(to) give time to time adelaide site 20.08 – 18.09.10
(tgttt) aeaf mildura site 17.09 – 19.09.10
Two openings at two venues Thursday 19 August
aeaf opening 5.30pm-7pm
guy stuart a continuous wooden floor revisited
queen's theatre opening 7-9pm
sarah crowEST • mikala dwyer with sam hughes and natural selection theory • bonita ely • ardi gunawan • paul ramirez jonas • raquel ormella • ti parks • george popperwell • sandra selig • jason sweeney • johannes s sistermanns
performances by Mikala Dwyer with Sam Hughes and Natural Selection Theory, Ti Parks, Ardi Gunawan, Jason Sweeney, Paul Ramirez Jonas
(to) give time to time is an extensive AEAF project dedicated to the examination and generation of ephemeral art practices. It will take place in Adelaide at the AEAF Gallery and nearby Queens Theatre, from 20 August - 18 September and in Mildura, in collaboration with Mildura Palimpsest, from 17-19 September 2010.
See news for a report from the opening night. Documentation here soon
AEAF gallery: Guy Stuart A Continuous Wooden Floor Revisited
The artist writes: A Continuous Wooden Floor Revisited is the reconstruction of a historically significant site-specific installation that took place forty years ago. The original exhibition
A Continuous Wooden Floor was a large temporal sculptural installation that completely filled Gallery A Melbourne in 1970. It was built then gradually disassembled over the time of the exhibition. Every stage of this process was the evolving work of art. It was the extreme manifestation of the artist’s ideas at that time which flowed from drawing to painting to sculpture.
This recreated floor relates two ramping waves built from recycled timbers, which together create four floors at an absurd incline. The pair of structures contrast and compliment each other and can be seen as exteriors and interiors. In landscape terms they are two small hills with the under spaces as caves.
Guy Stuart was born in Canberra in 1942, and was a student of John Brack at Melbourne Grammar. He has had 28 solo exhibitions. Other exhibitions include: 10th Biennale of Modern Art, Sao Paulo Brazil, 1969. A Brief Retrospective, Heide, 1982. Intimate portraits, National Portrait Gallery in 2002. Bowls, Vats, Discs and Baffles, TarraWarra Museum of Art, 2007. He exhibits with Charles Nodrum Gallery in Melbourne and Stella Downer Fine Art in Sydney. His lifelong preoccupations are drawing and painting, and he believes in the continuing value and necessity of the object in art. Guy Stuart lives and works in Melbourne.
odradekaeaf & AEAF Dark Horsey Bookshop: videoVoid
videoVoid will show a selection of historical Australian videos and performances from archives and collections around Australia in the odradekaeaf window box and in the bookshop
14.08 – 15.08.10
start where you are with what you've gotin the AEAF offices
(to) give time to time: aeaf mildura site
17.09 – 19.09.10
tim burns • barbara campbell • bonita ely • domenico de clario and eugene carchesio
maudie palmer • judith blackall • rex butler • edward colless • brenda croft • anne sanders • juliana engberg • neil fettling • mark minchinton • marco marcon • glenn barkley • stelarc
launched by robyn archer
(T)GTTT symposium will examine the history and development of ephemeral art, including the significant contribution made by the Mildura Sculpture Triennials. Alongside the Symposium seven artists have been commissioned to create site-specific work investigating the Symposium’s themes. Enjoy a convivial weekend in Mildura with meals prepared by Stefano de Pieri and a live link/performance by Stelarc on Saturday night.
For details visit Mildura Palimpsest site www.artsmildura.com.au/palimpsest
(to) give time to time examines ephemeral/time-based practices and the impact of Mildura Sculpturescape (1969-1978) on Australian contemporary art practice. It will do this by making historical links between key practitioners from the 1970’s and now, re-enacting key works and installations in the context of current drifts in thought and practice. Ephemeral art is usually understood as reflecting a desire to dematerialise the art object in order to neutralize the demands of the market. It is transitory in nature and manifests in temporary or short-lived forms based on the specificity of the event and its circumstances.
