domus is a series of exhibitions that seeks to engage the architectural, geographical, psychological, emotive and other notions of 'difference' relative to the Contemporary Art Centre of SA's building [as opposed to other contemporary art spaces in Australia], given it is a converted suburban stone villa sited away from the central focus of the Adelaide CBD. Local, national and international artists will embrace the full property of the CACSA over a four month period, with external, internal and time based works, utilising the full spectrum of artistic vision and creativity.

domus 1 CONTRUCTION DRAWINGS JONATHAN DADY [Adelaide] 15 February - 25 March domus 1 will be an overt, monumental construction by local artist Jonathan Dady - an exterior and interior sited, physically displaced, multi-coloured scaffolding version of a 3D auto-CAD drawing of the building's architecture. An extension of recent works shown at Greenaway Art Gallery, this work represents a 'real and actual space' analogue rendition of the illusionary digital creation - the exterior of the building thus becomes the 'gallery walls'. Born in the UK in 1961, Jonathan Dady has been teaching drawing and sculpture at the Adelaide Central School of Art since 1991, is represented by Greenaway Art Gallery in Adelaide where he has had four solo exhibitions since 1993, and is assisted by Arts SA and Solver Paints, and sponsored by Boral Scaffolding & Formwork Pty. Ltd. Linda Marie Walker writes about this work in RealTime So close to the thing itself, and not.

	domus 2 Ariane Epars [Switzerland] 6 - 29 April Second in the domus series is Ariane Epars [Switzerland], returning to Australia after participating in the 11th Biennale of Sydney, in 1998. Epars' oeuvre is to 'interfere' in a specific fashion with the venue, detecting and underscoring its qualities and idiosyncracies - a dimension so commonplace and obvious in terms of everyday usage that it normally goes unnoticed. This 'interference' utilises everyday gestures - of an application of everyday materials - putty, chalk, earth, tape, blankets, wax, concrete, clothes etc, drawing the viewer's attention as much to the material's nature as to their final purpose. Epars' spatial and temporal site-specific works mutely occupy the exhibition space until their closing, then subsist solely in the visitor's memory, and in photographic documentation. Each work is as fleeting as each passing day. Ariane Epars has exhibited extensively throughout Europe - most recently at the Kunstmuseum Bonn and Haus der Kunst Munich. Her visit to Australia is in conjunction with Contemporary Art Ser s Tasmania [CAST], Hobart, is assisted by the Consulate General of Switzerland, Melbourne, and is sponsored by Pro Helvetia and the Leenaards Foundation, Switzerland. Catalogue Essay CALL AND RESPONSE German text Horst Griese, Bremen, February 2001 English translation Anja Janetzky, Adelaide, March 2001 The focus of the first in a series of public forums in the visual arts Space, Time and Materiality is Ariane Epars and domus2,- she will present her work, and ideas. 5 > 6:30pm Thursday 5 April Nexus Cabaret, Lion Arts Centre cnr North Terrace + Morphett Street, Adelaide	Ariane Epars, domus 2 cacsa, 2001 - view Ariane Epars, domus 2 cacsa, 2001 - view Pier 2/3, 11th Biennale of Sydney 1998

