Jul
27
to Sep 8

DEEP END: JULIE FRAHM

Julie Frahm, '1, 2, 3, breathe', 2019, wine bottle glass and sterling silver, length 75cm

Julie Frahm, '1, 2, 3, breathe', 2019, wine bottle glass and sterling silver, length 75cm

An installation of jewelry made from recycled glass, in the gallery shop window, for SALA Festival.

A moment can change your life forever. 

How do you get through that moment? For Julie it was swimming every day at the local pool. From the sparkles in the water on a sunny day, to the peace of being under the water, Julie found a way to briefly escape what was happening and focus on just breathing again. Deep End is a personal reflection on how swimming helped Julie deal with an overwhelming moment in time.

Julie Frahm, 'Waves' 2019, various recycled glass objects and sterling silver, length 22 cm

Julie Frahm, 'Waves' 2019, various recycled glass objects and sterling silver, length 22 cm

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Jul
27
to Sep 8

OPEN HOUSE: 3rd Tamworth Textile Triennial

Open House: Tamworth Textile Triennial celebrates the open-ended, porous nature of textiles practice today. It introduces a group of artists who have not previously exhibited in the triennial.

Jeanette Stok   Inherited Borders (detail) 2017 Galvanised wire, wire mesh 204 x 204 x 10 cm Photography Michelle Vine

Jeanette Stok

Inherited Borders (detail) 2017
Galvanised wire, wire mesh
204 x 204 x 10 cm
Photography Michelle Vine

All are linked in some way to a sense of broader engagement with things outside of themselves and their studios. Many celebrate the process of belonging that comes from working with other artists, while others take on wide-ranging issues such as the landscape and the environment and the artist’s place in a world beset by environmental, social and cultural upheaval.

GhostNets Australia   Wobbegong Shark, 2017 Fishing net, fishing line, nylon rope, plastic, steel wire, bamboo 1450mm x 3600mm Photography by Steve Gonsalves

GhostNets Australia

Wobbegong Shark, 2017
Fishing net, fishing line, nylon rope,
plastic, steel wire, bamboo
1450mm x 3600mm
Photography by Steve Gonsalves

Bringing it all together is a kind of openness that comes through exhibiting, talking and creating which can involve both artist and viewer as equal participants. The making process is equally as important as the works themselves, and the conversations while creating and showing create an open house where all ideas and responses are welcome.

Ema Shin    Devoted Body  (detail), 2017 Linen, silk, muslin, water-based ink, acrylic ink, cotton thread, woodblock print, block print, urauchi (Chine-collé), natural dye, embroidery 1800mm x 2600mm Photography by Oleksandr Pogorilyi

Ema Shin

Devoted Body (detail), 2017
Linen, silk, muslin, water-based ink, acrylic ink,
cotton thread, woodblock print, block print,
urauchi (Chine-collé), natural dye, embroidery
1800mm x 2600mm
Photography by Oleksandr Pogorilyi

Exhibition Curator, Glenn Barkley

The 3rd Tamworth Textile Triennial is an opportunity to build on the rich cultural history and reputation that the Tamworth biennials and triennials have established, while pushing forward new conversations and creating a safe place for unsafe discussions. Indigenous, multi-cultural, environmental and minority groups are all represented among the selected artists, providing a sense of broader engagement as the key theme for this exhibition.

There is an ongoing interest in the overlaying of traditional textile techniques with new technologies as a means to create innovative approaches to practice that are relevant to today.








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Jun
8
to Jul 21

CONNECTED: Contemporary Ngarrindjeri Weaving

Robert Wuldi,  Wire Kuranji basket , 2018, approx. 800 meters of galvanised wire, 40 x 30 x 23cm (exc handle), 62.5 x 30 x 23cm (inc handle).

Robert Wuldi, Wire Kuranji basket, 2018, approx. 800 meters of galvanised wire, 40 x 30 x 23cm (exc handle), 62.5 x 30 x 23cm (inc handle).

CONNECTED offers a snapshot of contemporary weaving practices by Ngarrindjeri artists from Murray Bridge to Meningie, Victor Harbour to Raukkan. Intricately woven from a range of materials (sedge grass, raffia, jute, galvanised wire and feathers), these works are grounded in cultural traditions and respond to modern social and cultural concerns.

Artists: Ellen Trevorrow, Phyllis Williams, Robert Wuldi, Cedric Varcoe, Deb Rankine, Elly Wilson, Alice Abdulla, Joe Trevorrow, Hank Trevorrow, and Ngarrindjeri Weavers Collaborators.

Celebrating NAIDOC Week, the diverse weaving practices featured in CONNECTED - together with Cedric Varcoe’s vibrant paintings in the concurrent exhibition NGARRINDJERI RUWE - highlight the profound cultural connections that Ngarrindjeri people have with their lands and waters, ancestors and stories, as well as each other.

This exhibition was brought together with the valued assistance of Di Gordon, Cultural Program Manager, Country Arts SA.

