4th – 22nd of April 2012
Opening Wednesday 4th of April 6pm
Tom Squires is an Adelaide-based artist and writer. He is currently undertaking a Masters by research degree (History and Theory) at the University of South Australia. The work for his current show, THERE/TRANSPARENT/NOT THERE/MIRROR, explores the states and possibilities of the other over there non-animated.
other
over there
non-animated
something that is not oneself
not a part of one’s body, that is, located at a completely
parallel and detached position in space
– absent of an inner self-sustaining life-force/without
consciousness
– still, single frames, no movement
– not animation (as in, “the technique of photographing
successive drawings or positions of puppets or models to
create an illusion of movement when the film is shown as a
sequence”1), yet not in the world either, something else
FILM CLVB is a series of double feature film nights curated by artists.
FLIM CLVB 4 will include Terrence Mallick’s Badlands (1973) and Oliver Stone’s Natural Born Killers (1994) and is presented by James L Marshall.
Badlands is a dramatization of the Starkweather-Fugate killing spree of the 1950′s, in which a teenage girl and her twenty-something boyfriend slaughtered her entire family and several others in the Dakota badlands. -IMDB
Natural Born Killers is the story of two victims of traumatized childhoods who become lovers and psychopathic serial murderers irresponsibly glorified by the mass media. – IMDB
DOORS at 7pm with the first film screening from 8pm.
Rubes! is a new collaborative project presented by Brisbane artist run initiative Boxcopy. Featuring artists Anastasia Booth, Channon Goodwin, Anita Holtsclaw, Timothy P. Kerr, Daniel McKewen, Raymonda Rajkowski and Tim Woodward, Rubes! will further explore Boxcopy’s interests concerning processes of information gathering, the procurement of specialist knowledge, and the learning of practical skills.
Rubes! is the first half of an exhibition exchange between Boxcopy and FELTspace in 2012.
Patrick Rees, ‘United Front and the Dystopian Utopianator’ (detail), 2011, acrylic, enamel, sealant, wax, modelling paste, putty foam, epoxy resin, clay, PVC, glitter, found jewellery, dimensions variable, photography by Steve Wilson.
Imagine some bad sci-fi television future when earth has been discovered by pre-historic aliens 1,000 years after the apocalypse has destroyed all of earth’s inhabitants. Sifting through the remnants, these prehistoric aliens discover books about modernism, religious iconography, Blake’s 7 and birthday cakes. Unable to read, the aliens use the photos in these remaining books to construct a shrine to the fallen humans, using the forms and configurations that they believe were highly valued by the now extinct species. Employing the motifs of the religious shrine, late modernist painting and sculpture and 70’s and 80’s sci-fi, The Dystopian Utopianator – Redux is an attempt to provide freedom from the austere concepts of order, harmony and collective transcendence, celebrated by high modernism, fundamentalist religion and fascist doctrines. The Dystopian Utopianator – Redux, offers the nonsensical possibility of utopian salvation through plasticine, fake fur and bathroom sealant. It is through the humour of this nonsensical proposition that ultimately I hope to celebrate the very human realities of our perpetual inadequacy, our collective existential conundrum and the pleasure of childhood play.
Patrick Rees graduated with a Bachelor of Arts (Hons) in performance and screen studies from Flinders University in 1995. After working in the film industry (predominantly B grade) in Sydney as a performer and writer he returned to study visual arts at the College of Fine Arts at the University of NSW in 2001. Rees was a founding member of the 2% art collective in Adelaide and has been involved in a range of group exhibitions as visual artist and curator from 2007 – 2011. In 2010 Rees completed a Bachelor of Visual Arts (Hons) degree at the University of South Australia. In 2011 he will have a solo exhibition at the Contemporary Arts Centre of South Australia – Project Space, and travel to Los Angeles to undertake an artist residency at RAID Projects.
