1st - 18th August 2018
Front gallery: I Acknowledge - eDuard Helmbold (SA)
“Hy was geen boorling van dié ruim gebied…
Maar nou het hy…‘n vreemde dans gevoer uit sy land…
…en oor sy skouer
‘n jong bok gedra…
…maar woorde het hy geen enkele gesê.
I Acknowledge, eDuard Helmbold’s first solo show, is inspired by the contemporary use of Acknowledgement of Country as
“…a political act of defiance in the face of originary and ongoing dispossession, marginalisation, racism and genocide. It is a small sign of solidarity with Indigenous people and recognition of the theft and violence that founded and funds the Australian national project.”
Two shaman-like figures ami-Raka invite the viewer to participate in a Beuysian dance of reconciliation. Manifesto, an assemblage set on a stack of manure balls is both an acknowledgement of privilege and a statement of intent. Instead of an comprehensive and final statement, Manifesto is fragile and speculative, it is the origin of a manifesto for an emerging practice.
I Acknowledge aims to provide a space where the audience can reflect on rituals of reconciliation beyond words; it offers an opportunity “…to reflect on how we present ourselves through a combination of conscious and unconscious gestures and words with intentional and accidental mistakes.”
BACK GALLERY: Ritual silences - Kate o'boyle (Sa)
RITUAL SILENCES reflects on recordings taken from Saint Francis Xavier Cathedral over a four-month period. Located on Victoria Square, 200 metres from the gallery space, the cathedral is the key operating site of the Catholic Church in South Australia. Proximate to FELTspace, these documents provide an opportunity to consider how faith operates relative to the gallery space.
RITUAL SILENCES attempts to destabilise aural hierarchies in church spaces by preferencing the sounds of the congregants’ bodies over that of their superiors. Silence and noise become points of contact between the body’s internal and external worlds; I hear myself as I am heard by others. Church spaces require the individual body to join with others, holding within it the potential to comply and resist through sound.
Church spaces are performed sites that utilise materiality to operate affectively on the bodies of the faithful. Catholicism remains a fiercely patriarchal institution and maintains traditional gender hierarchies. By removing and decontextualising the materiality within the church space, RITUAL SILENCES acknowledge those that are excluded from church hierarchies, while attempting to understand how they are subjected to, and act to reinforce, institutional power.
FELTDARK: deep mode, bone deep - Danny vines (sa)
Deep Mode, Bone Deep (2018) explores the physical body as an emotional centre, that’s psychosocial development and grasp on identity are incessantly re-scripted by past experiences written deep within its folds. With an emphasis on material engagement my work alludes to the remote and at times all-consuming mental patterns one can become embroiled in; patterns that strongly influence paths taken by the body. Sculptural forms look to surface implicit memory, acknowledging it as a place of blockage. Captured in a single channel video, these sculptural verses seek to wade through modes of being that may develop in relationship to self; exposing vulnerabilities that cycle beneath co-dependant and often, unseen, inner struggles.
Deep Mode, Bone Deep negotiates with the limits of sculpted human form, converging at the boundary of thought and emotion, embodied action and artistic expression.