1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 EXHIBITION PROGRAM 2000 2 March - 1 April | 6 March - 11 March | 13 April to 6 May | 8 June to 1 July | 13 July - 5 August | 7 to 30 September | 5 October - 28 October | 11 November - 25 November | 30 November - 20 December ALL TIMES ARE IN CENTRAL STANDARD TIME, ADELAIDE, AUSTRALIA KEVIN HENDERSON   Between Evil Eyes Shaved 2 March to 1 April In partnership with the 2000 Telstra Adelaide Festival and the South Australian School of Art, University of South Australia. A major time-based installation incorporating photography, video and solo and collaborative performances. KEVIN HENDERSON with JULIE HENDERSON   6 March to 11 March It was at the EAF's suggestion that Kevin work collaboratively, he suggested that a series of performances could be developed, so we invited Julie to work with him. Kevin and Julie corresponded via email from late in 1999, and had only a few weeks to develop a series of collaborative performance works when they met in mid-February. KEVIN HENDERSON   FIVE ROOMS AND ONE EMPTY SPACE 6pm Tuesday 7 March A solo performance in the EAF gallery. Admission free. Publication Two Colour A3 catalogue, DL fold. Images by artist. Essay: Iara Boubnova "Tell me Who's your Neighbour ..." Media Stephanie Radok, "Neighbourhood caught in grim colours," The Adelaide Review July 2004. p. 35 SIMRYN GILL   Natural Resemblance 13 April to 6 May New photographic work by Singapore-born Sydney-based artist Simryn Gill, using botanical and linguistic systems to explore concepts of culture, nature and geography. ANNE SHELTON   The Strip 11 May to 3 June An exhibition of new photographic work by Auckland-based artist Ann Shelton. JOSE ALEXANDER HIDALGO · DON BURY · KEVIN FRANCIS GRAY · KAROLYN HATTON · ROBERT HARPER JONES · EVA ROTHSCHILD · STEWART R. SIMONS · CLARE WOODS   HETROGENEOUS LOVES 8 June to 1 July Like with all things Heterogeneous Loves contains the possibility of providing a small and modest insight into a cross section of emerging artists and their work from the London art scene. At this early stage none of the exhibiting artist could be said to be fully sanctioned by the anonymous art world, but I feel certain that this will surely come. For already these artists have started on the treadmill of authority and standing by attending Goldsmiths College which officially heralds their involvement in the making of the art within an art world context (as distinctly different to just making art.) Standing and notoriety will surely come to some of these artists whether they desire it or not for already Robert has been collected by the Saatchi Collection; Clare has been approached to be represented by White Cube, etc. At present though they are just striving to do "their thing" of which I am grateful. The work is raw and unbridled, free from subtle political correctness and unemotional cool fashionable status, which seems to inevitably come with the successful development of a career. Craig Andre Curated By Craig Andre JAMES ANGUS   James Angus 13 July to 5 August Work produced in New York by Perth-born artist James Angus. From the Catalogue essay by Christopher Chapman: "While Angus's basketball and soccerball are conceived within a virtual and hermetic environment, they are easily understandable from a physical point of view. Angus says: "I chose a ball falling from an aircraft at cruising altitude because it was an event which seemed particularly visceral or haptic - we've all stared out of the window of a plane, or bounced a ball. The idea of solid bodies colliding with the earth from great heights is an event-type which we've been accustomed to imagining in one way or another." As an actual air-filled ball of massive proportions, Angus's 'Metaball' achieves a particular lightness in relation to its computer-modeled cousins. It carries with it references to the systems of production of the basketball and soccerball models, and to Angus's relaxed skyscraper. The geometry of the Metaball's leather skin is derived from that of scientist-philosopher R. Buckminster Fuller's geodesic dome structures, reflecting, Angus suggests "the polygons which define surfaces in computer-aided design". The geodesign dome structure represents a highly efficient architectural system - an alternative to the high modernism implicit in Angus's version of the Seagram Building. The Metaball also neatly evokes a certain connection between architecture and quantum physics. It resembles the class of carbon molecules named after Buckminster Fuller because of their structural resemblance to the geodesign dome..." The exhibition toured to the