GEORGE POPPERWELL
25.1 - 18.2
Region wasboth seductive and resistant to immediate reading, however it did not take long for the references to the idea of the necropolis to come through: in particular the way that some crypts found in graveyards are models themselves of larger architectural forms. In turn, this lead to a reading of some of the architectures modelled as camps, with all that such resonances imply as regards the holocaust and final solution. Impressively these ghosts were conjured without melodrama, but with quietness and weight.
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PAT NALDI &
WENDY KIRKUP
17.2 - 31.3
The artists were resident at the Experimental Art Foundation over February and March 1996 to develop two projects that were the EAF's participation in the Visual Arts program of the Telstra Adelaide Festival of Arts. These projects were called respectively SEARCH and CROSS-WINDS, and both investigated different relations between the individual and the ideas of the polis and the city.
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SHAUN KIRBY
18.4 - 19.5
...a vast wooden volumetric structure ... a large illuminated globe resting on a bobbly foam surface near an unattached false rubber nose ... a small photo of a building with removed windows each framing the different coloured walls behind ... two cubes of scented Calvin Klein soaps stacked mini-architecturally ... floor sweeper on a table, pierced by inscribed pens ... a large framed photo of a potato sprouting leggy roots ... and other things. All of which added to a puzzling and satisfying complexity and amalgam of reference, counter-reference and physicality.
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Out of Adelaide
23.5 - 10.6
Lynne Barwick,
Simon Cardwell,
Shane Carn,
Thom Corcoran,
Joy Hardman,
Louise Haselton,
Larissa Hjorth,
Aldo Iacobelli,
Shaun Kirby,
Sarah Lidner,
David O'Halloran,
Bronwyn Platten,
Sonja Porcaro,
Josie Starrs,
Victoria Straub,
John Tonkin,
Trinh Vu
A Zeitgeist number. The premise of the exhibition was quite a simple one: to represent work by artists who have left or about to leave Adelaide.
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SUE PEDLEY
27.6 - 21.7
Sue Pedley's work addressed fundamental ideas of making, of change, and of process. Activity and labour were bought to bear on materials, and the space that they occupied, over the ten days that the artist spent in the gallery constructing the work. This produced an installation that carried the signs and traces of its own development and the histories of a working and re-working.
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LINDA SPROUL
25.7 - 25.8
This work was a component part of the artist's ongoing project where she investigates the "symbolic and actual condition of the white woman sited in Australia".
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JOANNE HARRIS
17.09 - 11.10
Surfaces both attracted then resisted, a function echoed through the use of language where it attracted with the possibility of naming or titling, but then remained resolutely itself as a combination of vowel and consonant, not as a direct signifier of immediate meaning. This was subtle non-immediate work with a strong poetry.
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HELEN FULLER
5.9 - 29.9
CARAVAN possessed an auto-biographical/biographical element, with Helen Fuller continuing her series of works based on her late father's collections. In this work the lists, strategies and objects used and listed by her father as pertinent to a caravanning holiday, supplies, maps etc, were assembled and articulated into works by the artist.
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Gail Hastings
3.10 - 27.10
More poetries, this time those of space and mapping. Initially looking like an installation firmly grounded in the histories of minimalism, upon closer inspection the work seems to flicker between the now and enlightenment and pre-enlightenment uses and articulations of space and memory. A polite Dante making plans with Alexander Pope informed by the systems of Giordano Bruno.
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ANTON HART
31.10 - 1.12
The exhibition presented monochromes, found objects, computer scanned images, text on glass and figurative images in a body of work that investigated the construction and status of the significant, for want of a better word, 'meme' (unit of information) within our readings of an artwork or exhibition.
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Yuko Shiraishi
5.12 - 6.1
There's certainly beauty in Shiraishi's work. Perhaps that's uncomfortable too. Loss we can do, and a bass note of (naturally existential) melancholy. Ugly we're at home with, and at a stretch we might make elegance, but beauty might get a bit too big or at least too large to speak. Sort of difficult to describe if you know what I mean: resembling more a fact than a proposition we cannot speak for it, our assistance is not needed. We do not like our silence. ...
Richard Grayson from the Catalogue essay
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