odradek


The Success of Failure
curated by Serena Wong

 

ACAB Collective (Vic)
9 July to 10 August 2015

Alex Bishop-Thorpe (SA)
20 August to 21 September 2015

Tamara Baille (SA)
1 October to 2 November 2015

Clare Peake (WA)
12 November to 13 December 2015

 

Failure is not simply the foil to success. It can be a way of pushing a system toward collapse, to reveal its critical operations and limits. In a world dictated by perpetual change, failure ensures the demise and erasure of the existing and problematic narratives that confine, hide and exclude. It begets new ways of imagining that reveal alternatives and silences. In a revised formula that values experimentation over outcome, success is the dead end and failure is the golden opportunity to continue investigation. These artists, with their ability to make and unmake the world, use the gaps and silences of failure as ongoing corrective devices. Highlighting our individual failings, and the failures in our broader culture, The success of failure forces a double take on things we ignore and avoid.

Serena Wong is an emerging curator, arts writer and general all-rounder. In 2011 she moved to Adelaide to complete a double Masters in Art History and Curating at The University of Adelaide. Since then she has completed her degree and fallen in love with her adopted city. Currently doing freelance and independent projects, and a FELTspace co-director, Serena has previously worked with: Prospect Council to produce Prospect-Us a temporary public art project; South Australian Living Artist Festival as project coordinator for SALA on Show; the Art Gallery of South Australia as the assistant for the 2014 Adelaide Biennial of Australian Art: Dark Heart; and Carclew Youth Arts as Curator in Residence. She is particularly interested in audience engagement and her projects focus on facilitating new ways for people to interact with, and enjoy art and what that looks like in the 21st Century.


Clare Peake

The torment: Don, Leo, Mic & Raph 2015, wax, papier-mache, encaustic, wire

 


Clare Peake (WA)
12 November to 13 December
2015

Underpinning my practice are ideas of creative anxiety and the battle to over come this. The torment: Don, Leo, Mic & Raph (2015) is an attempt to resurrect and resolve a previously failed work: a wax figurine that sold and subsequently broke before the buyer received it. Taking inspiration and hope from the skills of the great masters of art who share their names with the ever effective crime fighting team the Teenage Mutant Ninja Turtles – who as mutants themselves are a great examples of successful failures – the tormented figures long for the end to their struggle. Likewise I long for the end of being tormented with greater things gone past, the achievements of others and the incapacity to think about new ideas. 

Clare PeakeClare Peake (b. 1984, Geraldton) graduated with a Bachelor of Arts (Art) from Curtin University in 2006 and completed postgraduate studies in Anthropology at the University of Western Australia in 2010. Clare has contributed to a number of significant shows, notably, A Comprehension of the Farthest Points (2013) at Venn gallery, remix at the Art Gallery of Western Australia (2011) and Here&Now12 at Lawrence Wilson Art Gallery (2012). Clare’s work was most recently exhibited at 55 Sydenham Rd (2015), Sydney and WIN/WIN (2014) at Hugo Michelle Gallery in Adelaide.


Alex Bishop-Thorpe


Tamara Baille (SA)
1 October to 2 November
2015

I have always been a list maker. My current practice of post-it notes scatters them throughout my house, car and studio: in notebooks, on desks, walls, floors, mirrors, the fridge, the workbench, my dashboard and pin board. This has gone beyond the practical and obvious benefits of list making.  Sometimes the lists are an offensive ploy against the anxiety of unstructured time or uncertain outcomes, other times, an exercise in clarifying mental confusion into objective, discrete tasks or a means to a sense of achievement. 

Mostly I don’t do all the things on the list. I find myself writing the same things on different lists, or writing lists that I already know won’t get done.  These unfinished lists always prompt me to ask, is there someone else out there who would have finished all these things?  If my lists are setting me up for failure, am I actually making the list for my benefit or is it an attempt to prove something to a non-existent observer?


Tamara Baillie works primarily in sculpture and installation to explore personal and collective narratives around identity and memory. Born to a family of boat makers and fishermen, she recently began investigations into the darker parts of her family tree. She is currently pursuing studies towards both a Master of Visual Arts and a Doctor of Medicine.


