28 January to 21 February
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| HAYLEY ARJONA ·
MATTHEW BRADLEY
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GOLD CARD1
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Curated by Chris Chapman Gold Card1 is the first of two exhibitions to showcase emerging South Australian Artists.
images from left: Hayley Adjorno untitled; Matthew Bradley The Nola Rose Cadidate installation detail
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25 Febuary to 21 March
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| STEPHEN TARR · SALLY-ANN ROWLAND · MICHAEL WOLFF
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GOLD CARD2
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Curated by Michael Newell Gold Card2 is the second of two exhibitions to showcase emerging South Australian Artists.
images (clockwise from left) Michael Wolff untitled acrylic on canvas; Sally-Ann Rowland The Spare Room installation detail; Stephen Tawa, unititled acrylic on canvas
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| 25 March - 18 April
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| JOSIE STARRS and LEON CMIELEWSKI
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Diagnostic Tools for the New Millennium
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Diagnostic Tools for the New Millennium is a set of vapourware tools designed for the new age. When this post optimism, post modernist, post feminist age crashes, what tools will be needed to verify our corrupted psyches? The Artists write; "Much of our new media work has taken the form of playful booth like installations which allow an individual visitor to engage the work in a private way in a public setting, sometimes encouraging the participant to reveal or hide themselves through their engagement with the work being transmitted or stored for retrieval in some way. often the work itself is created through the accumulation of responses by multiple participants."
Further info http://lx.sysx.org/
image installation detail
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| John Comonous
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Autumn Song
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Autumn Song is a baroque self-portrait consisting of many pun-encrusted memory traces of surviving the topsy-turvy ambiguities and dislocations of a bi-cultural childhood. Autumn Song was awarded a major prize at last year's BerlinÕs Tranmediale Festival. More recently, it was also shortlisted for the prestigious ZKM's Video Art Award. Late last year a radiophonic companion piece to Autumn Song, entitled Smoke in the Woods, was commissioned and broadcasted by ABC National Radio.
"The film Autumn Song is saturated in a melancholic mode. ... The border between stability and change, like the coastline between sea and land constantly shifts. When 'landmarks' are not fixed, oneÕs sense of movement and return must remain open and attentive to change. This involves a more dynamic and interactive understanding of mapping, where the flows of memory and place combine to establish paths. Perhaps all movement and meaning requires this open frame and the 'island feeling' is a metaphor for living in a changing world."
Nikos Papastergiadis. Excerpt from the Catalogue
image John Comonous installation detail text
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TECHNE
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Curated by Imago Multimedia Centre. A collaboration between the Media Resource Centre and the EAF.
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| 22 April to 15 May
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| LARRY CLARK
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Photographic Work
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title
The first major exhibition of work shown in Australia by controversial American artist Larry Clark. Born in Tulsa, Oklahoma in 1943, Larry Clark is an important and influential American artist who has documented youth culture since the 1960s. In a remarkable act of future vision, it is predicted that his film Ken Park will be banned from the 2003 Sydney Film Festival
Concurrent with the exhibition a limited edition publication TULSA IN NEW YORK was produced by Ken Bolton. It includes poetry and graphic work by other writers and artists associated with the Tulsa scene. Read the introduction here.
image Larry Clark. untitled from the photographic series KIDS
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| 27 May to 16 June
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| ADAM CULLEN
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Blind Side
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Blind Side was a group of new paintings that presented Cullen's idiosyncratic view of contemporary Australian life filtered through the inner-suburban environment. Painted on large sheet foam-core with enamel, spraypaint and ink, Cullen's paitings moved from a certain lyricism to a more internal form of menace.
image Adam Cullen
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| 24 June to 18 July
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| MEHMET ADIL
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project two
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| Mehmet Adil's installation project two was initially confounding, but its implied ambiguity revealed deeper aesethic connections and could be understood as metaphorically related to a range of ideas. Adil's method of combining objects is understated. In this case, the danger implicit in the presence of a large sheet of glass resting on a sofa was somehow calmed. The glass sheet exerted a pressure on the elements surrounding it, and possessed a contained energy of its own (it was slightly flexed). The 'flurries' of masking tape making patterns on the gallery floor generated an energy field too.
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| 22 July to 1 August
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| LEE SALAMONE
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footnotes from a periphery
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Footnotes from the periphery was a years worth of pages from Adelaide's daily newspaper The Advertiser installed around the gallery as a frieze. Altering the pages via the application of text, imagery and collage, Salamone wove his own experiences as 'news' into the broader public framework of the Advertiser pages. His work prompted memories of specific dates and events in the public arena, and invoked personal and social memories for visitors to the exhibition.
images Lee Salamone installation details
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| 5 August to 15 August
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| MARK STEPHENS
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Alignment procedures
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The works in Alignment Procedures spans a number of disciplines including geology and architecture, mural and cartoon, cinema and computer game, technology and demonology. The installation reconfigured the gallery space by illuminating the area with red light, effectively producing a dense core within the EAF building. Stephen's idiosyncratic objects and imagery referred to architecture, biology and technology, and the work evoked a strange kind of design genre that hybridised futuristic and medieval forms. Odd inversions gave the work an uneasy edge: high tech running shoes were displayed on a black metal rack, a black shiny dome on a base referred to the architecture of Pierre Boulee and also appeared as a panopticon-like surveillance device.
images Mark Stephens, installation details
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| 19 August - 13 November
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UNIVERSE a series of three
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space, time & cosmology via metaphoric & poetic means
The information age, new developments in genetics, biology, neurology and cosmology increasingly inform and affect the way we perceive the world and our interaction within it.