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Jun
8
to Jul 21

NGARRINDJERI RUWE (COUNTRY): Cedric Varcoe Paintings

Cedric Varcoe,  Ngurunderi Dreaming  (detail), 2019, acrylic on canvas, 76 x 106 cm

Cedric Varcoe, Ngurunderi Dreaming (detail), 2019, acrylic on canvas, 76 x 106 cm

Cedric Varcoe’s vivid paintings map Ngarrindjeri lands and waters, sharing the stories of his ancestors - narratives that continue to be fundamental to Ngarrindjeri culture. With a lyrical aesthetic, these works hold profound meaning, in a sea of animated colour.

Celebrating NAIDOC Week, Cedric Varcoe’s vibrant paintings in NGARRINDJERI RUWE - together with the diverse weaving practices featured in the concurrent exhibition CONNECTED - highlight the profound cultural connections that Ngarrindjeri people have with their lands and waters, ancestors and stories, as well as each other.

Murray Bridge Regional Gallery thanks Better World Arts for their support in providing these artworks for this exhibition.

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Apr
13
to May 26

Robyn Stacey: Ray of Light

Robyn Stacey, Australia, born 1952,  Comfort Inn Riviera, SAHMRI , 2016, Adelaide, type C photograph, 110.0 x 146.7 cm (image and sheet); Courtesy the artist and Darren Knight Gallery, Sydney

Robyn Stacey, Australia, born 1952, Comfort Inn Riviera, SAHMRI, 2016, Adelaide, type C photograph, 110.0 x 146.7 cm (image and sheet); Courtesy the artist and Darren Knight Gallery, Sydney

Using the camera obscura, Sydney-based artist Robyn Stacey depicts South Australia as it has never been seen before. Translating from Latin to mean ‘dark room’ the camera obscura is an optical device of wonder, whereby the external world is trapped and inverted within the room.

For this exhibition, eight large-scale camera obscura photographs by Stacey will be on display. First shown as part of the 2016 Adelaide Biennial of Australian Art: Magic Object, the photographs depict camera obscuras at well-known sites around Adelaide, including the Brookman Building at the University of South Australia, Carrick Hill, The Cedars at Hahndorf, the Institute Building, The Lighthouse Wharf Hotel in Port Adelaide, Parliament House and the South Australian Health and Medical Research Institute (SAHMRI).

In the artist’s words these bewildering photographs become ‘a mash up of inside and outside’. ‘The magic of the camera obscura is that it makes us question what we take for granted - the everyday experience is presented upside down and in reverse, mimicking the way an image forms on the retina. In some photographs cars drive over the ceiling and the sky and clouds cover the floor… it’s like being in a movie where you are in the world but removed from it at the same time,’ says Stacey.

The regional South Australian tour of Robyn Stacey: Ray of Light is presented in partnership with Country Arts SA, the Art Gallery of South Australia and the Regional Galleries Association of South Australia. 

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Apr
13
to May 26

Brush Strokes

Anita Millsteed,  Field of Poppies , 2018, acrylic, 50 x 60cm

Anita Millsteed, Field of Poppies, 2018, acrylic, 50 x 60cm

This group exhibition by members of the local Murray Bridge-based artist group Bridge Arts reflects on mark-making in their art and their lives.

Artists: Detlef Baumer, Sue Foster, Pamela Gillen,Jane Mason, Anita Millsteed, Jillian Solley, Valerie Sparrow, Audrey J Van Den Heuvel, Anthony White, Kerry Wilson.

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Mar
22
to Apr 7

29th Murray Bridge Rotary Art Show

Fish  by Steve Oatway

Fish by Steve Oatway

Having grown from its humble beginnings 30 years ago, this is now a well-anticipated exhibition and part of our prominent regional gallery’s annual program. It continues to provide an opportunity for emerging and hobbyist artists to display and sell their work. Prize categories include printed and projected digital art, sculpture, metalwork, photography, drawings, pastels and painting. Sales commissions go toward public art projects in partnership with the Rural City’s Public Art Strategy.

Congratulations to this year’s prize winners:

2D – Paintings, Prints, Drawings

$1,000 First Prize: LYNETTE ANSTEY, Murray in Flood (#83)

$250 Second Prize: CAROL BANN, Skeleton (#52)

$100 Third Prize: MAXINE WILLIAMS, Cave Spirit (#57)

3D – Sculpture, Ceramics

$1,000 First Prize: ANNA COUPER, Blooming (#42)

$250 Second Prize: STEPHEN OATWAY, Donald (#38)

$100 Third Prize: CONNIE BERG, Meeples (#60)

Andrew Hay Memorial Photography Prize

$1,000 First Prize: CAROL COVENTRY, Windmill Sunrise (#85)

$250 Second Prize: LEANNE WALDING, Army of Fungi (#54)

$100 Third Prize: CAROL COVENTRY, R U OK (#23)

Digital Art (Vouchers to Workshop prizes)

First Prize: MARK RICHARDS, Oasis Inn, Motel & Café, 1957 Ford Fairlane (#1)

Second Prize: PENNY PARKER, Frances’s Faerie (#8)

Third Prize: THUY-ANH LE, Putting Their Weary Bones to Rest (#7)

Enquiries to Rotary Art Show Coordinator Wendy Gaborit on 0418 858 717 or via email: info.mbartshow@gmail.com

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Feb
9
to Mar 17

Kunyi June Anne McInerney: My Paintings Speak For Me

Kunyi June Anne McInerney,  Mission Buildings with Dining Area , 2017, acrylic on canvas, 61 x 91 cm. On loan from the Migration Museum, a division of the History Trust of South Australia. Image courtesy of the artist.

