CACSA Contemporary 2015 | Exhibition Catalogue

Contemporary Art Centre of South Australia 24 Jul – 30 Aug 14 Porter Street, Parkside

Light Square Gallery Adelaide College of the Arts TAFE SA 27 Jul – 23 Aug Lower Ground Floor 39 light Square Adelaide

SASA Gallery 7 Jul – 11 Aug

Adelaide Festival Centre 3 Aug – 30 Aug

Adelaide Central Gallery 28 Jul – 21 Aug

Kaurna building, City West Campus, UniSA Corner of Hindley St and Fenn Place, Adelaide

King William Road, Adelaide

Glenside Cultural Precinct, 7 Mulberry Road, Glenside

FELTspace 29 Jul – 22 Aug

Art Pod Adelaide City Council 6 Aug – 30 Aug

12 Compton St, Adelaide

25 Pirie Street, Adelaide

GAGPROJECTS Greenaway Art Gallery 5 Aug – 28 Aug 39 Rundle Street, Kent Town

Kerry Packer Civic Gallery @ The Bob Hawke Prime Ministerial Centre 6 Aug – 3 Sept University of South Australia City West campus, Hawke Building level 3, 55 North Terrace, Adelaide

172 Morphett Street 6 Aug – 30 Aug

CACSA Contemporary, 2015 is the third in line of a series of large scale exhibitions commissioned by the Contemporary Art Centre of South Australia that showcases the work of contemporary South Australian artists in multiple venues in Adelaide’s inner city. Initiated in 2010 with the very successful New New, the 2015 iteration is no less ambitious in its desire to provide the public of this State and beyond with curated examples of cutting-edge, visual arts practice.

The title, CACSA Contemporary, 2015, exudes a focus on contemporaneity through a variety of codes. The acronym, CACSA, stands for the Contemporary Art Centre of South Australia, an organization whose mission is the promotion of contemporary art practice, locally, nationally and occasionally, internationally. The adjective in the title – Contemporary, reinforces the already established mission of the organization, and the date, 2015, locates the exhibition within the contemporary time zone of the current year.

Given the above, it appears that contemporaneity as a distinguishing characteristic counts for something significant in the visual arts. But what does it count for that is significant; and why? Contemporaneity in the visual arts has never been pinned down to epistemologically specific determinants, although, a consensus is that it is symptomatic of globalism – the internet, the dissolution of borders, hegemonic capitalism and evidence of the mortality of Earth.

Indeed, 1989 has been identified as the date in which contemporary art came distinctively into its own from out of the ambiguous, Janus-faced territory of the postmodern.

Of course, contemporary art of the late 20th century did not simply arrive unannounced: it has its origins in the nascent condition of 1950s pop art with its flaneurial (dis)interest in the banalities of the everyday. Pop art’s emergence paralleled the transformation of the fourth estate into ‘the media’, heralding the becoming of the ever-present now in which the medium, not the content, is the message.

Pop’s radical break with the modernist pursuit of meaning was the first act in the deconstruction of art’s grand narrative, a project that was resolved during the rise and fall of the postmodern, a period which rarely rates a mention these days, remembered as an (a)historical hybrid with a foot in both the eclipse of the modern and the becoming of the contemporary. The ‘swish-pan’ that was the postmodern was, in the opinion of more than one commentator, the linguistic phenomenon that comprised the disjunction between the modern and the contemporary.

All the same, one cannot but think that ‘contemporaneity’ is a relative term – contemporary with what? Obviously, all art was contemporary at some time. Given this, the title ‘contemporary’ doesn’t have the je ne sais quoi of, say, ‘cutting-edge’. However, ‘cutting edge’, while metaphorically, more punchy, is not particularly descriptive of the now, as it can also be applied to historical works that have had a singular presence over a given period, like say, Duchamp’s Readymades which were cutting edge in 1915 and in 1965.

In those early decades of the 20th century, contemporary art was generally understood to be that which was conventionally accepted as art: whereas, in avant-garde circles, “…modern [my italics] was a property of work that was original, progressive and forward looking, of art that was not so much of its time, as ahead of it”1. That the very promise of modernism’s self-fulfilling prophesy set the scene for certain artworks to be perceived of as being ‘ahead of their time’ is evidence of the extent of the modernist investment in the idea of progress; and it was this conception of progress as a constant motor of change that came to grief in the demise of the modernist imperative.

And the corollary to the end of progress was the end of history. Just as the postmodern flagged the end of history, the contemporary is the now of that time and will always be current.

While the above may suggest a ubiquitously, contemporary dystopia, it will have little bearing on the art that will emerge from this new order of the now. There is significant evidence across a range of media that affirms contemporary art is no less diverse and innovative than it was during its modernist heyday. We simply have to recognize that the apparent adjective, ‘contemporary’ is only an adjunct that infers very little, if at all, about the quality, or indeed the significance of the works that that have been and will be produced. In short, contemporaneity is not an intrinsic condition of art; it is a condition of the context, or, indeed, of the medium from which the art is transmitted. The globalized medium of the contemporary is very different from the modernist perception of a world divided on imperial and ideological lines.

Modernism was an age of the message; the contemporary is an age of the medium.

This transition was prophesied in the conception of the noosphere as developed by Pierre Teilhard de Chardin and Vladimir Vernadsky in the mid-nineteen twenties at the height of European avant-garde. De Chardin, as the premier mystical exponent of the noosphere perceived of a sphere of thought enveloping the earth in the same manner of the biosphere. For Chardin, the noosphere was a planetary layer of spiritualism and consciousness that had evolved in conjunction with human thought: whereas for Verdansky the noosphere was above all a medium through which humanity could find fulfillment by exercising deliberate and conscious control over its milieu.

Chardin’s and Verdansky’s conception of the noosphere never achieved a popular following in their lifetimes, but five decades later the internet became a reality, thereby realizing the dream of the noosphere, a fully global matrix that takes as its defining characteristic Marshall McLuhan’s famous dictum - the medium is the message. And so it is with contemporaneity; within this overarching methodological medium a veritable universe of artistic methods continually come to the boil.

The influence of capitalism in the discourse of the visual arts is increasingly problematic: because, of all mediums, capitalism is the meta-medium par excellence; the alpha medium, that which bestrides, “…this narrow world like a colossus…” Yet, for all of its omnipotence capitalism can be incredibly discreet and the conditions of art making are erotically open to such advances. And to further problematize the issue, a range of thinkers from Frederic Jameson to Giles Deleuze have suggested that the media interface between the desires of art(ists) and of the market is circumscribed by schizophrenia. Indeed, for observers of the international scene, it can appear that the spectacle of contemporary art has taken flight, outstripping the prerogative that has traditionally existed between artists and their work.

CACSA Contemporary, 2015 is not an attempt to synthesize the nature and practice of the visual arts in the new world order of the contemporary. What this exhibition does celebrate is that the making of contemporary, cutting-edge, ‘now’ art will, invariably be about what can be.

And more than ever before, what can be is of the utmost urgency.

Jim Moss Chairperson of the Board Contemporary Art Centre of South Australia

1 . Meyer, R. (2013) What was contemporary art? MIT Press, Cambridge Mass. p. 17.

The exhibition of South Australian contemporary artists, wherever they are in their career, is of paramount importance to the Contemporary Art Centre of South Australia (CACSA); and at no time has this been more important than the present. As the Arts once more faces a dwindling contribution from government and demands to self-fund through philanthropic partnerships, artists, especially emerging and early career, will face difficulties in obtaining exposure that could be critical for the growth of their artistic practice.

One such platform is CACSA’s biennial-ish (they have been shown in New New 2010, IBIDEM 2012 and 2015) exhibition that, this year, is as bold and broad as it ever has been. Simply titled CACSA Contemporary 2015, funded by the Australia Council and Renew Adelaide with help from Arts SA, the exhibition drops all pretension to bring together a wide selection of artists and their works over multiple venues throughout Adelaide’s CBD, while staged to run concurrently and in partnership during SALA. However, this is not merely a large-scale expose of contemporary South Australian artists, CACSA Contemporary 2015 aims to contribute to the local artistic and cultural discourse, present alternate views that challenge viewers, introduce different methods of looking at issues, promote a sense of wonder, and, through all these, expand viewers horizons to think and not just accept.

Putting together any exhibition of the scale of CACSA Contemporary 2015 places a tremendous load on all those involved. The concept to create such an exhibition began over a year before the first opening and will continue after the last close. Artists were invited to participate in the exhibition and respond with submissions. Project curator, Logan Macdonald, selected the artist and artworks to be included and, with project manager Sarita Chadwick, commenced the vast logisitical task of placing 44 artists in ten venues around the city of Adelaide. Some of these venues

were established, such as the University of South Australia’s SASA Gallery, and commercial galleries such as GAGPROJECTS, while another, supported by Renewal SA, innovatively uses an empty commercial site in Morphett Street. This multiple venue and multiple partner approach not only provides greater flexibility, but also allows Macdonald to marry sites to particular artists to provide curatorial conversations and to obtain the optimum presentation of the works.

Of primary importance, of course, is the work of the artists themselves. Choice venues are good, but the artwork is critical for a good exhibition. By calling on established artists, such as Ian North and Angela Valmanmesh, viewers are able to see successful South Australian contemporary artists at the pinnacle of their careers providing a beacon of artistic hope for the younger, emerging artists of the State. Roy Ananda and Michelle Nickou, amongst others, provide an excellent example of mid-career artists who have established a firm following in art markets and the public. Finally, are those artists who are emerging and stamping their own artistic practice on South Australian contemporary art. Artists such as the Hatched Emerging Artist winner, Zoe Kirkwood, and Ben Leslie, winner of the Australian Post-Graduate Award, are at the forefront of the new wave. This broad approach to CACSA Contemporary 2015 gives viewers and artists a true representation of South Australian contemporary art, a stratum that can be documented and discussed into the future.

And it is this discussion, this challenge to norms and ability to look at issues differently that is one of the aims of CACSA Contemporary 2015. Art is not truly art unless it challenges the viewer at some level. This does not mean that it requires shock to accomplish this; more that it needs to engage the viewer and make them begin to sense that maybe there is more here, that what is viewed reflects something of importance. By achieving this, the viewer is suddenly armed with an arsenal of ideas, of concepts that will lead to discourse and, ultimately, answers to questions posed by the artist and their work. These are lofty assumptions, of course. However, if they are not prompted by contemporary artists who will do this service? Artists need platforms on which to address the public with their ideas and concepts. Conversely, though, art does not need to be deeply embedded with thought provoking ideas, art can also be whimsical. It can use materials and objects to create a sense of wonder for the viewer, a comedic turn that provides a moment of joy and, possibly, bewilderment. This is what contemporary art is for: to guide us, to help us, to make us discuss and to make us see the world a little differently. CACSA Contemporary 2015 does this by bringing a group of South Australian contemporary artists from throughout their careers to join together and present to the public their ideas, their thoughts and their challenges to create a point of reference for future artists and art viewers.

Big projects always have the possibility of running away from themselves, to lose direction or focus, or be controlled by interested parties. This cannot be said for CACSA Contemporary 2015 as it brings together multiple elements of contemporary art in the State, as artistic practice, exhibition space and curatorial ability.

So acting as a marker of current artistic thought and diverse practice of our visually creative community.

What is truly important about CACSA Contemporary 2015 is that it links artists across their careers, showing viewers that South Australia has all the skills and abilities to take contemporary art onto the national and international stage to long-lasting effect. There is much to admire of these artists and their work; there is much to admire of the planning and preparation to bring them all together; and there is much to admire in knowing that the future of contemporary art, regardless of missives from government, will succeed and develop in South Australia for the benefit of the entire community.

Sarita Chadwick Project Manager Logan Macdonald Project Curator

The information in this free guide is correct at the time of publication. For information updates please see: www.cacsa.org.au

Adelaide Central Gallery

Sasha Grbich, A Series of Uncomfortable Silences, 2015, dimensions variable.

Image courtesy of the artist.

Adelaide Central Gallery

The Gallery presents a diverse program that included specific exhibitions that support Adelaide Central School’s curriculum,

Exhibition open:

showcasing work by a broad range of local South Australian,

28 Jul – 21 Aug

interstate and international professional artists.

Mon-Thu-Fri 9am-5pm Tue-Wed 7am-7pm Sat 1pm-4pm.

Glenside Cultural Precinct, 7 Mulberry Road, Glenside, SA, 5065 (entry Gate 1, 226 Fullarton Road)

1. LaBelle, “Acoustic Spatiality”, in, Književnost i kultura, Vol 4, 2012. 1. http://roundtable. kein.org/sites/newtable.kein.org/files/brandon-labelle-acoustic-spatiality-1787.pdf accessed 5/1/2015.

ADELAIDE CENTRAL GALLERY 28 JUL – 21 AUG

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This work forms a part of an exploration that is led by sound and traverses uncomfortably quiet and disruptively loud moments, places and histories. I am concerned with working locally and I undertake acts that contribute to the situations I observe. I have used audio recording and other digital media methods to give voice to places of disquiet. Brandon La Belle describes sound as an ‘emergent community, stitching together bodies that do not necessarily search for each other’.1 I enter the politics of urban spaces by exploring relations between members of the temporary communities sound involves. Noise is also felt. Its impacts go beyond emotional affect into bodily encounters, registered in the small jolts of quiet sound and the impacts of the loud. The uncomfortable silences I have recorded carry the potential for interruption.

Sasha Grbich is an artist and a lecturer at Adelaide Central School of Art, South Australia. She works in the field of spatial arts practices using sculptural, sound and video installation methods. Sasha creates experiences that explore the potential for art to act with the sociality of local environments. Sasha is currently undertaking masters by research at the University of South Australia, her research considers Performative Encounters: Making Conversations with Local Worlds by exploring artists contributing to situations as approach to art making. Sasha has had her work shown extensively in art spaces and projects nationally. Full CV and projects available at sashagrbich.com

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

www.acsa.sa.edu.au

A Series of Uncomfortable Silences Adelaide is a quiet city. I have heard this assertion many times in the years I have lived here, and notice that it is both celebrated and hated for its quietness. It is perhaps the association of loudness with the impolite, the brash and the disruptive that are at play here: qualities all at odds with the tucked in propriety of this place. As I move around this city I notice unwritten rules of volume revealed as dogs bark, children cry and when I speak too loudly.

Art Pod Adelaide City Council

Sue Kneebone, Infinity Pool, 2015, 60 x 41cm, giclee print.

Image courtesy of the artist.

Spell dust and moral ruins looks into the philosophy and history behind the facades of asylum architecture, large and looming structures built in response to utopian visions of nineteenth century moral reform and order. Spatial arrangements were seen as central to any serious effort to remoralise those deemed dangerous and defective.