Alex Bishop-Thorpe


Alex Bishop-Thorpe (SA)
20 August to 21 September
2015

The Planetshine 2 draws upon the histories of photographic technology and early flying machines, to explore our collective aspirations for new ways of seeing and ordering the natural world. Building upon earlier experiments with balloons, this project sees a small motion picture camera attached to a kite to investigate how the horizon is distressed and muted by the ascension of the viewer. Hand-building the kite itself and the modified circuitry for its recording, the work also explores the role that the amateur plays in scientific discovery, and the place of catastrophic failure in the development of new technologies.


Image: Alex Bishop-Thorpe Planetshine (image still) 2014, Super-8 motion picture

Alex Bishop-Thorpe is a South Australian photo-based artist working in a range of experimental techniques and materials, frequently implementing automatic apparatus and interactive presentations. Alex graduated from the University of South Australia, SA School of Art with First Class Honours in 2013. He is co-founder of The Analogue Laboratory, a photographic facility and darkroom working with artists and industry bodies.


 

ACAB Collective


ACAB Collective (Vic)
9 July to 10 August 2015


Paradoxically both the cause and solution to the global ecological crisis is technological progress and intervention. Blurring the distinction between natural and artificial materials ACAB collective’s work geofazing contemplates this binary relationship through a sculptural investigation. Here minerals and plastics merge into new forms, every change a reflection of an interrelated relationship reflecting another unendingly. The merging of hard plastic veneers and multifaceted natural textures into a unified totality poses the question ‘at what point do we draw the line between nature and artifice?’ geofazing attempts to blend diverse materials to explore a microcosm of the conflicted relationship between technology and nature.


Image: ACAB collective Neon geode, 2015 mixed media.

ACAB collective is Zinzi Kennedy & Ben Johanson, graduates from Monash University and based in Melbourne. ACAB produce installations and sculptures that manipulate light whilst reinventing locally sourced materials. ACAB was recently showcased in SafARI Festival (Syd) and awarded 2nd place in Sculpture in the Vineyards (NSW).

----------------------------------------------------------

Peculiar Familiar
curated by Joanna Kitto


Shown across three consecutive displays in the odradekAEAF, Peculiar Familiar presents three Australian artists who transform the everyday into the strange. Anna Horne (SA), Soda_Jerk (NSW) and Jemimah Dodd (SA) approach found objects and imagery in unexpected ways. Discarded and overlooked materials become playful and perplexing new creations, taking the form of sculpture and the moving image that activate the inanimate. There is a striking disparity between the familiarity of the materials and the uncanny nature of their works. Each discards what is expected of their mediums in favour of more poetic possibilities. In doing so, the work compels us to reconsider our understanding and memory of the known, from the function and form of domestic objects, to the linear path of time. Peculiar Familiar obscures the line between what is comfortable and what is uncertain, revealing how easily the two can be exchanged.


NEON GUARD
Jemimah Dodd


28 MAY to 29 JUNE 2015

 

Jemimah Dodd



This recent sculptural work by South Australian artist Jemimah Dodd is part of an ongoing exploration of the transformative power of light and colour. In Neon Guards, developed site-specifically for the odradekAEAF, Dodd employs the common house gutter guard to investigate the spatial and sensory effects of light and the distillation of vivid colour. Given new and unrecognisable form, our understanding of the utilitarian behavior of these humble hardware objects falls under question. A curious, sensory experience takes over as Dodd elevates the readymade and the everyday to fantastical new heights.