The project will take place simultaneously at multiple sites through residencies, exhibition and site-specific installation, performance, screenings, a symposium, and a masterclass by New York-based artist Paul Ramirez Jonas who will also produce work for the enigmatic and somewhat ruined space of Queen's Theatre in Adelaide. Other new works by key local and international artists for Queen's Theatre will be made by George Popperwell (SA), Ti Parks (UK), Paul Ramirez Jonas (NY, USA), Mikala Dwyer (NSW) with natural Selection Theory (NSW, SA), Bonita Ely, Raquel Ormella (NSW), Sandra Selig (Qld). Ardi Gunawan (Vic)– participant in the compelling gone in no time (gone in no time) project last year – returns to Adelaide again, along with Sarah crowEST (SA/Vic). Jason Sweeney(SA) will perform a new sound work, whilst Johannes S. Sistermann (Germany) will continue his engagement with the aerial landscape at oratungaproject Flinders Ranges concluding with an installation sound performance at the theatre.
videoVoid, historically significant works from the 1970s, will screen in odradekaeaf window and bookshop. It will include work by Albie Thoms, Bonita Ely, John Gillies, TSK TSK TSK, Ken Unsworth and others. The curators write: Anyone who wants to explore early Australian video and performance artworks faces the difficulty of accessing these works and tracing the history and leitmotifs that connect them. Our aim is draw the attention of both experts and the general public to the seminal works of Australian artists, which would otherwise stay lost in time. For the aeaf video void draws out the crucial role video, as a new technology at the time, was used as a medium in itself to explore the potential for time as material for thinking in.
Curated by Matthew Perkins and Dr Elena Galimberti.
in time is transition
In his SoundPlastic at Queen's Theatre INTUITION Room 2010 Adelaide Johannes S. Sistermanns will perform his ongoing engagement with Oratunga in the Flinders Ranges, South Australia. His residental stay at Oratunga is the motivator for what promises to be another compelling soundplastic/performance.
'In time is transition' is an oratungaproject in collaboration with Gini Lee
when:2.30pm 11th September
where: Queen's Theatre, Playhouse Lane, off Light Square, Adelaide
how: Entry is free
Johannes S. Sistermanns has been supported by the NRW Kultursekretariat Wuppertal ‘International Cultural Relations’
Artist Talk: Australian experimental art practices 1973-1986
when:5.30pm friday 3rd September
where: Room H6.12 Hawke Bldg, UNISA, off Hindley Street.
A multi-media lecture that looks at the performing arts in Australia during the years 1973-86. The material presented in the lecture comes from the archives of Mike Mullins, who is the founding director of The Performance Space in Sydney. The presentation looks at the battles that were fought for greater support and recognition of new form practices in the performing arts. It aims to create a measure to what is happening these days.
For many in the audience, it was a moving experience to see ‘our times’ played out, and to see the treads and trends emerge. For the ‘younger people’, both in the audience and those who were involved in the production, it was informative and educational, especially as so much of the work represented continues to be relevant today as 'innovative' Professor Andrea Hull (former Dean, Victorian College of Arts and Music)
Mike Mullins’ Politics of Change should obligatory viewing for everyone with a key role in arts funding and arts administration, and who wish to understand what it takes to build a genuine life in art. Certainly, Mullins reveals with great clarity and poignancy, something of what it means to pursue the fraught and insecure journey of the professional artist and creative visionary; it is a solitary vocation, more likely than most to suffer unrewarding critical oppositions, derision and penury. This archetypal journey of artists is suited only to warriors and believers, if not inspired madmen.Ross Wolfe, former director of the Anne and Gordon Samstag Program
Performance on opening night
Ti Parks, Ardi Gunawan, Paul Ramirez Jonas, Mikala Dwyer with Natural Selection Theory, Jason Sweeney lighter than air
where: Queen's Theatre when: Thursday 19 August. 7-9pm
Jason Sweeney also 2.30-4.30pm Friday 20th & Saturday 21st
Paul Ramirez Jonas
when: 3-4pm Friday 20th August
where: Queen's Theatre, Playhouse Lane off Light Square
when: 5-6pm Friday 20th August
where: AEAF Gallery
paul ramirez jonas master class
start where you are with what you’ve got
when sat-sun 14-15 august
where aeaf adelaide
how to apply in an email to firstname.lastname@example.org with the subject line >prj masterclass<
1. outline in no more than 150 words how participating in a masterclass with paul ramirez jonas would benefit your practice.