Foucault describes how moral architecture provided an enclosed microcosm emulating the all-pervasive platform of the moral order and values of bourgeois society.1

These buildings on secluded estates also serve as parallel symbols of Australia as an unsettled outpost of the colonial empire, where convicts and outcasts were not only banished

Sue Kneebone is an Adelaide based artist with an MFA from the Victorian College of the Arts and PhD in visual arts from the University of South Australia. Her studio processes include mixed media and photomontage in response to an ongoing interest in the social history and legacy of Australian colonial settler culture. Recent exhibition projects include Deadpan at Fontanelle Gallery, Dark Manners at the Contemporary Art Centre of South Australia (CACSA), The Mineral Kingdom at the South Australian Museum, and Naturally Disturbed at the SASA Gallery. Her work has been collected by the Art Gallery of South Australia and private collectors. Sue has been a recipient of the Qantas Foundation Contemporary Encouragement Art Award, Australia Council and Arts SA grants.

Exhibition Dates:

Art Pod is a high profile, high traffic 24/7 art space, curated

6 Aug – 30 Aug

by Polly Dance, as part of Adelaide City Council’s Emerging

Viewable 24/7

Curator Program for 2015.

25 Pirie Street, Adelaide www.adelaidecitycouncil.com/artpod

1. M. Foucault. ‘The Birth of the Asylum’, from Madness and Civilisation (1961) reproduced in Paul Rabino (ed.) The Foucault Reader, Penguin Books, London, 1984, 141-167.

2. Anthony King, ed., Buildings and Society: Essays on the Social Development of the Built Environment, 1980, pp. 37–60, by permission of Routledge and Kegan Paul 3. S.G Foster. ‘Imperfect Victorians: Insanity in Victoria in 1888’, Australia 1888, 8, 1981, 97-116.

ADELAIDE CENTRAL GALLERY 28 JUL – 21 AUG

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Moral architecture sited on large farm-like large estates was designed to support moral management, a sober and orderly environment that did not excite the senses. Harmless leisure activities such as gardening, music, sewing, quoits, bowls and reading were part of the remoralising regime.

Spell dust and moral ruins explores the dualities of this architecture not only for the belief systems of the time but as a paradox of settler society, where the inner anxieties of being out of place stand in contrast to façades of pastoral tranquillity and moral order. This body of works explores and responds to the material remains of these troubled sites and the spectre of their moral undertones.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Distance through time helps us to view these buildings with a certain gothic enchantment and its associations with fear, uncertainty, isolation and the unknown. These architectural behemoths which continued to operate well into the twentieth century presented facades of genteel tranquillity ‘while on the inside they degenerated into grotesque parodies of the regenerative vision they had originally claimed to embody.’2.

to an island continent but offshore to isolated islands. By the 1880s Victoria had the highest rate of ‘lunatic’ incarceration of both the Australian colonies and England prompting the royal commissioner Ephraim Zox to describe Victoria as the ‘maddest place in the world’.3 In colonial society the agency of settlement brings with it the acts of banishing social disorder to create moral order and harmony.

Adelaide Festival Centre

Andrew Dearman has been a practicing artist since the early 1980s, working in a variety of disciplines, such as sculpture, painting, and drawing. In more recent years he has worked primarily in wet plate photography—a 1850s form of photography in which the handmade image is produced on a sheet of clear glass in a mobile dark room, called a ‘dark box’. After having worked for a period as a lecturer and tutor at all three of Adelaide’s art schools simultaneously, he now works primarily at Adelaide Central School of Art in the Honours program. Dearman’s interests are currently centred upon ideas of constructed identities that are produced through a variety of incoherent sources, for example the notion of self and memory that one experiences through seeing and handling found family photographs. The handling of such material objects triggers a complex form of memory work that is partly personal and partly public. The artist has presented papers on these issues in Belgium, Finland and the Netherlands in recent years, and has also produced a number of minor publications on the topic.

ART POD ADELAIDE CITY COUNCIL 6 AUG – 30 AUG

Exhibition open:

Artspace Gallery offers a diverse year round curated program

3 Aug – 30 Aug

of exhibitions. With a wide range of different exhibitions,

Wed-Sun 11am – 4pm

culturally inclusive and accessible visual arts program raises awareness and understanding through art and cultural

King William Road Adelaide South Australia 5000 www.adelaidefestivalcentre.com.au/whats-on/exhibitions/

activities.

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Up until the mid-1960s in Adelaide, children played cricket in suburban streets, climbed trees and then rolled around in mud. Dogs chased after them. Children screamed in laughter, until somebody ended up getting hurt, as a cricket ball bounced off a forehead. Then it all changed. They were decamped to the lounge room or the back yard. The gates and doors locked behind them—the curtains closed.

It wasn’t simply the increasing affordability of television as a form of childcare that brought about this shift in the site of play, although that was certainly an aspect of the changes that occurred. Rather it was an intense unexpressed anxiety of the feared presence of a tall thin man in a broad brimmed hat—a man fitting the badly drawn identikit picture on the front of the newspapers—the man thought responsible for the abduction of children who were never to be seen again.

This lo-fi projection work makes use of digitally manipulated found home movies footage from the 1950s, to present the sense of anxiety that many parents held, and many children born in the 1960s grew up with. Older siblings experienced life in the front yard, while younger ones experienced childhood in the back yard.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Andrew Dearman, Disappearance, 2015, video still, digitally manipulated home movie footage c1955, 3 minutes duration.

Image courtesy of the artist.

My art installation practice incorporates a very simple illusion technique dating from the Italian Renaissance known as anamorphosis – a distorted shape which becomes recognisable when viewed from a particular location, especially with the use of a camera. In a nutshell, I create illusions that are “stages for selfies” - the images generated by visitors appear to have been digitally manipulated, depicting everyday people in impossible situations. It is my hope that these photographs will propagate throughout social media to encourage others to come and take their own photographs of themselves achieving impossible things. In working this way I seek a direct engagement with the audience, encouraging playfulness and curiosity.

Aurelia Carbone, lunamorphosis, 2012, dimensions variable.

Photograph by Dave Mitchell.

Image courtesy of the artist.

Contemporary Art Centre of South Australia

The Contemporary Art Centre of South Australia

The CACSA is an energetic and vibrant art space that

CACSA Main Gallery

shows the best of contemporary Australian artists’ work

The Project Space

contextualising South Australian practitioners with national

and international projects. It provides exhibition, curatorial,

Exhibition open:

publishing opportunities to contemporary arts practitioners,

24 Jul – 30 Aug

and is committed to promoting new and innovative art practice

Tue-Fri 11am-5pm

that critically engages contemporary ideas and diverse areas of

Sat-Sun 1pm-5pm

knowledge.

In 2012 Aurelia undertook a residency as a Visiting Scholar at Parsons in New York City. In 2011 she exhibited in the Pingyao International Photography Festival, China. She has recently completed a temporary anamorphic installation at the Marino Boat Ramp commissioned by The City of Marion and is currently working on integrated artworks for a large community park redevelopment on the Hallett Cove foreshore. Aurelia is one of the founders of The Analogue Laboratory, an artist-run photographic facility in Adelaide.

A D E L A I D E F E S T I VA L C E N T R E 3 AU G – 3 0 AU G

Parkside www.cacsa.org.au

MEMBER:

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Aurelia Carbone is an Australian visual artist working predominantly with site-specific installation and traditional photographic processes - but she has an even longer secret history of making stemming from the remnants box at Grandma’s House. Her practice investigates the nebulous relationship between the real and the imagined.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

14 Porter Street

or following, as over, under, or next to, each other layer. The panels are installed tacked to the wall from their two upper corners, arranged applying a predominantly random system to form—in this instance of the work’s installation—an approx.

300 x 1000 cm rectangle. The dimensions are malleable, determined by the respective wall of the respective space in which the work is to be, on any given occasion, installed.

There is an “overflow” of panels that may never be, though at the same time retain the potential to be, seen, and those that feature in one installation may not feature in another.

The irregular edges of the panels cause to be exposed, here and there within the grid, the wall that is supporting them.

The shadow-lined shapes of these spaces between and directly surrounding the panels reflect those shapes of the portions of layers that have been given from and received upon each panel, while the rhythms these spaces produce throughout the grid, of touch and un-touch, approach and departure, pull and give, remain suggestive of—and in a sense translate and re-enact—the final, definitive stages in the layers’ compositional histories.

Tom Squires Sam Howie is an Adelaide-based visual artist who works primarily with paint and holds a Bachelor of Visual Arts (Honours) from the University of South Australia (2010). His work was selected for inclusion in the Hatched 09 National Graduate Exhibition at the Perth Institute of Contemporary Art and the CACSA Contemporary 2012 - New South Australian Art. Some of his solo exhibitions include The Turnout (Project Space, CACSA, 2009), Decomposition (Format, Adelaide, 2011) and Survey (Fontanelle, Adelaide, 2014) while some group shows include exhibitions at the Australian Experimental Art Foundation and Helpmann Academy Graduate Exhibition (2009 and 2011). Sam’s work was utilised on the front cover of the CACSA anthology - Chameleon From the Ashes while he also included in the FELTspace GOLD: A Survey of Emerging Contemporary Art Practice in South Australia 2011 publication.

CONTEMPORARY ART CENTRE OF SOUTH AUSTRALIA 24 JUL – 30 AUG

The Dark is Light Enough “Something that fascinates me is the basic need for collective bonding or tribalism that runs through all human kind. This need for a shared ritualistic experience that stands outside of the day to day is ancient, deep and finds its form in myriad ways from religion to football clubs. It is a current that can flow in the light of public display or hide itself in secrecy and myth and dress itself in the robes of priests or your team colours.

It is that coming together in the ceremonial space of treasured ritual or the nightclub dance floor, found in the deepest Amazon or your own suburb, surviving for thousands of years beneath the polar icecap of mainstream religion to perennially resurface again and again.

I’m interested in the relative anonymity of masked theatrically although each hand made mask is constructed from images drawn from art history and 19th century photography and as such has echoes of faint familiarity.

The images I make have their origins in both Neo-paganism and the home made masks and costumes of pre-1930’s, pre-mass produced Halloween costumes. At play is the nexus between tribalistic, ancient ritual and the weekend Wicker Man’s ritual as re-enactment. It is difference, the unknown, the unseen that continues to attract us, after all voyeurism centred around the opportunity to peer into the lives of others and those in the past has always occupied a prominent place in the delights that photography offers.”

Late afternoon light narrows it’s eyes and warms the leaves’ edges with a sparkled blood-dipped crimson wash, Vespertine shadows wrap themselves in a deeper blue and hide from the suns’ glancing beams, In each backyard squat barbecues, singed and fat stained sit rusting in wait for the next burnt offering, Silence falls and spreads itself thickly along the streets, only far off sprinklers pulse with white noise in the distant evening haze, Invisible wounds sulk quietly in the dim corners of all and wait, Wait for the

thin membrane that separates worlds to rupture, wait for the rituals to begin, light falls towards the horizon as the street lights awake from their daylong slumber, pushing their orange-yellow cascade outwards leaving pools of vague semi-darkness between them and twilight reigns it’s brief monarchy over all, The moon begins its arch into the emergent night scattering faint stars in its wake across a bruised purple sky, A water tower, a black bulbous tripod set against the pearl-white Luna orb looms as a monstrous spider over the cowering trees of the park, Each begins their journey through the darkness, cloaked in the protective anonymity of paper, paint and synthetic store-bought hair, Distant trucks roar like forgotten caged lions as they shift gears in lowering modulated tonal moans negotiating the descent to the highway’s end, A borrowed face forged from less transient flesh hangs before our eyes, gossamer-frail torn from the tissues of memory and worn anew, Now trick or treat here then repeat after me, I’ll carve your name on a tree and on that name I’ll kiss thee, what falls in the suburbs lies lost in these trees, Lies fallow this night between the space where we breathe, And if we shadows have offended While stars have rolled in ellipse descended We walk this night, ‘cross worlds in slumber Through fevered dreams beyond all number Mark Kimber 2015 Mark Kimber is currently Studio Head of Photography & New Media at the SA School of Art, University of South Australia. He completed his Bachelor of Visual Arts at the SA School of Art, University of South Australia in 1981 and his Masters in Fine Art at the Chelsea School of Art, London in 2000.

Kimber has exhibited extensively and has held more than 100 solo exhibitions & 85 group exhibitions over the past 25 years. He has exhibited nationally & internationally including London, Paris, Spain, New Zealand and the United States. In 2002 & 2004 he undertook a Polaroid Studio project in New York and in 2008 he was commissioned by the National Portrait Gallery to photograph renowned South Australian scientist Dr Basil Hetzel. Recent exhibitions include Phantasia, Photoquai Festival, Australian Embassy, Paris and Intangibles in Terra Australis, Kubo-Kuxta, San Sebastian, Spain. His work is represented in many major collections including the National Gallery of Australia; Art Gallery of SA; Art Gallery of WA; Sir Elton John Collection and Artbank. Mark Kimber is represented by Stills Gallery, Sydney.

CONTEMPORARY ART CENTRE OF SOUTH AUSTRALIA 24 JUL – 30 AUG

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The question Howie asks, each time, when beginning a new work—maintained and re-asked anew throughout its construction—is not so much what to paint, but rather how to paint. How to apply paint, how to arrange paint. And in particular, how to apply and arrange paint so as it is, as much as possible, a painting of the application and arrangement of the paint itself. How to make this very process of constructing the painting as the painting’s own “subject matter.” Howie attempts to reference the physical properties of the paint as much as possible. He does this by developing, by setting up, situations wherein the physical properties themselves become the predominant factors in what will have determined the work’s end-point—its final composition. What I judge to be the most original and inventive in Howie’s work is his utilisation of the drying process of the paint itself—from liquid to solid—as the predominant factor in determining what will be the work’s end-point—its final composition. Due to the particular system of composition Howie has applied in Survey (2015), each approx. 22 x 19 cm panel (of the many-hundred in total)—with its rough, uniquely shaped edges; the result of the persistent overflow and build-up of the many thickly applied layers of paint beyond the original borders and to either side of its now deeply encased thin paper support— shares the final stage in its process towards completion with one of the other panels: while the final brush-applied layer of each of these two panels was still wet, their surfaces were pressed together, then lightly weighted to remain this way, and subsequently left to dry and fuse. They were then peeled apart from one another, and in the process of this separation, each panel will have given portions of its layers (of various depths) to the other panel, and received portions of layers (of various depths) from the other panel, providing each panel with its final composition—completing it. Colour in Howie’s work functions primarily as signifier; it is utilised to individualise each layer and make conspicuous—without being glaring or jarring—each layer’s condition as preceding

Mark Kimber, Listen to the darkness sing, 2015, 100 x 100cm, pigment print.

Image courtesy of the artist, and Stills Gallery, Sydney.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Sam Howie, Survey, 2014-15, dimensions variable, enamel, acrylic and spray paint on paper.

Photograph by Prathna Biswas.

Image courtesy of the artist.

Ian North, Southern Ocean off Snares Islands, 2012, approx. 164 x 156 cm, twelve type C photographs.

Image courtesy of the artist, and GAGPROJECTS | Greenaway Art Gallery, Adelaide.

Most of the world’s trade is conducted by container ships, blunt instruments of globalism. These vessels are seemingly facing worse storms than hitherto, while island nations like Kiribati—a source of cheap labour for the container trade— contend with inundation. It is not surprising that our culture jitters with what David Denby terms the Western Disease: the need to keep moving for fear of seduction by lotus-eaters, a weather eye out, increasingly, for typhoons.