All of these sentences are something someone did or thought that they felt they should be ashamed of. None of these people were too ashamed not to tell someone else, be that the artist or the world via the Internet. Using the book ‘I Love Dick’ (1997) by Chris Kraus as a kind of stepping off point for emotional expression and personal involvement in art, Malia examines herself and those around her in a kind of secret swap or tell-all. In ‘I Love Dick’ writer/artist Chris Kraus re-examines the notion of vulnerability and openness in a completely unashamed way. Malia’s work showcases these attributes in a way that reveals and hides those things we all share but don’t talk about. In a sense all of the secrets are the artist’s. It is not just that she has taken them on through the shared moment of secret telling; she has, but it is more than that. There is a universality to them all that can make them seem both possibly shocking and completely banal. Some of the events, thoughts or actions described actually are the artist’s own, but the fact that she considers the rest of those that have not at this point occurred to her to be on a level of possibility for her future and past selves makes her identify with them and feel ownership of them also. In embracing the secret and the gossip aspect of this project, the artist also opened herself and her life up to the creation of secrets or adventure through the art process as did those whose secrets or stories were shared with her. By using lights and glow-in-the-dark thread, different feelings are conveyed within the work. The hidden and the displayed take on new meaning and the fleeting nature of seeing or truth is also apparent. The painstaking and generally feminine process of embroidery imbues fleeting confessions with a kind of importance that one might prefer they did not have. Due to the large amount of intimate time the artist spent with each part of the work a fondness for the ideas and sentences referenced was created, and ultimately a way of owning the secrets and responding to them in a completely different manner than is usual.
Malia Wearn is an Adelaide based artist working primarily in textiles and light based sculpture. She graduated from the University of South Australia in 2006 with a Bachelor of Visual Arts specialising in painting. Malia has recently exhibited in small group collective exhibitions at Adelaide’s Paper String Plastic gallery and Format Project Space.
My current practice explores the notion of place and our individual responses to our surrounding environments. Through the materiality of blown glass I investigate the aspects of perception, memory and space to explore personal histories and the way in which the environments in which we traverse influence our personal states of being. Currently I am drawing reference from the natural elements of weather, geology and constellations to create sculptural work that generates a greater awareness of the natural world we live in.
Present to us as we are explores the notions perception and personal histories through the depiction of various experienced landscapes. This installation seeks to bring the viewer into a perceptually obscured space, inviting one to become part of the totality of the visually expanded space and to experience the immediate moment and the moments and places depicted within each piece of glass.
Adelaide born and based artist Kristel Britcher graduated with first class Honours from the South Australian School of Art in 2007. Since graduation she has exhibited throughout South Australia and interstate and was selected to exhibit at Hatched 08 National Graduate Exhibition at the Perth Institute of Contemporary Art in 2008. She has exhibited in Adelaide at the 2008 Helpmann Academy Graduate Exhibition, There’s a time and a place at Light Square Gallery and in a solo show Cumulus at Seedling Art Space in 2010. Kristel is currently a design associate in the glass studio at JamFactory Contemporary Craft and Design in Adelaide and exhibited in Talente 2011 in Munich, Germany this year.
‘My whole life has been spent walking by the side of a bottomless chasm, jumping from stone to stone. Sometimes I try to leave my narrow path and join the swirling mainstreamm of life, but I always find myself inextricably drawn back to the chasms edge and there I shall walk until the day I finally fall into the abyss.’ Edvard Munch
The Lexicon of Lycanthropy is an attempt to represent my intimate confrontation with a relentless and unpredictable barrier. These works reflect my experience of bearing witness to the hermetic and isolating sublimity of schizophrenia. I am interested in a world that by its very nature is inaccessible, an ambiguity that appears adrift and anchorless…
What will be seen by the viewer of the artworks will be brief constructions of a witnessing ,a mutual understanding, present in the moment of making and seeing.
I am not trying to represent what has happened behind the schizophrenic’s eyes, but rather what has happened in front of my own. However, the oscillation between madness and my seeing of it, experiencing, can at times be so rapid as to disallow a distinction between the two of us. This illness is, to me, beyond language, utterly beyond belief. Emotions war in me constantly. Primal anger, shock, terror, the plunge of grief…a complex relationship, simplified, perhaps…
‘what do you see after the rain?’
‘the raindrops falling from the fig tree looks like coloured glass. When they hit the ground they smash into a thousand tiny pieces
I know what that feels like.’
