- odradek 2012
25.11.11 – 17.12.11
chloe langford : curator
Chloe Langford is a young artist and curator. Chloe has directed the visual arts program for Format Festival from 2010 to 2011 and co-founded the permanent Format space on Peel St. In 2011, Chloe has undertaken the Arts SA Emerging Curator Project and programmed two months for the odradekaeaf space. Alongside these commitments Chloe is a practising artist and has exhibited recently in group shows with the Jam Factory, FELTspace and The Visibility Project.
katrina simmons : I think about Bataille’s writing differently now
Chloe Langford: curator
I think about Bataille’s writing differently now is a deeply personal work embedded in the process of finding a way forward in the face of loss. In January 2005, my friend, the Adelaide artist Linda Lou Murphy, gave me a disk of images as a gift carefully wrapped in her trademark brown tissue paper. Absurdly, the disk remained un-viewed, stored with other papers and studio detritus until a few months ago, two years after her sad passing. Along with other candid photos taken in my backyard was a spontaneous snapshot Linda had taken at her shack at Rogues Point a place I had always enjoyed visiting. The discovery of this unknown photograph became an essential component for a new work specifically created for the AEAF Odradek. This work titled I think about Bataille’s writing differently now acknowledges how in the dislocated emotional space between private engulfment and the public ritual that is the funeral or memorial, an unravelling occurs. Fragments appear and fade and meaning is inevitably recalibrated.
Katrina Simmons is an installation and sculptural artist whose work deals with failure, dysfunction and instability within social communication and interpersonal relationships. Her recent work has been concerned with the breakdowns and ruptures that occur between the internalised anxieties of the artist and contemporary socio-cultural and political systems. strange deeply, Simmons’ recent exhibition at FELTspace gallery (2011), drew on Jean Luc Godard’s screenplay for Alphaville, to investigate the slipperiness of contemporary meanings and drew on unrealised and/or unsuccessful works as experimental practice within the studio. Katrina holds a PhD in Visual Arts from the University of South Australia (2009). Along with FELTspace gallery she has exhibited in solo shows at the Contemporary Art Centre of South Australia and Adelaide Central School of Art. Group exhibitions include Epic Fail (FELTspace, 2010); Room (CAST, Hobart, 2007); Something Shows Something to Someone (Canberra Contemporary Art Space, 2006); Snapshot: Contemporary South Australian Art (Experimental Art Foundation, Adelaide, 2006); and Modern Love (Downtown Art Space, Adelaide). Katrina is also active in arts writing and has lectured extensively in the visual arts at the University of South Australia and at TAFESA.
Presented in the odradekaeaf projectspace 24/7.
kel mocilnik : In the pursuit of repetition (prologue)30.09.11 - 29.10.11
Chloe Langford: curator
We trust repetition; the universe is based on cycles of repetition. I incorporate my interest in the rhythmic state that this repetition promotes within us into my work. My background as a qualified mechanic has sustained a lifelong curiosity into natural and man-made mechanisms. The use of slot cars in my current work is a metaphor that symbolizes the mechanics of humanity; we are nurtured by the natural cycles of the earth’s rotation which humanity has used to construct a linear quantification of time and our value systems have stemmed from this. Memories of a childhood spent playing with slot cars, and the different approach adult understanding brings, are other points of examination. The cars have become vehicles that represent time as a non-linear entity. Patterns in the rhythmic action of slot cars, are encompassed in a three dimensional space, going beyond the physical by encroaching upon the audible space around us. Sound oscillates through peaks and troughs providing further reach when out of sight. This adds to the expectant tension associated with such mechanisms that frequently spin off their set trajectory. This work is an instrument of repetitious tension that will encompass different connotations according to the viewers’ personal values.
Kel Mocilnik is a Graduate of Adelaide Centre for the Arts with a BA in Visual Art (2007). Majoring in Painting, which remains a basis for his practice, his work has expanded to include elements of performance, sculptural installation, video and photography, with work shown in galleries, theatres and site-specific public locations. Collaboration is an important element of his work and provides a means of broadening his practice and forming strong working relationships with artists across communities and mediums. He aims to evoke questions in the viewers/participants of his work and strives to reach audiences outside of the arts community. In 2012 Kel will be collaborating on a NextWave project with Alison Currie.