Image: Jemimah Dodd, Neon Guards, 2015, plastic gutter guards, fluorescent tubes, paint, timber frame, dimensions variable, image courtesy of the artist

Jemimah DODD is a sculptor and installation artist whose practice is informed by the interplay between light and colour, reality and imagination. Her fascination lies in light's ability to sculpt a space or surface and alter our perception of everyday materials. Since graduating from the Adelaide Central School of Art (ACSA) with honours in 2011, Dodd has exhibited frequently in local and interstate galleries including Contemporary Art Center of South Australia (SA), Big hART (ACT) and Anita Traverso Gallery (VIC). Dodd was selected to exhibit in the 2012 Helpmann Graduate Exhibition and her first solo exhibition Fluorescence for the 2013 SALA Festival saw her become a SALA Award finalist for the Advertiser Business S.A. Contemporary Art Prize. In 2013, Dodd was selected as a Carclew Foyer Curator and also became a Co-Director for Adelaide based artists run initiative FELTspace. In 2014, Dodd exhibited as part of FELTnatural in Rymill Park (SA) and presented solo exhibitions Dollop at Constance ARI (TAS) and Dollop Kingdom in the CACSA Project Space (SA). She currently lives and works in Adelaide.

 

 


SODA_JERK

1 APRIL to
16 MAY 2015

 

Anna Horne


The Phoenix Portal
In their sample-based ‘séance fiction’ film, Soda_Jerk call upon the paranormal power of recorded media to collapse time and reanimate the dead. In a trans-temporal world, a young River Phoenix from the film The Explorers (1985) opens a wormhole to contact his older self in My Own Private Idaho (1991). The Phoenix Portal (2005) is the first work in the Dark Matter series, an ongoing cycle of video installations that play with the multi-linear nature of time. Within this series, Soda_Jerk slice fragments from the filmographies of deceased Hollywood screen stars - Phoenix, Judy Garland, Bette Davis and Joan Crawford - to stage encounters between the protagonists and their various on-screen lives. Audiences are invited to question their personal and historical understanding of time, and the ease with which it can be deconstructed by screen technologies.




Anna Horne

19 FEBRUARY to
23 MARCH 2015

 

Anna Horne


This new body of work by South Australian artist Anna Horne is part of her ongoing Untitled series that explores our expectations of gravity. In these sculptural works, Horne adopts a role somewhere between labourer and alchemist, subjecting common household materials to a foreign process. Humble mediums including cord, plaster and concrete form a beguiling scene that unsettles our understanding of their day-to-day use. Weight, movement and logic are all up for question. The result is a series of objects that occupy a space outside of rationality, somewhere between the known and the curious. .



----------------------------------------------------------

 

Performing Identity
Curated by Eleanor Scicchitano


John A Douglas

Opening 4 DEC 6—8pm
Dates: 5 DEC — 9 FEB 2015

 

BODY FLUID


Performing Identity invites audiences to explore contemporary Australian identity through the work of artists who become the subject in their practice. Each one uses their body to perform aspects of their identity in order to stimulate discussion. This act further questions the role of the self-portrait in contemporary art and the way in which it is defined.



----------------------------------------------------------

 

Julie Gough, OBLIVION


JG

 

 

OBLIVION is “about being stuck in a place, not of this world, and not in a ‘real’ place, while immersed in Friendly Mission 1. Friendly Mission doesn’t allow for a future, just despair” 2.
OBLIVION draws from Gough’s The Lost World (part 1), a suite of four filmic episodes and installations, which explore and blur the junction between Tasmania’s (and Gough’s) past and present. They show Gough acting out encounters and small missions – actions that are both traditional and contemporary – directly linking her with the experiences of her ancestors.
OBLIVION is an act of endurance: the artist sits reading The Friendly Mission while leeches attach to her and begin to feed. Gough has what she calls “an obsession” with this text, the diaries of the corrupt lay missionary George Augustus Robinson. Appointed as the Chief Protector of Aborigines in 1839, Robinson began a journey around Tasmania that saw him win the trust of local Aboriginal groups, only to betray them once they had relocated to Flinders Island. This was the fate of Gough’s ancestors, creating a break that has forced her to travel back through her history like a detective, uncovering what she can in archives and scant records.
OBLIVION shows her stuck in this cycle, an endless experience that she cannot escape: a reliance on the diaries, the inner thoughts of the enemy, in order to learn her own history and the fate of her family. These explorations and re-enactments connect Gough with her past, in an experiential blend of historical and contemporary life as an Indigenous Tasmanian woman.

