Minifie van Schaik Architects
MvS Architects
Parallel Collisions


client:
Art Gallery of South Australia
date:
2012
location:
North Terrace, Adelaide
link:
Parallel Collisions
curators:
Alexie Glass-Kantor and Natasha Bullock



For the 12th Adelaide Biennial of Australian Art at the Art Gallery of South Australia we were invited to respond to the curatorial theme, Parallel Collisions, and explore the ways in which ideas form, converge and re-form through time.

To do this we collaborated with curators Alexie Glass-Kantor and Natasha Bullock to conceive of the route through the gallery as a tracking shot where the gallery walls double as an editing device framing the viewers’ journey through the exhibition.


Entering into the exhibition the viewer tracks through the Pat Foster & Jen Berean work where the hand made Rietveld chair (from the Gallery’s collection) prototyped for mass production, hangs from a hand made ceiling, crafted to look like a mass-produced commercial ceiling grid.

Beneath the Foster & Berean, a Marco Fusinato photograph depicts the moment before a protestor releases a projectile. To the east of this work the visitor is invited into a corridor which opens into a Daniel Crooks' moving image work where multiple lane-ways are made manifest by the walls of the room in which they are projected.

This corridor leads to another, too wide to itself be a corridor, but too narrow to be a room. Here two Shaun Gladwell photographs provide a moment for pause before depositing the viewer into the large space where Jonathan Jones' monumental gum tree, prone and illuminated, pushes viewers to the room's periphery where the works of Rosemary Laing, Yvonne Koolmatrie and Tom Nicholson are displayed.

Passing between the giant noise and numbers of Marco Fusanato's room the viewer enters into a space of slippage where walls slide out from under the gallery's portal doors, creating a more domestically scaled space for the works of Ricky Swallow; an intimate room for the neo symbolist paintings and slumped ceramic forms of Michelle Ussher, and a long uninterrupted diagonal wall for the photographic prints of Pat Brassington.

This wall reaches out into a room showcasing Rob McLeish's tortured sculptures. This room includes a shelf on which the magazines of Robert Cook vs Max Pam are displayed - at a height just too high for those not yet old enough to be exposed to their x-rated content.

The dark grey return gallery suggests a tomb for Tim Silver's decaying putty corpse. The visitor is then drawn through Timothy Cook's forest of Pukamani poles into an underwater upside-down surfing Shaun Gladwell.

Coming up for air through Stephen Bram's one-point perspective chapel, the viewer is returned to the point of entry. Here they can look back to the exposed structure of Bram's work, contrasting the smooth perfection of the work’s interior.

Within the Elder Wing of Australian Art, works of art by Richard Bell, Rosemary Laing, Tom Nicholson, Jonathan Jones, Tim Silver, Nicholas Folland, Susan Jacobs, Shaun Gladwell, Marco Fusinato and Philip Samartzis are interspersed in the permanent collection hang, creating a new context for the permanent works and a canonical context for the contemporary.

Parallel Collisions is open between March 2nd and April 29th 2012.

Installation views 12th Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, featuring Robert Cook vs Max Pam, Rob McLeish, Ricky Swallow, Michelle Usher, Marco Fusinato, Tim Silver and Tom Nicholson.

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