Kunyi June Anne McInerney, Mission Buildings with Dining Area, 2017, acrylic on canvas, 61 x 91 cm. On loan from the Migration Museum, a division of the History Trust of South Australia. Image courtesy of the artist.

Curated by Maggie Fletcher

In this exhibition, South Australian artist Kunyi June Anne McInerney draws upon childhood experiences as a member of the Stolen Generation in the Oodnadatta Children’s Home during the 1950’s. Kunyi’s vibrant use of colour, facial expression, and depiction of landscape document her memories and reflect on the strict life with other mission kids who became her only family. Kunyi’s paintings and stories reveal an often-invisible part of Australian history.

In the artist’s words, Kunyi says “these are my stories from a dry remote place where my experiences were so different from what Australian children know today. I want to tell my story, so they don’t ever do it again. They took away my family, my culture and who I could have been. These are not fairy tales, they are true. I want people to understand what happened. Painting is the best way for me to tell my stories.”

My Paintings Speak For Me is a sensitive exploration of the experiences of cultural loss, separation from family, and finding fun times amongst hardship.

This is a Country Arts SA touring exhibition.

Country Arts SA is assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

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Dec
21
to Feb 3

SYRIA LOST: Sandra Elms and Tony Kearney

SANDRA ELMS  ARCHAEOLOGICAL SITE, EUPHRATES,  2014, edition of 5 + AP, archival inks on Hahnemühle FineArt 308gsm Photo Rag paper, 60 x 60cm image on 90 x 90cm paper.

SANDRA ELMS ARCHAEOLOGICAL SITE, EUPHRATES, 2014, edition of 5 + AP, archival inks on Hahnemühle FineArt 308gsm Photo Rag paper, 60 x 60cm image on 90 x 90cm paper.

TONY KEARNEY  GATE OF JUPITER , 2014, edition of 5 + AP, archival inks on Hahnemühle FineArt 308gsm Photo Rag paper, 60 x 60cm image on 90 x 90cm paper

TONY KEARNEY GATE OF JUPITER, 2014, edition of 5 + AP, archival inks on Hahnemühle FineArt 308gsm Photo Rag paper, 60 x 60cm image on 90 x 90cm paper

It is Bryan Dawe that we have to thank for our journey to Syria, and for the timing which was fortuitously just before the Syrian revolution, which began in March of 2011 with peaceful protests (inspired by earlier revolutions in Egypt and Tunisia), and which is now held in the grip of a devastating war. Bryan had travelled to Syria before, had loved it and was planning to go again. He asked if we’d like to join him. And so we set off to experience this exhilarating country, ready for adventure, remarkable sites steeped in history, and the generosity of a welcoming and friendly people – kindness to travellers is one of society’s golden rules, hospitality flows freely. 

Civilisation in Syria goes back thousands of years, but the country as it exists today is very young – its borders were drawn by European colonial powers in the 1920s. Syria is extremely diverse, ethnically and religiously. Layers of ancient history are evident everywhere: in the remains of a Roman temple beside an eighth-century mosque, in the stonework of Ottoman-era palaces, in mediaeval citadels and Crusader fortresses; and in the blend of Persian, Byzantine, Roman, Mamluk, Ottoman, Armenian, Jewish, Christian and French influences. 

The ancient cities of Damascus and Aleppo are two of the oldest continuously inhabited cities in the world, at least since the 3rd millennium BC. The bustling souqs of these cities are real marketplaces, with spices piled high, silks, textiles and antiquities flowing out of shopfronts into the laneways. In the industrious handcraft souqs, craftsmen work sheets of copper into large pots, axeheads are forged in small foundries, tyres recycled into hardwearing baskets, handmade furniture intricately inlaid with mother-of pearl and camel bone. 

Our travels took us to the desert oasis of Palmyra, a World Heritage Site at the once-beating heart of the Silk Road, where caravans met in ancient times, on route to Europe with silk from China and spices from India. We had the rare privilege of staying with a Bedouin family at a village near the Euphrates River – also an important archaeological site – and to visit the mediaeval fortress of Krak des Chevaliers and the Dead Cities north of Aleppo. 

After three remarkable and unforgettable weeks in Syria, we left via the border town of Daraa into Jordan, just a month before Daraa became the centre of the first popular uprising that would escalate into the brutal civil war of today. Over many weeks in Daraa, government security forces used massive and systematic lethal force against protestors and the mourners of those killed in demonstrations, fuelling a growing anger towards the government and a spiralling cycle of violence. 

By mid 2013, the UN decided it could no longer accurately determine the death toll in Syria, at that point it had reached more that 100,000. It is estimated that it now exceeds 150,000. Within Syria some 6 million people are displaced and nearly 2.8 million people have fled Syria since the conflict began and are registered as refugees in Lebanon, Jordan, Turkey, Iraq and Egypt. 

Syria Lost.

Tony Kearney 2018

View Event →
Dec
8
to Feb 3

JamFactory ICON: Clare Belfrage: A Measure of Time

CLARE BELFRAGE,  A MEASURE OF TIME , collection of works, 2018, tallest height 530mm, photo: Pippy Mount.

