Wet Culture - Playing With Codes

Melentie Pandilovski, the Director of the Experimental Art Foundation in Adelaide, sees the current manifestation of the word experimental in Experimental Art Foundation as relating to biotechnology, consciousness and the places taken up by artist in scientific places where experiments are the usual tasks at hand. In a move away from dry hard-wired technologies the last five years has seen a rise of wetwork and a new subculture within science as artists find new roles in scientific laboratories and ask fresh moral, ethical and aesthetic questions.

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Community Arts and Artists in the Community

The Parks Arts & Functions Complex is situated in the Parks Community Centre in the Western suburbs of Adelaide, a region made up of many disadvantaged and minority groups. Weekly and fortnightly groups meet to explore different mediums and creative processes, and working without the assistance of a tutor means they rely on each other to develope their skills. The social benefits of these groups are often as important as the creative concerns. The centre invites guest artists to run various workshops to help sustain this interaction amongst members of the community.

Margaret Edgecombe

This was the Future, the McClelland Sculpture award and Sculpture at RMIT during the Jomantas Years 1961-1987

RMIT Gallery, Storey Hall, Melbourne 21 July - 13 September 2003 McClelland Art Gallery, Langwarrin 4 November 2003 - 8 March 2004 Heide Museum of Modern Art, Bulleen 4 October - 7 December 2003

Juliette Peers

To Begin With: Five Tasmanian Artists

Bett Gallery, North Hobart 28 November - 24 December 2003 Curated by Richard Wasteil

Mary Knights

Primavera 2003

Exhibition of Young Australian Artists Museum of Contemporary Art 17 September - 30 November 2003

Tracey Clement

trans-luscious musings

Bridget Currie

Young South Australian Art

This article is about hip young artists working outside the field of contemporary art. Even if the changes of the last forty years have meant that liking things for being cool and fashionable has generally lost its polemical significance, my sense is that this still may hold some currency with regard to the specific condition of contemporary art in South Australia. Strickland examines the work of South Australian artist Magosia Miow.

James Strickland

Homostrata

Artspace, Adelaide Festival Centre Feast Festival 6 November - December 2003

Noel Purdon

Clifford Possum Tjapaltjarri

Art Gallery of South Australia 31 October 2003 - 26 January 2004 Curated by Vivien Johnson

John Kean

Lost and Found

Queensland Art Gallery, Brisbane 18 November - 1 February 2004

Pat Hoffie

The Queensgate Car Park

The Australian Centre for Concrete Art Henderson Street, Fremantle Launched on December 2003

Margaret Moore

The Chapman Brothers

UK artists Jake and Dino Chapman have been the subject of public and media controversy since their emergence on the British art scene in the early 1990s. The Chapmans assert that their shock tactics are in aid of an examination of cultural taboos.

Sophie Forbat

Signs of the Times: Stephen Page, Sacred Symposium, Adelaide Biennale

Stephen Page is the first Artistic Director of the Adelaide Festival of Arts to be indigenous and his program for 2004 includes indigenous works but perhaps not many more than most Adelaide Festivals, which have always had a significant indigenous component. Yet there is a sense that the commissions that Page has initiated represent a maturity in approach and development that signifies a watershed for Indigenous culture in Australia. Page expects it to be optimistic, philosophical, constructive, to reflect on the fusion of the old and new without bastardization.

Stephanie Radok

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