Presented in the odradekaeaf projectspace 24/7.
wura-natasha ogunji : My father and I dance in outer space19.08.11 - 17.09.11
Domenico de Clario: curator
The creation of My father and I dance in outer space began with a question I had about the physical gestures of my father who is now deceased. I wanted to visualize what it might be like if we could dance together. It could only happen in this futuristic, otherworldly landscape. I used stop motion animation techniques to create the sense of flight, dance and intergalactic connection.
Wura-Natasha Ogunji is a visual artist and performer. Her performance works include videos in which she engages her body in explorations of movement and mark-making across land, water and air. Ogunji is a recipient of The Dallas Museum of Art’s 2010 Otis and Velma Davis Dozier Travel Grant and is a selected Artist in Residence as part of the National Performance Network’s Visual Artist Network. She has participated in residencies at Can Serrat in Spain and Altos de Chavon in the Dominican Republic. She has received grants from the Idea Fund, The Pollock-Krasner Foundation and the City of Austin. Selected exhibitions include Négritude at Exit Art (NY), Screwed Anthologies at labotanica (Houston) and New American Talent: The 22nd Exhibition at Arthouse at the Jones Center (Austin, TX). She has exhibited at The Oakland Museum of California, Intersection for the Arts and Galería de la Raza in San Francisco. She has a BA from Stanford University (Anthropology) and an MFA from San Jose State University(Photography). She lives in Austin, Texas.
Presented in the odradekaeaf projectspace 24/7.
sandra uray-kennett : silent/ly witness blood making noise08.07.11 - 06.08.11
Matt Huppatz: curator
From the artist’s notes:
In the 17th Century, Descartes expelled madness beyond the confines of culture; it was robbed of language, and condemned to silence.1 In contemporary parlance, the language of madness remains incomprehensible. It is removed from everyday signifiers and meaning remains hidden and veiled.2 It should be noted that language sometimes acts as an invader to the insane. Set against the symptoms of madness, the schizophrenic ‘multiplies the blanks by fracturing the discourse.’3 Arguably, more than any other human condition, madness thematically reflects the dissociation of autonomy and responsibility that marks our epoch. So how can we relate to this psychopathological condition?
silent/ly witness blood making noise is inspired by an intimate examination of schizophrenic states and an attempt to represent these intervals and interruptions via a contemporary art practice. I am interested in a world that is inaccessible. By its very nature, this investigation into madness is a confrontation with a relentless and unpredictable barrier. Insanity is a solitary, internal experience that can only be surveyed from a distance. Observing an ambiguity that appears adrift and anchorless, my approach to the discourse of madness is speculative in nature. As such, this body of work can be viewed as an empathic tool which offers an alternate, oblique approach to this aspect of human experience.
1 Descartes, Rene., as quoted in Felman, Shoshana., Madness and Philosophy or Literature’s Reason, Yale French Studies, No.52, Graphesis: Perspectives in Literature and Philosophy, 1975, p.207.
2 Irigaray, Luce.,To Speak is Never Neutral, Continuum Books, London and New York, 2002, p. 185.
3 Irigaray, Luce., op cit, p.189.
Sandra Uray-Kennett’s object-based works have developed out of a painting practice inspired by 19th Century photographic iconography documenting female hysteria. Her current work is an investigation into her personal observations of schizophrenia and its language(s). It attempts to articulate the boundaries and unpredictable territories surrounding this solitary and internal experience. Sandra was selected to exhibit at Hatched 09, the National Graduate Exhibition at Perth Institute of Contemporary Arts. She has recently been invited to present at the 4th Global Conference on Madness at Oxford University where, in 2009, she presented her paper “Music from Another Room”. Sandra is currently a PhD (Visual Arts) candidate at the University of South Australia.