2. include support material as attatchments in email :: a short cv (no more than two A4 pages) saved as a word rtf or as a pdf file :: image or text documentation of one or two works/projects. text documents must be either word rtf files, or pdf files; images should be no larger than 2mb.
the masterclass is free however the aeaf doesn't cover airfares or accomodation
applications close wed 30 june
notification by thurs 15 july
I create myself as I speak: I consider myself merely a reader of texts. The pre-existing text I treat as a score: a diary, an old photo, a footpath, music, etc. The reading can take the form of performance, sculpture, photo, or video. Thus, a musical score results in a sculpture, a diary in video, or the plans for a flying machine in a photo. In my works, what looks like invention is but re-enactment. Being a reader don’t I have more in common with the public that with the author? I find that commonality in working with pre-existing materials. This was the basis of my work through out the nineties. Now see my role extending beyond being a private reader, and into someone who invites readers to join in. The result of this shift is the re-assertion of a contract between the artwork and its public.
…is currently a PhD candidate at the Victorian College of the Arts, Melbourne University and has previously investigated the function of the alter-ego in contemporary art practice at the South Australian School of Art.
Mikala Dwyer is a Sydney-based artist. Recent solo exhibitions include: Outland (useless architectures floating grounds), 2010, Hamish Morrison Galerie, Berlin, Germany; Outfield, 2009, Roslyn Oxley Gallery, Sydney. In 2008: Swamp Geometry, Anna Schwartz Gallery, Melbourne; Mono Clinic, Hamish McKay Gallery, Melbourne; Costumes and Empty Sculptures, IMA, Brisbane. Selected group exhibitions include De Overkant/ Down Under: The Hague Sculpture 2007, The Hague, The Netherlands, 2007; Mystic Truths, Auckland City Gallery, Auckland, NZ, 2007. In 2010: Before and After Science Adelaide Biennial of Australian Art, Art Gallery of South Australia; Sydney Biennale, The Beauty Of Distance: Songs of Survival in a Precarious Age.
Natural Selection Theory is a collaboration in experimental winemaking between James Erskine, Sam Hughes, Tom Shobbrook and Anton Van Klopper. With collective experience in Austria, Germany, Italy, France, Spain and the United States, Natural Selection Theory was formed in 2010 with its first project being Runway 3 – a natural wine project utilising music, art and performance in the winemaking process. Subsequent projects, such as Voice of the People highlight the ever complex, variable personality of live natural wine.
… had her first exhibition in London in 1972; recognition of her artwork in Australia effectively started at the Mildura Sculpture Triennial of 1975, where she exhibited a close and complex examination of Mount Feathertop, a location in the Victorian Alpine region that tested the tensions between observation and interpretation in visual representation. Her current work, The Murray’s Edge: a River in Drought, is a series of photographs of the Murray River documented from the headwaters in the Mount Kosciusko National Park to the Coorong in South Australia. The narrative sequence refers back to earlier works creating a comparative study of the Murray River from 70s and 80s to the present. Bonita Ely has a diverse practice, her methodology based on the premise that a particular idea requires the deployment of particular mediums, contexts and technologies. Her artwork of the 70s was a warning of environmental issues that now are in full focus, and continue as the focus of her practice as one of Australia’s important artists concerned with environmental, socio-political issues.
Bonita Ely is Head of the Sculpture, Performance and Installation Department of the College of Fine Arts (COFA), the University of New South Wales, Sydney where she is a founding member of the Environmental Research Institute for Art (ERIA).
