, video and computers. She often works in collaboration with others internationally, particularly as she drifts through the internet, where she maintains a number of avatars and spaces including GashGirl, doll yoko, and The Realm of the Puppet Mistress. Francesca was a founding member (together with Julianne Pierce, Josephine Starrs and Virginia Barratt) in 1991 in Adelaide of the renowned artists' collective VNS Matrix. Their "A Cyberfeminist Manifesto for the 21st Century" has manifested virally for the past decade. Francesca was awarded an Australia Council New Media Arts Fellowship in 1999. Los Dias y Las Noches de Los Muertos (the days and nights of the dead) is a web project - a ghost work of counter-memories, tracing thresholds of impossibilities beyond the blank gaze of pan-capitalism. A drifting carnival of five micro-stages recombines the newest blue-eyed sons of star wars, top-sight trajectories of power and capital, and the living dead who name themselves Zapatistas. This work mirrors and reconfigures a melange of contemporary cultural forms and military game plans including trash comics, hacktivist browser attacks, mailing list traceries, Rand Corporation research, graffiti and US Space Command vision papers. Los Dias can be found at: http://www.thing.net/~dollyoko/LOSDIAS/INDEX.HTML Francesca gave a talk about her work on Wednesday 5 March, 6pm, at the EAF. Other works can be found at: http://sysx.org/gashgirl/ This project was assisted by the Commonwealth Government through the Visual Arts Craft Board of the Australia Council. John Tonkin   Prototype for a Universal Ideology & Strange Weather v0.1 Formerly from Adelaide but living in Sydney for some time, John returned in 2002 to undertake a residency with Ngapartji Multimedia Centre assisted by the Returning Artists and Residencies Program of Arts SA. John Tonkin began making computer animation in 1985 and develops his own software in low level programming languages such as C++ and Java. In 1995 John began making interactive art works that were designed to be exhibited both as installations and online. His recent works involve building frameworks / tools / toys in which the artwork is formed through the accumulated interactions of its users. In 1999, John Tonkin was awarded an Australia Council New Media Arts Fellowship. Prototype for a Universal Ideology allows the spoken voice of each user to become the raw material for a process analogous to the genetic recombination of DNA. The audio waveforms are broken down into fragments and rearranged with the phrases of other users. Users can breed different theories together and decide which new recombinant theories survive, and consequently how they develop collaboratively over time to form a gene pool of ideologies. Strange Weather [ver 0.1, recruitment] the first of a proposed many iterations, is a visualisation tool for making sense of life: interactive data visualisations allow the user to correlate their personal details with various global indicators, revealing patterns and any underlying relationships in the data. The work enables the user to attempt to track the consequences of their small actions on global events. Works of John Tonkin can be found at: http://www.johnt.org These works were assisted by the Commonwealth Government through the New Media Arts Board of the Australia Council. Strange Weather was assisted by Ngapartji Multimedia Centre and the Returning Artists and Residencies Program of Arts SA. 4 April - 3 May WARREN VANCE   Small Increments A new body of work by mid-career South Australian artist, Warren Vance, this exhibition comprises a series of light-projection pieces of almost spiritual iconography. They present a mise en scene of apparitional and transformation metaphors within perception such as to lament the limitations or deficiencies of the human condition. The applied source of collected materials-of world tourism souvenir slides, nature study, kaleidoscopes, theological references-are reconfigured into loops of metaphysical inquiry. This collagist practice with readymades consciously shifts "view" towards interiority. Vance activates deeper resonances of narrative and recirculation within greater cycles of time. The pertinence of these meditations on transitoriness, this bound struggle between despair and awe, is a highlighting of those governing ethical inflexions that are incurred on the way and which chart our journeyed lives. Dare we measure them? Warren Vance graduated from the Victorian College of Arts in 1985 and has shown regularly in Adelaide and interstate including in the 2000 'Chemistry' exhibition at the Art Gallery of SA and in the 1993 Australian Perspecta, Sydney. Catalogue: 420mm x 99mm; card; colour images by the artist; essay by Michael Newall. TIM STERLING   