Sandra Uray-kennett is currently a PhD (Visual Arts) Candidate at The University of South Australia. Her object-based works have developed out of a painting practice which was intitally inspired by the 19th Century photographic iconography documenting female hysteria. Sandra’s current works are an investigation into schizophrenia and it’s language(s), in particular its slippages and pauses. She was selected to exhibit her work at Hatched in 2009 at PICA and has recently exhibited her work ‘silent/ly witness blood making noise’ in the odradekaeaf projectspace in June 2011. Sandra has also recently returned from Oxford University where, in 2009 she presented her paper entitled ‘music from another room’. In September 2011 presented and chaired at the 4th Global Conference on Madness, and as one of only two international artists represented, she shared her current research entitled ‘six more impossible things before breakfast; an investigation into the language(s) of madness’.
Halloween weekend Friday, 28th October 2011
First movie starts at 8pm
Rosemary’s Baby (1968) Dir. Roman Polanski
A young couple moves into a new apartment, only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins controlling her life.
House of the Devil (2009) Dir. Ti West
In the 1980s, college student Samantha Hughes takes a strange babysitting job that coincides with a full lunar eclipse. She slowly realizes her clients harbor a terrifying secret; they plan to use her in a satanic ritual.
3rd-27th November, 2011
Opening Wednesday, November 2nd, 6-9pm
Tony Garifalakis, James L Marshall, Takeshi Murata (USA) & Christian Tedeschi (USA). Curated by James L Marshall
Feltspace is pleased to present Hollywood Forever, a group exhibition featuring works by artists Tony Garifalakis, James L Marshall, Takeshi Murata & Christian Tedeschi with accompanying text by Robert Seitz. Curated by James L Marshall, the exhibition is named after the Hollywood star cemetery and explores representations of death on the ‘big screen’. The exhibition will include sculptural and wall works by Garifalakis, Marshall & Tedeschi and also screen the Australian debut of Murata’s “I, Popeye,” which premiered in 2010 in the exhibition ‘Free’ at the New Museum, New York.
Takeshi Murata
Takeshi Murata, Art and The Future, 2011, Pigment print, 83 x 127 cms. Image courtesy of Ratio 3 Gallery, San Francisco.
Takeshi Murata was born in 1974 in Chicago, IL. He graduated from the Rhode Island School of Design in 1997 with a B.F.A. in Film/Video/Animation. He has had previous solo exhibitions at the Hirshhorn Museum and Sculpture Garden, Washington DC , Gallery.Sora, Tokyo and The Reliance (The Approach), London. His work has been included in exhibitions at the New Museum, New York, Museum of Modern Art, New York, Museum of Fine Arts, Houston, Fondazione Sandretto Re Rebaudengo, Turin, Italy, Sikemma Jenkins & Co., New York, and Gladstone Gallery, New York. Murata currently lives and works in Saugerties, New York. Murata is represented by Ratio 3, San Francisco and Salon 94, New York. www.takeshimurata.com
James L Marshall
James Marshall, The Black Cat (revised), 2011, False wall, fluorescent light fixtures, acrylic paint, conduit, dimensions variable.
Photo by Chris Boha.
James L Marshall was born in 1985 in Adelaide, South Australia. He graduated at the University of South Australia in 2011 with a Masters of Visual Art by research. He has had solo exhibitions within South Australia at the Contemporary Art Centre of South Australia – Project Space, FELTspace & the Australian Experimental Art Foundation – Odradek. His work has been included in group exhibitions at Seventh Gallery, Melbourne, Inflight ARI, Hobart, Shoshana Wayne Gallery, Los Angeles and Co/Lab Art Fair, Los Angeles. Marshall currently lives and works in Adelaide, South Australia. www.jameslmarshall.com
Tony Garifalakis
Tony Garifalakis, Anti Christ, 2011, C Type print, 29 x 20cms.
Tony Garifalakis graduated with a diploma in Graphic Design at Victoria College, Prahran in 1985 and MFA (Painting) at RMIT University in 1999. Garifalakis has had recent solo exhibitions at Ryan Renshaw Gallery, Brisbane, Yautepec, Mexico City, Mexico, ISCP, New York, Uplands Gallery, Melbourne and Hell Gallery, Melbourne. His work has been included in group exhibitions at The Museum of Old and New Art, Hobart, Tasmania, ISCP Picture Parlour, New York, USA, Monash University Museum of Art, Melbourne, University of Queensland Art Museum, Brisbane, the Palazzo Delle Prigioni, Venice, Italy and Death Be Kind, Melbourne. Garifalakis lives and works in Melbourne, Victoria. www.tonygarifalakis.com
Christian Tedeschi
Christian Tedeshci, 40,000,000,000,000 years, 2011, Toilette paper, polyurethane resin dracula head, globe – 129.5 x 102 x variable cms. Photo by Julie Schustack.