 

BIO: Julie Gough is an artist, freelance curator and writer who lives in Hobart. Her research and art practice often involves uncovering and re-presenting conflicting and subsumed histories, many referring to her own and her family's experiences as Tasmanian Aboriginal people. Current work in installation, sound and video provides the means to explore ephemerality, absence and recurrence. Since 1994 Gough has exhibited in more than 120 exhibitions including: Western Australian Indigenous Art Awards 2013; undisclosed, NGA, 2012; Deadly – In-between Heaven and Hell, Tandanya NACI, Adelaide, 2012; Clemenger Award, NGV, 2010; Biennial of Sydney, 2006; Liverpool Biennial, UK, 1999; Perspecta, AGNSW, 1995. Gough curated TESTING GROUND, 2013, Tayenebe: Tasmanian Aboriginal Women’s Fibrework, TMAG and the NMA, 2009 (toured  to 2012), The Haunted and the Bad, Linden – St Kilda Centre for Contemporary Arts, 2008. She was also on the curatorial team for INSIDE: Life in Children’s Homes, NMA, 2011. A former curator of Indigenous art at the NGV, Gough holds a PhD and BA Hons in Visual Arts from the Uni of Tasmania, a Masters degree from Goldsmiths College, Uni of London, BA (Visual Arts) Curtin Uni, BA (Prehistory/ English Literature) from the Uni of WA. Her work is represented in many Australian art collections including NGA, NGV, AGNSW, AGSA, AGWA and NMA.

Julie is represented by Bett Gallery Hobart, Gallery Gabrielle Pizzi, Melbourne, and Turner Galleries, Perth.

----------------------------------------------------------


Proud Mary, Daniel Mudie Cunningham
Opening: 4 SEPTEMBER, 6—8pm

Dates: 5 SEPTEMBER to 4 OCTOBER 2014

DMC


Daniel has always been obsessed by Tina Turner's Proud Mary since seeing her perform live in Sydney in 1991 and 1993. The sublime experience of seeing a powder keg like Tina perform the song inspired its selection as his funeral song. Daniel's first (badly) lip-synced video for Proud Mary in 2007 references the many times his friends have witnessed him spontaneously imitate her dance moves at parties.


In 2012, Daniel remade Proud Mary especially for his installation Funeral Songs at Mona, Hobart.  The performance was set in an underground parking station in Sydney’s Kings Cross with a self-initiated promise to document his aging process by re-staging the video performance every five years until his death. He is currently planning the logistics for the 2017 performance.


BIO: Daniel Mudie Cunningham is a Sydney based artist, curator and writer. His art practice draws upon and rethinks the image streams of art history, everyday life, pop culture and fandom through video and performance. In 2012 his project Funeral Songs along with the related Proud Mary video series, was exhibited at the Museum of Old and New Art, Hobart as part of MONA FOMA and their permanent collection. Daniel, whose PhD in Cultural Studies was conferred at University of Western Sydney in 2004, is a widely published art writer and cultural critic whose writings have appeared in major art journals, magazines and critical anthologies in Australia and internationally. He is currently the Senior Curator at Artbank and Editor of Sturgeon Magazine.

----------------------------------------------------------

 

Jenna Pippett


Performing Identity
invites audiences to explore contemporary Australian identity through the work of artists who become the subject in their practice. Each one uses their body to perform aspects of their identity in order to stimulate discussion. This act further questions the role of the self-portrait in contemporary art and the way in which it is defined.


Jenna Pippett
Opening 17 July, 6—8pm,
Dates: 18 JULY to 16 AUGUST 2014


----------------------------------------------------------

 

 

Breakaway
Facilitated by Madison Bycroft

The Breakaway odradekaeaf program brings together emerging artists from the broader Adelaide community and artists working from Tutti Visual Arts Studio. Based in Adelaide, Tutti is an inclusive arts organisation working to break down barriers that isolate and marginalise, whilst providing opportunities for people to participate in professionally led programs. The odradekaeaf season will expose emerging talent from Adelaide artists who are working in experimental forms and processes that ‘Break-away’ from traditional ‘norms’. Scott Pyle, Henry Jock Walker, James Kurtz, Celeste Aldahn, Jenna May and Lilly Buttrose will form three pairs and will all collaborate to create one work between each. The new work will be complemented by a text of transcribed conversations about the works, between the artists and Madison Bycroft, an emerging artist and curator is facilitating this project.