CLARE BELFRAGE, A MEASURE OF TIME, collection of works, 2018, tallest height 530mm, photo: Pippy Mount.

Throughout her career, Belfrage has maintained a vibrant studio glass practice and is known for her distinctive artworks in which complex patterns of fine glass lines trace her forms. Inspired by the repetitious patterns found in nature and the woven lines of textiles, Belfrage is particularly drawn to the layered rhythms that mark growth, change and the passing of time in the natural world.

JamFactory ICON: Clare Belfrage: A Measure of Time is a JamFactory touring exhibition.

JamFactory ICON: Clare Belfrage: A Measure of Time has been assisted by the South Australian Government through Arts South Australia and the Australian Government through the Australia Council for the Arts, Contemporary Touring Initiative.

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View Event →
Oct
26
to Dec 2

ROTARY YOUTH ART PRIZE

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The annual Rotary Youth Art Prize is aimed at young people 12 – 25 years of age to show off their creativity and proudly supported by local businesses and community groups.

This year’s winners are:

Overall Winner: Mikaela Jericho for her artwork Giraffe
$1,000 sponsored by The Station

12-15 years category: Charlotte Deramore Denver for her artwork Temptation
$300 sponsored by Rotary Club of Mobilong

16-18 years category: Nathan Modra for his artwork Lost Souls
$300 sponsored by Rotary Club of Murray Bridge

19-25 years category: Sarah Groocock for her artwork The Mask: Fear, No, Ugly
$300 sponsored by The Davery Establishment 

People’s Choice Award: Nathan Modra for his artwork I’m Steel Standing
$300 sponsored by Murray Bridge Regional Gallery

View Event →
Oct
26
to Dec 2

ENSEMBLE - MARK KIMBER AND DEBORAH PAAUWE

Mark Kimber,  Nocturnes #3,  2017, pigment print, 70 x 50cm

Mark Kimber, Nocturnes #3, 2017, pigment print, 70 x 50cm

Deborah Paauwe  'Heavy Roses (seated)' , 2012. Image courtesy the artist and GAGPROJECTS,

Deborah Paauwe 'Heavy Roses (seated)', 2012. Image courtesy the artist and GAGPROJECTS,

Deborah Paauwe and Mark Kimber are two of South Australia’s most prominent photo-based artists, whose distinctive practices continue to influence generations of emerging photographers. Both artists regularly exhibit nationally and internationally, and their works are held in major public and private collections throughout Australia.

“My work concerns itself with fictions distilled from the real, and moves across the shifting and interlocking world of childhood memories and their impact on adult life. Central to my aims is the mixture of identity, gender roles and the underlying ambiguity of what is girl and what is woman.”
Deborah Paauwe

“I'm interested in, to paraphrase poet Shamus Heaney "the arc between language and sensation", the memory or trace of places or events, intermeshed with the somewhat fluid state of flux that both photography and memory share with the concept of ‘truth’.”
Mark Kimber

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Book Work
Sep
15
to Oct 22

Book Work

Lorelei Medcalf, Altered book, 2016

Lorelei Medcalf, Altered book, 2016

Book Work is a group exhibition curated by Polly Dance bringing together artist books and zines by South Australian regional and metropolitan artists Robyn Finlay, Alison Fransen, Sally Graham, Lorelei Medcalf, Mary Pulford, Daniel Purvis and Damien Warman. These artists employ both old and new techniques where form and content go hand-in-hand to create unique handmade books and reader experiences.

View Event →
Sep
15
to Oct 21

Magic Zine: YOU ARE ART

Lucy Thomas, You are Art (detail), 2018, 28 page zine, digital print on paper, 210 x 148mm.jpg

Magic Zine: YOU ARE ART is an exhibition exploring zines, DIY culture and self expression by artist Lucy Thomas, curated by Adele Sliuzas to be held at Murray Bridge Regional Gallery.


Showcasing the Magic Zine catalogue, the exhibition will launch a new issue of the Zine, titled Flower Feelings, exploring the Victorian tradition of floriography. The exhibition will feature a ‘Zine swap’ space, a series of community workshops, and artists in residence in the gallery. A Film, Fair, Forum event will present zinesters in a Q & A panel, as well as an Zine Fair opportunity for local zinemakers to present and swap their publications. The exhibition will run co-currently with Self-Made: Zines and Artist Books, curated by Monica Syrette.

This residency and exhibition is an exploration of DIY culture and self expression through the medium of the zine. Artist Lucy Thomas and curator/writer Adele Sliuzas will create an immersive and participatory space, which both showcases Lucy’s zine Magic Zine and investigates the zine making process for a diverse audience. Special emphasis is placed on creating an inclusive and accessible gallery experience that encourages audiences to investigate zine culture, express themselves through DIY creation as well as providing  pace to swap zines.


I like zines because they are self made and self confessed. Long live physical media - add to your collection.’ Lucy Thomas.

This exhibition is part of a residency supported by Country Arts SA

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Sep
15
to Oct 21

SELF-MADE: ZINES AND ARTIST BOOKS

Jessirose Streker,  Portraits I Painted of Inspirational Figures from around the World ,   Melbourne, Part/Time Press, 2015, State Library Victoria

Jessirose Streker, Portraits I Painted of Inspirational Figures from around the World, Melbourne, Part/Time Press, 2015, State Library Victoria

Delve into do-it-yourself culture: from limited run artist books to cut-and-paste photocopy fanzines, explore the evolution and diversity of these radical publishing alternatives.