CONTEMPORARY ART CENTRE OF SOUTH AUSTRALIA 24 JUL – 30 AUG

For the past ten years my research has focused on early scientific illustration in particular hand drawn observations made with the use of early microscopes. Produced before the invention of photography these simple line drawings are observations that underpin our current understanding of evolutionary biology and of course the microscope was at the heart of this inquiry. The drawings are a testament to the diversity of life on our planet, an attempt to classify, name and sometimes lay claim to living things but the microscope also offered insight into the similarities that exist between life forms and the links between animal, plant and mineral matter.

At the same time as the microscope was invented the first telescopes were also being constructed and the opportunity to see what was previously invisible to the human eye was vastly amplified. We could visualise not only what was inside of us and what we are made of but also where we are in the Universe.

The work I am making for CACSA Contemporary, ‘Eyes Open’, offers the viewer an immersive experience. The walls of a room will be partly covered with imagery of warm sepia washes recalling plant roots to create an ‘underground’ feeling. The intention is to generate a feeling of connectivity, of feeling grounded and paradoxically astronomer Carl Sagan’s ‘Pale Blue dot’ quotes come to my mind. ‘Look again at that dot. That’s here. That’s home. That’s us. On it

everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives…..’ The implications of his text in my mind are that this is the only planet we all have to live on and that we should be taking better care of it.

Angela Valamanesh completed her undergraduate studies in ceramics at

South Australian School of Art in the late 1970’s and worked as studio potter for 10 years. In the early 1990’s she returned to the School undertaking an MA in Visual Arts and was subsequently awarded an Anne & Gordon Samstag International Visual Art Scholarship with a one year residency at Glasgow School of Art. Since then her practice has broadened to include a wider range of media and a number of collaborative public works with partner Hossein Valamanesh such as the Ginkgo gate at the Western entrance to Adelaide Botanic Gardens. Angela has exhibited her work widely within Australia and internationally. Her recent works consist of simple forms that often make links between plant, human and animal. She completed a PhD at University of South Australia in 2011 and was the subject of the 2008 SALA (South Australian Living Artist) monograph. In 2014 she undertook a six week residency in the Smithsonian Institute Washington DC funded by the Australia Council and is currently artist-in-residence in SAHMRI (South Australian Health and Medical Research Institute) hosted by their Mind / Brain facility.

CONTEMPORARY ART CENTRE OF SOUTH AUSTRALIA 24 JUL – 30 AUG

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Ian North is an artist who is also an extensively published writer. Was Director, Manawatu Art Gallery 1969-71; Curator of Paintings, Art Gallery of South Australia 1971-80; Foundation Curator of Photography, National Gallery of Australia 1980-84. Subsequently served on the National Gallery’s Council after ‘coming out’ as an artist in 1985. Exhibited in Sydney, Adelaide and Melbourne (sixteen solo exhibitions since 1986), and in group exhibitions in London, Asia and the United States. On leaving the museum world became Head, South Australian School of Art and Professor of Visual Arts at the University of South Australia. Currently Adjunct Professor of Art History at the University of Adelaide. Employs photography and painting to address conceptions of the ‘imperial eye’, in recent years undertaking ocean voyages (to Commonwealth Bay, Antarctica, and across the Pacific by container ship), to photograph the maritime environment.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Allan Sekula asserted some years ago that the sea was no longer available as a metaphor for the sublime, a view itself that now seems out of date. We may be trashing the oceans and asserting our power in undermining pre-modern or romantic conceptions of the sea, but, setting irony aside, never before has awe before nature been such an important stimulus to strategies for our survival. On the high seas one may experience the ocean as primordial—hence Conrad: If you would know the age of the earth, look upon the sea in a storm. The grayness of the whole immense surface, the wind furrows upon the faces of the waves, the great masses of foam, tossed about and waving, like matted white locks, give to the sea in a gale an appearance of hoary age …

Angela Valamanesh, Eyes Open, 2015, acrylic on paper, dimensions various, mixed media.

Image courtesy of the artist and GAGPROJECTS | Greenaway Art Gallery, Adelaide.

FELTspace

Joe Felber, Diary - rhoea of a madman ‘Heimat goes Mobile’, 2015, dimensions various, mix media.

Image courtesy of the artist.

My work is a process of continuous thoughts about space as fundamentally like architecture or urban spaces, for example the gallery that needs to take in consideration spatially to achieve an additional edit of concentration that creates another layer of considerable amount of complexity. That brigs me to final question what is good art?

I have invited David Christopher audio engineer to bring an audio element to another sensory experience. “Music says Freedom exists”

Joe Felber lives in Adelaide, he studied architecture in Lucerne, Switzerland and practiced art for several years. In 2000 he received MFA in Research at RMIT in Melbourne. He is an autodidact and has lived, worked and exhibited internationally over four decades since 1970-ties. Joe migrated to Australia in 1980 and lived in Sydney until 1989 where he returned to Europe often and exhibited in Cologne, Frankfurt, Hamburg and New York. Since 1992 his interdisciplinary practice are acquisitive, photography, audio recordings, drawing and painting as a movement through public/social space in written and artistic syntax. In 1994 he was invited to Gallery 14, QAGOMA to install he’s first audio-visual work Lineareading. He returned to Australia and started a major collaboration / installation with composer Elliott Gyger and choreographer, Lucy Guerin that was launched in1999 at Art Gallery of NSW fallowed to three continents Australia, Europe and China included in arts and music Festival The Steirische Herbst in Graz, Austria where he collaborated with Julie Henderson. In 2010 a new audio video work featured in New New Contemporary 2011, a survey of Adelaide contemporary art. Joe continued working with inter-arts and created a work about migration at CACSA. His presentation is no exception audience invited to walk over his site-specific, floor based painting while participating in a sonic component triggered by floor sensors. He was nominated for innovation for the SA critic prize. Recently invited to Port Noarlunga art centre to collaborate with a local artist and to educate schools and residences.

CONTEMPORARY ART CENTRE OF SOUTH AUSTRALIA 24 JUL – 30 AUG

Exhibition open:

FELTspace is an artist an artist run organisation support,

29 Jul – 22 Aug

developing and presenting emerging, experimental, and

Wed-Fri 1pm-4pm

diverse exhibitions and public programs.

Fri til 7pm Sat 10am-4pm 12 Compton St, Adelaide, South Australia, 5000 http://www.feltspace.org/

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For CACSA Contemporary I reflect on some early paintings from 1985 painted in my studio in Zurich during the rise of ‘A new spirit in painting’. When life caught up with the most important thing - time, today my practise connects to the past, extends the imagination of my own time here and now, to the distance and journey of yesterday that has no rationalisation but the means to answer questions about art. This is not a recollection of paintings rather my thoughts about what I do. With this respond I invite and collaborate with friends around the world with their recorded voices about migration.

‘Heimat goes Mobile’.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

The book Diary of a Madman centres Gogol’s view of the government from the standpoint of a lowly citizen. The story also portrays the average man’s quest for individuality in a seemingly indifferent, urban city. My take on this is a slight shift on words diarrhoea of a madman retraces the satire story of the Russian author Nikolai Gogol, a state on life today revealing an extensive administrative system of our bureaucracy. The increasingly accumulating ‘information bomb’ portrays the speed of global diarrhoea as a constant reassurance about comfort in life. The artist a madman today being constantly bombarded and processing 24 / 7 days, year in and year out becomes an allegory about the time we live in now, that we have a chance to challenge. As art survives so do madmen despite the economical decline the exchange of ideas is necessary in order to stimulate democratic thoughts in overtly humorous way. During the 1960s Beuys formulated his central theoretical concepts the social sculpture concerning the social, cultural and political function and potential of art. I like to share Gogol’s theatrical views on society today to reflect the grotesque of human nature is the only hope to reinvigorate innovation through the arts.

The French word ‘Acousmate’ refers to ‘invisible sounds’. The origin of the term is said to be from the word ‘acousmatiques’, which refers to the disciples of Pythagoras, who would listen to the master speak behind a curtain so that the sight of the speaker did not distract from the message.

This idea underscores Christine Collins art practice, which is focused on ‘invisible voices’. Pursuing an interest in language, spoken words in particular, Collins gleans dialogue from Hollywood film, separating the vocal from the visual, the words from the body and the character from the scene.

Various projects run like an experiment, firstly with excision of the dialogue from the film and then a systematic and obsessive rearranging of the language, in order to examine the remains of the character type or the genre, when the imagery, the narrative and cinematic apparatus is dismantled and only the voice remains.

In the latest work developed for CACSA, dialogue is captured from twenty different war films. The films come from a range of cinematic periods, from a ‘white and Western’ perspective, in various war campaigns and taking different political positions, from the glorification to the criticism of war. The filmography includes Cavalry films from the American Civil War, World War One and World War Two films, the Vietnam War, the Boer war and other colonial conflicts. The cast of heroic voices is extensive and includes John Wayne, Clint Eastwood, Charlton Heston, Lee Marvin, Michael Caine, Sean Connery, Charles Bronson, Steve McQueen, Kirk Douglas, Gregory Peck, Alec Guinness, Charlie Sheen, Willem Dafoe, Jack Thompson and Brian Brown.

In the development of this work, all the statements from the selected films which include a military address, (Captain, Sergeant, Lieutenant, Trooper etc), were collected and rearranged into separate audio tracks based on different linguistic categories, (single address, orders, questions, greetings, introductions, information, requests etc). In experience of the work, the separate tracks play simultaneously from different speakers in a room in the form of a sonic grid to enclose the ‘viewer’.

«Re-presenting the overlooked is important in my work. I›m interested to see if the simple act of presenting something cast-off can be restorative. It›s very satisfying to scrounge for unloved materials and objects and resuscitate them. That can be simply through giving them new company, by combining a rock with some packaging or some shells with chain; to point to another life or function that something could hold, the potential of things can lie latent and be animated through a simple act.» From an interview with Michael Newall, Errand Workshop catalogue, 2011.

Whilst it is never possible for the artists hand to be neutral, it is not Collins’ intention to reconstruct meaning of the behalf of the audience. In isolating the voice, removing visual information and rearranging the language into a system other than the original linear or narrative form, the audience has the opportunity to re-examine not only the language, but the contingency of the voice itself.

Christine Collins completed her Masters of Fine Art at Glasgow School of Art in 2003 and remained practicing in Glasgow until 2005, exhibiting in Glasgow (Glasgow International, Tramway, Intermedia, Market Gallery), Rotterdam (Tent at Witte de Witte), London (Bowieart Film Festival) and Mexico City (National Centre of Culture).

In Australia, she has exhibited at Object Gallery, Artspace and First Draft (Sydney). Christine exhibited in the NEW NEW in 2010 and has had solo exhibitions at the AEAF, CACSA project space and Feltspace (Adelaide), Westspace and Linden Innovators Program (Melbourne) and 24HR Arts (Darwin).

Christine has previously been awarded a Samstag Scholarship, a University of Sydney Postgraduate Scholarship and an Australia Council Grant for New Work. She has been employed as a sessional tutor / lecturer at the South Australian School of Art since 2005.

Christine Collins, Untitled, 2015, 145 cm x 55 cm, ink on paper.

Image courtesy of the artist.

F E LT S P A C E 2 9 J U L – 2 2 A U G

F E LT S P A C E 2 9 J U L – 2 2 A U G

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Louise Haselton makes sculptural works using materials gleaned from the world around her. In 2002 Haselton completed a Masters of Visual Arts (Sculpture) by research at RMIT University, Melbourne and in 2005 undertook a residency at Sanskriti Kendra, Delhi, India. Haselton held solo exhibitions, in 2011 at The Contemporary Art Centre of South Australia, in 2013 at Greenaway Art Gallery and in 2014 at The Australian Experimental Art Foundation. In 2015 Haselton participated in do it adelaide, at The Anne and Gordon Samstag Museum of Art, when she enacted instructions by Alison Knowles. Since 2003 she has been a lecturer in The School of Art, Architecture and Design, University of South Australia. Haselton is represented by GAGProjects, Adelaide.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Louise Haselton, Explanatory Gaps (detail), 2014, painted cast bronze, wool, studio detritus.

Photograph by Grant Hancock.

Image courtesy of the artist, and GAGPROJECTS | Greenaway Art Gallery, Adelaide.

GAGPROJECTS Greenaway Art Gallery

Julia McInerney, The Meadow (Virginia Woolf Piece), 2013, gallery dimensions 300 x 600 x 1200cm, one anchor ground to dust floating upon a body of water, aluminium cast of the edge of a door painted white.

Image courtesy of the artist.

‘An open book is also night.’

—Marguerite Duras My practice centres around a combined application of the literary order of words and the sculptural order of physical materials, with the aim to manifest variations of a ‘third language’ suspended between these two, that is distinct from those that allowed for its origination, yet continue to support its existence.

I am interested in the specific, optically generous and open, material qualities of sculpture; I am equally drawn to the hermetic, internally expansive, private spaces of literature.

Where these two coalesce, “draw breath from each other,”1 and meet to support one and the same thing, is the space that I work in and towards from work to work.

Exhibition open:

GAGPROJECTS (formerly Greenaway Art Gallery) has for the

5 Aug – 28 Aug

past 24 years supported emerging artists alongside established

Tue-Fri 11am-6pm

ones. Participating in over 50 art fairs and publishing countless

Sat-Sun 12noon-5pm

catalogues.

39 Rundle Street Kent Town

1. Linda Marie Walker, email correspondence, 2nd April, 2015.

2. “Marcel Duchamp Speaks” interview with George Heard Hamilton and Richard Hamilton, London, BBC, 1959; published in Audio Arts Magazine 2, no. 4 (1976), quoted in Thierry de Duve, Kant After Duchamp (Cambridge: MIT Press, 1996), p. 161.

3. See Bruce Nauman’s John Coltrane Piece, 1968. The work consists of a (7.6 x 91.4 x 91.4cm) slab of aluminium placed directly on the floor. The surface facing the floor, and therefore not visible to the viewer, has been polished to a mirror finish, whereas the visible surfaces of the sculpture are left untouched and display the traces and marks of its fabrication. In this work Nauman draws attention to the underside of the sculpture, and the darkness “reflected” upon the face of the mirror.

4. Hélène Cixous, “By the Light of an Apple,” in “Coming to Writing” and Other Essays, trans. Sarah Cornell, Deborah Jenson, Anne Liddle, and Susan Sellers (Cambridge and London: Harvard University Press, 1991), pp. 132-135.

G A G P R O J E C T S / G R E E N AWAY A R T G A L L E R Y 5 A U G – 2 8 A U G

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www.greenaway.com.au

Traditionally, sculpture was designed to rest upon a plinth.

This point of contact between the two would create an area on the base of the sculpture and on the surface of the plinth of literal darkness—a black seam where light cannot enter.3 Long liberated from the constructs of tradition, a title could be thought of as written with the ‘black ink’ of this sealed surface of a sculpture—performing the role of a seam between the viewer and the view. One may even say: as essential as a plinth is to support a 15th Century marble sculpture, as is the title, along with the list of materials, to the works I am currently producing.

Julia McInerney (b.1989) is an Adelaide based artist, graduating from the Adelaide Central School of Art with a Bachelor of Visual Art (Honours) in 2011.