Christian Tedeschi was born in Philadelphia, Pennsylvania. He graduated at Cranbrook Academy of Art, Michigan with a MFA in 2001. Tedeschi has had recent solo exhibitions at Kristi Engle Gallery, Los Angeles, Haus Gallery, Los Angeles, California and Woodbury University, San Diego, California. His work has been included in exhibitions at Torrance Art Museum, Torrance, California, Happy Lion, Los Angeles, California, L.A.C.E, Hollywood, California, Eyebeam, New York, P4 Gallery, Milan, Italy and Hangplek voor Kunstenaars, Amsterdam, Netherlands. Tedeschi lives and works in Los Angeles, California. www.christiantedeschi.net
GALLERY HOURS: THURS 1-5pm FRI 3-7pm SAT 11-3pm SUN 12-4pm or by appointment
5th – 23rd October 2011
Opening Wednesday, October 5th, 6-9pm
Darren Cook, Scot Cotterell, Laura Hindmarsh, Nadine Kessler, Jacob Leary, Ben Ryan, Nicola Smith, Robert O’Connor
Best Show is the second half of an exchange project between the artist run initiatives INFLIGHT (Hobart, TAS) and FELTspace. In July 2011 FELTspace presented DARK/LIGHT at INFLIGHT. Best Show will see the Inflight board present plans for unrealised and unrealisable ‘dreamworks’. This project reflects the growing role that artist run initiatives are playing in forging national relationships between emerging arts communities within Australia.
A practicing artist may bite off more than he or she can chew. At some point the scale, the expense, the impracticality of a work can get in the way and ugly reality sets in. A work in the mind’s eye can be realisable until one begins the process. Maybe that point of view continues, maybe the artist is delusional. Perhaps there is a belief that one day, maybe, just maybe the dream can be realised – the greatest artwork of all.
we are collectively obsessed with the best, biggest, fastest, richest, strongest, smartest, prettiest… – DC
Consumer industry relies on the importance of the latest and greatest and this attitude has crept into art as much as anywhere else. Simply look at all the Biennales, Triennials, Art Fairs – they’re everywhere, every month somewhere in the world. Every branch of the Guggenheim or Pompidou Centre must by default appear to be prettier and better than the last. Art has increasingly high standards and nobody, of any generation, wants to be the one who drops the ball.
Bored shows: I think the idea came from thinking about limp board shows. We wanted to do something special for FELTspace so what could be more special than… gee I don’t know, how about the BEST SHOW ever? That was the idea anyway. I have a feeling that it may end up being a roomful of monkeys on typewriters, but hey…y’never know – ROC
The artist wants to challenge themselves and the audience, but is it a desire to create something so profound that it remains out of reach? Think of Vladimir Tatlin’s tower, so grand that there wasn’t enough resources in Russia to actually build it. Or Oldenberg’s numerous designs for public art projects. Think of Kurt Schwitters’ Merzbau or Henry Darger – this compulsion towards satisfaction. The philosopher’s curse is that he fails by default.
In the end, is it preferable that the great artwork remains just a sketch, just an idea, a glint in the artist’s eye? Could it ever possibly live up to it’s promise?
SWOT Analysis:Key Performance Indicators, Performance Reviews, Occupational Health and Safety, Industry Best Practice, Material Data Safety Sheets, Mutual Obligation Agreements, Child Support Assessments, Employee Health and Wellbeing seminars, …don’t fuckin drop that new LCD screen. Fill in your time sheet. The Board of INFLIGHT.
DARREN COOK was born in Adelaide where in 2004 he completed a Bachelor of Visual Arts studying initially at the North Adelaide School of Art and then AC Arts. Now based in Hobart, Darren completed Honours at the University of Tasmania in 2010, where he is currently an MFA candidate. Originally a painter, Darren now works across a range of disciplines including video, sound, sculpture, performance and installation, and regularly works in collaboration with other artists, musicians, and performers. His recent practice is focused on relationships between live and recorded events.