This century has witnessed the beginning of the quantum revolution, and of the understanding of a model of the universe where space and time are relative and operate in terms of a multi-dimensional model. Space is not absolute, nor is time. So far, the only constancy is the velocity of photons in a vacuum - 670 million miles per hour. Quantum theory shows that matter is composed of increasingly smaller elements - atoms, protons, neutrons, quarks. Everything in the world is 'made of' these particles, and other ghostly ones (neutrinos, muons, taus) and affected by the force of gravity, the electromagnetic force, and the sub-atomic Ôstrong' and Ôweak' forces. The combination of these four fundamental forces, it is suggested, accounts for all possible interactions between various objects and materials in the universe.
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The concept of String Theory suggests a new layer beyond sub-atomic particles. Tiny 'loops' of ultra-microscopic filaments vibrate at different frequencies, resulting in the appearance of particles whose mass and force is determined by the string's patterns of vibration.
During the development of the project there emerged an interest in the place of the human mind in relation to new ideas in physics. Thus, various ideas about consciousness - the experience of being in the world - are explored within the online elements of the project. They are evoked, too, by our responses and interaction with the works and environments in the exhibition series.
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| 19 August - 12 September
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| KATIE MOORE · DALE FRANK ·
radioqualia ·
JOHN MEADE
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UNIVERSE1
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 In UNIVERSE1, Dale Frank's painting and John Meade's suspended sculpture suggest a conception of space at both a molecular and cosmic scale. Frank's painting suggests a sense of scale that is cell-like, molecular, or sub-atomic, and cosmically vast and full of light. Meade's work has biological and machine-like qualities, it appears both solid and dense, and weightless and mutable. The objects created by Katie Moore are deceptive. Their apparent 'simplicity' misrepresents the transformative capacities they suggest, and the possibilities for their operation at a level beyond the physical realm. radioqualia's installation infuses the gallery space with radio transmissions from various global geographic sources. The focussed area of each transmission within the gallery means that participants are able to traverse vast spatial and temporal distances within the concentrated space of the gallery.
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images (clockwise from top left) John Meade Nighttime #3; Katie Moore Trestle installation detail; radioqualia installation detail. Listen to the work online radioqualia.net; Dale Frank
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| 16 September to 9 October
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| Robyn Backen · Paul Quinn
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UNIVERSE2
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Robyn Backen and Paul Quinn's installations for UNIVERSE2 immerse us in mutable environments. In Backen's work the digital/binary language of morse code is transformed via its re-presention through optic fibre technology. Quinn's luminous video work is meditative. Both works evoke a fluid, liquid environment.
images top left & bottom Robyn Backen littoral installation details; above Paul Quinn Green installation detail
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| 14 October to 13 November
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| Daniel Malone · William Seeto
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UNIVERSE3
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William Seeto and Daniel Malone's installations for UNIVERSE3 affect our perceptual states. The works variously use the wave properties of light and sound to affect our perception of space-time dynamics.
images (clockwise from top lef); Daniel Malone Why not sneeze? installation detail; William Seeto Nocturne 2 installation detail; Malone and Seeto.
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| 18 November to 11 December
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| d. zippi & zoe laggner
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name dropping
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X for z + z
notes for a video commissioned by D. Zippi & Zoe Laggner by / Chris Chapman, 9 November 1999.
It was with consideration that I invited David Laggner to exhibit at the Experimental Art Foundation, his project being the last for the year 1999. And, as is his usual wish, he appears as zippi & zoe, in default of being called David. The persona, which over the years I have taken to be twins, has appeared, sometimes with another called Dimity, as authors of various correspondence to me - some poetry of sorts - and of a contribution to the Adelaide Biennial exhibition of 1996, where their work was present as a contribution to the publication - fucked broken between the c and the k, twigs mentioned as they have been recently, either cut (or snapped), or suggesting a certain preoccupation "lost on twigs and berries", / [...] Presently, zippi & zoe's project enacts a further unfolding of the EAF gallery space. Regular visitors will have noticed my rhetoric and hopefully the experience of variable states of immersion evident in the UNIVERSE project that has immediately preceded this exhibition. Various plays of spatial and sonic shifts mark a movement that I have described in art as inducing a sense of vertigo, tied to a subjective and conceptual take on the Zeitgeist. In this particular case, this unfolding is signalled in the project itself (and in this video - a commissioned aspect of it) and in zippi & zoe's catalog notes - a splitting or dividing of language - english and german - that suggests a kind of multiplication and expansion. Not unlike a flood that is also signalled here.
image catalogue detail text catalogue essay excerpt
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