CACSA Projects #9 | Adelaide Film Festival 2013

CACSA, as a presenting venue partner for the 2013 Adelaide Film Festival, presents three major exhibitions of local and international video art. The exhibitions follow CACSA's Shifting Sands Symposium in which curators, artists and directors from the Middle East discussed the production and presentation of art in a region currently experiencing major social and political upheaval.

Art Exhibition previously on at Contemporary Art Centre of SA in South Australia, Australia.
From Saturday 14 September 2013 to Sunday 20 October 2013

CACSA Projects #9 | Adelaide Film Festival 2013 image CACSA Projects #9 | Adelaide Film Festival 2013 image

Published by anonymous on Tuesday 10 September 2013.
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The recent two-city Shifting Sands Symposium was presented in Sydney and Adelaide

Momentary | Various SA Artists

Alone, Together… in Media Res | Lara Baladi

The Pixelated Revolution | Rabih Mroue

Project Space: To Kill the Saudade | Liam Garstang

Lara Baladi (Egypt), one of the visiting participants in the Shifting Sands Symposium, is a highly regarded Egyptian-Lebanese photographer and multimedia artist. Born in Beirut, educated in Paris and London, she lives in Cairo. Since 1997, she has been a member of the Arab Image Foundation, for which she directs magazine editorials and curates exhibitions and artist residencies. Her work handles issues of police brutality, totalitarianism, democracy, censorship, violence against women, documentation of a revolution in the digital age, and watching the virtual world turn into reality were addressed. Her triple-screen video work Alone, Together… In Media Res (Latin, ‘in the midst of things’) has emerged as one of the first productions derived from this archive. It is a visual commentary, a narrative that weaves video excerpts together to reflect on many of the questions raised during the Arab uprisings.

Complementing Alone, Together… In Media Res is The Pixelated Revolution, a lecture-performance by Lebanese stage and film actor, playwright, and visual artist Rabih Mroué (Lebanon). Based in theatre, his work includes videos and installation art; the latter sometimes incorporates photography, text and sculpture. In The Pixelated Revolution (co-commissioned by The Warhol Foundation and dOCUMENTA 13) and shown at dOCUMENTA 13, Kassell in 2012, he presents a timely lecture/performance about the usage of mobile phones during the Syrian Revolution. This work looks at the central role that the photographs taken with these devices played in informing and mobilising people during the revolutionary events, due to their ability to be shared and spread through virtual and viral communication platforms. Mroué, is a key figure in a new generation of artistic voices in Lebanon, illustrates his unique interdisciplinary practice, which exists at the crossroads of theater, performance, and visual arts.

As a companion presentation to these two resonant artworks, MOMENTARY brings together a group of South Australian artists who have individually responded to the notion of the ubiquity of mobile phone camera terchnology. MOMENTARY is dedicated to the qualities that enrich every great journey: a sense of free exploration of the world and a willingness to actively enrich one’s own life by discarding the otherwise dominant daily concerns and routines. Artists include: Roy Ananda, Matthew Bradley, Madison Bycroft, Aurelia Carbone, Andrew Dearman, Siamak Fallah, Ray Harris, Matt Huppatz, Brad Lay, Jessie Lumb, James Marshall, Nasim Nasr and Patrick Rees.

Project Space:
Liam Garstang
To Kill the Saudade

Liam Garstang is an emerging artist who lives and works in Sydney. His practice is rooted in printmaking and cross-disciplines, straddling performance and painting with installation and video. His most significant works to date have been a series of performance related acts that have resolved themselves in the material form of drypoint plates, that have then either been used to print, or left as is, with the final results being installations of intricate abstract planes, complemented by video. Emerging from the venerable tradition of ritual, these works are based on personal, generational and collective events and iconography, as well as deep spontaneous emotional responses. Evoking considerations relating to experiences of loss and reclamation, these works aim to open up artistic dialogues that explore modes of expressionism. This is not simple expressionism, rather it is what he refers to as a form of conceptual expressionism.

Liam Garstang received a BVA (First Class) Honours from Sydney College of the Arts, 2008 where he was awarded the University of Sydney Honours Scholarship for Academic Excellence. His recent solo/collaborative exhibitions include There’ll Be No More Shepherds, Casa da Zorro, Evora, Portugal, (2012), With Eyelids Cut Off (with Adam Geczy), Wagga Wagga Art Gallery, NSW, Riddoch Art Gallery, SA, (2012), The Old Times Were Certainly The Scariest, Megalo Print Studios, Canberra, (2012). His recent Group exhibitions include Familiar/Unfamiliar (curated by Rona Green) National tour, (2011-13), Performance Month 3, Peloton Gallery Sydney, (2011), Print Big (curated by Alison Alder) Fitters Workshop, Canberra, (2010). He has received numerous awards and prizes, including an Australian Council for the Arts ArtStart Grant, (2011) and has undertaken Artist residencies at OBRAS Centre for Arts and Sciences, Portugal, (2012), and Megalo Print Studios, Canberra, (2010).