… completed a MFA at Monash University in 2009. His research practice focuses on the material encounter with processes of art production explored through sculpture, object-based intervention (or installation), performance, and collaboration. Recent projects include: gone in no time (gone in no time, 2009, Australian Experimental Art Foundation; Sculptural Relations: embodiment, event, forces, and material performance, 2009, Monash University Postgraduate Gallery; Influence(s), collaboration with Nikos Pantazis, 2009, Light Projects; The West Brunswick Sculpture Triennial, collaboration with Susan Jacobs, 2009, Anstey and Ashton & 135 Union Street, West Brunswick. Curators: Open Spatial Workshop; Reconfiguring still: proposals for the super light, 2008, Gertrude Contemporary Art Spaces.
… practice is grounded in exploring the various relationships between humans and the natural environment, with a particular focus on urban expansion, forest activism and bird watching. Her practice covers a diverse range of activities including video, installations, prints, drawings, and zines. Ormella has been exhibiting regularly in national and international exhibitions for over a decade. Recent solo exhibitions include She went that way, curated by Reuben Keehan, Artspace, Sydney, 2009; Walking through clearfells, Milani Gallery, Brisbane and Uplands Gallery, Melbourne, 2010. Group exhibitions in 2010 include The 1st Aichi Triennale, Nagoya, Japan and In the balance, MCA, Sydney.
… is a key figure in the South Australian visual art community, much admired as an artist of weight and consequence. He arrived in Adelaide from the UK in 1977 and until 2001 was a highly influential educator at the South Australian School of Art. He has exhibited at EAF in 1996, and with Anton Hart in The Cloak Room, 2001. The two collaborated again most recently in Temperature at South Australian School of Art Gallery in 2010. His first solo show was in London in 1960, his most recent was Delayed Voyage, 2008 at Contemporary Art Centre South Australia. A collection of commissioned essays of the same title was published by CACSA in 2009. A self-described ‘recluse’ George Popperwell has a penchant for working with difficult and irreconcileable matters with a material and spatial vocabulary entirely his own. Ian North writes “What price the work of a lone artist against these weighty considerations? … I do not for a moment believe that art is required to address big themes or to manifest great complexity, but Popperwell nonetheless does both.” His work is held in AGSA, NGA, and private collections in Australia, UK, Italy, France, USA, Canada.
Time to Stop Sitting on y
The number gives the number of the cut-out. The colour of the number gives the colour of the pen.
At twenty thousand they were di. Composed of battalions with sables and bayonets, they obeyed the rabble, a confused mass with pikes and sticks. (from Ti Parks’ 10,000 Collages, no. 3875)
Guillaume Apollinaire - La Mandoline, l’oeillet et le bambou. c. 1915-1917. Ink on three pieces of paper.
Joan Mirror (sic) Untitled, November 24, 1924; pencil, gouache and feather. Gift of Louis and Michel Leiris.
Joan Mirror (sic), cat. no. 13. Etoile Nichons Escargot Soleil Comete Palpitation de la Chair. Picasso, Figure of a Woman, 1943. Acquired in 1956. The patch of blue to the left of her head only.
Jamila Groth writes right-handed, plays golf left-handed and kicks a ball with both feet. ‘I can play any shot you want’ says the startling ambidextrous Australian.
Ti Parks was born in Kent near London in March 1939. He was christened Theodore but became known as Ti (short for Tightbuttons). His childhood was spent roaming the roads and woods near his home collecting shrapnel, insects, small animal bones from owl pellets, match-box labels and cigarette packets. At school in the 1950s, he discovered Picasso and Kurt Schwitters, ‘collage’ and ‘matter’ painting and the writings of Samuel Beckett. He studied painting and printmaking at the Slade School in London. In 1964 he emigrated to Australia. In 1975 he returned to Kent. He now lives in London.