Presented in the odradekaeaf projectspace 24/7.
amira. h. : shrine20.05.11 - 18.06.11
Matt Huppatz: curator
amira.h. is a performance artist who works extensively in the areas of endurance and body art. Her practice- which employs ritual performance, object making and installation- explores the contradictory roles she embodies as a female of Muslim heritage influenced by Western and Christian ideals. For her work at odradekaeaf, amira.h. works with the 'father' figure of a young John Travolta, blending kitsch, tragicomedy and impossible expectations relating to transgression, failure and the ritual of marriage.
amira.h completed a BVA with 1st Class Honours at the South Australian School of Art, UniSA in 2008. Previous exhibitions include: HOLY at Firstdraft Gallery, Sydney; Three Rituals at the Contemporary Art Centre of South Australia Project Space, Adelaide; artroom5, Adelaide; Format Festival; and FELTspace, Adelaide.
brigid noone: artist needs a husband04.04.11 - 09.05.11
Ray Harris: curator
Brigid Noone is currently and Adelaide based artist and curator. She is a cofounder of FELTspace and committee member of RENEW Adelaide. Noone graduated from SASA in 1998, and was awarded the Ruth Tuck Scholarship for a residency at Stichting Kunst & Complex Rotterdam, Netherlands. She has recently completed a Masters of Visual Arts by research at UniSA, where she has also tutored. In 2009 Noone was selected to participate for the Australia Council for the Arts Arts Development Initiative for the Venice Bienale.
henry jock walker : Plainting & In and Around My Fantasea18.02.11 - 28.03.11
Ray Harris: curator
Henry Jock Waker’s work is also currently exploring expressive abstract painting colliding with the act of surfing, assessing and utilising the parallel thought processes between making art and surfing. An emerging South Australian artist, he completed a Bachelor of Visual Art (specialisation) majoring in sculpture/installation and painting at University of South Australia in 2008. Within his undergraduate study Henry travelled on an exchange program to San Diego, California, where he studied the origins and sociology of surfing, painting and sculpture. Henry founded and participated in a group studio in Adelaide, and received an award for his installation at the Helpmann Academy Graduate Exhibition, 2009. Henry has exhibited in various artist run spaces and shows including FELTspace and the Moving Image Festival, and is currently enrolled at the Victorian College of Art to commence his Honours degree in painting.
The second season of odradekaeaf was curated by Teri Hoskin
sonja porcaro : still for the hollow (life amongst the asphalt)11.11.10 - 11.12.10
Curator: Teri Hoskin
‘Still for the Hollow (life amongst the asphalt)’ is a site-specific installation made for the cabinet-like odradeck window space - a space that is to be inhabited, interrogated, questioned and manipulated. Using objects and materials that reference both domestic spaces (the home) as well as those of a pedagogical nature (blackboard, chair, pillows, felt, hammer) the installation evokes - and critiques - notions of childhood, adolescence & memory. The possibilities and limitations associated with how children in particular are socialised, are investigated, situating this within broader questions of public and private space. The odradek window space is a rich site which lends itself to these investigations. Not only is it situated amongst the bookshelves and books of the Dark Horsey bookshop – a site of ‘learning’– but as a public thoroughfare it is a space both ‘open’ and ‘visible’; as a container, it is ‘closed’ and ‘inaccessible’, and also intimate (with the possibility of wonderment) with an impending uncertainty, claustrophobia and restraint. – Artist's notes
Sonja Porcaro's practice of 16+ years, spans sculpture, installation, photography, performance and electronic media. A graduate of the South Australian School of Art, Porcaro has exhibited in 8 solo shows and approximately 20 group shows, locally, nationally and internationally, including at the Australian Experimental Art Foundation, the Contemporary Art Centre of South Australia, Artspace (Sydney), the Centre for Contemporary Photography (Melb) and Viafarini (Milan, Italy). In 2000, Porcaro was the recipient of the Australia Council Milan Studio Residency and has also been Art-in-Residence at the College of Fine Art (Sydney, 1996) and the South Australian School of Art (2002). Porcaro has curated various exhibitions, written for publications such as Broadsheet and given lectures at the South Australian School of Art. In 2011, Porcaro will exhibit at the South Australian School of Art Gallery, with Anna Hughes and Sonia Donellan. Sonja Porcaro’s work is represented in the Art Gallery of South Australia and in private collections.