SCOT COTTERELL was born in Victoria in 1979, and is currently an MFA candidate at the University of Tasmania School of Art. Scot was nominated for the prestigious 2010 Qantas Foundation Encouragement of Contemporary Art Award and currently lectures part-time in Electronic Media at the University of Tasmania. Scot’s work is inter-disciplinary and concerned with responses to technology and media. His work uses sound, video, image and object to create environments that reflect upon cultural phenomena. Scot has curated exhibitions for CAST Gallery, the Plimsoll Gallery, and Boiler Room: National Improvisation Laboratory and performed at Salon Bruit – Berlin, Overtoom 301 – Amsterdam, ElectroFringe new media Arts Festival – Newcastle and Liquid Architecture 6, National festival of sound arts – Melbourne.
LAURA HINDMARSH’s work is an inquiry into the relations between production and representation. Her preoccupation with this space between a work’s construction and its reception permits little in the way of conclusions or the concrete, but rather, as she prefers, it represents opportunities for encounters with a work to remain ‘live’ and imminent, ineffable and in perpetual mediation. Covering a range of art forms including installation, photography, video projection and performance, her work is concerned with the medium and its limitations. Originally from Western Australia she recently relocated to Hobart and studied at the Tasmanian School of Art. Alongside her solo practice Laura continues to work collaboratively as part of the Inter Collective in performative and participatory installations.
NADINE KESSLER German born artist and designer has lived and worked in the USA, Switzerland and Australia. Her work evolves around language, culture and identity. This includes abstract codes and exploring linguistic peculiarities visually. Using manual letterpress and screen printing as well as digital media the artworks play with learned cultural behaviour, such as language, a code for human communication. Among other things Nadine designs typefaces in her Hobart based graphic design studio. She holds a position as lecturer of Advanced Typography at the University of Tasmania.
JACOB LEARY is a Hobart based artist who is currently completing a Masters degree after finishing his honours at the Tasmanian School of Art, University of Tasmania in 2008. Jacob’s practise spans painting, drawing, sculpture, printmaking and recently video, and currently utilises invented visual and informational systems which are extended through each medium. Previously a student of Architecture his practice often makes reference to technology & knowledge, progress & catastrophe and the place of human beings within these forces. Jacob is represented by Despard Gallery, Hobart and is currently a seasonal teaching member at the Hobart School of Art.
BEN RYAN completed the first part of his BFA at Sydney College of the Arts in 2008, deciding to cap his studies with honours the following year at the School of Art – University of Tasmania. Working primarily with video and sourced materials, his practice broaches a formal rigour within everyday objects and slapstick humour. Recent exhibitions include a collaboration with Louise Josephs, “Relegate”, at 6a ARI (2010), while in 2009 he was part of the group show “Names & Places” at First Draft ARI (Sydney), the “Post” project with the siteless 10% Pending group and a solo exhibition “Posted Pitch” at Inside/Out Gallery (Hobart). Alongside his artistic practice Ben has been project officer for Detached Cultural Organisation(2009-10), gallery assistant at Moonah Arts Centre (2009-10) and administration assistant for the state-wide arts festival Ten Days on the Island.
NICOLA SMITH paints. She completed her Bachelor of Fine Arts in Sydney in 2002, and in 2009 relocated to Hobart to do her Honours year at The School of Art, University of Tasmania. Focusing on repetition and the process of making, recent shows have been at MOP Projects, Sydney, and Top Gallery, Salamanca Arts Centre, Hobart. In 2006 Nicola was a recipient of The MacDowell Colony fellowship, New Hampshire, USA. Last year she was a studio artist at Contemporary Art Services Tasmania (CAST), Nicola has recently returned to art school to do a Graduate Certificate in Lithography.
ROB O’CONNOR (b. Melbourne 1984) completed a Bachelor of Fine Arts [hon] at the University of Tasmania in 2007. In 2010, he was in residency at the Rosamund McCullough Studio, Cité International des Arts, Paris. In July of this year along with Tom O’Hern, Rob visited the Xu Village, a Ming dynasty Village in China to create works and take part in the Inaugural Shan Xi He-Shun International Arts Festival. He is represented by Bett Gallery, Hobart.
For more information about INFLIGHT A.R.I and projects: inflightart.com.au
This exhibition is part of the Festival of Unpopular Culture: 7th-16th of Oct. For more information: festivalofunpopularculture.com
This project was assisted through Arts Tasmania by the Minister for the Arts
FELTspace
12 Compton Street
Adelaide
South Australia
Australia 5000