domus 3 Stevie Wishart + Joan Grounds [Australia + UK] 11 May - 3 June The (Ut) project is a sound installation which explores three spaces - the medieval, the contemporary and the virtual. At the Contemporary Art Centre of South Australia, we are presenting v2. This piece concentrates on the virtual and contemporary spaces using video and sound which become the focus of a series of different performances. Image and sound in video and embodied image and sound in performance effect each other, the performer, and the audience. When the gallery is closed, the installation becomes our studio, a site from which we continue to build new work and change the content of the sound and image. Some conceptual, technical and physical materials arise from a previous work - UT, an installation on Level 2 at the Art Gallery of New south Wales (1998) that combined wall drawings, interactive sound, computers, speakers and a quill and drum interface. Spatial sound and content were controlled by gestures made with a quill on a drum skin. The Installation was inspired by the medieval monk Guido of Arezzo's radical visualisation of sound, which mapped his divisions of the musical scale on the human hand ( c. 1000). There is a direct relationship between system of musical notation as a unit of measurement and the hurdy-gurdy, the instrument played by Stevie Wishart. Live Sound Installations 2:30pm Sunday 20 May 6:30pm Thursday 24 May 4pm Sunday 27 May We regularly post new web pieces on the CACSA website in addition to changes in the physical installation. Artist statement as published in Broadsheet PREVIEW available here as a PDF. A Commentary Stevie and Joan will be speaking about their work and ideas as part of the public forum in the visual arts series Space, Time and Materiality. 5 > 6:30pm Tuesday 15 May Nexus Cabaret, Lion Arts Centre cnr North Terrace + Morphett Street, Adelaide A RealTime interview with Stevie Wishart Working the Globe UT - interactive sound installation by Stevie Wishart and Joan Grounds :: this site tells the story ... Machine for making sense Jim Denley, Stevie Wishart, Rik Rue, and Amanda Stewart. (MFMS) explores relations between linguistics, poetry, speech, music, and notions of sound, science and politics.

UTv2, Performance Still, 2001 photo Alan Cruickshank Joan Grounds, video still, 2001 photos courtesy the artist

Other Worlds Matthew Bradley, Chris Chapman, Maria Bilske, Peter Franov, Agravaine MacLachlan, Michael Newell, Jim Strickland, Kate Stryker Curated by Michael Newell 8 June - 1 July Other Worlds is an exhibition of works - painting, sculpture, installation + video - by artists who incorporate discourses into their practice which lie outside of fine art as we know it today. These 'other worlds' may include advertising, sport, pornography, aviation or space travel, as well as aspects of everyday life. Rather than simply presenting these discourses, the artists use the discourses themselves for symbolic and expressive effect. The premise underlying this show is that each of these discourses has its own range of semiotic codes and expressive capabilities. Many people after all, 'live in one or other of these 'worlds' - through these discourses - for much of their lives, perhaps finding it satisfactory in a way that an artist, operating within the discouses of the artworld, may find making work satisfying. All the artists in Other Worlds are South Australian. Click here for the catalogue

Jim Strickland, Tuesday, June. 2001 video. Peter Franov. the impossibily of fulfillment / forever wanting. 2001. oil on canvas, fibreglass, polystyrene

Open Inspection Sam Small [Adelaide] 6 - 29 July Emerging artist Sam Small, both reinvents and reverts the CACSA from gallery space to domestic villa with OPEN INSPECTION. The sign at the front of the building prefaces Small's intent 14 Porter Street, Parkside Character Bluestone Villa Superbly located and retaining all its period charm, this unique exhibition home comprises 4 main rooms, ornate lofty ceilings and original timber floors; quality features include cellar, track lighting, r/c air-conditioning, monitored security system, double lock-up garage and private courtyard garden. As with its 2001 predecessors, OPEN INSPECTION determines an 'other' viewpoint and expression of the concept of [exhibition] space and the construction and viewing of art - here Small explores the domestic idyll, probing our domestic 'blindness', inviting the viewer to consider the 'territory of the unknown' - of a supposedly familiar domain. Having returned from recent R+D travel in Holland, where she lived and studed in 1999-2000, this will be Sam Small's first solo exhibition. A profile on Small, written by radio broadcaster and critic Cath Kenneally, is featured in the current issue of Broadsheet magazine, volume 30 #2. DWELLING catalogue essay by Russell Smith