Jonathan Tse,  Portrait of an Australian ,   Brisbane, self-published, 1998, Rare Books Collection, State Library Victoria

Jonathan Tse, Portrait of an Australian, Brisbane, self-published, 1998, Rare Books Collection, State Library Victoria

Celebrate the power of self-publishing to communicate directly with readers, create community, and support counter-culture movements. Self-publishing empowers makers of all abilities and backgrounds to become creative producers, challenge dominant models, and make work that anyone can appreciate and collect.

Robert Hogan,  One Job, that was the Deal , Sydney, self-published, 2016, State Library Victoria

Robert Hogan, One Job, that was the Deal, Sydney, self-published, 2016, State Library Victoria

State Library Victoria has one of the finest collections of artist books and zines in Australia and Self-made showcases original rare objects from the collection, as well as a selection of contemporary zines and artist books. Discover science fiction fanzines from the 1940s, ground-breaking 1970s punk zines, Australian underground press publications and artist books designed to circumvent commercial gallery systems.

Bruce Milne and Andrew Maine, editors , Fast Forward , no. 11, Melbourne, self-published, May 1982, Rare Books Collection, State Library Victoria

Bruce Milne and Andrew Maine, editors, Fast Forward, no. 11, Melbourne, self-published, May 1982, Rare Books Collection, State Library Victoria

Self-made: zines and artist books is presented by State Library Victoria in partnership with Sticky Institute, and supported by the Victorian Government through Creative Victoria and the Visions regional touring program, an Australian Government program aiming to improve access to cultural material for all Australians.

This exhibition will tour to seven national venues throughout 2018 and 2019. See slv.vic.gov.au/self-made for details. 

 

Kenny Pittock and Oslo Davis with  Libraryland! , photograph by Sarah McConnell, courtesy of Kenny Pittock

Kenny Pittock and Oslo Davis with Libraryland!, photograph by Sarah McConnell, courtesy of Kenny Pittock

Garry Trinh,  Onlookers , Sydney, self-published, 2014, Rare Books Collection, State Library Victoria

Garry Trinh, Onlookers, Sydney, self-published, 2014, Rare Books Collection, State Library Victoria

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Jul
27
to Sep 9

ISLAND TO INLAND: CONTEMPORARY ART FROM KANGAROO ISLAND

Deborah Sleeman,  Flotilla,  mixed media, dimensions variable

Deborah Sleeman, Flotilla, mixed media, dimensions variable

Islands are by nature isolating, and that isolation coupled with majestic natural surroundings can be inspiration galore to the creative soul.

Thus the symmetry of Kangaroo Island: 4500 square kilometres, half of it natural ecosystems and, 4500 residents, half seemingly artists in some form.

Ten of the island’s visual artists are bringing ‘mainlanders’ a glimpse of the isolation and inspiration of island life in Island to Inland: contemporary art from Kangaroo Island, which will open at Flinders University City Gallery during SALA Festival 2017 and then be toured by Country Arts SA.

The artists are creating new works on the theme of ‘isolation and inspiration’ for the exhibition.

Artists: Ria Byass, Quentin Chester, Audrey Harnett, Scott Hartshorne, Indiana James, Janine Mackintosh, Deborah Sleeman, Caroline Taylor, Maggie Welz, Kenita Williamson

Curated by Eleanor Scicchitano, Visual Arts Coordinator, Country Arts South Australia and Celia Dottore, Exhibitions Manager, Flinders University Art Museum and City Gallery University.

A Country Arts SA Visual Arts Touring exhibition.

 

View Event →
Jul
27
to Sep 9

CATHERINE TRUMAN: NO SURFACE HOLDS. JAMFACTORY ICON 2017

They say beauty is in the of the beholder. Perhaps it is in a vast landscape, or a personal experience. In Catherine Truman’s case, it’s often what she sees through the microscope.

Proving herself to be one of South Australia’s leading contemporary Artists and Jewellers, Catherine Truman is the 2017 JamFactory Icon. This exhibition is the first time that Truman’s collaborative practice with artists and scientists has been presented as a whole.

Truman presents an intriguing and diverse solo show of objects, installation, images and film including several brand new works spanning the 20 years of her research at the nexus of art and science. 

With a 35-year practice that covers film to public artworks to intricate carvings, ‘Jeweller’ as Truman is sometimes referred to, hardly embraces the true expanse of her practice. Rather, she is an accomplished artist, with a love of research flowing in the undercurrent to all of her practice, a practice that is of and about the body as much as it is intended for it.

Truman is co-founder and current partner of Gray Street Workshop - an internationally renowned artist run workshop established in 1985 in Adelaide, South Australia. She has exhibited widely both nationally and internationally and is represented in a number of major national and international collections including Coda-museum, Netherlands, Museum of Central Academy of Fine Arts, Beijing, China, and the National Gallery of Australia, to name a few.