Recent solo exhibitions include Nightlung, Constance ARI (TAS), The Animal, Bus Projects (VIC), The Meadow, The Contemporary Art Centre of South Australia’s Project Space, and White Air Anatomy at Felt Space (SA). In 2014 Julia undertook residencies at Fire Station Artists’ Studios in Dublin, and SIM in Berlin. Upon returning to Australia she undertook a three-month residency at Artspace in Sydney, awarded by the Helpmann Academy. Recent grants and awards include Art Start (The Australian Council for the Arts), Carclew Project and Development Grants, Helpmann Academy Project Grants, and a NAVA Sainsbury Sculpture Grant. Forthcoming exhibitions include a joint solo show with Tom Squires at MOP Projects, Sydney, and a group exhibition as part of Daughters of Chaos - Deleuze Studies International Conference, at Konstfack University College of Arts and Crafts, in Stockholm, Sweden.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Marcel Duchamp spoke of titles for artworks as being like an extra colour, “a colour which had not come out of the tube.”2 One could consider this ‘extra colour’ as one that, in a sense, does not exist, reflecting the nature of words, which are like forms, or colours, sealed within the inky blackness of their support, and opened within the reader’s mind.

The concepts and materials I am exploring in my current work are mediated through a range of literary and visual references to ‘Eden’. The point in the biblical account of Eden that interests me—its meaning subject to interpretation—is the biting of the apple from the tree of knowledge of good and evil. Symbolizing the fall from innocence, it is the entry point into self-knowledge and mortality—the descent “by the light of an apple”4 from the outside into the inside of a sentence.

For CACSA Contemporary 2015 I am presenting a series of sculptures at GAGPROJECTS focusing on balance, tension and opposition. The sculptures are site-specific adhering to the looming elevation between the gallery’s floor and ceiling.

The action of gravity is exploited to construct objects seemingly suspended in time, playing with the contrast created between heaviness and lightness.

In the making of each work principal materials concrete, plaster and metal are used in conjunction with ‘found’ casting moulds like beach balls, plastic bags and wine sacks. The materials are chosen for their inherent physical qualities such as texture, weight, and strength. Each work tries to discover new limits, capabilities and combinations of the commonplace materials used. Unexpected sculptural compositions are formed that obtain beauty in the familiar and the functionless.

Mary-Jean Richardson, Studio installation, 2015, dimensions variable, cast polyurethane human bones, acrylic paint and board.

Image courtesy of the artist.

G A G P R O J E C T S / G R E E N AWAY A R T G A L L E R Y 5 A U G – 2 8 A U G

1.Bronfen E., 2013, Night Passages: philosophy, literature, and film, Columbia University Press, New York, pg. 162.

2. Bataille, G., 1977, Death and Sensuality: A Study of Eroticism and the Taboo, Arno Press, New York.

G A G P R O J E C T S / G R E E N AWAY A R T G A L L E R Y 5 A U G – 2 8 A U G

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Anna Horne is a South Australian sculptor whose practice focuses on process and materiality. Her work references domestic objects and space through the use of commonplace materials; industrial home construction products are rendered strange, their practical function unrecognisable. Since graduating from the Adelaide Central School of Art in 2008, Horne has exhibited frequently in local and interstate galleries including CACSA (SA), Kings ARI (VIC), Firstdraft (NSW) and Constance (TAS). In 2011 her work was published in FELT GOLD: A Survey of Emerging Contemporary Art Practice in South Australia and in 2012 she was awarded residency at Artspace (NSW) by the Helpmann Academy. Horne undertook a residency at Sanskriti in New Delhi in 2013 and was a finalist in the Viscopy John Fries Award and Sydney’s Artmonth 20/20 Event at Carriageworks in 2014.

She currently lives in Adelaide and works from Fontanelle studios.

Mary-Jean Richardson is a South Australian based artist whose practice is specifically motivated by the interplay of traditions and transgression via painting’s mobility, mutability and capacity for reinvention. Mary-Jean completed a Masters of Visual Art at the School of Art, Architecture and Design, University of South Australia, researching the legacy of eighteenth century Gothic literary conventions within the ‘undead’ state of contemporary painting. She has received various awards and grants to further her research and practice, including the AEAF Studio Residency at the British School at Rome in 2013. She is Painting Department Head at Adelaide Central School of Art and actively exhibits locally and nationally, including projects at Greenaway Gallery, CACSA, SASA Gallery, The Jam Factory and Fontanelle Gallery.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Anna Horne, Untitled, 2015, 120 x 20 x 20cm, vinyl, copper, polystyrene, Photograph by Sam Roberts.

Image courtesy of the artist.

Borrowing from Medieval ideas and Baroque technique, these works engage with the ‘sensibility of insomnia’. Using traditional and non-traditional painting methods they play with a memento mori of tangled, disarticulated bones and the traumatic blackened fog of confronting the horror vacui.

Insomnia embodies an intense sense of isolation. Detached from those sleeping nearby, it provides a platform upon which to encounter deep desires, fears and anxieties. For the insomniac, the time between dusk and dawn is not an adventurous dream-zone or a site for unconscious meandering. It is a phase that provokes a suspended state of solitude that brings acute awareness to the threshold between the bright distractions of everyday life and an incomprehensible and inevitable darkness or, as Elisabeth Bronfen refers to it ‘the abyss of non-existence’1. Provoked by silent, nocturnal conversations with one-self, it is a simple step to imagine a sense of no longer existing. The uninterrupted thinking of the insomniac gives occasion to contemplate the fragility of existence, to reflect upon the transition from living state to corpse. To possess a conscious awareness of our inevitable end is ‘inherently human’2 - ‘death’ is ours alone.

Kerry Packer Civic Gallery @ The Bob Hawke Prime Ministerial Centre

Craige Andrae, Lambie, 2004, Taxidermed sheep with canine jaw.

Image courtesy of the artist.

Exhibition open:

The Kerry Packer Civic Gallery offers a dedicated space for

6 Aug – 3 Sept

community groups and organisations to convey their social

Mon-Fri 9am-5pm

message through art. The Gallery extends the Hawke Centre’s

Thurs until 7pm

commitment to engage with the community with an exhibition program reflecting its themes: Strengthening our Democracy –

City West campus, Hawke Building level 3 55 North Terrace, Adelaide SA 5000 www.hawkecentre.unisa.edu.au

One Hundred Years of Solitude Gabriel Garcia Marquez

K E R R Y PA C K E R C I V I C G A L L E R Y T H E B O B H AW K E P R I M E M I N I S T E R I A L C E N T R E 6 A U G – 3 S E P T

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Valuing our diversity – Building our future.

“The world was so recent that many things lacked names, and in order to indicate them it was necessary to point.”

Craige Andrae has been active in the South Australian art community since he completed a BA (visual Art) in 1985. He exhibited widely in solo and group exhibitions in the 90’s notably Perspecta Sydney, 1990. Adelaide Biennial of Australian Art, AGSA, Adelaide, 1996 and in 1997 he exhibited in the touring exhibition Wild kingdom, IMA, Brisbane and This Pop Life, AGSA, Adelaide.

Taking up his Anne and Gordon Samstag International Visual Arts Scholarship (1997) he undertook a MA (fine art) at Goldsmith’s College, University of London in 1999.

Since this time Andrae has pursued many arts related opportunities including arts based consulting and exhibiting, predominantly in the public arts realm and the expansion of his specialised design and construction company, Special Projects Under Development (SPUD). SPUD was awarded the South Australian Governments Inaugural Ruby Award for Arts Enterprise and the Design Institute of Australia Presidents Award in 2012.

Andrae collaborated with arts, design and landscape professionals to develop and innovative approach to the integration and commissioning of Public Art through the realisation of the Rundle Street Integrated Public Art Masterplan ‘The Rundle Project’. The Rundle Project received awards from the Planning Institute of Australia, the prestigious Ministers Award and the Australian institute of Landscape Architects Award for Planning.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

University of South Australia

‘The weak shall inherit the Earth’ is an adaptation of a previous work that sort to explore Darwinism and the science of Natural History through the subtle adaptation of the physical attributes of a taxidermied lamb. In its current incarnation the work is expanded to explore and consider the impact of ever increasing social constructs on creativity and spontaneity.

Our interest in the celebrities that populate the entertainment and fashion industries can become morbidly intrusive. The lives of celebrities are minutely observed and evaluated by popular media and they are frequently presented to us as flawed but enviable figures, tragically vulnerable. The spectacle can be both fascinating and brutal.

The representation of women and women’s sexuality in contemporary media and throughout history has established gender roles and stereotypes. In turn, we manipulate our own appearance to mimic popularised, idealised beauty. In our narcissistic society, people’s concern with their image has become an obsession.

Models, actors and entertainers have public, mythological personas, but underneath these personas are private, individual personalities. They are human beings, but, whatever their character, they are now sanctified by society.

Traditionally, a haloed figure signified society’s values and beliefs. Contemporary society reveres celebrities as if they are saints.

Annette Bezor completed a degree in fine art at the SA School of Art, 1974-77.

In 1986, granted the Power Studio, Cité Internationale des Arts, Paris, for a six month period, the first of several such residencies in Paris.

37 solo exhibitions including Adelaide, Sydney, Melbourne, Perth, Brisbane, and three exhibitions in New York in 2003, 2007 and 2009.

Participated in numerous group exhibitions nationally and internationally in Europe and Asia including Perspecta 83, Art Gallery of NSW, Private Symbol, Social Metaphor, 5th Biennale of Sydney 1984, and a major survey of work at the Contemporary Art Centre of SA in 1991. Represented at the ARCO International Art Fair in Madrid in 1996, 1998 and 2004, the Taipei Art Fair in 2006 and Hong Kong in 2011.

Awarded an Australia Council Fellowship in 1990 and an ArtsSA Fellowship in 2010.

Recipient of several Australia Council Grants and ArtSA Project Grants and the recipient of the inaugural South Australian Living Artists (SALA) monograph “A Passionate Gaze” by Richard Grayson.

A finalist in numerous art prizes including the Archibald, Sulman and Doug Moran prizes and the Portia Geach Memorial Award.

My work contemplates the vagaries and intangible nature of beauty. Privilege or chaos can result from the accident of genetic reproduction.

Ed Douglas, From the museum: fertility figure 3, 2012, 110 x 82.5cm, pigment print 1/6.

Image courtesy of the artist.

The symbolic interpretation of the forest is ancient…The forest is a place of darkness, chaos and uncertainty…

Psychologically, it is a symbol of the unconscious, where there are secrets to be discovered...

David Fontana, The Secret Language of Symbols, 1993 A very early influence on my particular way of accessing my ideas and images was the collection of essays chosen by the Swiss psychiatrist and philosopher Carl Jung and published as Man and His Symbols. That book helped me to connect together a number of issues and influences that I was dealing with as an art student in the 1960s. Dreams, myths, the subconscious, nature, literature, film, poetry, the arts, culture, Eastern philosophy, chance, hunter/gatherer world views, etc. became my material.

K E R R Y PA C K E R C I V I C G A L L E R Y T H E B O B H AW K E P R I M E M I N I S T E R I A L C E N T R E 6 A U G – 3 S E P T

K E R R Y PA C K E R C I V I C G A L L E R Y T H E B O B H AW K E P R I M E M I N I S T E R I A L C E N T R E 6 A U G – 3 S E P T

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Annette Bezor, Privilege of Accident, 2014, 4.5 x 4.5m, oil, gold leaf on canvas and board.

Image courtesy of the artist.

My camera is similar to those used in the 1860s. The larger camera slows one down and the process of image making becomes more internal and meditative. My found objects come primarily from our five acre property where I look for the personal associations that certain natural objects stimulate. The artist Wassily Kandinsky put it more perfectly than I can: Everything that is ‘dead’ quivers. Not only the things of poetry, stars, moon, wood, flowers...Everything has a secret soul, which is silent more often than it speaks.

Ed Douglas received his MFA, San Francisco State U 1969. Lectured U of California, SF 1970-72. Founding member Visual Dialogue Foundation, an influential SF artist group 1970-73. Moved to Australia 1973. Curated California Aesthetic for NGA, Melbourne and Australian Centre for Photography, Sydney 1975. Lectured Sydney College of the Arts 1976 then SA School of Art, Adelaide 1977-2001. Established the first BA visual arts course in SA dedicated to photographic art practice. Land of Time 1980-83; CSR Artist Project 1982-83; Parliament House Artist Project 1984-86. Visited early art sites in Egypt, France, Scotland, US 1984. New Landscapes: Photographs from Two Continents 1985-86. Visited Aboriginal rock art sites in NSW, Queensland, NT and SA 1987. Lure of Unrealised Desire 1993-94; Arid Arcadia, AGSA 2000; Australian Postwar Documentary, AGNSW 2004; Fireworks: Tracing the incendiary in Australian art 2005-6; From the Collection: Ed Douglas & Max Pam, AGSA 2008; Exceptionally Gifted, Norton Simon Museum, Pasadena, California, 2009; Prospects: Re-imaging gold country at Ophir & Hill End, Ken Orchard and Ed Douglas, toured 2009-12; Family Tree: an exploration, Centre for Creative Photography, Adelaide 2012; In Memory of Merlin, State Library of NSW, Sydney 2013; Australian Vernacular Photography, AGNSW 2014. Work in 23 public art collections.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

I moved from Sydney to Adelaide in 1977 so I could live in the country and work in the city. Being closer to nature, being on the land amongst the trees, birds, animals, the night sky and the seasons is, for me, important. It is through this lifestyle that my beliefs and my art conjunct.

The four images I have chosen for this exhibition are titled: From the museum: fertility figure 1,2,3,4. Possibly the most famous fertility figure is the so called Venus of Willendorf.

The estimated date for the making of this figure is from 22 to 28,000 years ago. Similar figures have been produced for centuries by hunter/gatherer peoples around the world. Fertility, both at the tribal level and in the natural environment, was for our hunter/gatherer ancestors an essential aspect of survival. Fertility is seemingly an ancient issue but with our current astronomical world population growth, changing climatic conditions, the depletion of fish stocks, the diminished quantity of productive land, etc. — fertility is a vital contemporary issue.

Heidi Kenyon. Everything flows, nothing remains I (2014), Exterior detail at the Australian Experimental Art Foundation, 210 x 180 x 420 cm, found bottles and jars, River Murray water, pump, lens, fabric, timber and mixed media, photograph

by Sam Roberts.

Image courtesy of the artist.

The Hidden Diaspora The wave swallows me up and I am pulled under. My head is pounding and acrid saltwater forces its way into my ears, my eyes, my throat. I have become overwhelmingly disoriented and fear I can no longer tell which way is up.

K E R R Y PA C K E R C I V I C G A L L E R Y T H E B O B H AW K E P R I M E M I N I S T E R I A L C E N T R E 6 A U G – 3 S E P T

My practice is motivated by the curious complexity of found objects and common materials: both natural and humanmade. I believe that found objects have the capacity to open up dialogues, and reveal something of the relationships between artist, artefact, and viewer. Whilst often motivated by intuitive investigation and autobiographical narrative I intend for my work to be subjective and open to the viewer’s interpretation, and also able to voice broader social concerns.