Sam Small, Open Inspection, installation view

SALA WEEK Aleks Danko [Daylesford based, ex Adelaide] Songs of Australia, Volume 12: Warning, Cardiac At Rest (Adelaide remix). 3 - 26 August Aleks Danko returns to the CACSA [he first exhibited at the then CAS in 1974 with his front lawn Dankotrees] with Volume 12 in his ongoing Songs of Australia project that began with the election of the Howard Government in 1996, and will end with its demise [in 2001! says Danko]. Aleks Danko was born in Adelaide in 1950 and grew up in suburban Edwardstown, studied sculpture at the South Australian School of Art, then moved to Sydney and Melbourne - currently he is based in Daylesford in Victoria. Danko has xhibited extensively since 1970 - this exhibition, following on from recent exhibitions in Melbourne and Sydney, is a series of installations that revisit the sites of his formative years and the memory of his parents [reflecting upon his life in the suburbs and continued ambivalence about growing up in an Australian cultural environment], their humorous and ironic titles encapsulating his critical and caustic observations - AT HOME [material mix], REMEMBER IT'S A SECRET MUM'S THE WORD [the adelaide remix], CARDIAC AT REST: YOU MIGHT AS WELL LAUGH MATE, THERE'S NOTHING ELSE TO DO [outback mix] and WARNING: CARDIAC AT REST [haemorrhage mix] - the allusion to a musical orm places Danko as the imagined DJ mixing and remixing his themes of BIRTH, SCHOOL, WORK and DEATH. Aleks Danko's red brick house public art commission Volume 3 AT HOME, sited in the Lions Arts Centre courtyard, was commissioned by the University of South Australia, City West in 1999. catalogue

Aleks Danko, WARNING:CARDIAC AT REST [haemorrhage mix], installation view. Photo Alan Cruickshank Aleks Danko, AT HOME [material mix], REMEMBER, ITS A SECRET, MUM'S THE WORD [the adelaide remix] installation view. Photo Alan Cruickshank

WALLPAPER FABLES Ken Bolton, Sonia Donnellan, Michael Grimm, Alison Main, Katie Moore, Jacqueline Pitman, Tim Sterling, L.E Young curated by Katie Moore [Adelaide] 7 - 30 September WALLPAPER FABLES, curated by Katie Moore, brings together a versatile group of artists representing both divergent experience and creative vision, to provoke and tease us with the unexpected and the unlikely! Think of your favourite books and games as a child. Did you play WHAT'S THE TIME MR WOLF or PIGGY IN THE MIDDLE? Were your stories populated with doormice and ducklings, possums and puddings, trapdoors and tunnels? Did you construct models and cardboard cubbie-houses? WALLPAPER FABLES is an exhibition for remembering fondly such images - eight artists utilise the bold graphic techniques of children's illustration and the construction methods of model making - cut, paste and tableaux - for their story telling. Assemblage, kit models, aeroplanes, dinosaurs, insects, animals, buckets, spades, photos, lambs, dolls, foxes, oversized flies, polar bears, parasols, more animals, Victoriana, pen drawings, balloons, even more animals, video, animation - everything you'd expect from mature aged artists and a serious contemporary art space! catalogue

Tim Sterling second stance, 2001 mixed media

The Museum of Love and Romance presents "Big Horse and Other Stories" Bronwyn Platten [Adelaide] 5 - 28 October The Museum of Love and Romance presents "Big Horse and Other Stories" by Bronwyn Platten, responding to the themes, imagery and taxonomy of collections of erotic art around the world. Platten, among South Australia's most significant contemporary artists, has exhibited widely in Australia and internationally, and is currently based in Scotland. Recently she received support from the Australia Council to travel to museums and collections devoted to erotic art around the world, researching the varied forms in which sexuality finds expression in different cultures. Platten founded The Museum of Love and Romance in 1997 as a virtual institution, its activities manifested through her own research. In The Museum of Love and Romance presents "Big Horse and Other Stories", Platten examines ways in which human and animal sexuality have been represented in culture from Victorian times to the present, manipulating and reworking a range of often startlingly direct images of sexuality in a way that is humourous, intimate and touching. This exhibition also includes a video work in progress by Alison Main. Please note: this exhibition contains sexually explict images. Admission is restricted to eighteen years and over catalogue essay THE ABSENT NURSE AND OTHER MYSTERIES by Lindy Warrell