The artist would like to thank Remo & Dora Porcaro, Pete Wilson for their support & encouragement, and the AEAF staff
Curator: Teri Hoskin
‘With its references to the ‘revolutionary violence’ of the Baader-Meinhof group, Against the Grain is an ample reminder that terrorism has been a persistent feature of industrialized society. What seems to have changed in the current ‘war on terror’ is the level of complexity of the discourse surrounding it. In Against the Grain, Burns skillfully links the story of a compassionate ‘terrorist’, distraught that a smoke bomb may have harmed an elderly lady, with quotations from Susan Sontag’s outline of the objectifying violence of photography in her seminal text On Photography (1977). Violence is posited as the double-sided currency of both freedom and subordination; it is the life-blood and the shackles of the difference or otherness residing beyond the surface of the status quo, forcing its subject at one moment into, at another out of, a rigidified state of normalcy. Contemporary conceptions of terrorism seem to lack such reflexivity. We are now witnesses to a much more generalised, asignifying violence, no longer aligned with particular demands or freedom of any kind, in which otherness detonates itself in a final identification with the extreme censure of the hegemonic status quo. Burns’ archive is a warning against a narrative history that would straitjacket its subject, forcing it to confirm to its strictures. It is a reminder of the capriciousness of the historical subject and of the volatility of the production of meaning. And thus it finds itself simultaneously neglected from modern art history and central to it.’ – Huw Hallum ‘Exploding the Archive’ 2007
ti parks, collage & videoVoid19.08.10 - 19.09.10
Curator: Teri Hoskin
odradekaeaf season two kicks off with (to) give time to time works: Ti Parks - 'Cement Mixer', the original collage for 'Time to Stop Sitting on Y' his work at Queen's Theatre, and the artist book he made whilst in Adelaide (an edition of 100). In the 24 hour 7 day video box is a compliation of videos from the 70s and 80s curated by Matthew Perkins and Dr Elena Galimberti. The works have been loaned from the National Gallery of Australia, The National Gallery of Victoria, Griffith Art Works and the Australian Video Art Archive. Videos with sound can be viewed in the bookshop.
videoVoid was curated by Matthew Perkins and Dr Elena Galimberti. The art works have been loaned from the National Gallery of Australia, the National Gallery of Victoria, Griffith Artworks and the Australian Video Art Archive. Matthew Perkins is the Studio Coordinator of Photomedia and Dr Elena Galimberti is a research assistant for the Australian Video Art Archive, both in the Faculty of Art & Design, Monash University.
videoVoid has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
The first season of odradekaeaf was curated by Monte Masi, one of the co-founders of FELTspace an artist-run initiative located in the inner-city central market precinct. Exhibiting artists: Logan Mcdonald, James Marshall, Stéphanie N'Duhirahe, Maarten Daudeij, Kate Mitchell, Ray Harris, Brad Lay
Monte Masi is an ex-Glenelg (seafront) now Goodwood-based (inner-city by the tram-tracks)artist and writer living in Adelaide. He works predominately with video and performance. In recent years he has exhibited in a variety of gallery and artist-run spaces, including CACSA and Downtown Art Space (SA), PICA (WA) and Seventh Gallery, (VIC). He is a current Master of Visual Arts candidate at the University of South Australia, investigating self-disclosure in online video and its relationship to 20th century performance and ritual. Monte is a founding member (and current co-director) of FELTspace artist-run initiative, supporting independent art-practice in Adelaide since 2007.
logan macdonald19.02.10 - 20.03.10
My work examines my relationship to street culture and its associated subcultures that are not largely recognised by mainstream popular culture. These subcultures intersect a large variety of areas including music, graffiti, skateboarding and fine art - utilising an alternative system of displaying and creating works with their own aesthetic criteria to satisfy. 'These cultures create work related to their communities' ideas, interests and history. With an intense sense of identification among participants the resulting groups occupy edges of society and represent a different aspect of cultural development.' (René de Guzman and Thom Collins in Beautiful Losers, Iconoclast and DAP Publishing, 2005, p23).