Kenyon has exhibited her work locally, interstate and internationally, and has participated in residencies, workshops and mentorships within Australia, Italy, America, and the UK. Solo exhibitions include Turn back to the river in Murray Bridge and Canberra (part of the 2013 national One River Project), and After you’ve gone, Contemporary Art Centre of South Australia’s Project Space, 2008. Group exhibitions include Same River Twice, Australian Experimental Art Foundation and Murray Bridge Regional Gallery, 2014-5, Los Minutos, Lugar a Dudas, Colombia, 2011, Show seventeen, Shift Gallery, London, 2010, and the Hatched National Graduate Show, Perth Institute of Contemporary Arts, 2008.

Publications featuring her work include Belonging: Great Art Stories From Regional Australia (2014), FELTspace GOLD: A Survey of Emerging Contemporary Art Practice in South Australia (2011), and the premiere edition of the national art magazine, Art World (2008).

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Working across multiple mediums, with a focus on painting, Hassan’s system of working derives from philosophy, science and poetry intertwined, while taking description to its extreme where abstraction is found freed from preconceptions. Recent exhibitions include: Personal Structures - Crossing Borders (Venice Biennale 2015), The First Kochi-Muziris Biennale (India 2012-13), Traces and Determinants, Aura Gallery (China 2013), Capitulation of Discourse, GAGPROJECTS (Australia 2014), Works are held in several public collections, including the National Gallery of Australia, French Ministry of Culture, Shandong Provincial Government Collection, Wesfarmers Collection, Art Gallery of South Australia.

Heidi Kenyon is an Adelaide-based contemporary sculpture and installation artist. Kenyon recently completed a Masters by Research (Major Studio Project) at the University of South Australia, supported by the MF & MH Joyner Scholarship in Fine Arts. In 2007 she graduated with First Class Honours (Bachelor of Visual Arts) from the South Australian School of Art. She has received a number of commendations for her work, including the Qantas Foundation Encouragement of Australian Contemporary Art Award (2012), the Ruth Tuck Scholarship (2010), and the Constance Gordon-Johnson Sculpture and Installation Prize (2008).

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Ariel Hassan, HFV-PROJECT #22, 2012-13, 100 x 75cm digital transfer on perspex, backlit.

Image courtesy the artist and GAGPROJECTS | Greenaway Art Gallery.

The vessels of water within this work draw from many tributaries of thought … they seep into this very building whose crisp concrete façade is stained by the copper channels who capture the rain and the elements. They leak back to Bob Hawke’s tearful promise that shaped multicultural Australia when he announced that no Chinese students would be sent home following the Tiananmen Square massacre. They are swallowed by our oceans who have washed up countless asylum-seeking families (including more than one thousand children who currently remain in either community detention or immigration detention facilities). They spill over into our bodies, themselves veritable vessels of water, and our tears that literally and unconsciously enable us to see.

In recent years I have experimented with the integration of early optical and photographic processes within my sculpture and installation practice. Within The Hidden Diaspora dwell a number of intimate camera obscuras made with convex lenses, glass vessels and water. The way light behaves as it travels through these lenses and pulls the hidden into view— upside down and back-to-front—is simple yet endlessly perplexing.

Nasim Nasr, Zaeefeh (The Wretchedness) ,(Ahmad Shah Qajar), 2015, 60 x 60cm, digital print on Digital print on Hahnemüle 310gsm German etching paper.

Image courtesy of the artist, and GAGPROJECTS, Adelaide, Berlin

Brad Lay, Mean Sea Levels, 2015, 60 x 40cm, digital print on clear acrylic.

Image courtsey of the artist.

He has exhibited widely in South Australia, interstate, and overseas, and has attended artist residencies at the Atlantic Center for The Arts, Florida, and Bundanon Trust, NSW, as well as facilitating a self directed residency aboard a cargo ship as part of an ongoing desire to develop art work in response to coastal and oceanic environments.

Brad is currently completing a Masters in Visual Arts at the University of South Australia.

Helical Horizon acts to re-imagine the horizon as a helix through a collage of conventional imagery and what I have come to call “found edges”, extending a horizon line to the point of absurdity. After all, the quest to find the exact edge of a chair leg may be akin to finding the end of the horizon.

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Zaeefeh (The Wretchedness) (2015) presents portraits of 19th century Persian Shahs overlaid with handwritten text by 20th century Persian writer and intellectual Sadegh Hedayat, and feminist poet and writer Forogh Farrokhzad.

Zaeefeh is the name that Shahs called their wives—meaning weak, and with a poor ability to do things. In contemporary society this name is still used. Hedayat used this name for the wives in his now banned stories, while Farrokhzad, also banned, wrote despairingly about women’s lives. This series reflects ironically upon the weak and damaging acts of these men during their reign (effectively selling off Persia’s wealth and sovereign rights to Imperial powers).

Unrest (2015), focuses on the layered complexities of contemporary society—languages, cultures and voices— interfused to create a new consequence, a combination of many voices that constitutes a uncommon unique voice,

While Zaeefeh (The Wretchedness) presents the notion of cultural historical irony, Unrest frames those conditions through a multiplicity of masked voices.

Nasim Nasr completed a Bachelor of Arts, Graphic Design, Art University of Tehran in 2006, and a Master of Visual Arts, SA School of Art, Architecture and Design, University of South Australia, in 2011. Nasim has participated in Blinc, 2015 Adelaide Festival; PP/VT (Performance Presence/Video Time), AEAF, Adelaide; Art Dubai, 2015, Art Stage Singapore, 2013 and Video Stage: Art Stage Singapore 2014 by GAGPROJECTS, Adelaide/Berlin; TarraWarra Biennial: Whisper in My Mask, TarraWarra Museum of Art, Melbourne 2014; Video Contemporary, Sydney Contemporary, Artspace/Carriageworks, Sydney; Video Arte Australia y Nueva Zelanda, M100, Santiago, Chile 2013; CACSA Contemporary 2012: New South Australian Art and CACSA Contemporary 2010: The New New. In 2013 Nasim received an Australia Council Emerging Artist Professional Development Grant.

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The horizon is a physical impossibility, a visual effect that can never be reached or touched. Sure, the distance between yourself and the theoretical horizon line could be calculated, yet to travel towards it immediately places it again beyond reach. It’s a visual imprint of the point at which a linear sight line escapes the curve of the earth, presenting as both a straight line and an endless curve. A visible fragment of the immense circumference of the Earth, and a void of sorts.

Brad Lay is an Artist working across sculpture, installation, photography and video. In a previous life he worked in environmental management, a field that has informed much of his artistic output. His current body of work draws upon an interest in the relationship between people and the ocean, and the possibility that in the absence of complete knowledge, personal moments of wonder and awe may enable the development of an ethical response to the non-human world.

that respects and disrespects, covers and masks, highlights and erases each other at the same time. The spoken text from Sadegh Hedayat’s The Blind Owl (1937)—depicting the masks that every one wears in life—directly connects universal thoughts of each other as one society, the singular languages endeavour to push a message—of the writer’s voice at a time of conception—that can’t be heard fluently or freely.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Not long ago I realised that I have a bit of a thing for the horizon. I photograph it, film it, and draw it often, and for the most part I have no idea of why I’m doing this. I’m pretty sure I’m not alone here.

Nasim Nasr’s photographic and video practice engages themes of cultural and personal identity, relationships, taboos, beliefs and women’s rights. These works have attempted to highlight the complexities within contemporary notions of interchangeable identities and cultural difference, as experienced between past and present cultures and homelands.

The Vanity Bonfire series stems from some recent observations of the artist in the arc of time with the resurfacing and demise of once-held popular cultural meaning. The photographs were taken in the Adelaide hills where the artist observed the increasing popularity in the pagan ritual of celebrating the winter solstice. On a wintry night pagan garb and archaic use of fire seems slightly unnerving as something deep in the subconscious DNA of disenchanted 21st century citizens stirs and rumbles. Removing any societal judgment, the primordial sense to reconnect to seasonal cycles seems like a sensible grounding, though aspects of the spectacle is laden with retina image memory of blood-strewn medieval movies and menacing psycho thriller dramas that tarnishes the evening’s astro bio-cyclical significance.

The other subtle demise over the last couple of years has been the death of the printed book. After 500 hundred years of printed parchment is in steep decline and it is not uncommon for newly formed households not to have any books whatsoever as a move to e-books has transitioned into space. A lot subtler shift than those fears generated

by Nazi book burning, though one antiquarian bookseller

shocked me one day by saying he enjoyed a good book burning ( vanity bonfire); as there were so many deplorable excuses to publish “a Book” in the 20th century as a means to social climbing. Sort of sounds familiar and reminds me of the non critiqued presence of inane bloggers.

My image of a page from William Congreve’s book “Way of the world” (circa 1750), burning away, contains strands of now defunct spelling of Old English language disappearing; whilst the contents reflections, on love, remain the eternal quest.

Warren Vance (born 1964 Melbourne, lives in Adelaide) approaches his photography, photomontage, video, installation and found object works from the perspective of a ‘collagist’, engaged in ‘poetic reconstruction’. His interest lies in the connections between the optical, memory, and the transcendent.

This year his video “The Devotee” was included in Arts Stage Singapore 2015 Video Platform. In 2009 Artbank acquired his videos “Escargot” from an exhibition “Voyage d imaginaire” at Greenaway Gallery, Adelaide. He has held numerous solo exhibitions and been included in group shows over the last twenty years at venues such as the Art Gallery of New South Wales, Australian Centre of Contemporary Photography, Canberra Contemporary Art Space, the Centre for Contemporary Photography, Art Gallery of South Australia and Centre for Contemporary Art Juan Ismael, Spain.

transformed they became “present” as drawings, the drawn and provisionally analogues of their former states. The shifting, tilting, rotating of the objects as they were being rendered left traces of graphite as marks and spillage on single large sheets of archival paper and in doing so drafted their (re) making over time.

Held first solo exhibition 1975. 1982 Founding member of Central Studios Adelaide. Over 60 solo and group exhibitions to the present. Former Head of Drawing at Adelaide Central School of Art. 1984-1987 joined Air and Space Studios Berry St London. 2000 residency at Gunnery Studios Sydney. 2002 taught Drawing at the New York Studio School. 2011 Awarded the Arts SA Fellowship. 2012 Three month studio development of new work at Present Company, Brooklyn, NY. Maintain studio practice in Adelaide and New York to the present. Represented in Adelaide by BMGArt, in Sydney by Wagner Galleries and in New York by Stephen Rosenberg Fine Art.

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Warren Vance, Vanity Bonfire, 2015, 75 x 45cm, inkjet print.

Image courtesy of the artist.

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My practice is built around drawing, mostly in a conventional manner, with an emphasis on an ageing avatar adrift in the world. CACSA Contemporary 2015 has afforded me the opportunity and challenge to step out of my ongoing work.

The works made for this exhibition are a meditation on the act of drawing as a means of representation that rest on traces of their construction. The objects chosen have histories and conventional functions in the world that can be represented through perceptual drawing as they act as models or, can be retrieved from memory by drawing an analogue of them into existence. The drawings made would have distinct formal characteristics as a result of the artists struggle for say, perceptual accuracy, aesthetic vigor and potential meanings driven by intention and will. Because the drawing is not “the thing” being represented it must function as a perceptual/conceptual dualism in its capacity to be a record of the sighting or invention of the fabric of the observed/imagined/remembered thing. I have covered selected objects with graphite using sticks that required lengthy application, rendering. As the “skin” of the objects

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Christopher Orchard, Horn, 2015, dimensions variable, graphic on found object.

Image courtesy of the artist.

Light Square Gallery

It is a single point prone to dissemination. Its surface blurs at the edges and has infinite tails, like those of a tadpole or comet that trail in every direction and gradually fade into phosphorescence, then nothingness. I would tell you its diameter (when positioned at vanishing point, it appears spherical), but it mostly expresses outside properties obedient to outside laws. It demands redescription, eternally, an entanglement only fixed for an attosecond through our optical fixedness.

Madison Bycroft is an artist working in video, performance and sculpture. Primary concerns in her practice are grounded in empathy, animality, language and becoming. She is currently exploring the limits of language and representation, and how to situate/exile oneself at or beyond those limits.

Who is ‘there?’ Le animot? Dark matter? Emancipated signs or self-referentiality? The fool?

Adelaide College of the Arts TAFE SA

Light Square Gallery is a professional managed, purpose built

Exhibition open:

exhibition space. Here you will find high calibre exhibitions

27 Jul – 23 Aug

of the kind that have built South Australia’s outstanding

Mon-Fri 9am-5pm

reputation with in the arts. Our focus is on promoting high standard contemporary artists.

Madison Bycroft, Point X, 2015, two-channel digital video, loop, colour, sound.

Image courtesy of the artist.

Polysemy, yield, prosody and mimesis; terms that describe tools or fulcrums of estrangement that unhinge, leave a gap and drift, then slip and excrete a temporal ooze. MB is interested in the Weird, the shadow, epoché and the animality that somewhere on some edge of the world «indexes the vast tracts of the unknown, still to be discovered, lying outside the purview of any correlation with what is already known and accessible solely through escape.1 Might experiments in escape fall into speculation, translation, contagion, écriture femininé and adventure? Translation is considered an expanded tool of perception, a geometric phenomenon and an apparatus of speculative poetics. Within this mode of translation, meaning is found momentarily

1. Mackay, R., and Brassier, R. (ed) (2011) “Editors Introduction” in Land, N. Fanged Noumena, Urbanomic, Famouth, United Kingdom.

Madison Bycroft was born in Adelaide, South Australia 1987, and is currently undertaking her Masters of Fine Art at the Piet Zwart Institute, in Rotterdam, The Netherlands.

Madison Bycroft completed a Bachelor of Visual Arts with first class honors at the University of South Australia in 2012. Bycroft was the recipient of the 2014 Anne & Gordon Samstag International Visual Arts Scholarships, awarded for one year of study overseas. In 2014 Bycroft attended ISCP studio residency in NYC and was selected in Primavera - Young Australian Artists exhibition at the MCA in Sydney.

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www.tafesa.edu.au/adelaide-college-of-the-arts/light-square-gallery

How can the body become a cipher, a facilitator, a translator or simply X? At what point does the self stop and the other begin, individual become collective, and identity become matter? And what is the difference between a passive passivity and an active yield? So many questions always!

Ultimately MB is interested new ways of being in contact with and knowing the world, whilst attempting to find new ways of expressing the experienced known world and unknown unknowns through uncolonised sound, utterance, language and representation.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Lower Ground Floor 39 Light Square Adelaide

within entanglements of intra-acting forces, and things, and signs.

Sound can be heard without ears.

Sound within the mind occurs as non-audible vibration - a constant feedback loop, a noisy circuit of earworms, voices, dreamsounds, analogue hiss and crackle that no one but ourselves hears- the sound of no sound – unable to be broadcast, auditioned, or amplified outside the mind, psychologically deafening in its physical silence.

How can this no-sound be translated, interpreted, evaluated in its appearance in the physical world in a non-audible state? My focus lies in the fixing of this non-audible vibration in the phenomenological as an artefact/artwork existing in a tangible medium or definable space, which transmits this vibration from one’s mind to another’s in a silent way.

