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Adelaide International R E S T L E S S ADELAIDE INTERNATIONAL E D U C A T I O N R E S O U R C E 1 M A R - 5 A P R 2 0 1 2 presenting partner principal partner ADELAIDEFESTIVAL.COM.AU ACKNOWLEDGEMENTS Education Resource written by John Neylon, independent art writer and curator. The author acknowledges the assistance of the Samstag Museum sta!, in particular Gillian Brown, in the development of this resource. Published by the Anne & Gordon Samstag Museum of Art University of South Australia GPO Box 2471, Adelaide SA 5001 T 08 83020870 E [email protected] W unisa.edu.au/samstagmuseum Copyright © the author, artists and University of South Australia All rights reserved. The publisher grants permission for this Education Resource to be reproduced and/or stored for twelve months in a retrieval system, transmitted by means electronic, mechanical, photocopying and/ or recording only for education purposes and strictly in relation to the exhibition, Adelaide International 2012: Restless. ISBN: 978-0-9807175-8-7 2 RESTLESS: ADELAIDE INTERNATIONAL 2012 ABOUT THIS EDUCATION RESOURCE Education Resource: John Neylon This Education Resource is published to accompany the exhibition Adelaide International 2012: Restless 1 March to 5 April 2012 Including the work of eighteen international artists located over four public galleries in Adelaide Anne & Gordon Samstag Museum of Art Australian Experimental Art Foundation Contemporary Art Centre of South Australia Flinders University City Gallery This Education Resource is designed to support learning outcomes and teachingprograms associated with viewing the Restless exhibition by: @b_fYTY^WY^V_b]QdY_^QR_eddXUQbdYcdc @b_fYTY^WY^V_b]QdY_^QR_ed[Uig_b[c 3XQ\\U^WY^WcdeTU^dcd_U^WQWUgYdXdXUg_b[cQ^TdXU exhibition’s themes 9TU^dYViY^WgQicY^gXYSXdXUUhXYRYdY_^SQ^RUecUTQc a curriculum resource @b_fYTY^WcdbQdUWYUcV_bUhXYRYdY_^fYUgY^WQcgU\\Qc pre- and post-visit research It may be used in conjunction with a visit to the exhibition or as a pre-visit or post-visitresource. 3 RESTLESS: ADELAIDE INTERNATIONAL 2012 CONTENTS BACKGROUND BRIEFING 5 EXPLORING THE WORKS 7 Anne & Gordon Samstag Museum of Art www.unisa.edu.au/samstagmuseum Francis Alÿs 7 N.S. Harsha 11 Annika Larsson & Augustin Maurs 14 (Note: performance work not included in Education Resource) Saskia Olde Wolbers 15 Lisa Reihana 18 Anri Sala 21 Socratis Socratous 25 Nancy Spero 28 Danae Stratou 32 Australian Experimental Art Foundation www.aeaf.org.au Teresa Margolles 35 Contemporary Art Centre of SA www.cacsa.org.au Chosil Kil 39 Rabih Mroué 42 Jinoos Taghizadeh 46 4 RESTLESS: ADELAIDE INTERNATIONAL 2012 Flinders University City Gallery www.flinders.edu.au/artmuseum Postcommodity 49 EXPLORING THE EXHIBITION: 51 THEMES Theme 1: Restlessness 51 Theme 2: Other worlds 52 Theme 3: Questioning 52 Theme 4: Time 53 Theme 5: City as metaphor 53 Theme 6: History 53 Theme 7: Voices 54 Theme 8: Tradition and change 55 FOR TEACHERS 56 Planning a successful visit to Restless 56 GET STARTED 58 In-exhibition engagement activities 58 FURTHER RESEARCH 60 Resources 60 LIST OF WORKS 61 5 RESTLESS: ADELAIDE INTERNATIONAL 2012 1.BACKGROUND BRIEFING RESTLESS: ADELAIDE INTERNATIONAL 2012 The catalogue for Restless contains an introductory essay by the exhibition’s curator Victoria Lynn, and is available for purchase at the venues. More information on the exhibition can be found at: www.adelaidefestival.com.au/2012/visual_arts/adelaide_international_ restless Lynn’s essay identifies a number of key themes or issues which o!er frameworks for looking at and responding to works in Restless These can be summarized as follows: Parameters The exhibition has as its broad parameters notions of faith, emotion, mystery and the cosmos. These notions are not defined by absolutes such as ‘heaven’ or ‘hell’. Rather, this project is intended to explore the idea of restlessness associated with things being uncertain or on the edge. This state of restlessness is defined in this exhibition by artists journeying or transitioning between one state and another. Common concerns From a curatorial perspective the works are underlaid with two common concerns. The first concern is conjecture or a sense of questioning. The works ask rather than answer. They conjecture rather than solve. The second concern is that of time. Time as explored or expressed in many works is not evenly regulated and linear. Lynn sees time being treated more as a ‘forcefield’ – ‘polycentric and fractal.’ There is a prevailing sense of time being absolutely present or splintered. 6 RESTLESS: ADELAIDE INTERNATIONAL 2012 Thresholds Works are characterized by a constant unraveling or negotiation between traditional certainties and the unknown. Lynn sees the artist as ‘a kind of trickster’ who invites us to ‘travel across thresholds and step into other worlds.’ These thresholds are various: political, architectural, linguistic, emotional. Groupings Within the lineup of artists there are clusters of artists defined by: Urban observations in which body fragments, citizens or the material of the city itself are reconfigured. Examples: Nancy Spero’s Maypole/ take no prisoners. The dislocated and reconfigured figures of N.S. Harsha, encounters with the city in Francis Alÿs’ video work. The daily disorder and upheaval of the city captured in Socratis Socratous’ photographs. Questioning belief in language particularly translation in which meaning may be missed or distorted. Examples: Saskia Olde Wolbers’ video Pareidolia. (‘Pareidolia’ is a term that describes finding meaningful imagery in apparently abstract patterns and natural forms such as clouds). Lisa Reihana’s PELT series which suggest states of hybridity or overlap between human and animal nature. Notions of presence and absence. A number of artists explore territory between loss or disappearance and a determination to create a presence or memory in the face of that loss. Examples: Jinoos Taghizadeh juxtaposing revolutionary images from Iranian newspapers with iconic images from Western art history. Rabih Mroué using self-portraits as substitutes for missing persons in the newspaper. Teresa Margolles restoring the memory of faceless victims. Summary The final catalogue essay paragraph reads: ‘The works in Restless explore thresholds and transitions, departures and deviations. The resonant spaces of architecture, the translation of words and cultures, the precipice between life and death, presence and absence, are the various scores at play. The restless journeys, splintered sense of time and open-ended explorations in these artistic practices give us a new vision of the experience of dynamic force fields and mobility.’ 7 RESTLESS: ADELAIDE INTERNATIONAL 2012 2.EXPLORING THE WORKS ANNE & GORDON SAMSTAG MUSEUM OF ART FRANCIS ALŸ S Born Belgium 1959, lives in Mexico City Gringo, 2003 in collaboration with Rafael Ortega video documentation of an action, sound 5 min courtesy David Zwirner, New York Artist statement ‘Gringo is a short film which I did in the Mexican province of Hidalgo in the year 2002. I re-enacted an event that had happened to me in the past: I had to enter a small village and to cross it as to continue my way and I was walking with camera at hand. In the crossing I had to pass a street guarded by dogs, a dog’s territory. The dogs attacked me and I instinctively used the camera which I was holding both as a shield to protect myself from the dogs’ aggression, by simply maintaining them out or reach and as a weapon, virtually to attack the dogs by describing large curves in the air with the camera.’ ‘I didn’t know how the dogs were going to react, which of them would be the leader, how quickly they would realize they were stronger than my camera, etc...you have to very quickly decipher what the dogs tactics will be… To maintain at once the control on the situation and the dramatic tension for the film, you sort of have to act like a dog among dogs; as if you were improvising with other actors, you have to guess what their next move will be and precede it. So it’s more primitive than improvisation, it’s survival instinct and near to animal aggression coming out of you.’ Francis Alÿs, extract from Restless exhibition catalogue. 8 RESTLESS: ADELAIDE INTERNATIONAL 2012 Perspectives Alÿs’ diverse works include notational sketches, drawings, lists, paintings, performances, slide shows, animation and videos, with one work often manifested in several ways. Walking is at the core of his practice: works are conceived on long walks through cities, particularly Mexico City, where he lives. Alÿs moves through locations, telling stories, mapping spaces, making connections. www.artgallery.nsw.gov.au Alÿs has maintained a studio in the Historical Centre of Mexico City since the early 1990s, and has made a series of works ‘within walking distance’ of this studio examining everyday life in the megalopolis, some of which are brought together here. The Collectors 1990–92 were magnetised ‘dogs’, which he walked around the city so that metallic detritus stuck to their surfaces. Tate Gallery, exhibition notes, A Story of Deception, Tate Modern, September 2010. This exhibition draws on the Museum’s unique and important collection of Alÿs’ work, highlighting three recent major acquisitions… These works present an investigation of methods of social action, from rehearsals and re-enactments in urban environments that address the politics of public space to large-scale communal participation where the culmination of many small acts achieves mythic proportions. The exhibition, which is conceptually grouped around these
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