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EXHIBITION PROGRAM 2004 27 February - 3 April | 22 April to 22 May | 4 June to 3 July | 16 July - 18 August | 27 August - 26 September | 8 October - 30 October | 12 November - 11 December |
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| ALL TIMES ARE IN CENTRAL STANDARD TIME, ADELAIDE, AUSTRALIA | |
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Art of the Biotech Era | |||||||||||||
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27 February to 3 April 2004 |
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 Art of the Biotech Era was the EAF's Adelaide Festival exhibition and the first of Director Melentie Pandilovski's programming here. The show was a large one requiring a great deal of planning and energy to stage. Artists from around Australia & the world showed work examining, critiquing, speculating within, the sphere of the Biotechnological. This nascent science-in its more interventionist forms of gene splicing and chromosomal experiment-might alter the face of the world as we know it & will require ethical judgements and imaginative engagement if these changes are to be safely guided and met with. To this end artists rebuked our effacement of the deaths of industrially farmed animals, offered a form of resistance to MonsantoÕs planned seed empire, illustrated the path of an arbitrary chromosomal change, grew a quarter-scale human ear, polled our taste preferences with regards a satirical (but possible) combination of the biologically lovely & the off-putting. Things To Come, as HG Wells might have put it-but in this case the coming marvels were not mechanical but living & less uniformly benign. The artists were Heath Bunting, Andre Brodyk, Gina Czarnecki, FOAM (Maja Kuzmanovic & Nick Gaffney), George Gesert, Eduardo Kac, Diane Ludin, MEZ, Michalis Pichler, Tissue Culture & Art Project (Oron Catts & Ionat Zurr, in collaboration with Stelarc), Adam Zaretsky & Tanja Visosevic. The exhibition installation included a number of projections (in open gallery space & within darkened rooms), sound, interactive computer pieces, sculpture and image. In parallel the EAF staged the Biotech Culture Symposium (February 27th) and Biotech Art Workshop (March 1-5) and a series of workshops & talks by Eduardo Kac in July. A larger publications will stem from the overall Biotech Era project.
Image: Michalis Pichle Kuh |
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Exhibition | Symposium | Workshop |
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Exhibiting Artists
| SHAUN GLADWELL
& TV MOORE |
Concrete 000 | |
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22 April - 22 May 2004 |
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 Gladwell and Moore employ video to express a variety of ideas and atmospheres which engage, manipulate and extend genres of the moving image within popular, global culture. Their common focus is a critical relationship to the history and current conditions of video within contemporary art. Shaun Gladwell's video self-portraits scrutinize civil space and public architecture through performance/interventions.
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 The video portraits of TV Moore draw upon the language of music video clips, advertising and cinema in order to destabilise strategies of method acting, staging, and spontaneous documentary. Subjects are caught out of context.
Publication Two Colour Catalogues. 210 x 210 mm fold (630 mm). Images by artists. Essays: Craig Judd, "Shaun Gladwell: Recent Video Works 2001-2003"; Fergus Armstrong, "TV Moore's skeumorphic long takes." Media Best Moving Image "OSCARTS 2004" The Advertiser 27 Dec. 2004. p. 60 |
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| OLIVER MUSOVIC | Friends, neighbours and others | |
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4 June - 3 July 2004 |
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 One of the more interesting young European artists dealing with social issues, Macedonian-based Oliver Musovic has had numerous solo exhibitions and shown at major international exhibitions including Manifesta 4 European Biennial of Contemporary Art, Frankfurt am Main 2002 and the 6th International Istanbul Biennale.