 

 

Celeste Aldahn & James Kurtze
Facilitated by Madison Bycroft
Dates:
23 May to 28 June 2014

insert coin

Interview by Madison Bycroft,
with James Kurtze and Celeste Aldahn

Madison Bycroft: Hi James and Celeste, tell me about what have you been making.
Celeste Aldahn: James and I met weekly. We both agreed to make a collaborative video, using James’ illustrations, and a collaborative illustration, as a backdrop. The main idea was inspired by James’ love of games, but our own interpretation.
James Kurtze: We’ve been making an artwork like Sonic, a version of Sonic. You know the hedgehog? From Sega games. I will be Sonic, a monster hunter.
CA: …and I am the squirming creatures in a mysterious preview to a video game.....
JK: Celeste came in once a week, on Tuesdays.
CA: We had been meeting semi-regularly since January! But most of this time was spent discussing a broad range of ideas to make sure we settled on something that was original to our collaboration.
JK: Sonic is copyrighted, so we had to make our own version. They call it Sega, I call it Jega.

MB: Are your approaches similar or very different?
CA: We approach making in very different ways, I am quite a scrappy worker and like to approach making with freedom to make mistakes (I like that, to me mistakes leave an element of the human in the work), but James likes to really think his work through and spends a lot of time researching and planning.

MB: How is the work important?

CA: Sometimes the idea to just keep making is good enough. Not everything you make will be a masterpiece or be communicating a deep or necessary concept.
JK: I hope people will enjoy the work. Some parts might be funny.
CA: In my opinion, it’s enough that it could inspire others, or new ideas in yourself.

MB: Any thoughts on this collaboration?

CA: Working with James was challenging because we approached making in very different ways, which made collaboration tricky. But challenging is good, it gives us an opportunity to learn and grow toward the next challenge and opportunity!
MB: James, how did you find collaborating on this project?
JK: Wicked. The best part is making new friends. Some times it’s difficult but you get used it.


 

Jenna May & Lilly Buttrose
Opening: 10 April, 6—8pm
Dates: 11 April to 17 May

insert coin

Jenna and Lilly will present a time-based project, starting with existing works by each artist, unfolding mid-show to reveal their collaborative dialogue.

Interview by Madison Bycroft,
with Lilly Buttrose and Jenna May.


MB: What similarities or connections have you made between your practices?

Lilly Buttrose: I am really excited to have the opportunity to collaborate with Jenna May for the Breakaway project. Her work uses a vivid array of colours and patterns that mirror the patterns in my sculptural work. We both find the process of making incredibly important and are attracted to slow, meditative ways of making.

Jenna May: We feel the same when we make art. I feel relaxed, and I put no pressure on the pencil. My work is very time consuming, and so is Lilly’s, especially the weaving.

MB: How is your project taking shape?

JM: Lilly took some of my works home to be inspired by – my journals and previous work. We are gradually getting it done. We spoke about her work and my work, putting them together and making them into a story. We are trying to blend them together.

LB: Jenna’s drawings have a vibrancy and depth that lift off the page to make the work seem three-dimensional. Her well resolved grid drawings demonstrate her dedication to the material and process. Looking closely at her grid works, the viewer can follow the artist’s mark making and confidence in the handling of the paper, a quality I am incredibly attracted to in her work.

MB: How has it been working with somebody you don’t necessarily know very well?

LB: Creating art with somebody else is something special. The ability to discuss ideas with another creative is important in understanding how your work is being received.


 

No One Double Crosses the Surfies
Scott Pyle & Henry Jock Walker
Dates:
28 February to 29 March

Interview with Madison Bycroft,
Scott Pyle and Henry Jock Walker.