Trajectory "For an artist with such an intimate and intense practice, requiring a great deal of precision (technical and intellectual) Tim is quite prolific. How do you turn a sheet of perspex into a mushroom cloud? Tim would know. Like an alchemist he seems to be able to bend the laws of physics. The works often seem like hallucinations, there but not there, solutions to impossible tasks. Conventional physical laws break down in his practice. In is zone of imminence, physical properties mutate, along with the meanings of the signs he uses. A filing cabinet, heavy, carrying a lot of information, sometimes secret, the information itself less important than the fact it is properly set out, transparent to the one who needs it organised. This work is kind of spooky, Tim often contrasts the manic and the complicated with absolute stillness and lightness, like in those dreams where I rock up back at school, fully grown and with no pants, back in a world I am trying to forget. Dream tension, and being office stuff, it's like, if you think the right thought, you could escape it all, and from certain angles, Tim's work actually does dissolve before your eyes." (Matthew Bradley FANTASIA 002 catalogue essay, 2002) Tim Sterling is an Adelaide-based artist who graduated from SA School of Art with Honours in 1999. He has exhibited regularly in Adelaide and his work was shown at The Physics Room, Christchurch, New Zealand in 2000 and Roslyn Oxley9 Gallery, Sydney earlier this year. Catalogue: 420mm x 99mm; card; colour images by the artist; complementary text by Ken Bolton. 16 May - 14 June LOUISE HASELTON   Small Crowd Louise Haselton's practice ranges from small scale sculptural works to site specific wall texts to works on paper, incorporating materials such as bronze, wood, paper, fabric and glass. Pieces function as singular sculptures, one of a larger group or as maquettes for a later larger work. Louise has an ongoing interest in language and has recently explored structures such as palindromes and oxymorons to point to the complexities and allusions within language. Formerly from Adelaide where she completed her undergraduate studies in sculpture, Louise Haselton relocated interstate in 1997, and completed her MA at RMIT in 2002. In 2003 Louise was appointed Foundation Studies Coordinator, South Australian School of Art. Poster catalogue/invitation: 420mm x 297mm; colour images by the artist. Bridget Currie   scivias The processes of Adelaide-based emerging artist Bridget Currie are tactile and her materials ordinary (old bath towels, carpet). Creating tensions between surface decoration and sculptural form, Bridget plays with notions of allegory and meaning, making objects tentative, mute and tender. Bridget Currie is a graduate from the SA School of Art and a founding member of the artist-run Downtown Art Space recently established in Adelaide. She is also an inaugural recipient of the Mentorship Scheme established by the Helpmann Academy, through which she will extend her writing practice. Poster catalogue/invitation: 420mm x 297mm; colour images by the artist; essay by Teri Hoskin. VARIOUS   web3dart 2003 WEB3DART represents a juried selection of artistic and research projects using web 3D technology, and was the official ART SHOW for the Web3D Symposium, the 8th International Conference on Web3D Technology, 9 March-12 March 2003, Saint Malo, France. This fourth selection of online 3D works was organised by Kathy Rae Huffman, Corner House Gallery, Manchester, and Karel Dudesek, Ravensbourne College of Design and Communication, Kent, UK. The juried selection featured a range of artistic and research projects that utilise a variety of plug-ins (Cortona, Blaxxun, EON, Axel, Shockwave, Viewpoint, and Cult3D). The EAF provides an access point to WEB3DART 2003 to connect the public in Adelaide with an online public, and to visitors at media and art spaces across Australia and internationally. During June 2003, empyre, a moderated international mailing list, with focus on new media art topics, will host a discussion on 3D online work: http://www.subtle.net/empyrean/empyre ADAM GECZY & MIKE PARR   Film Noir, Politique Blanche 19 June to 19 July A collaborative exhibition developed by one of Australia's rising photographic and moving image artists, Adam Geczy, and celebrated performance artist, Mike Parr. Film Noir, Politique Blanche features work in video, photography and text. All are related to forms of performance. Collectively they propose future directions for a 'political' art based in direct engagement with changing technological and cultural contexts. At the heart of the exhibition is a new video work made by Geczy of Parr's Malevich (a political arm) performance at Artspace, Sydney, in May 2002 where Parr sat for