In South Australia, we are lucky enough have her work on permanent display. You might have seen it in those cascading bronze leaves on the facade of the David Jones
building, the playful cast fish jumping into the ground and adorning the gates of the Art Gallery of South Australia, or perhaps walking straight by you – in a textural and abstractly formed brooch adorning the clothing of a friend or passer-by.

Last year her carvings and jewellery were the subject of a major survey exhibition shown at Art Gallery of South Australia. Truman’s sculptural objects and jewellery, made primarily from carved English lime wood, are a reflection of her ongoing interest in the ways which knowledge of human anatomy has been acquired and translated through artistic process and scientific method.

Immersing herself and her artwork increasingly in scientific fields, Truman describes her studio morphing into a laboratory of sorts. Working amongst scientists and researchers, and as an avid researcher herself, she says that she has come to realise the processes of science and art are not so dissimilar.

“As an artist I have learnt that making things with my hands leaves me with much less of a sense of dislocation from the world I live in - and this I feel, is an interesting premise from which to examine the world of science.”

Currently a visiting scholar at the Flinders Centre for Ophthalmology, Eye and Vision Research, School of Medicine, Flinders University, she is undertaking a project titled “The nexus between vision, the eye and perception”. Having researched historical and contemporary anatomical collections world-wide and participated in a number of art/science- based projects, Truman explains that “We [artists and scientists] both create images of the things we see and the more we see, the more we understand we don’t know.”

“…a holistic maker - acutely aware of her process, while continually evolving her inquiry. Truman’s curiosity takes her and her makings into the sensate and anatomically unfamiliar – probing thresholds of human being” writes Melinda Rackham, author of the 2016 SALA monograph Catherine Truman: Touching Distance.

Catherine Truman No surface holds - JamFactory Icon 2017 is a JamFactory touring exhibition. 
 

Catherine Truman No surface holds - JamFactory Icon 2017 has been assisted by the South Australian Government through Arts South Australia and the Australian Government through the Australia Council for the Arts, Contemporary Touring Initiative.

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View Event →
Jun
15
to Jul 29

NGANAWI NGARRINDJERI KRINGKARI NGOPPEN - My Ngarrindjeri White Walk

Trevor Nickolls,  Machinetime and Dreamtime,  1984, synthetic polymer paint on canvas, 68.5 x 58.2 cm, Flinders University Art Museum Collection 2881. ©  Trevor Nickolls/Copyright Agency, 2018.

Trevor Nickolls, Machinetime and Dreamtime, 1984, synthetic polymer paint on canvas, 68.5 x 58.2 cm, Flinders University Art Museum Collection 2881. ©  Trevor Nickolls/Copyright Agency, 2018.

ARTISTS:
Ian Abdulla

Kerry Giles
Christina Gollan
Trevor Nickolls
Damien Shen & Richard Lyons
Ellen Trevorrow
Cedric Varcoe

Nganawi Ngarrindjeri Kringkari Ngoppen - My Ngarrindjeri White Walk shows work by Ngarrindjeri artists from the collections of Flinders University Art Museum; University Collections, University of Adelaide and the Murray Bridge Regional Gallery.

Curated by Lyn Lovegrove Niemz and Melinda Rankin.

The exhibition also includes the compilation of videos Ngarrindjeri Speaking for SeaCountry mini series for ABC iView 2018. Created by Change Media and Johanis Lyons-Reid in collaboration the Ngarrindjeri Regional Authority. Participating Ngarrindjeri artists: Major Sumner, Ellen Trevorrow, Damien Shen, Lyn Lovegrove Niemz, Betty Sumner, Cedric Varcoe and the Ngarrindjeri Media Team.
https://ngarrindjeri-culture.org/

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View Event →
Jun
15
to Jul 22

WHAT PRIVILEGE - THE COLONY

Jen Lyons-Reid,  Gift Horse,  2018, mixed media

Jen Lyons-Reid, Gift Horse, 2018, mixed media

Change Media presents two experimental art exhibitions, ‘The Colony’ and ‘The Unity of Oppression’ as part of its national What Privilege? Initiative.

Curated by Jen Lyons-Reid and Carl Kuddell, What Privilege? is a national Change Media initiative with a range of diverse partners, to investigate how we can creatively notice, disrupt and reframe colonizing mindsets and behaviors that maintain privilege and reinforce oppression. It explores the reciprocity of our shared humanity: How is your liberation bound up with mine - and mine with yours?

Jen Lyons-Reid,  At Your Service, 2018, mixed media

Jen Lyons-Reid, At Your Service, 2018, mixed media

When you enter the Colony, who comes to visit? Navigate a bivouac of menacing, invasive colonies and framed colonial beliefs, to experience how Ngarrindjeri continue to maintain and share their cultural values.

The Colony is an immersive installation, combining projection work, line art, poetry and audio-visual provocations. This cross-cultural experiment was created by Jen Lyons-Reid [concept, line art, poetry, multimedia], Carl Kuddell [concept, sculpture, poetry, multimedia] and Ngarrindjeri man Clyde Rigney Jnr [concept, poetry, audio], in collaboration with Felix Weber [installation] and Johanis Lyons-Reid [video].

What is your experience of whiteness and identity in the context of Treaty and colonization? How do we want to share our limited time on this planet? How do we come to terms?

https://whatprivilege.net/create-blog/the-colony

 

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and by the South Australian Government through Arts SA.

