26 February – 26 March
Anton Hart & George Popperwell

Through experimental art practices that engage with sculpture, painting and installation, Anton Hart and George Popperwell worked collaboratively to build an immersive and site-specific exhibition that engaged with human tragedy and heartbreak. The artists explored the emotive power of objects and the built environment, and obliquely referenced the Holocaust and disused architectural features such as derelict and abandoned German bunkers.

Image: Anton Hart & George Popperwell, The Cloak Room (detail), 2001.

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27 – 28 February

Heartlines was an ephemeral installation and performance project engaging with transient emotions, connections, things hidden and restrained, the beautiful and the terrible. The curatorial premise of Heartlines was inspired by the theme of the Adelaide Festival of the Arts and Paul Grabowski’s statement: “Not only is the heart the extraordinary engine of the human body, it is a metaphor for feelings and emotions, the point of departure and return, the home and hearth. It is a codeword for generosity and inclusivity, the centre point from which radiates the creative energies which bind us as a community.”

Image: David Archer, Love or Lust, 2005.

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Naturally Disturbed

6 April – 7 May
Sue Kneebone

Naturally Disturbed explores the complex narratives that relate to Yardea, a pastoral property region in the Gawler Ranges in South Australia. The area was once managed by the artist’s great grandfather; this exhibition was underpinned by research into history and place and considers the role environmental philosophy and fieldwork play in contextualising histories.

This exhibition featured artwork and artefacts from the SA Museum collection.

Image: Sue Kneebone, For better or for worse, 2009. Giclee print.

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Intimate Immensities

18 May – 18 June

This exhibition challenged design related partnerships and pairings from the architecture and interior architecture disciplines to investigate Bachelard’s abstract idea of intimate immensity as a series of 3-dimensional propositions, within a unifying spatial installation prompted by the curators’ research in theories of the everyday. Intimate Immensities was curated by Rachel Hurst & Jane Lawrence and featured a group of 12 architects and interior designers.

Image: Katica Pedisic, carroll/green 01 (detail), 2010.

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Flight of a bird, life in performance

1 – 30 July
Linda Lou Murphy

Curated by Ali Baker, Keith Giles and Yoko Kajio, Flight of a bird, life in performance was an exploration of risk through ephemeral performance, video and sculptural installation. It proposed subtle and continuing relationships between risk, the performed body and products/artefacts. It comprised multiple performances over the exhibition period.

Image: Linda Lou Murphy, facepiece, EAF performance, 2008.

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Three ways to hold

11 August – 3 September

Three ways to hold was a collaboration between sisters Alison Currie, dance artists, and Bridget Currie, visual artist. Working with the shared history of both disciplines they explored fundamental concepts of weight, space and gravity. This exhibition featured a series of performances comprising choreography, movement and installation pieces over the exhibition period.

Image: Alison & Bridget Currie, Three ways to hold (detail), performance, 2010.

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Az Zaban-e Modari: Raqs-e Aab Raqs-e Setareh

14 July – 15 October
Siamek Fallah & Manoochehr Fallah

Az Zaban-e Modari was an exhibition-in-progress, continually evolving as the Iranian/Australian artists-in-residence took up in the gallery for its duration. Combining visual art and poetry, the exhibition drew upon “Persian mysticism and Bahai literature, to give a tone of optimism towards universal human values where resistance, equity, love, being, beauty and truth are implemented to deal with history and explore issues pertaining to human condition” (Siamak Fallah).

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