James Dodd, Painting Mill JDPM15 – Prototype, 2015, dimensions various, mix media.

Image courtesy of the artist, and Hugo Michell Gallery, Adelaide.

James Dodd exhibits regularly across Australia in publicly funded institutions, commercial galleries and artist-run spaces. He works across a range of mediums with particular interests in painting, DIY, adventure and public space. He maintains a curiosity in suburbia as landscape and also the creative activities and transgressions that occur in suburban and urban spaces.

Dodd is active as an educator at Adelaide Central School of Art and regularly delivers youth arts programs across a range of outcomes. Dodd is represented by Hugo Michell Gallery, Adelaide. www.james-dodd.com

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Kahl Hopper, Jungle Installation, 2014, dimensions variable, laptop, pot plants, coloured lights, sound system, corrugated iron structure.

Image courtesy of the artist.

Kahl Hopper is a sound artist and composer who has toured nationally playing live film accompaniments to silent films and exhibited sound installations at international festivals. Coming from a performative background, he is interested in non-linear composition and cross-platform collaboration between traditional orchestral instruments and digital music-creation software. He has exhibited numerous times as a sound artist/designer, including the CACSA Contemporary 2013 program and has soundtracked several short films and animations, broadcast on ABC TV. Drawn to emotive sound textures, his practice begins with the human voice as a source for symphonic resonance, manifesting as manipulated tones and timbres and multiple instruments, both analogue and digital.

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This particular machine might be more at home in a suburban shed than a gallery. It is somewhat of a backyard cross between an arcade Skill Tester, an Etcha A Sketch and a Spirograph, only built with materials from the local hardware store and made for adults to play with. It is presented as an object that is particularly handmade, cobbled together something like a Frankenstein’s hand drill on steroids. The aesthetics and concepts at play here are those of D.I.Y. and the extended culture of user-generated references such as Instructables wherein modification and hacking are each embraced as critical elements of both process and outcome.

Battery powered drills have been disassembled and repurposed. A strange array of attachments appear from conjoined spatulas, mutant multi-headed brushes and particularly ‘scrapey’ looking arms. These are all assembled as in a squadron, ready to launch an attack, in pigment warfare on unsuspecting surfaces. Whilst this is a device that can ‘do’ things it is potentially more interesting than the outcomes it achieves.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Dodd’s recent investigations have resulted in unusual bicycles, wacky adventures and various strange machines.

This project takes a step towards industrial tools such as mills, lathes and CNC cutters and proposes a variation that is developed specifically for the production of paintings. The artist considers painting machines as a genre, generally, and this work as his particularly nuanced contribution.

The maker’s trap – Notes from the Endless Golem Lately I’ve been approaching the tried, tested and failed romances of sculpture’s historically recorded models, i.e. the stack, the column, the phallic, the yonic … with a sense of play, animation and silly compulsion. Revisiting these failed utopias in the studio via direct carving, bronze casting and assemblage, has served as part homage to an ongoing penchant for found Brancusi studio shots, and part therapeutic outlet for a chronic case of self-diagnosed Sculpture-Vulture syndrome.

The works for CACSA Contemporary 2015 take notes from my recent project Endless Golem, presented at West Space in Melbourne this year. The title, a pun based on Constantin Brancusi’s famous sculptural work Endless Column, also notions the Jewish folkloric figure the golem, an anthropomorphic being conjured and animated from seemingly inanimate matter. Over the past year, I’ve reflected on this mystical process as an analogy for the endless material cycles at play in the studio. I wanted to extend on

this by producing a series of sculptural devices that imply a kind of booby-trap potentiality via a set of calamitous, kinetic actions. With the addition of this seemingly banal, yet malevolent functionality, these works are an attempt to embody the more slapstick moments of day-to-day life in the studio, wherein tools backfire, form follows dysfunction and discovery rides on the back of disaster.

Ben Leslie is currently completing a Masters by Research Degree in Sculpture at the University of South Australia. He is co-founder of Fontanelle Gallery and Studios in Adelaide, where he holds the position of operational manager and co-curator.

Leslie’s practice is based primarily within sculpture. His current research explores the studio as a site to playfully subvert and critique the heroic statements and clichéd masculo-centric models of the modernist tradition. This year he presented his solo show ‘Endless Golem’ at West Space in Melbourne, and he has recently exhibited at Northern Centre for Contemporary Art (NT), Australian Experimental Art Foundation (SA), Felt Space (SA), Fontanelle Gallery (SA) and Contemporary Art Centre of South Australia. www.benleslie.net

Zoe Kirkwood, Space Invaders, 2014, installation view, dimensions variable, acrylic and oil on canvas, hand cast resin, nautical rope, metal fixings, wood, upholstery tassels, Styrofoam, stainless steel, mild steel, oil-based enamel paint, industrial fabric and thread, photograph by James Grose.

Image courtesy of the artist.

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Ben Leslie, Endless Golem, 2015, Installation view, West Space Melbourne, bronze, timber, pigment.

Photograph by Emily Taylor.

Image courtesy of the artist.

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Inspired by the idea of the bel composto in which the Baroque artist Gian Lorenzo Bernini fused painting, sculpture and architecture into a singular, immersive work of art, she experiments with ways of integrating sculpture and installation into her painted work in order to bring it into the physical space of the viewer. In her most recent body of work she creates a spatial installation that plays heavily with ideas of theatricality. Resembling a large elaborate stage set, these works take elements and processes from earlier sculptures and paintings and subject them to a series of transformations that see them move between two and three dimensional form as she continues to investigate ways in which a painting might spill out into the gallery space and engulf the audience.

Zoe Kirkwood is an emerging artist based in Adelaide, South Australia. She graduated with first class Honours in Visual Arts in 2013 from the UniSA School of Art, Architecture and Design. She has been involved in numerous exhibitions locally and interstate and earlier this year she travelled to New York to exhibit with CHASM Gallery (Chromo-spatial 2015). In 2014 her graduate work was included in Hatched: National Graduate Show at Perth Institute of Contemporary Art and was awarded the Doctor Harold Schenberg Art Prize.

Her work has also been shown at Canberra Contemporary Art Space (The Screen Set 2015), FELT Space (White Out 2014) , Hugo Michel Gallery and the Contemporary Art Centre of SA (Space Invaders 2014).

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Working in an expanded painting practice, Zoe Kirkwood uses the visual language and extravagance of the Baroque Spectacle to create vibrant worlds that bring together painting, sculpture and installation.

‘Painting, like music, belongs more to time than space. The physical intelligence of our bodies is a recording of past occurrences into our flesh. Even our analytical minds are formless, until given shape by some outside prompt. Our echoes to stimuli are lined with complex patterns, built up through seemingly unrelated events. Tumultuous and sometimes violent imagery is a given.

My work involves the dispersal of paint and pigment by air, by remaining open to the transmutation that occurs through the manipulation of matter the painting evolves with a sense of open potentiality and the infinitely malleable. If a viewer were to observe the studio process, they may consider that nothing has been added that was not already present. The movements from the floor to the wall could appear as repeated resurrections. But could also be considered an inversion, vertiginously holding up the viewer. Monochromatic images help us to see things in greater definition.

Lee Salomone, Cyclical, from the series, works from the (found)ry, 2014, 12 x 12 x 5 cm, burnt wire, bronze, patina. Photograph by Grant Hancock.

Image courtesy of the artist.

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Christian Lock is abstract painter and lecturer in painting and drawing at the South Australian School of Art Architecture and Design and is represented by GAG Projects South Australia and Chasm Gallery New York. Selected works have been included in group shows at the Art Gallery of New South Wales, Art Gallery of South Australia, Art Dubai United Arab Emirates, Samstag Museum South Australia, Experimental Art Foundation Australia, Contemporary Art Centre South Australia, Perth Institute of Contemporary Art. Solo exhibitions since 2003 at Greenaway Gallery Adelaide, GAG PROJECTS Adelaide, John Buckley Gallery Melbourne, Ryan Renshaw Gallery Brisbane and Chasm Gallery New York. A Samstag Scholarship recipient he studied at Parsons The New School for Design New York in 2014. He has been selected to participate in the Cairo International Biennale, Egypt later in 2015.

Lee Salomone graduated from the South Australian School of Art in 1991. He lived in Europe in 1997, which allowed for field research into Italian folkloric customs. 1999 was a consolidating year back in Australia, with two solo exhibitions: Evidence at Adelaide’s Nexus Gallery – 256 frottage rubbings from the streets of Milan, Italy, and footnotes from a periphery - at the Experimental Art Foundation, Adelaide - a work that recreated all the front pages of the local newspaper for 1998. Between 2000 and 2004 he staged six solo exhibitions in Adelaide, Melbourne and Sydney. In 2005 he held his first solo exhibition in Berlin. In 2007 he exhibited in Drei Traeumer at galerie kurt im Hirsch in Berlin and worked at the 52nd Venice Biennale. 2008 saw him back in Europe exhibiting sandpaper works in speicherplatz in galerie December in Berlin. The Migration Museum of South Australia & Mildura Art Centre both acquired his work in 2009. In 2010 he held his fourth exhibition in Berlin. In 2012 he exhibited other voices / alter voci at the Australian Experimental Art Foundation – an expansive installation that oscillated between museum and contemporary art. In 2013 he exhibited photographic works in Reflektionen at Atelier Terra in Berlin, and in 2014 he exhibited The Beauty of small moments at Gallerysmith Project Space in Melbourne, his 25th solo exhibition.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Christian Lock, Untitled 2, 2015, 287 x 287cm, synthetic polymer on canvas.

Image courtesy of the artist, and GAGPROJECTS | Greenaway Art Gallery, Adelaide.

Over the past twenty-four years of art practice I have worked across a range of media including installation, photography, sculpture and works on paper. My sculptural practice has been predominantly centred round the found object and its association with chance and randomness. Predominantly I have allowed man made and natural found objects to seek me, and have seen myself as a composer, not of music, but of found materials. Recently there has been a shift in the three-dimensional works, brought about by my commencing part-time work at a bronze foundry. The inclusion of processbased skills associated with foundry work has complimented the found object practice. The resulting works are a collaboration of chance, craft and concept: a blend of intuition and processes. This relationship between found and created objects has enriched my sculptural palette, while at the same time, allowing for the continuation of art practice to be used as an instrument to order experience and knowledge.

Exhibition open:

The Morphett Street venue is situated in the arts hub in the

6 Aug – 30 Aug

west end of the city. The space has been generously made

Mon-Fri 11am-5pm

available by the landlord and with funding assistance by a City

Sat-Sun 2pm-5pm

Makers Grant from Renewal SA.

172 Morphett Street Adelaide

Image courtesy of the artist.

Johnnie Dady trained in both the UK and Australia, primarily in sculpture.

His work is concerned with the 3-dimensional and time based possibilities of drawing.

He lectures in both Sculpture and Drawing at Adelaide Central School of Art in South Australia as well as past projects in both visual art and design at various institutions. Since 1990 Dady has exhibited extensively, developed performance, site specific projects and collaborative works. He has undertaken public sculpture, design commissions and film design. He was awarded a Mid career fellowship by Arts SA and was granted the Australia Council studios in London and Rome.

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Drawing machines have been a recurring theme across the visual arts. It is the inevitable failure that seems to be so intriguing; in many ways a machine is antithetical to a human driven drawing impulse. It is a playfully flawed idea that flirts with autonomous non human art making; an intention and motivation that is suspect.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

172 MORPHETT STREET

drawing machine

reality that we are potentially responsible for; the way we allow ourselves to construct our world; and that we possess the inherent capacity of influencing and transforming it if we choose to. It is a case in point that we have power over another and this power can be ruled by love.

As a male I cannot experience the joy of giving birth to a child. However, the levels of meaning that I experience through witnessing the intelligence of birth are what I refer to as a ‘profound aesthetic experience’ of beauty and these meanings are then embedded in the work.

The ‘heart music’ precisely emphasises the human as an aesthetic being whose social nature forms the core of her experience and development. It highlights the social as an organic and extending interconnected web of relationships whose development is directly related to the degree of volition its members (individually or collectively) exert.

The work offers the viewer the opportunity to experience an embodied sense of self, an immersion of exploration approaching who we are. It is an emotional, philosophical and psychological extension of who I am. Importantly this work is essentially about not knowing, rather an exploration of sensibilities and connections. As such the subtleties and nuances of the content propose spending time with the work.

The sound is specifically given over to pulsations and adds a deeper level to the experience, bringing the work and the viewer into an aesthetic domain, through a divergent approach, to dialogically enquire on the broader philosophical concerns and problems. The principal visceral experiences, where core values are first felt, as ineffable and intangible, which paradoxically are generated by the human body itself are open to reflection. The work is a meditation on a new

Intrauterine touch and hearing are the strongest and most developed of physical senses. The foetus senses her environment with her entire body and hears the heart beat, the rush of blood flow and other bodily and external sounds.

This composite of sound recordings was collected and composed over a period of seven months and is critical to this project.

The work attempts to isolate the interconnectedness of the baby’s dependency on all those around her and disclose that her relationship is multilateral. The viewer may recognise that she is not passive and her relationships are not singularly about her physical needs being met since the baby gives the world the complexity of her entire self. This body of work is about the recognition of the social within the individual, the need to trust and communicate and that is what is so beautiful about it.

Siamak Fallah was born in Firouzy (a small village near Shiráz), Irán and arrived in Australia as a refugee via Pakistan in 1985. In 1998 he graduated from the South Australian School of Art with a Bachelor of Visual Arts, and since has exhibited at the Contemporary Art Centre SA, Nexus Multicultural Arts Centre, Greenaway Art Gallery, University of Adelaide, South Australian School of Art Gallery, Artspace Sydney, and Institute of Contemporary Art Singapore.

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Image courtesy of the artist.

Often Hamilton has used real objects, transplanted from their original site and context into that of the art gallery. Under Hamilton’s spell, these regular things take on an almost mystical aura… Hamilton draws us into an environment that evokes a sequence of events, or a passage of time, or the experience of being in the place that Hamilton recalls. He is expert at finely gauging very precise experiences of tactility and sensation, while offering an horizon of symbolism, character and narrative. A few years ago Hamilton’s interest turned from the mythology of the Australian Outback to that of the American ‘Frontier’, otherwise popularly mythologised as the ‘Wild West’, or the ‘Old West’… As ciphers and relics, refashioned by Hamilton’s aesthetic understanding, the objects and images Hamilton uses memorialise the symbolism that lies at the heart of our relationship to what was once known as ‘the Frontier’. And they enact the intense sense of poignancy that this evokes.

Antony Hamilton lived in Central Australia at Alice Springs from November 2006. He worked as a tour guide for an Alice Springs tour company taking international tourists to Uluru-Kata Tjuta National Park.

During this time he took up an Australia Council residency in Los Angeles, USA, at the 18th Street Arts Center in Santa Monica for three months in 2007, where he began to develop a work.

He returned to working in Central Australia as a tour guide and more recently with an Alice Springs charter company to Aboriginal communities.

