JESSE JONES: TREMBLE, TREMBLE
Friday 26 February — Thursday 1 April 2021

Irish artist Jesse Jones’ multi-media installation work Tremble, Tremble derives its title from a slogan chanted at Italian feminist marches in the 1970s that called for access to abortion and wages for housework. First staged at the Venice Biennale in 2017, in this iteration—and its Australian premiere—Jones summons a feminist phantasm combining a giant from Irish folklore and the figure of a witch to form her own mythological giantess, who reads 'In Utera Gigantae'—the artist's fictional law that proclaims a new social order from a female perspective. Jones has collaborated with actor Olwen Fouéré and sound artist Susan Stenger to create a work of art that extends through the gallery as an expanded form of cinema.

Tremble, Tremble was originally commissioned by Tessa Giblin and Culture Ireland in partnership with the Arts Council of Ireland for the Pavilion of Ireland at the 57th Venice Biennale. Sound design and composition by Susan Stenger. Production management and AV programming by Aaron Kelly.

Image: Jesse JONES, Tremble, Tremble, 2017, performance, courtesy the artist.

JAMES TYLOR: THE DARKNESS OF ENLIGHTENMENT
26 February — 1 April 2021

The Darkness of Enlightenment calls into focus the mistakes, mistranslations and loss of knowledge resulting from European colonist processes in documenting Kaurna culture.

Drawn from his series From an Untouched Landscape, Tylor displays eighteen photographs captured on Kaurna land. Accompanying these are thirty Kaurna objects as made by Tylor according to historical records and two sound works by Koorie artist Anna Liebzeit; one capturing Kaurna language and music by the artist and Jack Buckskin, the other drawn from conversations with Kaurna elders involved in the revival and continuation of the Kaurna language and culture.

Within 2021 Adelaide//International, The Darkness of Enlightenment is a remembrance and action, recognising the powerful role recording our present holds in shaping our future.

Image: James TYLOR, (Vanished Scenes) From an Untouched Landscape 6, 2018 Inkjet print on void, 25 x 25 cm

FAYEN D’EVIE: Endnote: the ethical handling of empty spaces
26 February — 1 April 2021

Fayen d’Evie’s Endnote: The Ethical Handling of Empty Spaces considers how we might write language for posthuman audiences. Recognising the environmental and social urgencies of the world we have created, d’Evie engages in acts of speculative publishing by embedding fragments of stories in granite and sound. Her messages are performed, touched, and sensed, and stem from an experience of blindness; together, her sculptural installation calls attention to the value to our shared future of acknowledging difference, and each other.

Performance ~ Friday 19 March & Saturday 20 March
Over two days, dancer and choreographer Benjamin Hancock performs an essay written in movement, playing with the shape of letterforms and grammar, testing the potential of conveying the meaning and emotive content of a message through the body. These durational performances begin at 10am each day.

Developed by Fayen d'Evie with Sofia Lo Bianco, Bryan Phillips, Benjamin Hancock, Anna Seymour, Vincent Chan, and Trent Walter.

Image: Fayen d’Evie, study for Endnote: The Ethical Handling of Empty Spaces, 2020, courtesy the artist.

TALOI HAVINI: TSOMI WAN-BEL
26 February — 1 April 2021

Taloi Havini’s video work Tsomi wan-bel (win-win) is a meditation on systems of justice, through the representation of a traditional mediation ceremony in Northern Bougainville, the Autonomous Region of Bougainville.

Practiced across the Pacific, this customary approach to reconciliation and restorative justice brings victims and offenders together and is practiced alongside common law.

In Havini’s three-channel moving image work, audiences observe a ceremony that facilitates the admitting of offence or wrongdoing. We see, through the shared rituals, the necessity of all parties (mediator, victim and offender) to gather in expression of regret and to present offerings as a means of making amends. We see also the witnessing and celebration of this healing by the wider community, though the ceremony itself is never shown on screen.

SASA Gallery is a short walk from Samstag, located on the ground floor of the Kaurna Building, City West precint, on the corner of Fenn Place & Hindley Street.

Image: Taloi HAVINI, Tsomi wan-bel (still), 2017, 3 channel video, 9.42 mins.