Logan Macdonald is an emerging artist; he completed a Bachelor of Visual Arts (Honours) in 2007 from South Australian School of Art at Uni SA. He is currently a Co-Director of the Artist Run Initiative - Feltspace. He also works as the weekend gallery and website manager for the Contemporary Art Centre of South Australia. Logan Mcdonald has recently been appointed the Curator of the Carclew Youth Arts Exhibition Program for 2010.
stéphanie n'duhirahe26.03.10 - 27.04.10
Stéphanie N'Duhirahe's work
is always based on the details and elements that comprise our daily lives: more precisely, the body, space and objects. She's particularly interested in the bonds that join these three elements, while working within the limits that naturally appear because of these connections. In her work, she often portrays the physical movement and effort of the body. Routine gestures are altered, revealing their absurdity. In the past couple of years Stépahnie N'Duhirahe has focused on linking her two practices: circus performance and video art.
2009 Stéphanie N'Duhirahe graduated from Ecole de cirque de Québec; 2006 graduated from Ecole Supérieure des Beaux-arts de Genève (esba). Exhibitions and performances include:
2009 - Festival FLUX-S. Eindhoven, Nederlands; CASZ urban screen, Amsterdam, Nederlands ; ”Present Tense”, CAAM,Las Palmas,Gran Canaria, Spain; 2008 - Exhibition,” Düsseldorf/ Riga”, Düsseldorf, Germany, Latvia; 2007 - Exhibition,«Terra infirma», Pratt Manhattan Gallery, New York, USA; Performances « en avril fais ce qu’il te plaît » théâtre de la Parfumerie Genève, Switzerland; Exhibition, VIDEONALE 11, Kunstmuseum Bonn, Germany, VIDEONALE 11 - Selección de la muestra de Bonn, Museo Nacional Centro de Arte Reina Sofia (MNCARS), Madrid. Spain; Exhibition, Oblo, Lausanne, Switzerland
james marshall26.03.10 - 27.04.10
“As viewer and voyeur, we are both attracted and repulsed by the grotesque…there is something about the flesh gone awry or some notion of posthumous awareness that pricks at some dark dread that is mixed with a visceral delight.” Abbot, Celluloid Vampires: Life After Death in the Modern World, University of Texas Press, Austin, 2007.
James Marshall’s work offers further insight into the cross media nature of cinematic horror and its importance within visual culture, specifically the visual arts.
Current experiments in the studio utilize a horror vernacular, without a linear narrative, to explore different readings of the genre's tropes. Marshall’s aim is to create work using the essential elements of horror without the embellishment of all the elements of cinema. James Marshall is an emerging South Australian artist undertaking Masters by research at the South Australian School of Art and is currently a board member of the Artist Run Initiative – Feltspace.
maarten daudeij07.05.10 - 08.06.10
Metaphysical Readymade is a work beyond the 5 senses. Maybe only existent in a realm of treacherous nonsense, an art-piece in the sphere of art-pieces, a mistake maybe, preferably unnecessary, possibly going where art shouldn’t or doesn’t need to go. To witness the work is to suffer the loss of sanity, maybe to rise, maybe to fall, probably both. But no ordinary mortal will ever witness the work. To witness the work is to say goodbye to the ordinary. It is to kill the dragon and enter the world of mystery. It is a work some may call esoteric, which it is. It exists in the beyond. We point at it through its name ‘Metaphysical Readymade’ [artist's notes].