(b. 1965) in Pomona California; raised in Pegucigalpa, Honduras. Lives and works in New York. Rhode Island School of Design, Providence, RI 1987-1989, Master in Fine Arts, Painting, Brown University, Providence, RI 1983-1987, Bachelor of Arts in Studio Art, Honors. Solo exhibitions include: Alexander Gray Associates, NY, New York (2009); The Aldrich Contemporary Art Museum, Ridgefield, Connecticut (2008); ABRACADABRA: I create as I Speak, The Jack S. Blanton Museum of Art, Austin, Texas (2007).
… lives and works in Brisbane, Queensland. Selected Solo Exhibitions include: in 2009 waves depend on us (light from Tokyo), Milani Gallery, Brisbane; in 2008 invisible surround, Milani Gallery, Brisbane; and surface of change, 2007, Bellas Milani Gallery, Brisbane. Selected Group Exhibitions: 2010 Adelaide Biennial of Australian Art: Before and After Science, Art Gallery of South Australia, Adelaide; in 2008 In the Space of Elsewhere, Stanley Picker Gallery, Kingston University, London; new 08, Australian Centre for Contemporary Art, Melbourne; Handle with Care: Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide; and, Abstraction, Architecture, Space, RMIT Project Space + Spare Room, Melbourne.
Johannes S. Sistermanns (*1955, lives Bornheim/Cologne, Germany) stages his composition as multi channel electroacoustics, soundplastic, radiophonic soundart, new music theatre and soundimage cityspace. From 1976-84 he studied at the Musikhochschule Köln subjects as 'Piano’, 'Rhythmik’ and 'New Music Theatre’ with Mauricio Kagel. Performances, exhibitions, lectures and fellowships took him to Japan, VR China, Australia and the USA. Sistermanns has been performed many venues and international festivals, including Knitting Factory 1995, Melbourne Festival 1997, Worldexhibition EXPO 2000 Hannover, Adelaide Festival 2000, 'Germany in Japan’ Festival 2005, Donaueschinger Musiktage 1996/1999/2005, ISCM World New Music Days Stuttgart 2006/ Sydney 2010, Electroacoustic Festival Shanghai 2006. 2004/2006 he was lecturer at the 'International Summercourses’ in Darmstadt, Germany. In 2008 Johannes S Sistermanns was awarded the German Soundart-Prize for that year from Sculpture Museum Marl/WDR Radio Cologne
… continues to search for ways of working/living as an artist in Australia – finding cross-art approaches to making/creating. He looks for a peculiarity in the world and hones in on it, something which defines the practice: it is unnameable; it is a queer thing; it refuses to be held down; it is a shape-shifter; it embraces cultural diversity; it is not about a specific language but rather about a language unknown, a language to be found through code, random sonic transmissions, chasing the signal, gestural signs, a simple embrace. Driven by filmic and audible fragments, various spaces are entered; despite fear. Some discourse, some off-course. At a time when art-making in Australia is necessarily responsive to political unrest or uncertainty. At a time when art and activism possibly blur. At a time when time is running out. Jason Sweeney is a sound artist, musician, composer, filmmaker, web nerd + performance wrangler. He records music under the guise Panoptique Electrical. His electronic music duo, Pretty Boy Crossover has been releasing albums since 1998. In 2009 he undertook a major sound commission for the work with Belgian dance company, SOIT, which premiered in Europe in 2009. He was artist in residence at Nadine (Brussels) in September 2009. He has an ongoing creative collaboration with writer/researcher, Fiona Sprott – currently developing the dark comedy web series ‘Download The Dead’ – www.downloadthedead.net. His unreasonable films/videos are at www.unreasonablefilms.com and ubiquitous sounds at www.soundslikesweeney.com.
(to) give time to time (Adelaide component) is funded by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
mildura site: [t]gttt symposium and mildura rio vista installations and performances are an aeaf initiative in collaboration with mildura palimpsest 17-19 september 2010
Johannes S. Sistermanns has been supported by the NRW Kultursekretariat Wuppertal ‘International Cultural Relations’
Video Void has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Video Void co-curator Matthew Perkins, is the Studio Coordinator of Photomedia in the Faculty of Art & Design, Monash University.