Antony Hamilton has exhibited in such major exhibitions as— Meridian: Focus on Contemporary Australian Art, Museum Contemporary Art, Sydney; Arid Arcadia: Art of the Flinders Ranges, Art Gallery of SA; Eden & the Apple of Sodom, Adelaide Festival of Arts, University of South Australia Art Museum; Chemistry: Art in South Australia 1990–2000, Art Gallery of South Australia; Virtual Reality, National Gallery of Australia, Canberra; Recent South Australian Art and Biennial of Australian Art, Art Gallery of South Australia.

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I have been working with mobile phones for some time now.

For this work I chose to extend this process. The installation comprises video and sound recordings using an iPhone 5.

The experience of being with a newborn baby is a deeply profound aesthetics experience of beauty. The work explores the human as an unfolding process and human cognition as an in-between state that straddles the material and the spiritual. This process embraces the aesthetic experience of observing the new-born as a revelatory process of vulnerability, understanding the baby to be completely dependent and where she is not threatened by a sense of her own vulnerability. The new-born is completely vulnerable and will always trust.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Siamak Fallah, Az Zabán-i Mádari: Labaik Labaik – No. 2 (From The Mother Tongue: Here Am I, Here Am I – No. 2), 2015, Single channel video projection, 9 min.

Image courtesy of the artist.

My work explores the psychological complexities and struggles of the self often through compulsive psychological mechanisms and reconstructions of reality. Predominately focusing on everyday fantasy states created as a means to direct the uncontainable hunger of the void, fill what is missing or repair the un-repairable. Exploring narcissistic fantasy as a narrative device to manage repressed desires, anxieties, and emotional wounds and as a tool in studiobased processes. As fantasies serve as a self-directed strategy to manage trauma, loss and lack within the self, her work is approached from a narcissistic perspective, referring to self-regard not ego-driven personality disorders. Through performtive video and installation I am drawn to the idea of the body as a container for the psychological-emotional self, which can be holding and seeping, full or empty, open or closed and mental spaces that can be physically entered in some way.

I have created an immersive space that may appear similar to a place in the physical world but is a mental space, a state of mind, a perception filled with connections, associations and obscurities.

Enterable by the viewer I am making them enter a subjective psychological space yet one where they can physically interact with the work and allow their own associations to take hold.

KAB 101, Provisional State Part 2, 2013, dimensions variable, installation view, acrylic paint and barb wire.

Image courtesy of the artist. mage courtesy of the

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The design concepts or executed paintings I made were selftaught. New York City subway writing was my biggest influence, kids painted the side of trains so their names would be seen in different burroughs throughout the city—it was called going “All City” or “Bombing”, meaning your name was written on all lines. The second biggest influence was my peers in South Australia and Victoria.

Australia had pushed styles of lettering beyond the likes of Europe.

I worked hard experimenting and found exciting things to inspire

Street-writing since the early 1980s, KAB 101 has developed a marking style reflective of his personality. His work is based on calligraphic signature markings and mechanical type styles. His studio paintings consist of these same styles that also indicate his awareness of the smaller details of society that sometimes go unnoticed. He explores abandoned spaces, tunnels and urban infrastructure, sometimes leaving his work behind to be discovered, as opposed to always working in public places. His inspiration comes from subway graffiti, type, packaging, handwriting and a balance of nature and technology. He has been involved in painting and exhibiting nation-wide for the past twenty years.

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Ray Harris is not a middle aged man but an Adelaide artist working in performtive video, sculpture and installation. Ray has a Masters degree from the University of South Australia (2014) and has exhibited locally at the Samstag Museum, Australian Experimental Art Foundation, SASA Gallery; Contemporary Art Center of South Australia, Adelaide Festival of Arts and Hugo Michell Gallery. As well as Sawtooth (Launceston), Boxcopy (Brisbane), InFlight (Hobart) Next Wave (Melbourne) Sydney Contemporary Art Fair, Casula Powerhouse, Brenda May Gallery, Supermarket Art Fair (Sweden), Gil and Moti Homegallery, (Netherlands) and Pirimid Sanat (Turkey). Her work is held in The Borusan Collection and Project 4L- Elgiz Museum Collection, Turkey and private collections in Australia and was a co-director of FELTspace ARI from 2010 to 2015.

my writing and painting practice. I started working towards painting larger walls with permission, for every one person that liked the murals there would be ten people who hated it and would let you know verbally, sometimes physically. I always put it down to their non-education of the subject and at times I would walk away asking why I put myself into public view in the first place. At some point in the 1990s I started to use the signature styles on wood, metal and canvas. My style became more calligraphic and developed away from the traditional interlocked lettering designs that I had previously spray painted. Today I continue to develop my painting and writing practice, the calligraphic styles I use have taken a different direction although its still name writing to me.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Ray Harris, She Splutters Darkness, 2013, video still HD digital.

Image courtesy of the artist.

Writing: it has been everything to me, my own worst enemy, my secret love, my own personal vocation. Name writing—I was here —I exist—I’m here and then I’m gone. A name can be seen with no idea of the person behind the name. Circa 1980 something made me understand that no matter how everyone tries to understand you— there are ways to keep something for yourself and your peers. I wrote for myself and my friends. My family name didn’t exist beyond school enrolments. I had my own identity—someone completely unknown with face value. “You saw the name but you see nobody behind it.” Invisibility. I spent my waking hours in freight yards connected with other industrial factories, exploring and studying the crude marks or stencils that industry workers used. Freight train workers had written their own “handles”, marks, names or insignias. I had a window to watch industry workers names appear on boxcars. It was in these mechanical yards I started using the same kind of materials to mark our personal playgrounds. We wrote our names in spraypaint and markers. School became irrelevant for me, it’s not for everyone. I would have liked to study art but my location at the time did not have any kind of programs. I left school after my first exam and decided I wanted to paint as much as possible.

Paul Sloan, Interior Motives 1, 2015, 1525 x1220mm, paint on printed canvas.

Image courtesy of the artist, and Hugo Michell Gallery, Adelaide.

Paul Sloan has an interdisciplinary practice and works across a variety of mediums including painting, sculpture, photography, installation, and sound-based performances.

While he draws on multiple landscapes – sonic, sociopolitical, cultural, historical, colonial – for inspiration, his work focuses on the themes of revolution, rebellion and the related flux that lies within.

Sloan is interested in examining that which often escapes our attention, in presenting oblique signifiers, and points of transformation. Through the assembly of seemingly disparate and unconnected images viewers are required to construct their own ordering narrative(s). Images are thrown up – as if from the collective subconscious of our visually saturated epoch – devoid of hierarchy, yet laced with arguments, loaded with questions.

In Interior Motives, Sloan presents collages constructed out of images taken from found art, architecture and design

In Interior Motives Sloan disrupts the privileged, sacred interior spaces of the museum, the art gallery, the artist’s studio, and the biennale pavilion, creating new spaces for contemplation, inviting unexpected things, people, and events to enter, allowing juxtapositions and commentaries to arise that are sometimes serious, sometimes tongue-incheek, yet always profoundly subversive.

Born in 1970, Belfast, Northern Ireland, Paul Sloan immigrated to South Australia with his family in the early 1970s. After working as a photographer’s assistant and a musician, he studied Fine Arts at RMIT, Melbourne. In 1998 he graduated from RMIT with a Bachelor of Fine Arts (Hons). In 2003 he returned to South Australia where he now has a full time studio practice. Paul Sloan has been the recipient of a number of grants and residencies. Most recently, he participated in the international artist in residency programme at HIAP, Helsinki, Finland in 2014 through the Australia Council for the Arts Artist in Residency Programme.

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The ongoing series either, either seeks to collapse time, history, fact and fiction into beautiful new worlds replete with certainty and contradiction. The malleability of time through the simultaneous presentation of still and moving imagery is central to my work within the ‘expanded field’1 of photomedia.

This work problematises what is real and not real by exploring a peculiarly Australian experience. These nowherescapes are gentle and edgy evocations of the slipperiness of time.

In them there is a reimagining, of people, place and art. They are all linked in their own ways. They challenge notions of reality, fiction, landscape and above all, of time. Time and nature are entwined together in a helical fashion.

The contention of this approach to complicate our perception of time beyond the chronological straightjacket it finds itself relegated to on a daily basis. My research continues to explore the notion that time is ‘collapsible’, constantly unfolding and repeating and that photomedia becomes our most reliable connection to time itself as lived experience.

It is the variability of time and the ‘anxieties’2 these create that my research is now examining through an investigation of the colonial life and times of Colonel William Light (1786 -1839). The execution of the work contests notions of reality, narrative and history amongst the backdrop of life in South Australian liminal hinterlands.

As Jemima Kemp writes, Taylor ‘…brings us to an uneasy space where nature meets culture, one where the fragility of the bush is threatened… yet one where this proliferative energy, where nature abundant, beautiful, slippery and resistant pushes back and evades culture’s force.’ Nature resists culture. Nature pushes back.

The Artist would like to thank David Kerr, South Australian Museum and Rayleen Forester, City of Adelaide Civic Collection.

CJ Taylor’s practice examines notions of beauty and the grotesque in an Australian vernacular. Drawing upon the harsh beauty of the bushland surrounding his home on the Fleurieu Peninsula in South Australia he creates potent snapshots of a future embedded in the past, grounded in both science and the arts, in proof and in theory, in fact and in fiction.

His works examines the intersections and productions of time, hyperreality and affect within the photographic image.

Exhibited nationally and internationally, including the National Portrait Gallery’s Australian Photographic Portrait Prize, Art Central Hong Kong, Galleria Marcolini, Italy, the Pingyao International Photography Festival, China and Hatched 2012, Perth Institute of Contemporary Arts. In 2014 he won the inaugural Adelaide Park Lands Art Prize and was a finalist in the first Kennedy Prize for beauty. His work is held in the collection of the National Film and Sound Archive, Canberra and the RPH Collection, Perth, national and international private collections. CJ Taylor is represented by THIS IS NO FANTASY Melbourne.

1.Baker, George, Photography’s Expanded Field, October 114 (2005): pp121-40.

2. Belden-Adams, Kris, Modern time: Photography and temporality, PhD dissertation (Advisor Dr Geoffrey Batchen), City University of New York, (2010): p33.

www.cjtaylorworks.com

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From imperial histories to art histories, Sloan identifies colonisation as the unifying strand that connects these fields of enquiry. “As artists, art-historical conventions and aesthetic traditions colonise us and our ways of seeing as much as political and ideological structures. I am fascinated on a broad, overarching scale by the question of what colonises us now?”

From the seminal Modernist collages of Georges Braque and Pablo Picasso (which brought sculptural elements directly onto the surface plane of the painting), to the political collage and photomontage works of Dada artist Hannah Hoch (which used images and text appropriated from mass media to attack the ideals packaged, and popularised by Weimar Germany’s media), through to the photomontages and composite images of Pop Art artists such as Richard Hamilton, the processes of collage and photomontage can be seen as inherently disruptive and non-linear. The artist is able to shatter the prison cells of space and time, creating new possibilities, surreal juxtapositions and dissident commentaries. In Interior Motives, Sloan exploits these potentials of collage while traversing back into the realms of painting and printmaking.

CJ Taylor, Ex Officio, 2015, 60 x 130cm, pigment print.

Image courtesy of the artist, and THIS IS NO FANTASY, Melbourne.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

“The same themes seem to resurface again and again within my practice, yet each time a new facet or aspect presents itself,” he says. The recurring points which pique Sloan’s attention are quite varied - light in the landscape, our relationships with nature, found images of social uprising, revolt, revolutionary activity and points of flux, the relationships that exist between music, art, and history – yet they form an enduringly constant cycle of creation. Sloan is interested in investigating and drawing out connections between these diverse fields of enquiry.

magazines. During his artist in residency in Helsinki, Sloan established a daily ritual of making collages from the magazines left by previous residents. Produced over a period of three months, these works play into a rich field of practice that was established in the twentieth century.

SASA Gallery

Roy Ananda, Slow crawl into infinity, 2014, installation view at Samstag Museum, approx. 550 x 1100 x 700cm, plywood, timber, fixings.

Photograph by James Field.

Image courtesy of the artist, Samstag Museum of Art (University of South Australia) and Dianne Tanzer Gallery + Projects.

SASA Gallery

The SASA Gallery is a research facility within UniSA’s

School of Art, Architecture & Design. The SASA Gallery’s

Exhibition open:

exhibition, publication and external scholar programs focus on

7 Jul – 11 Aug

experimental, innovative and performative contemporary art,

Mon-Fri 11am-5pm

design, curatorial and writing practices.

Sat-Sun 2pm-5pm

www.unisa.edu.au/business-community/galleries-museums-andcentres/sasa-gallery

This restaging of a well-loved trope of film and literature is similar in spirit to fan activities such as cosplay, replica prop-building and the writing of fan fiction. In each of these endeavours, aspects of various imagined worlds (and the

Roy Ananda has been actively exhibiting since 2001, holding solo exhibitions at the Anne and Gordon Samstag Museum of Art (Adelaide), Dianne Tanzer Gallery + Projects (Melbourne), West Space (Melbourne), Gippsland Art Gallery (Victoria), Gallery 4a (Sydney), FELTspace (Adelaide), Downtown Art Space (Adelaide), Fontanelle Gallery (Adelaide) and the Contemporary Art Centre of South Australia (Adelaide). He has also participated in dozens of group exhibitions around Australia including significant survey exhibitions such as Primavera at the Museum of Contemporary Art (Sydney), the Australian Drawing Biennale at the Drill Hall Gallery (Canberra) and The New New at The Galerie, Contemporary Art Centre of South Australia (Adelaide). In 2010, Ananda was the South Australian recipient of the Qantas Foundation Art Award. In addition to his art practice, Ananda is also active as a writer and educator. He has lectured at Adelaide Central School of Art for over ten years and is currently undertaking Masters by Research at the University of South Australia’s School of Art, Architecture and Design.

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Corner of Hindley St and Fenn Place, Adelaide

Suspended from the ceiling, a kinetic sculpture plays out an endless swashbuckling duel between two rapier-wielding combatants. However, while the narrative function of a duel is to drive a story forward with conflict, drama and death, this work results in an impasse rather than a resolution. An event that is typically initiated with the slap of a glove and a demand for satisfaction becomes an exercise in futility; the feud remains perpetually unsettled.

narratives and characters therein) are re-experienced and commemorated. While such practices will probably continue to remain the province of the devoted fan, it is hoped that even the casual film buff will derive some pleasure from playing casting director and filling in the blanks that this work offers up. While I would personally recommend filling these blanks with Sir Robin of Locksley vs. Sir Guy of Gisbourne (The Adventures of Robin Hood, 1938), The Dread Pirate Roberts vs. Inigo Montoya (The Princess Bride, 1987) or Captain Malcolm Reynolds vs. Atherton Wing (Firefly, 2002), viewers are of course at liberty to insert duellists of their own choosing.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Kaurna building, City West Campus, UniSA

Over the past ten years, I have found my persona as pop-culture fan-boy permeating my art practice at every level. Increasingly, my work seems to take the form of odes to the various strands of popular culture that loom largest in my imagination. My affection for Warner Brothers’ cartoons, Star Wars and the weird fiction of H.P. Lovecraft has resulted in an eclectic range of objects, drawings, videos and installations. In making work from these various starting points, I have become progressively more aware that I am not only celebrating these particular worlds and stories but also the very state of fandom – the survival of child-like enthusiasm well into adulthood. While it draws its imagery from a different fictional genre, my contribution to CACSA Contemporary 2015 is very much part of this continuum of work.