The project has been supported by the Murray Bridge Regional Gallery .

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Artist information:

Jen Lyons-Reid, artistic director and Carl Kuddell, creative producer. Jen and Carl are Change Media's award winning lead artists and high impact troublemakers.

Clyde Rigney Jnr, Ngarrindjeri man and ex-CEO, Ngarrindjeri Regional Authority. Clyde led the Treaty negotiations with SA Government and is a long-term Change Media collaborator.

For more information go to:

https://whatprivilege.net/create-blog/the-colony

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Jun
15
to Jul 22

WHAT PRIVILEGE - THE UNITY OF OPPRESSION

Damien Shen,  Message from God to the Blackfellow 19, 2018, acrylic on canvas, 160x100cm. Image: Wild Light Projects copyright 2018 Change Media

Damien Shen, Message from God to the Blackfellow 19, 2018, acrylic on canvas, 160x100cm.
Image: Wild Light Projects copyright 2018 Change Media

Change Media presents two experimental art exhibitions, ‘The Colony’ and ‘The Unity of Oppression’ as part of its national What Privilege? Initiative.

Curated by Jen Lyons-Reid and Carl Kuddell, What Privilege? is a national Change Media initiative with a range of diverse partners, to investigate how we can creatively notice, disrupt and reframe colonizing mindsets and behaviors that maintain privilege and reinforce oppression. It explores the reciprocity of our shared humanity: How is your liberation bound up with mine - and mine with yours?

Jelena Vujnovic,  Lived Body , 2015, mixed media on canvas.   Image: Wild Light Projects copyright 2018 Change Media

Jelena Vujnovic, Lived Body, 2015, mixed media on canvas. 
Image: Wild Light Projects copyright 2018 Change Media

What Privilege? - The Unity of Oppression’ explores what unites and divides us: We share a finite planet, what futures will we forge from the infinity of darkness?

Playing with the duality of light and dark, using acrylics, sculpture and mixed-media, five artists from culturally diverse backgrounds create a journey into the complexities of power, privilege and oppression - inviting you to peel away hidden layers and join them on a creative crime scene investigation of our shared humanity.

Emilijia Kasumovic,  Interbeing (detail),  2017, acrylic on tulle fabric, 100x70cm.   Image: Wild Light Projects copyright 2018 Change Media

Emilijia Kasumovic, Interbeing (detail), 2017, acrylic on tulle fabric, 100x70cm. 
Image: Wild Light Projects copyright 2018 Change Media

The Unity of Oppression works are co-curated with interdisciplinary Ngarrindjeri-Chinese artist Damien Shen [painting, mixed media] and feature emerging artists Emilijia Kasumovic [drawing, mixed media] and Jelena Vujnovic [drawing], alongside work from Jen Lyons-Reid [line art, poetry, mixed media, sculpture] and Carl Kuddell [poetry, mixed media, sculpture]. 

Jen Lyons-Reid and Carl Kuddell,  The Handshake, 2018, mixed media on canvas. Image: Wild Light Projects copyright 2018 Change Media

Jen Lyons-Reid and Carl Kuddell, The Handshake, 2018, mixed media on canvas.
Image: Wild Light Projects copyright 2018 Change Media

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and by the South Australian Government through Arts SA.

The project has been supported by Nexus Arts and the Regional Gallery Murray Bridge.

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ARTIST INFORMATION

Damien Shen:
Damien Shen is a South Australian man of Ngarrindjeri (Aboriginal) and Chinese descent. As an artist he draws on both of these powerful cultural influences to create works of intense personal meaning. In using his artistic talent to share his story he aims to open the eyes of viewers to new ways of seeing Australian identity and Aboriginal art.

Emilijia Kasumovic:
Emilija Kasumovic is Serbian born, living in Adelaide. Her work is concerned with human condition and what defines us as human beings beyond our biological bodies.

Jelena Vujnovic:
Fascinated by natural and artificial structures, Jelena Vujnovic sees the building blocks of our bodies and our urban environment as the scaffolding on which we construct our lives. Focused on an uninterrupted and organic development of her work, she is constantly playing and experimenting with new materials and forms.

Jen Lyons-Reid and Carl Kuddell:
Artistic director and graphic artist, Jen Lyons-Reid, and creative producer and writer, Carl Kuddell, are Tallstoreez Productionz co-founders and award-winning multidisciplinary artists and filmmakers. Since 2002 they have explored satire across art forms, from poetry, cartoons, sculptures, live art, to documentaries and several TV series. They run Change Media as a national arts initiative, focusing on critical literacy through arts and media. They have delivered hundreds of workshops and performances with thousands of participants across Australia. Their strategic advisory work includes investigations into value, equity and harm in socially engaged arts, as part of an ARC Linkage partnership with VCA in 2013-14 and Jen’s 2-year Australia Council Fellowship 2015-16.

For more information go to
https://whatprivilege.net/create-blog/the-unity-of-oppression

 

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May
4
to Jun 10

WOMEN OF RIVER COUNTRY

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Follow the journey of 19 remarkable women from across the Murray Darling Basin and discover how they have shaped history along our mighty rivers.