Musovic's work deals with themes of urban living. He often uses the his own residential area in Skopje, Macedonia, to investigate the constructions erected by people. The perpetrators themselves do not appear in his work, rather he employs a forensic photographic technique that documents the habits of his neighbours. Captions are added that describe mood, sketch routines and other everyday notes that act to supplement the image. 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 |
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| Lei Cox | Retrospective Elements | |
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16 July - 18 August 2004 |
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Publication Colour Catalogue, A3, DL fold. Images by artist. Essay: Kevin Henderson "Lei Cox"
Media Louise Nunn "Close to the truth" The Advertiser 27 July 2004. p. 48 Cath Kenneally "Artnotes SA" Art Monthly #172. p. 51 Best Surveys "OSCARTS 2004" The Advertiser 27 Dec. 2004. p. 60 |
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| GRACE WEIR | A Fine Line | |
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27 August - 26 September 2004 |
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 The video/film work of Dublin-based artist Grace Weir generates questions of the relationship between art and science on a cosmological scale. The artists material balances on precise imprecision: everyday moments and ordinary things are offered as elements with which to think about temporalities. In De ja vu a man stands on the edge of a bay skipping rocks. A woman drives past across a bridge. Separately they falter, unsure at what they have seen. Dust defying gravity is a series of interior tracking shots past the arched window of the Dunsink Observatory in Dublin, up the stairs through the corridor, past the clocks and into the studio of a scientist/scholar.  Two smaller videos act as 'footnotes' to the films. (Just about everything we think we know of the forces that make the universe tick comes to us via a paper archive of knowledges.) This is where the experimental collaboration between the Grace Weir and Ian Elliot (an astrophysicist) is made apparent in a very ordinary conversational manner. Forces of gravitation and equations for predicting events are demonstrated with everyday materials.
Publication Colour catalogue, A3. A5 fold. Image by artist. Essay: Francis McKee "Experimental Conversations" Media Sera Waters "Grace Weir" dB 8 Sept. 2004. Teri Hoskin "Grace Weir: A Fine Line" Photofile #73. Dec 2004. p. 71 Stephanie Radok "A Fine Line: Grace Weir" The Adelaide Review 28 Sept. 2004. p. 22 Wendy Walker "Fine in theory" Arts Monday Feature. The Advertiser 20 Sept. 2004. p. 77 Clint Woodger "Grace Weir: A Fine Line" Artlink v. 24 #4 2004. p. 81 |
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| OLEG KULIK | Solo Exhibition | |
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8 to 30 October 2004 |
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 "Anthropomorphism has exhausted itself. Can Man forecast earthquakes like a small aquarium fish? Can he smell like a dog, be lithe a cat? Does he know the secret of harmonious social life like that of an ant or a bee? No. Besides that, an animal cannot lie, pretend deceive and cower." (Kulik)
Jonathon Watkins from Ikon gallery has compared Kulik's abhorrence with current humanity to Willam Blake's disappointment with his own time. Kulik is a Russian performance artist whose practice takes his animal selves out into the public arena. This exhibition includes an archive of video documentaiton from the 90's and recent gallery focused happenings. Publication Colour catalogue. A4. DL fold Media Nicole Fritz "Man bites dog" Broadsheet vol. 34 #1 March-May 2005. p. 32-33 |
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| IRWIN | Like to Like | |
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12 November - 11 December 2004 |
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 The collaborative artists group IRWIN has been a dynamic force in contemporary Eastern European art for some 20 years. Comprising five artists from Slovenia - Dusan Mandic, Miran Mohar, Andrej Savski, Roman Uranjek and Borut Vogelnik - the group also co-founded the wider cultural collective, Neue Slowenische Kunst (NSK) in 1984. IRWIN are a unique phenomenon within the contemporary art scene. In a world where much of art's mythology depends upon individual identity and the ego of the artist, each member of IRWIN has assumed equal responsibility to the group. This lends their own collective message a level of conviction which has direct implications toward Western traditions within visual culture.
Presented with Artspace, Sydney Publication Colour catalogue. Image by artists. Essay: Igor Zabel "Irwin's project called Like to Like (2003-2004) ..." Media John Neylon "Emerging from the underground" The Adelaide Review 26 Nov. 2004 19 Jacqueline Millner "IRWIN" Broadsheet v. 133 #4 Dec. 2004. 53 Dan Edwards "New landscapes, new thinking" RealTime #64 Dec 2004. p. 32 |
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