Madison Bycroft: Hi Scott, hi Jock, can you tell me a little bit about the work?
Scott Pyle: We cut some shapes out and we made Power Ranger characters on surfboards. Jock gave me a surfboard to have. I’ve done characters on it, on both sides.
Henry Jock Walker: It’s a combination of a lot of different things. Photos, videos, the objects are really nice, and Scott’s painting is amazing – such an incredibly talented human. We will do a performance at the opening, and use flags from the Moana Surf Life Saving Club.
SP: I’ve got a Power Ranger suit to wear at the opening, and I will hold my surfboard and carry it around.
MB: How did you come up with the end result?
HJW: The original idea was just to do something on the beach, because I knew Scott loved surfing too. As soon as I got to Tutti for the first time, I saw his self-portraits and paintings, and immediately knew I had to bring some surfboards in. It grew from there.
SP: Yep. I’ve worked with Jock three times. Last Thursday was the day I went to the Brighton Surf Club and we did the photos.
JW: Scott gave me a whole bunch of water-based villains to use, I made cut-outs of them, to make bigger shapes that we then cut out of surfboards… it was back and forth a bit… We wanted to extend the project and give it extra layers.
SP: We came up with another theme, using Surf Life Saving colours on the work.
MB: What else are you doing this year Scott?
SP: I have Orange Wrappers 2 with Paul Hoban, but also in March and April I am going to start doing some Home and Away characters on canvas, as well as James Bond and the other stuff I’m doing. I got hooked on Home and Away because my mum was watching it. I’ve watched every episode.
MB: And what was it like to collaborate?
SP: Fun. It was an honour to work with Jock, we’re both surfers. I want to work with Jock again later on, surfing on our surfboards together, and on photographs of all the surf clubs.
HJW: Scott has so much energy and enthusiasm for surfing. The first time I met him, we were walking out to the car, and as soon as he had seen my art, he said to me “No one double crosses the surfies”.

 

Dispatch 14: Dana Lawrie, Light Touch

Dispatched from Current Projects to odradekaeaf Facilitated by André Lawrence

Odradekaeaf 24 January to 20 February 2014

 

Dispatch 14
As part of a national window space exchange project (Dispatch), odradekaeaf will host artist Dana Lawrie sent by Brisbane artist-run-initiative Current Projects, a special event facilitated by emerging South Australian curator André Lawrence. Dispatch comprises a series of exchanges in which one space selects an artist to dispatch artwork to be exhibited in another space, and in return hosts an artist from another participating space, to find creative solutions to transfer, transport or transmit their work to another space and overcome “the tyranny of distance”.

 

dispatch14

 

Dana Lawrie is a Brisbane-based visual artist. Her practice explores themes of permanence/impermanence through self-portraiture. Exploiting the subtleties of paint, her works play with the material’s ability to imbue the sense of immediacy—of bodily touch or trace—against connotations of ‘archival’ and ‘ever lasting’ painted artwork. Dana’s recent work has been increasingly informed by the repetition and transformation found within painting processes and how the act of painting places the artist relative to ‘time’ and in turn, ‘duration’. The works developed as part of Dispatch use photosensitive, flower-based ink that Dana has made based on the principles of anthotype photography. Allowing the exposure of non-lightfast ink in the window space and its gradual fading to speak of her own bodily impermanence.


Facilitator Biography
André Lloyd Lawrence is a French-Australian emerging visual artist and independent curator born in the Northern Territory. He graduated with a Bachelor of Visual Arts degree (with Honours) from the University of South Australia in 2012 and is currently studying and Master of Arts Degree in Visual Art & Design (Curatorship). Lawrence is establishing a profile as an independent curator, writer and project facilitator. He has been broadly investigating, through his French-Australian hybrid identity, the affective and often nebulous realms of self-assertion in relation to displacement, belonging, place and human narratives. He curated Amounting to Something for Nexus Multicultural Arts Centre and Nothern Window for the odradekaeaf in 2013.

Artist’s Biography
Dana is a recent honours graduate of Queensland College of Art, and undertook part of her degree attending Edinburgh College of Art. She was recently finalist of The Churchie National Emerging Art Prize, Sunshine Coast Art Prize and was featured in Test Pattern, 2012 at Ryan Renshaw Gallery, Brisbane.