two days with his arm nailed to the gallery wall. The image of Parr will be projected across the gallery in a form reminiscent of early film-full of scratches, jilts, jolts and white flashes-with a soundscape that further evokes the sense of the artist as a subject objectified and imprisoned within representation. Both artists are also presenting discrete bodies of work involving their fathers in creative investigations of personal and political history. There will be a selection of Parr's photographs from some 1970s performances, either directly involving his father or emerging in part out of aspects of their relationship. The walls of the gallery will be covered in Hungarian text written in charcoal by Geczy's father, relating childhood memories of his escape from Hungary near the end of World War II and his experience as a refugee in Australia. A set of TV monitors strewn across the floor will screen footage of his father undertaking a similar text over the wall of a gallery in Budapest for an exhibition by Geczy in 2001. This exhibition is accompanied by a substantial 52 page full-colour publication with essay and interviews with the artists by Russell Storer. John Barbour   Human Need 1 to 30 August Over the past eight or ten years, John Barbour has developed an art practice which can only be described as simultaneously intimate yet estranged. Intimate in that the objects and images he presents require our closest attention to bring to light their inherent qualities and associations. Estranged in that they appear, paradoxically, as distanced and remote - as if seen from afar. This push and pull of opposites: subjective and objective, near and far, speech and silence, architecture and its demolition, presence and absence: of the high and low, delicate and brutal, carries over into his use of materials and forms and is deeply characteristic of his practice. The small-scale models of architectural interiors, delicate embroidered panels of text mantras and fragments, ironmongery assemblages and mirrored volumes, speak of ordinary human needs and fears, the hidden and unsayable and the need to say. The works in the exhibition Human Need take as their point of reference the idea of the 'un-made' - of an 'un-making'. In a kind of twist upon Duchamp's notion of the 'ready-made', Barbour's works literally suggest a falling away from - an un-picking - of all that which our globalised and corporatised world so perfectly constructs and offers up in the image of need - the endless worldly cycle of production and consumption. Obdurately hand-made, sometimes extravagantly, sometimes quietly, sometimes awkwardly so, Barbour's 'un-mades' owe something to the Gnostics' idea of the human as an imperfect, fallen shadow of the Divine. The un-made man, bent in the shape of grief and loss, homeless in the republic of things. He'll settle for warmth, soap, hot water and a shave, for food in the belly, for sleep without fear. John Barbour has exhibited at numerous national and international venues, including at the 25th International Biennial of São Paulo, Brazil, 2002. He is Senior Lecturer at the South Australian School of Art, University of SA and is represented by Yuill/Crowley, Sydney. Human Need is exhibited during the SALA Festival, Adelaide. Poster catalogue/invitation: 597mm x 420mm; essay by Michael Newall. Bronwyn Platten   Love Maps and Shadow Play 12 September to 11 October Throughout the last decade and a half, Bronwyn Platten has exhibited prolifically and received numerous awards including Australia Council grants for a residency at Greene Street Studio, New York, and a professional development grant to research international collections of erotica and representations of desire. Love Maps and Shadow Play represents the second in a series of exhibitions responding to that research. The exhibition delves below the surface to explore the underlying motivations and social values that shape experiences of desire. The psychiatrist, Dr. John Money, coined the term 'love map' to describe the mental template that defines an individual's unique picture of an idealised lover and an idealised romantic and erotic love relationship. Love Maps and Shadow Play seeks to expand upon perceived limitations of Money's theories in order to draw out the unspeakable and intractable qualities that shape both relationships to and experiences of love and desire. Works will traverse imagined landscapes of emotion and patterns of longing, interweaving autobiographical accounts alongside 'remappings' of historical, psychoanalytical and mythological texts. A diverse range of materials and methods will be employed and the exhibition will incorporate concrete poems as well as film and video. A film work, 'Isabel' to be included in Love Maps and Shadow