Elizabeth 'Bessie' Randell
Elizabeth Arbuckle
Elizabeth Williams
Ella Chaffey
Elyne Mitchell OAM
Essie Nisbet
Hattie Schell & Hattie Sexton Schell
Helen Sutherland
Ivy Carr
Jessie Dunstone
Jessie Wakefield
Margaret Court AO
Mary Ann Edwards
Mary Ann Randell
Pauline Milich
Pearl Wallace
Ruby Hunter
 

Produced and curated by the Mannum Dock Museum, Mannum South Australia

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WLADYSLAW DUTKIEWICZ: 100th ANNIVERSARY EXHIBITION
May
4
to Jun 10

WLADYSLAW DUTKIEWICZ: 100th ANNIVERSARY EXHIBITION

An exhibition of the work of  the late Polish-Australian artist Wladyslaw Dutkiewicz (1918-1999).

Wlad was trained in Poland and Paris, was a partisan in World War Two, and fled to freedom ahead of the advancing Red Army in 1945. He spent four years in a Displaced Persons’ camp in Hohenfels, Bavaria, before migrating to Australia in 1949. He settled in Adelaide in 1950 and lived there until his death.

Curated by Dr Adam Dutkiewicz

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Mar
2
to Apr 29

REMEMBER ME: THE LOST DIGGERS OF VIGNACOURT

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OPENING THIS FRIDAY 2 MARCH AT 6PM. ALL WELCOME.

Opening speaker: Joanne Smedley, Curator, Photographs, Film and Sound, Australian War Memorial.

Joanne will be available after the opening to offer conservation or historical advice on military photographs from private collections.

 

Remember Me: the lost diggers of Vignacourt is a travelling exhibition from the Australian War Memorial.

The small French village of Vignacourt was always behind the front lines. For much of the First World War it was a staging point, casualty clearing station and recreation area for troops of all nationalities moving up to and then back from the battlefields on the Somme. Remember me: the lost diggers of Vignacourt  tells the story of how one enterprising photographer took the opportunity of this passing traffic to establish a business taking portrait photographs.

Captured on glass, printed into postcards and posted home, the photographs made by the Thuillier family enabled Australian soldiers to maintain a fragile link with loved ones in Australia. The Thuillier collection covers many of the significant aspects of Australian involvement on the Western Front, from military life to the friendships and bonds formed between the soldiers and civilians.

The exhibition showcases a selection of the photographs as handmade traditional darkroom prints and draws on the Memorial's own collections to tell the story of these men in their own voices.

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Feb
9
to Feb 25

MURRAY BRIDGE ROTARY ART SHOW

2017 Winner: Helen Stacey,  Summer Day Near Strathalbyn. 

2017 Winner:
Helen Stacey, Summer Day Near Strathalbyn. 

Featuring the collecgtive works of new, aspiring and established artists and artisans from the Murraylands, Hills and Southern Fleurieu.

The Murray Bridge Rotary Art Show is organised and sponsored by the combined Rotary Clubs of Mobilong and Murray Bridge.

All works are for sale. 

To enter register online here

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Dec
8
to Feb 4

ANGELA VALAMANESH - EVERYBODY'S EVERYTHING: INSECT/ORCHID

Work by artist Angela Valamanesh, drawn from her artist's residency at the University of Adelaide's Rare Books & Special Collections. She has focussed on mediated representations of the natural world in the Collection's magnificent books featuring scientific illustrations by Rosa Fiveash (1854-1938), where orchids and their insect-like shapes collide to create a new world of imagery and narratives.

CLICK HERE to read Rebecca Shanahan's Art Guide Australia review of Everybody's Everything: Insect Orchid

 

 

 

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Dec
8
to Feb 4

ATLAS

An exhibition of artists' books and works referencing the book form, which addresses a broad theme of the changing world in which we live.

The past few decades have seen dramatic changes in the borders of countries, populations have been driven from their homelands or have chosen to relocate, and changing climate patterns have had a profound impact on agriculture, economies and the natural environment.

Eleven artists: Tilda Dalunde (Sweden), Loene Furler (SA), Liz Jeneid (NSW), David Kerr (SA), Gabrielle Lane (SA), Meg lloyd (SA), Ken Orchard (SA), Winnie Pelz (SA), Melinda Rankin (SA), Olga Sankey (SA), Lyn Wood (SA) interpret this theme through highly personal and diverse statements.

ATLAS is curated by Winnie Pelz.

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Oct
20
to Dec 3

Rotary Youth Art Prize

The combined Rotary Clubs of Mobilong and Murray Bridge and the Rural City of Murray Bridge take pleasure in inviting you to the Rotary Youth Art Prize.

 

 

Categories:
Overall winner: $1,000
12-15 years: $300
16-18 years: $300
19-25 years: $300
Peoples' choice: $300

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Oct
20
to Dec 3

JAMFACTORY ICON 2016 GERRY WEDD: KITSCHEN MAN

Celebrating the achievements of one of South Australia’s most outstanding and influential craft and design practitioners.

Gerry Wedd’s hand built and wheel thrown ceramics brim with a dry wit oscillating from the humorous to darkly disturbing.

JamFactory's Icon series is an annual solo exhibition celebrating the achievements of one of South Australia's leading craft and design practitioners. Our 2016 Icon is Gerry Wedd. 

 

 

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