OzAsia Festival: Adelaide Festival Centre 2007

From 21 September to 7 October, the Adelaide Festival Centre is presenting the inaugural OzAsia Festival. This new Festival will highlight work from Australians that identify with an Asian cultural heritage; collaborative work between Australian and Asian artists and a cross-section of the cultures of Asia, both traditional and contemporary. The OzAsia Festival is a way of bringing to the fore culturally important exchanges between Australia and our Asian neighbours by presenting a symposium, performances, visual art exhibitions and a Moon Lantern Festival in Elder Park.

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More Video Art Please

Brendan Lee

Taipei 101: Video at the National Palace Museum

Discovering the Other National Palace Museum, Taipei, July 7 to August 19, 2007

Merilyn Fairskye briefly discusses her journey to Taipei where she took part in an exhibition of video installations Discovering the Other, the first ever contemporary art exhibition to be held at the National Palace Museum. Curator Gertjan Zuilhofs discription of this exhibition can be seen as a metaphor for his world view shadows, spirits and ghosts seemed to be everywhere, while at the same time the works engaged with the world of people and place, and the precarious struggle to maintain individual and cultural identities. Featured artists included: Deborah Stratman, Ella Raidel and Lin Hongjohn, Apichatpong Weerasethakul and Merilyn Fairskye.

Merilyn Fairskye

Matt Hunt

Cause I see the Light Surrounding You, so Dont Be Afraid Matthew Hunt Turner Galleries, Perth 1 - 30 June 2007

Paola Anselmi

Lynette Walworth

Lynette Wallworth is driven by a passion to explore the natural world, to capture human stories, to explore the past and evoke memory and experience. As a media artist, she strives and succeeds to achieve an emotional and powerful connection between her images and her viewer.

Julianne Pierce

Room

Room Curator: Derek Hart CAST Gallery, Hobart 26 May - 17 June 2007

Sean Kelly

Anne and Gordon Samstag, Museum of Art

This article previews the new Anne and Gordon Samstag Museum of Art, opened on 11 October 2007, which is discussed as a significant addition to art exhibition spaces in Adelaide in terms of scale, capacity and technology. This museum, designed by multi-award winning Melbourne architect John Wardle, is a public space in which artwork, in its selection, hanging, and experience, cannot ignore the active engagement of visitors. The Samstag Museum of Art plays a part in extending the role of museums into new categories of cultural industries, and the complicated relations between leisure, knowledge and libidinal economies.

Stephen Loo

Pippin Drysdale; Design, Craft and the Smart Syndrome

Pippin Drysdale Lines of Site By Ted Snell Fremantle Arts Centre Press 2007 174pp rrp $45 Recently published in Perth with support from Arts WA is an incisive monograph on West Australian ceramist Pippin Drysdale by Ted Snell. Snell has written a substantial book of five chapters, dividing Drysdales artistic evolution into four eras. Through in-depth engagement with particular vessels or series Snell traces her increasing mastery of the allusive and abstract power of the ceramic medium. Smart Works Design and the Handmade Edited by Grace Cochrane Powerhouse Publishing 192pp rrp $35.95 This publication is in many respects an exemplary book of an exemplary exhibition at the Powerhouse Museum and is about design that reflects the values of the handmade. With 40 individuals and groups represented across the categories of jewellery and metalwork, ceramics, glass and resin, fashion and textiles, and furniture this publication encompasses a truly diverse range of approaches from totally hand-crafted to high-tech manufacture.

Margot Osborne

The Rules of Engagement

Rules of Engagement Curator: Mark Feary West Space 25 May - 16 June 2007

Andrea Bell

Entering the Screen

New interactive screen spaces of the web, games and virtual worlds act as portals allowing us to become a part of the media image rather than just watching it. No longer content to just watch the action, were creating our own online identities and becoming our own screen heroes acting out our own virtual adventures. This article focuses on the new virtual world of Second Life and discusses the idea of avatar (virtual pictorial) identities via the works of a selection of new media artists: Neal Stephenson, Eva and Franco Mattes, Emil Goh, Adriene Jenik and Lisa Brenneis, Adam Nash, Christopher Dodd, Kyal TripodiGazira Babeli and Pierre Proske.

Kathy Cleland

New Media at the Venice Biennale and Documenta 12

Jasmin Stephens presents a personal recollection of this years Venice Biennale and documenta 12. As Stephens states, Venice reflected the worldwide trend of artists reappraising iconic moments from Conceptual Art from the early seventies and in so doing taking up the low-tech equipment associated with them. Artists here discussed are Aernout Milk, Willie Doherty, Paolo Canevari, Sophie Whettnall, Shaun Gladwell, Yang Zhenzhong, Emily PrinceSusan Norrie, Joshua Mosley and Tabaimo, Nedko Solakov, Mario Garcia, Felix Gmelin, Steve McQueen, Rafael Lozano-Hemmer, Ines Doujak, Lili Dujourie, Zofia Kulik, John McCracken, Harun Farocki and Artur Zmijewski.

Jasmin Stephens

Databases: Recombinant Interactives

Ann Finegan looks at the world of interactive media arts, in particular database content interactivity. One example Finegan uses in her discussion is Josephine Starrs and Leon Cmielewskis Seeker, winner of an Award for Distinction for Interactive Art at Ars Electronica 2007. Seeker belongs to an emergent genre of database works which draw from the broader media, putting the viewer into the web of connections through which the forces of politics and economics determine the fate of peoples and of persons. Other artists discussed are Josh On, Lev Manovich, Linda Dement, Troy Innocent, Doll Yoko (aka Francesca da Rimini aka Gash Girl), Stephen Honegger, Rachel Baker, John Tonkin and Barbara Campbell. Finegan proclaims that at present the future of interactives is weighed in a choice between the seductive action of computer gaming as sites for artistic intervention, and data-mapping with its deep and active connections in realworld events.

Ann Finegan

Artrave

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