Location: Arts Technology Research Lab | Seminar Room, 1st Floor
Launch: Thursday, 7 April 13:30
Open for viewing
Thursday, 7 April 13.30-18.00
Friday, 8 April 11.00-13.0
The project—an experiment in ‘writing’ a collective text—takes the house itself, built in Victorian ‘style’ by the dunes on Adelaide’s coastal fringe at Port Noarlunga in 1897, as ‘framing’ device inviting ‘views’ from its own and other windows; mirroring its changing surrounds: mapping the layered—virtual/actual—topographies in which it is embedded. A threshold—operating as contemporary art space/residency with stated intent to host cultural exchange—the building and its riverbank site stand poised mid-development at the borderzone between the poetic and the political: the ‘first-stage’ renovated-re-construction of the house and garden in stark contrast to the ancient, radically altered, estuarine topographies they overlook… (damage disavowed… silence/sand, wind) buffets underling the peripheries. This site presents the juxtaposition of two contesting, largely incompatible, world-views-value-systems—two overlaid temporalities—enabling the auspicious conditions in which to trigger and trouble multiple generative, un-settling, encounters-in-difference: to collectively witness silenced-un-seen-echoed misinterpretations, omissions, and inequities. I have over-stayed the initial contracted term of this project by invitation (trans-forming)—moving through the residency program; intensely moved by the experience—as conversations unfold-objects-objections accrue ‘spilling’ from the LOUNGE & HALLWAY into the GARDEN GALLERY (opening to the exterior; the wind, the water).
Lisa Harms is currently working, as funded by Guildhouse and Arts South Australia, in collaboration with poet-activist-mentor Georgina Williams, Ngankiburka-mekauwe (Senior Woman-of Water), Cultural Clan Custodian, Kaurna, to produce ‘notes’ of-from-for the garden: propositions-provocations to be recorded and broadcast, at intervals around the grounds over the coming months: constructing an unfolding archive—calls to action; remedy; restitution—progressively coming into ‘conversation’ with the collected bird-song recordings, translations, and other contributions sounding intermittently under- tables-plat-formed-projected-from-panes out across the riverbank… against the ‘white-noise’ of passing traffic.
Lisa Harms is a mid-career artist, writer, and curator, and early career researcher whose doctoral thesis, constellations: art & the after-life of images (2014) used inter-textual methodologies of assemblage to stage interplays—as ‘virtual conversations’—between philosophy, poetry, and politics. She has written experimentally and critically over a fifteen-year period; has an interest in coding digital platforms; and has presented papers (often exhibiting con-currently) at numerous conference/workshops locally, nationally and internationally. Recent and ongoing projects set out to map a felt topography in fragments, with textual and material ‘landmarks’ offered as points of light in a shifting constellation: desiring patterns materialized as elegiac refrains and ‘opened’ as social spaces… Here: ‘landscape’—and its more intimate corollary ‘the garden’—is understood as virtual stage/fugue/state upon which— untimely—negotiations are played out: between memory and forgetting, insistence and desire, belonging and not- belonging, love and loss; circling the post-colonial tensions—the layered domesticities—of dis-placement, dis- possession; socio-cultural- environmental care and consequence