Play will take as its starting point a characterisation loosely based on Platten's paternal grandmother of Orcadian heritage. Less of a portrait than a poem, 'Isabel' will trace subtle biological and emotional links between landscape and identity; embodied desires; loss and reparation. A graduate of the South Australian School of Art in 1984 and undertaking further studies in Psychology, Women's Studies and Anthropology at Flinders University, Bronwyn Platten is currently based in Scotland where she has been living and working since 2001. The EAF in association with the South Australian School of Art, has initiated a residency during Bronwyn's time here, where she will continue work on her exhibition and undertake workshops and lectures with students over one month. Bronwyn's exhibition at the EAF is assisted by the South Australian Government through Arts SA, SA School of Art at the University of SA, and is sponsored by Nepenthe Wines. A 20 page catalogue with colour images of new and previous work together with essays by Iain Biggs, Reader in Visual Art Practice, University of the West of England, Bristol, and Sarah Minney, Adelaide artist and writer, accompanies this exhibition. ALEX GAWRONSKI   Abstrakt Attack Kabinett 23 October to 29 November Sydney-based artist and writer, Alex Gawronski, has over the past decade, created a substantial body of work exploring notions of representation, social and cultural power, and mass production. This work explores the covert relationship between art and war. Inspired (infuriated) by recent world events, in this installation the artist attempts to address the conundrum of representing politics in art. "Roland Barthes claimed that to represent politics was impossible because politics resists all mimetic copying; 'politics begins where imitation ceases'. Yet what is curious about the way aggressive international acts are pictured in the media, is their regular dependence on diagrams and other assorted means of formally distancing the event from the reality.... This installation, through various references to formalist traditions, heightens the tensions subliminally underlying the 'art world' as a micro-political field." In 1999, Alex was awarded an Australia Council Studio Residency at the British School at Rome 1999-2000, and was represented in Primavera 2001 at the Museum of Contemporary Art, Sydney. Alex was also a founding member of the successful artist-run initiative, Blaugrau, which dedicated itself to art projects that were "...explorative, experimental, playful, political and open-ended". Poster catalogue/invitation: 420mm x 297mm; colour images and text by the artist9 Andrew Best   Paradise Andrew Best is an Adelaide based emerging artist, curator and writer, and co-founder of Downtown, an artist run space in a disused dodgem rink in Hindley Street. In February he exhibited in Mirage, an exhibition of artists under thirty-five at the Perth Institute of Contemporary Arts. His work fuses personal and pop-cultural references within reconstructed elements from the contemporary suburban landscape, invoking a space we somehow all know, yet cannot completely know. For this exhibition, Andrew is creating a large-scale installation that examines the various narratives that have been built around the notion of paradise, with elements of the Adelaide suburb of the same name. Catalogue: 445mm x 210mm bifold card; colour images by the artist; essay by Ken Bolton. THE EAF TALKS! THE MODERN NONSENSE   On Being Continued ... What are the aesthetics of narrative? — How do narrative forms, conventions and genres inform visual arts practice? — How are these narratives constructed, dismantled, implied, subverted, challenged or remade? — Can narrative function as a mode of critical thought? — What, Doc, are the narratives that matter to us most 'in these troubled timesÕ? Writers and thinkers from a range of disciplines and practices reflect on the role of narrative in contemporary culture, and on the complex relations between narrative and the visual arts. Rather despised under High Modernism, Narrative has come back with a vengeance as a favoured manner under Postmodernism. ModernismÕs lyric poem has gone, like the paintings called 'Lyrical Abstraction'. Internationally we have Koons & Peter Halley, Kiefer & Richter, Rachel Whitred & Cindy Sherman. And the narrative art forms: film, video, advertising & 'the media' seem increasingly influential among the other arts. #1 August 14th, 6 PM THRU TWO GLASSES MIGHTY DARKLY Mark Mitchell & Ken Bolton narrative is examined as possibility & as motor in comix & in the West's fascination (in all media) with narrating Evil - Yes, evil! "I pity the devil the day you guys begin arriving down there in bunches" Comics as narrative form Mark Mitchell