Mountain ranges and vast salt flats. The presence of time on a geological scale. Rivers of mercury and kingdoms in miniature deep inside unnatural pyramidal land forms.

Ancient megalithic architecture; evidence of deep human antiquity. Strange vast geometric structures in the Gobi desert, satellite calibration? Billions of dollars worth of infrastructure on a tiny island in the middle of the Indian ocean. Pine Gap. There is ever present suspicions that technology far more advanced than what the general public have access to, or are even aware of, exists in the world today and has existed in the past. Uncovered in 1902, the megalithic Osirion, buried behind and below The temple of Seti in Abydos in Egypt is far more advanced technologically and aesthetically than the ancient ruins built much later on top of the thousands of years of silt that formed over the Osirion. Baalbek, Lebanon. Giza.

Often material evidence, lays bare the way something was made as well as it’s function, sometimes layers of material abstraction form over mysterious cores, concealing both the evidence and utility of the constructions. Sometimes a thing is not reducible to its material elements nor to any symbolic equation. A thing can have a physicality that is immediately accessible; a materiality that is apparent and evident, apparent to all the senses. It can have its constituent elements analysed weighed and measured. It ‘s form assessed for insight into what might be it’s intended function. Patterns and symbols deciphered. Sometimes we encounter a thing about which vast quanta of data can be collected, yet for all this, it’s purpose, function and meaning remains entirely mysterious and intellectually insoluble.

Matthew Bradley, M-45 Galaxy model, 2015 bronze, plaster and sand 27.5 x 24 x 6.5 cm Image courtesy the artist and GAGPROJECTS | Greenaway Art Gallery, Adelaide.

SASA GALLERY 7 JUL – 11 AUG

In ‘Longboard Sequence’ the artist wears a garment made of black hemp silk. Balancing atop a custom built longboard and armed with a pole she propels the board forward, ‘pricking’ as one would a punt. This work presents the artist with both a physical and conceptual challenge. The documentation records an action performed with purposefulness and purposelessness.

There is a hint of narrative and deliberate intent yet ultimately this is an experiment in creating a narrative-less activity-based performance. The action requires focus, balance and endurance and is executed with a mix of determination and grace. No end point is ever reached.

Sundari Carmody, Longboard Sequence (rehearsal), 2015, documentation of an action.

Image courtesy of the artist.

Sundari Carmody was born in 1988 in Murwillumbah, NSW and is currently based in Adelaide. In 2011 she graduated with a Bachelor of Visual Arts (Honours) from the South Australian School of Art. She has exhibited in group and solo exhibitions in public, commercial and artist-run spaces including FELTspace, SA; Constance ARI, Tas; Contemporary Art Centre of South Australia; Greenaway Art Gallery, SA; FORM, WA; SASA Gallery, SA; Spectrum Project Space, WA. In 2014 she was a recipient of an Australia Council of the Arts Artstart grant.

Carmody has served as a co-director of FELTspace (2012-13) where she initiated ‘FELTnatural: A River Torrens Public Art Project’ (2013). She is a founding codirector of Grid Projects, which launched the ‘Grid Festival 2014’ a series of exhibitions of emerging artists in artist run spaces coinciding with the Adelaide Festival 2014.

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Recent group exhibitions include: Pigeon Auction, Casula Powerhouse, Sydney, 2013; This is what I do, Metro Arts, Brisbane, touring to CAST, Tasmania, 2012; Nothing like performance, Artspace, Sydney, 2011; Before and After Science: 2010 Adelaide Biennial of Australian Art, Art Gallery of South Australia; Contemporary Australia: Optimism, Queensland Art Gallery/Gallery of Modern Art, Brisbane 2008; Recent solo exhibitions include Space Chickens help me make Apple pie, Fontanelle Gallery, Adelaide, 2012; New vehicles and exploration, Greenaway Art Gallery, Adelaide 2011; Axle Mace, Contemporary Art Centre of South Australia, 2010. Matthew Bradley is represented by GAG Projects, Adelaide.

Recently she has started making costumes that have in turn engendered performance works, sculptures and tools, the new works appear to be filtered through the histories of art, performance and couture culture.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Matthew Bradley’s sculptural and performative works are the result of an experimental and original approach to thinking and making. Qualities of art relevant to his practice include those that are akin to the work of the cosmologist, the physicist and the engineer. He is known for a restrained and methodical approach to materials and form, and philosophically robust engagements with notions as diverse as risk, delinquency, power, the evolution of consciousness, the origins of the universe, the fatal attraction of the horizon and the complicated relationship of these notions to the intellectual advancement of society and the psychic renewal of the individual citizen.

Sundari Carmody’s current practice has evolved beyond her training as a photographer. Early work focused on the artist as the subject, posed in front of the camera that captured her movement as a blur across the image.

Michelle Nikou, Sylvia’s jumper, 2013, 16 x 79 x 58cm, wool, cement globes.

Image courtesy of the artist.

Contemporary visual artists, avant-garde musicians and certain groups of rock and pop artists, have used juxtaposing elements to facilitate an interdisciplinary dialogue utilising aspects of minimalism, sound, light, and projection to create immersive environments in gallery based visual art. Kobylecki’s work differentiates itself from much

contemporary attempts at hybrid practice in its focus on musical/artistic dissonance as a key factor that deconstructs the binaries implicit in the harmonic construction of sound and image, thereby creating a distinctively hybrid formation as opposed to a multi-disciplinary multilayered engagement.

After studying Art History at Monash University, completed a Bachelor of Visual Art and Applied Design at AIT Arts in 2001. In 2004 completed an Honours Degree at UniSA and a Masters by research in 2010. In 2009 and 2011 he undertook funded watercolour workshops with Patrick Fouiloux in Paris. Between 2010 – 2013, worked as an assistant to artist Anselm Reyle in Berlin, Germany. Kobylecki is currently undertaking a PhD in Philosophy (Visual Art) candidature at the School of Art and Architecture, UniSA. Marcin was born in Poland and arrived in Australia in 1988. Although painting (especially in watercolour) has been his primary focus, he has also been involved in Adelaide’s underground music scene since the early 1990’s.

The two pursuits have recently found a common ground within Marcin’s art practice. Music and sound have been a significant element of his visual art in the past three years. Painting and moving image have also been seeping into his work as a musician in capacity of cover art and live visuals. Marcin’s music project -Blood Plastic is the current performative, sound/musical platform for his artistic pursuits.

This work explores a methodology expressed by Fredric Jameson as that which delivers “…notions of a space that is somehow meaningfully organized and on the very point of speech, a kind of articulated thinking that fails to reach its ultimate translation in propositions or concepts, in messages…”1 Gertrude Stein famously showed consideration of this space of reason beyond the familiar comfort of the rational in her text Tender Buttons (1914): Rooms What was the sensible decision. The sensible decision was that notwithstanding many declarations and more music, not even notwithstanding the choice and a torch and a collection, notwithstanding the celebrating hat and a vacation and even more noise than cutting, notwithstanding Europe and Asia and being overbearing, not even notwithstanding an elephant and a strict occasion, not even withstanding more cultivation and some seasoning, not even with drowning and with the ocean being encircling, not even with more likeness and any cloud, not even with terrific sacrifice of

pedestrianism and a special resolution, not even more likely to be pleasing. The care with which the rain is wrong and the green is wrong and the white is wrong, the care with which there is a chair and plenty of breathing. The care with which there is incredible justice and likeness, all this makes a magnificent asparagus, and also a fountain.

1. Fredric Jameson, The Cultural Turn, 1998, p. 64. The excerpt taken from Tender Buttons

by Gertrude Stein, first published in 1914 by Claire Marie, New York.

Michelle Nikou was born in Adelaide in 1967 and graduated from the South Australian School of Art with a Bachelor of Design in 1989 and a Master of Visual Arts in 2005. Michelle has produced work for regular solo exhibitions since 1993 and is represented by Darren Knight Gallery in Sydney. Michelle has work in private and public collections including the National Gallery of Australia, Art Gallery of South Australia and the Museum of Contemporary Art in Sydney. In 2005 Michelle Nikou was a recipient of the Arts SA sponsored South Australia Living Artist Festival publication prize resulting in a monograph published by Wakefield Press. In 2009 Michelle was awarded a Samstag Scholarship and studied under Professor Thomas Rentmeister at Hochschule für Bildende Künste Braunschweig (HBK) during 2010 and 2011. Michelle is currently undertaking her PhD at the University of South Australia.

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Marcin Kobylecki’s work focuses upon engaging with a creative dialogue between avant-garde visual art and avantgarde music that was evident in aspects of twentieth century Eurocentric vanguard culture and persists to this day albeit in more disparate formulations consistent with an expanded field of postmodern arts practice. His work is informed by the increasing resonance evident in the relationships between postmodern visual art and concurrent musical tendencies. Marcin’s work explores the relationship between contemporary visual art and music, which has generated a hybrid art form (the popular front of which is the music video) the potential of which is predicated as much on a mutual dissonance as it is on harmony.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Marcin Kobylecki, Spiritual, 2014, dimension variable, watercolour on cardboard, stereo equipment, sound.

Image courtesy of the artist.

Jessie Lumb, Filtering the universe on a passage to the lungs (detail), 2014, dimensions variable, cigarette butts, coloured paper, Image courtesy of the artist.

Cigarette butts are persistent. And representative of a human desire to congregate.

There is power in these moments, and we leave inspired – to be more hopeful, more joyful, more thoughtful, more alive.

P U B L I C A R T. 2 5 J U LY – 3 0 A U G

In 2014 Folland exhibited a body of work at Art Gallery of South Australia which focused exclusively on these themes, and saw the first investigations that navigated the risk associated with colonial exploration, but also more allusive references to the fragility of existence and its inevitable demise. Among the more subtle works in the exhibition, Folland arranged for the galleries usual flower display to be replaced with a funeral bouquet, subtly imbuing the space with recollections of loss. These themes are now recognised as the foundation of Follands practice, and for CACSA Contemporary 2015 this focus falls on a series of

responses to local public artists who have passed away in recent years. Acknowledging the gift or legacy of creative contribution vital to local culture and identity, he has created a series of memorial wreathes, reflecting those offered at recent ANZAC ceremonies, alluding to the generosity and sacrifice of artistic endeavour.

Nicholas Folland graduated from the South Australian School of Art, University of South Australia with a Bachelor of Visual Arts in 1997 and First Class Honours in 1998, and was awarded a Master of Visual Arts from the Sydney College of the Arts, University of Sydney in 2009. He has been Head of Contemporary Studies, Adelaide Central School of Art since 2012, where he was also recently appointed Head of Sculpture. Folland was awarded the Anne & Gordon Samstag International Visual Arts Scholarship in 1999, which saw him work within the Piet Zwart Institute, Rotterdam and participate in the Public Art Observatory at the University of Barcelona. Folland returned to Barcelona to continue his research in 2002 with a professional development grant awarded by the Australia Council. The Australia Council granted the artist subsequent support for new work in 2004, 2007 and 2010. Folland was the subject of the 2014 South Australian Living Artist monograph published by Wakefield Press to correspond with a significant exhibition of the artists work presented by the Art Gallery of South Australia. His work is held in national public collections including Artbank Australia, Art Gallery of South Australia, Museum of Contemporary Art, National Gallery of Victoria and Queensland Art Gallery - Gallery of Modern Art.

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No-where is this more evident than on the ground outside a gallery after opening night, where people come together to socialise as much as to see what’s on show. Creating a common denominator between strangers through the simple act of asking for a light, we gather together to connect and to remind ourselves we aren’t alone.

A first class honours graduate of the School of Art, Architecture and Design (UniSA), Jessie won the Adelaide Critics Circle 2013 Emerging Visual Artist award. She was selected for Hatched 2010 National Graduate Exhibition at the Perth Institute of Contemporary Art and has exhibited with the Australian Experimental Art Foundation; at SASA Gallery (UniSA); and in solo shows at Constance ARI, Hobart; Fontanelle, Adelaide; in the Project Space at the Contemporary Art Centre South Australia, Adelaide; at FELTspace, Adelaide; and Trocadero Artspace, Melbourne. She has created temporary public artworks both individually and collaboratively in Adelaide, Melbourne, Tasmania and in Jingdezhen, China. From 2011 – 2012 she spent a year as an Australian Youth Ambassador for Development working with the Arts Council of Mongolia in Ulaanbaatar, Mongolia. Jessie was a co-director of FELTspace from 2010-11 and is currently a co-director of Tarpspace Mobile ARI.

Absence, loss, failure and death have been persistent themes in Follands practice for well over a decade. These notions have been alluded to through the realisation of relic and memorial, with an emphasis on the fine line that prevails between success and failure. The results have seen a celebration of small personal achievements as well as analysis of failed aspirations of nations and populations, where the attitude of ‘having a go’ is recognised irrespective of the fortune of outcome.

CACSA CONTEMPORARY 2015

CACSA CONTEMPORARY 2015

Because of their tiny size and sheer number, they are almost impossible to remove from our environment and despite them being the most littered item in the world we remain virtually oblivious to their existence. As such, they become an invisible marker of our presence, a navigation system within a city, a revelation of the places we’ve been when the smokes are long since out.

Jessie Lumb is a South Australian artist working in the field of Sculpture and Installation. An obsessive observer of the little details we encounter in our everyday lives, her practice highlights the unnoticed details that make up our world. Her small scale, site specific interventions attempt to provoke in the viewer a greater understanding and experience of ‘where we are’, transforming the mundane into something wondrous and beautiful.

Nicholas Folland, I think I was asleep..., 2014, dimensions variable, chandelier, refrigeration unit, 12v lighting, photograph by Alan Cruickshank.

Image courtesy of the artist, and Tolarno Galleries.

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CACSA Contemporary 2015 Curator Logan Macdonald 6 August – 30 August 2015

No part of this publication may be reproduced without permission.

The views and/or opinions expressed in this publication are those of the contributing artists, writers and not necessarily those of the staff or Board of the CACSA.

Contemporary Art Centre of South Australia 14 Porter Street Parkside South Australia 5063 Chair of Board Project Manager Project Curator Design Printer

Contemporary Art Centre of South Australia Inc. is a member of CAOs – Contemporary Art Organisations Australia.

Jim Moss Sarita Chadwick Logan Macdonald Sam Songailo Newstyle Printing

Contemporary Art Centre of South Australia Inc. is supported by the Visual Arts and Crafts Strategy, and initiative of the Australian, State and Territory Governments.

T +61 8) 8272 2682 E admin@cacsa.org.au URL <http://www.cacsa.org.au> © Copyright 2015, Contemporary Art Centre of South Australia, the authors and artists.

Contemporary Art Centre of South Australia Inc. is assisted by the South Australian Government through Arts SA and is assisted by the Australian Government through the Australia Council, its arts funding and advisory board.

CACSA would like to thank the following sponsors, and venues for their contribution and support for CACSA Contemporary 2015.

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