Governer-Brewster Art Gallery, New Plymouth, New Zealand 19 August to 1 October; and the Australian Centre for Contemporayr Art, Melbourne 13 October to 12 November SHAUN KIRBY   The Gasfitter 10 August to 2 September New work by South Australian artist Shaun Kirby. Excerpt from the catalogue text: SURPLUS OBEDIENCE SURPLUS ENJOYMENT I KNOW A FAT OLD POLICEMAN HE'S ALWAYS IN OUR STREET A FAT AND JOLLY POLICEMAN HE REALLY IS A TREAT HE'S TOO KIND FOR A POLICEMAN HE'S NEVER KNOW TO FROWN AND EVERYONE SAYS HE'S THE HAPPIEST MAN IN TOWN AAAH HA HA HA HA HA HA HA HA HA HA HA OOOH HOO HOO HOO HA HA HA HA HA HA HA HA HA OOOH HOO HOO HOO HA HA HA HA HA HA HA HA OOOH HOO HOO HOO HA HA HA HA HA HA HA HA "The Laughing Policeman" composed - Grey; performed Ð Penrose, 1926. SEE ALSO: ROBERT MITCHUM'S RENDITION OF "LEANING ON THE EVERLASTING ARMS" (C. LAUGHTON'S "THE NIGHT OF THE HUNTER", 1957); PETER LORRE WHISTLING "IN THE HALL OF THE MOUNTAIN KING" FROM IBSEN'S "PEER GYNT" SUITE (F. LANG'S "M", 1931) SALLY SMART   PARAMETERS HEAD: A LA RONDE 7 to 30 September Melbourne-based artist Sally Smart created an immersive installation environment referring to surrealism, biology and psychology. A La Ronde is a house that was built in Exmouth England in the 1790s by two women cousins, the Misses Parminter. The house has 16 sides, with a central octagonal hall that extends to the shell gallery on the uppermost level. As its name suggests, the house is planned in the round, where the centre is a void and the perimeter a perpetually unfolding series of spaces with no logical beginning or ending. The tension inherent in such a planning schema is evidenced by the alterations undertaken by a cleric in the late 19th Century, where the addition of gables and an elaborate heating system were introduced as if to further 'domesticate' an otherwise uncomfortably eccentric structure. Despite these alterations A La Ronde undeniably remains an uncanny dwelling, arguably only barely domesticated and existing as a unique architectural type. Sally Smart's Parameters Head: A La Ronde is in part a psychological portrait of the house, resulting in what the artist herself has termed a kind of 'head-space'. One wall of the installation is devoted to the figure of a tree, the limbs of which branch out to mesh with the ever-pervasive grid. The tree motif can be interpreted in many different ways. It is a reference to the pastoral location of A La Ronde, an allusion to the idea of the domestic garden, and of course it alludes to the family tree. This is significant in that A La Ronde was for two hundred years inherited only by unmarried female members of the Parminter family, as stipulated in the cousin's will. Marcus Baumgart. Excerpt from the catalogue essay JAMES DODD · PETER HARDING · YOKO KAJIO · TIM STERLING · KATE STRYKER   GLEAM 5 October to 28 October At a meeting in July at James Dodd's house, after discussing a range of possible options, we agreed upon the exhibition title GLEAM. My initial thinking around the work of the five artists in this exhibition was that it related to certain codes of contemporary design, graphics, and magazine culture: Kate Stryker's photographic images derived from urban neon signage; Yoko Kajio's evocative use of video and projected light; Tim Sterling's objects presented according to coded systems; Peter Harding's interior-design-smart abstract paintings; and James Dodd's hybridized anime / tag wall-paintings. GLEAM suggests a certain kind of product-placement, and a confident and positive attitude. The slippery connections between art and a particular kind of consumer culture are played upon: forget deconstructionist theory, where can I find that Danish polymer cordless table-lamp that caused a sensation at the Milan design fair? Surface effects? Maybe; but there's a short-circuit here too: guerilla tactics via codification and poetics, and the exploration of linguistic and visual systems framed by contemporary aesthetics. The artists in GLEAM all live and work in Adelaide. In addition to exhibiting and being involved in various ways in the local art scene, these artists each have recently exhibited or have planned exhibitions interstate. Chris Chapman, (Catalogue excerpt) Curated by Chris Chapman. LARISSA HJORTH   Nosegay: Non-popular Sound Princess 11 November to 25 November New work by Melbourne-based artist Larissa Hjorth following her Australia Council residency in Tokyo. JASON KEATS   white wash/ black leather shine 30 November to 20 December A performance installation by Melbourne-based artist Jason Keats exploring masculinity and sport. previous screen    screen top