Traditionally operating 'below critical radar' (Art Spiegelman), comics possess unique narrative properties: temporality and space are conflated and narrative momentum is created by the reader through closure between images. This talk explores comics as a narrative form with reference to specific examples. Mark Mitchell is a PhD English student at the University of Adelaide, working on a study of the critical discourse on comic books from Art Spiegelman to Daniel Clowes. He also contributes to the teaching of "The Idea of Youth: Fiction, Film and Youth" at the University of Adelaide. (Narrative means for non-narrative ends) Ken Bolton A reading from a work in progressÑThe Circus. Robbe-Grillet meets FelliniÑat a circus in Trieste. Nothing happens & everything happens. Curiously affective. Ken Bolton runs the Experimental Art Foundation Bookshop. On the side he is a poet, a publisher and a sometime art critic … #2 August 21st, 6 PM Personalising Gini Lee & Heather Kerr Fictocritical assemblages: transparency/velocity Heather Kerr Heather Kerr uses photographs together with images by artistsÑsuch as Thea Proctor, Jane Dixon, Martin Grant and Julia MorrisonÑto explore how memory can act as a 'deterritorialising force' in fictocritical life-writing. How might we think with the 'architectures of memory'? Using photographs and examples from visual art practice, this rrsearch explores folds, assemblages and the 'play' of memory. Heather Kerr is senior lecturer in the English Department, University of Adelaide. She publishes in the areas of Early Modern, Cultural and Postcolonial Studies and has a particular interest in Australian fictocritical writing practices. Narrative itineraries Gini Lee To traverse a landscape slowly is to allow space for speculations framed through the topographies and artefacts encountered. Narrative itineraries seeks to (re)make/(re)write cultural landscapes as discursive landscapes with reference to both made and theoretical gardens as sites for contemporary archaeology. Other itineraries are proposed where material collections and temporal spatialities are the agents of the intent to conserve the fabric of everyday places. Gini Lee is a designer (part of the Melbourne-based partnership "XXXX") and is a senior lecturer in Architecture & Design at the University of SA. … #3 August 28th, 6 PM Going My Way? Linda Marie Walker & Simon Robb On Being Continuous Linda Marie Walker Linda will discuss the relationship between visual and literary elements, linear and non-linear narratives, in her own writing and art practice. Linda Marie Walker is a writer and artist who teaches at the Louis Laybourne-Smith School of Architecture and Design, University of South Australia. If you've got a long sentence you've got time to think about it Simon Robb Simon will narrate the strange case of the reformatory hulk Fitzjames, show some illustrations from late 19th century Boys Own Annuals, and critically reflect on salvaging from local beaches. Simon Robb has a PhD in English from the University of Adelaide and currently works as a research associate in Education at the University of South Australia. He has produced work for the electronic writing research ensemble, radio eye (ABC radio) and is the author of the forthcoming novel The Hulk. … #4 September 4th, 6 PM Recent Episodes Maria Bilske & Greg Hainge Narrative in recent Adelaide art Maria Bilske Maria Bilske will give an overview of the role of narrative in the recent work of several generations of Adelaide artists. Maria Bilske is an independent critic based in Adelaide, and writes frequently for a wide variety of Australian and international art publications including Australian Art Collector, Eyeline, Art Monthly, C, and Photofile, among others. Narrative, representation and noise Greg Hainge Arguing that narrative more often than not reinforces a representational role, Greg analyses visual works in which logical narrative is confounded, and where visual "noise", rather than being subject to noise reduction as in narratival works, delivers a heightened sense of the worksÕ textural (as opposed to merely textual) qualities. Dr Greg Hainge is lecturer in French at the University of Adelaide. He has a PhD in 20th century French literature and critical theory from the University of Nottingham, and is the author of Capitalism and Schizophrenia in the Later Novels of Louis-Ferdinand CŽline, as well as numerous articles on literature, film and experimental music. Currently preparing a book on the subject of noise, he is also one of the organisers of the monthly Adelaide Philosophy Jammm. … On Being Continued ... is presented with assistance from the Independent Arts Foundation & Nexus Multicultural Arts Centre The EAF is funded by ETC previous screen    screen top