(b. 1981 Well, The Netherlands) studied at the Gerrit Rietveld Academy in Amsterdam and is currently undertaking a Masters degree in Sculpture and Installation at the University of South Australia. In his work he explores the notion of exploring.
ray harris07.05.10 - 08.06.10
… is not a middle-aged man as her name might suggest but an emerging Adelaide artist communicating her experiences, revelations and neuroses through mixed media sculpture, video performance and installation. The subject of her work is largely the psychological struggles and complexities of selfhood — identity dramas and disappointments, self-awareness and self-deceptions, and the relationship between reality and fantasy. Fascinated by mental spaces she explores these issues through often-autobiographical interpretations of universal experiences and conditions. Ray is also a recent Visual Arts (Honours) graduate of South Australian School of Art 2009, a new board member of Feltspace, Artist Run Initiative and a founding member of a new peer-based group studio space.
kate mitchell11.06.10 - 22.07.10
… works across performance, video, sculptural elements and drawings to explore concepts of the physical limitations of the body. Revelling in the spirit of endurance, existence, time, and effort, the artist executes and presents her performances with an ever-present healthy dose of humour and an anthropological eye. Resting on the fulcrum of triumph and defeat, her work encourages the audience to embark upon a quest/direction of no meaning, a journey towards greater comfort and awareness of the paradox. Kate's work aims to invite comedy, absurdity and slapstick into the viewers experience and to bring about an awareness of being in the body.
Kate Mitchell graduated from The College of Fine Arts with a Master of Fine Arts in 2009. Exhibitions include: The Night of the Sunglasses, Manzara Perspectives, Istanbul Turkey (2009); Don’t Touch My Rocks, Chalk Horse (2009); The Horn of Plenty: excess and reversibility, Para-Site, Hong Kong (2009); Urban Screenings, Federation Square, Melbourne (2008); Art & About - By George Australia Square, Sydney (2008); Looking Out, (collaboration with Marley Dawson), Macquarie University, Sydney; ICollect The Australian Museum, Canberra (2006); Foil Awards, Little More Gallery, Omotesando, Tokyo (2004). Kate Mitchell, b. 1982, lives in Sydney.
works in odradek are:
top Aura Mountain (Map 1), 2010, smudging on stonehenge paper 120cm x 66cm, dowel,
bottom 50 Big Rolls (what the ancients didn't know), 2010, DVD, 15mins 22sec
This project was sponsored by the NAVA Visual and Craft Artists’ Grant Scheme, supported through a donation by Mrs Janet Holmes à Court and financial assistance from the Visual Arts Board of the Australia Council.
brad lay23.07.10 - 13.08.10
About the work in odradek:
Mirrored swell charts reveal the outline of owls, the colour = swell height scientific aesthetic perhaps not as dry as it first seems. Meanwhile an awkward home-made wave recording device jerks across a pylon-bound canvass. To believe that we can consistently and accurately predict the movement of a storm in the middle of the ocean is, well, kind of ludicrous. With this in mind, I've embraced the simultaneously chaotic and patterned nature of waves by developing a series of work that is directly (and indirectly) generated by waves.
Often employing the ocean as metaphor, material and mechanical aid, Brad Lay works across mediums to respond to an interest in how 'culture' simultaneously reflects, and affects 'nature'. His recent work reconsiders and gently subverts the idea of the sublime in it's historical and contemporary contexts. A 2009 honours graduate of the South Australian School of Art, he has contributed to numerous artist-run exhibitions within Adelaide, and recently presented a body of work entitled I'm Gonna Krill You within the Project Space of the Contemporary Art Centre of South Australia.
image (from top)
Katrina Simmons, I think about Bataille’s writing differently now, (work in progress) photograph by Linda Lou Murphy; Kel Mocilnik, Two's Company (detail) 2011; Wura-Natasha Ogunji, video still detail 2011; sandra uray-kennett, installation detail; Amira H, performance still; a view of odradek from othe bookshop; Henry Jock Walker, installation detail; Somja Porcaro, installation detail november 2010; Stephanie N'duhirahe SANS TITRE, video still detail; James Marshall, Let's Die Together, 2010, car body, fluorescent lighting, smoke machine on timer and astroturf
all images by the staff of the aeaf unless stated.