guy stuart aeaf 2010

(to) give time to time adelaide site 20.08 – 18.09.10

(tgttt) aeaf mildura site 17.09 – 19.09.10

 

(t)gttt launched by Dr Tom McCullough.

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 crowESTmikala dwyer with sam hughes and natural selection theorybonita elyardi gunawanpaul ramirez jonasraquel ormellati parksgeorge popperwellsandra seligjason sweeneyjohannes 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

 

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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.

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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

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masterclass: paul ramirez jonas

14.08 – 15.08.10

start where you are with what you've got

in the AEAF offices

 

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(to) give time to time: aeaf mildura site

17.09 – 19.09.10

an aeaf initiative in collaboration with mildura palimpsest

installation/performances

tim burns • barbara campbell • bonita ely • domenico de clario and eugene carchesio

(T)GTTT symposium

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.

Mildura PalimpsestFor 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.

artist's bios tgttt:adelaide site

 

Sarah CrowEST

…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 with Sam Hughes and Natural Selection Theory

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.

Bonita Ely

… 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).

Ardi Gunawan

… 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.

Raquel Ormella’s

… 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.

George Popperwell

… 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.

Ti Parks

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.

Paul Ramirez Jonas

(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).

Sandra Selig

… 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

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

Jason Sweeney

… 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.

partners & sponsors

australiacouncil(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.

milduramildura site: [t]gttt symposium and mildura rio vista installations and performances are an aeaf initiative in collaboration with mildura palimpsest 17-19 september 2010

 

NRWJohannes S. Sistermanns has been supported by the NRW Kultursekretariat Wuppertal ‘International Cultural Relations’

 

ozcoVideo 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.