Bronwyn Platten, The Big Horse, 2001

SUPREME ALKALINE Warren Vance [Adelaide] 5 - 28 October Warren Vance presents an exhibition of new works - Supreme Alkaline. Vance, having exhibited recently at Room 35 [Gitte Weise Gallery, Sydney], is one of South Australia's leading artists, known for his poetic and beautiful sculptures and collages. Vance finds remarkable beauty in the strange conjunctions of kitsch images and objects, teaming picturesque National Geographic style photographic images, often of pristine landscapes, with banal, mass produced objects. These come together to create artworks which have an air of fantasy about them, yet speak to our deepest desires. Catalogue essayist Alexie Glass describes his works as   "uncanny, in regards to the free-associations that emerge unhindered from his absurd, witty and paradoxical juxtapositions. The tender placement of unlikely art-mates creates a mix of the mysterious, folkloric, mythic and fabled. Vance's work allows the viewer to reconcile the lofty aim of seeking the sublime in art, with the singular joy that comes from being in on the joke. The art of Warren Vance is an art of release. While he acknowledges the traditions and rhetoric of painting, photography and sculpture, he is not bound to these for definition or understanding - he inappropriates them." catalogue essay INAPPROPRIATION by Alexie Glass here Sat 6 Oct

Warren Vance, Lovers' bugle, 1999 poster cane, brass bugle, green tint glass, 64 x 94 x 13cm

CAVEAT Jonathan Dady, James Dodd, Leith Elder, Nick Folland, Anton Hart, Shaun Kirby, Rick Martin, Lee Salomone, Stephen Tarr, Craige Andrae, Alan Cruickshank 25 October - 4 November TOP FLOOR GALLERY, 66 HINDLEY STREET, ADELAIDE CAVEAT is a CACSA satellite exhibition that reintroduces a sense of 'fun' into contemporary visual art and acts as a laxative to the long term cultural constipation of political correctness. The artists are three Anne & Gordon Samstag International Visual Arts Award winners, Craige Andrae, Shaun Kirby and Nick Folland, evergreens Anton Hart, Jonathan Dady and Lee Salomone, young emergent James Dodd, the slightly older emergents Stephen Tarr and Leith Elder, and lapsed photographers Rick Martin and Alan Cruickshank.

The Looking and other outcomes Derek Kreckler [Perth] 2 - 25 November The Contemporary Art Centre of South Australia presents new photographic and sound/installation works by Perth based Derek Kreckler. Kreckler, who graduated from the South Australian School of Art in the late 1970s, in the early days of its Underdale investment, has since established a major national profile, exhibiting his iconic film installation Blind Ned in recent years at the Museum of Contemporary Art in Sydney [1999 Perspecta], the , Melbourne, the curated exhibition Remove..., University of SA Art Museum, Adelaide, and at the Kwangju Biennale, South Korea. This year Derek exhibited his sound installation White Pointer at the Art Gallery of Western Australia, a version of which will be exhibited in The Looking and Other Outcomes. Kreckler writes of his work in The Looking and Other Outcomes, his first solo exhibition in Adelaide since 1991,"The impression overall is of a culture that ought to be - a fable of and for a new mundaneness - everyone shops, 'mates' argue, girls read, teach, have their hair straightened, men dig holes with the best of intention - if these works are about Australia they are about a corrected version. There is no outwardly obvious utopia here, just people getting on with their business albeit in a parallel world." [The Looking: A Parallel World. D. Kreckler 2001] The Ethical Observer, catalogue essay by Ian McLean

Derek Kreckler, Salon, 2001

Alison Main, Hokey Pokey, oil on canvas 2000 Members Show 7 - 16 December It's that time of year again - the Members Show ! Ron Rowe has submitted some work for the members show via the web Summer Fan, 2001.

Installation view, Members Show, 2001