Download the 2015 Program Guide


Anastasia Klose
The Kiss Part 3 (detail), 2011
digital print
courtesy the artist and Tolarno Galleries, Melbourne

Art as a Verb

14 February - 26 April

Art as a Verb is a major thematic exhibition that departs from the concept of art as action. Drawing upon the fever of Fluxus and ‘happenings’ worldwide, it presents a range of projects from the 1960s to the present day that challenge the role and purpose of the artist, the art object and art museum. First developed by Monash University Museum of Art in 2014, this manifestation of the exhibition is tailored for the City Gallery and reworked to include significant historical material from the Flinders’ collection of post-object art.

Bas Jan Ader, John Baldessari, Tim Burns, DAMP, Aleks Danko, John Davis, Peter Fischli & David Weiss, Dale Frank, Philip Gerner, Matthew Griffin, Hi Red Center, Simon Hopkinson & Gary Willis, Tehching Hsieh, Tim Johnson, Allan Kaprow, Peter Kennedy, Sister Mary Corita Kent, Tony Kirkman, Anastasia Klose, Laresa Kosloff, George Maciunas, Basim Magdy, Ian Milliss, Kate Mitchell, Claes Oldenburg, Yoko Ono, Ariel Orozco, Jillian Orr, Mike Parr, Campbell Patterson, Bob Ramsay, Robert Rooney, Eva Rothschild, Edward Ruscha & Mason Williams & Paul Blackwell, Jill Scott, Noel Sheridan, Christian Thompson, David Thorp, Rirkrit Tiravanija, Ken Unsworth

Art as a Verb is a Monash University Museum of Art exhibition developed in association with Flinders University Art Museum presented for the 2015 Adelaide Fringe.




Media Release | Public Program: Thai Lunch  | Donald Brook: Speech | Donald Brook: Lecture


Brian Robinson
A chalice of forbidden fruit rose from the waves beckoning them to Kaikai (detail), 2013
limited edition print
courtesy the artist and Mossenson Galleries

Strait Protean: The Art of Brian Robinson

2 May - 12 July

Brian Robinson is an award-winning Cairns-based artist renowned for his bold multi-disciplinary practice encompassing painting, printmaking, sculpture and design. Incorporating motifs of his Torres Strait Islander heritage, his creative output frequently blurs the boundaries of reality and fantasy to speak across time and place. Dazzling and hypnotic, this exhibition contains recent works on paper and vast sculptural frescos plunging audiences into grand narratives, epic tales and unearthly encounters.

Presented by Flinders University Art Museum in association with Mossenson Galleries, Perth and KickArts Contemporary Arts, Cairns for the Adelaide Festival Centre’s 2015 Come Out Children’s Festival.





James Tylor
Whalers, Sealers and Landstealers (The Whalers House)
(detail), 2013
bequerel daguerreotype with 140 and 12 guage shotgun holes
courtesy the artist

Penumbral Tales

18 July - 20 September

Penumbral Tales combines the work of contemporary South Australian photographers with archival imagery to explore the idea of the ‘periphery’ – the realm of the outsider, fringe dweller and the marginalised. Including portraiture, landscape and still-life photography, artists push the documentary and expressive powers of their medium in analogue and digital formats to construct powerful vignettes of everyday life beyond the so-called mainstream of modern times.

Alice Blanch, Odette England, Gee Greenslade, Mark Kimber, Sue Kneebone, Hailey Lane, Deborah Paauwe, CJ Taylor, James Tylor

Penumbral Tales is a Flinders University Art Museum exhibition curated by Mark Kimber and presented for the 2015 South Australian Living Artist’s Festival.




Ali Gumillya Baker
Sovereign Fleet Red, 2014
courtesy the artist

Bound and Unbound: Sovereign Acts - Act II

October, North Terrace

Incorporating performance, projection, politics and poetics, Bound and Unbound Act II is the sequel to the highly successful first act presented in Adelaide in 2014. Conceived and curated by Ali Gumillya Baker as a highly experimental, multi-stage and multi-site project, it interrogates the nexus of knowledge production, ethical practice, activism, education and the visual and performing arts while enacting and transforming intergenerational narratives.

Ali Gumillya Baker, Faye Rosas Blanch, Natalie Harkin, Simone Ulalka Tur

Bound and Unbound Act II is supported by the Australia Council for
the Arts and the Festival of Contemporary Aboriginal and Torres Strai






Untitled, 1998
fibre tipped pens on paper
collection of Ngarra Estate
courtesy Mossenson Galleries, Perth

The world is not a foreign land

26 September - 29 November

Spanning three geographically and culturally diverse regions – the Tiwi Islands, the Kimberley and North-eastern Arnhem Land – this exhibition presents the work of six Aboriginal artists to examine the way in which the term ‘Indigenous contemporary art’ is conceived. Striking, and at first stylistically different, these works are juxtaposed within the exhibition to unveil intricate connections and relationships forcing us to reconsider how objects and practices may relate beyond the boundaries of existing categories.

Timothy Cook, Djambawa Marawili, Ngarra, Rusty Peters, Freda Warlapinni, Nyapanyapa Yunupingu

The world is not a foreign land is an Ian Potter Museum of Art and NETS Victoria touring exhibition curated by Quentin Sprague. Its presentation in Adelaide is supported by the Festival of Contemporary Aboriginal and Torres Strait Islander Art, presented by the Art Gallery of South Australia.





Rod McRae
Operation Foctrot, 2010
mixed media installation
courtesy the artist

Wunderkammer: The Cabinet of Wonders

6 December - 8 February 2015

In a surreal display of taxidermy Sydney-based artist Rod McRae powerfully illuminates grave and critical challenges confronting our world: problems of population, pollution and climate change that threaten biodiversity, the environment and the very survival of our planet. These works are in McRae’s words ‘portals’ into what was, what is and what could be. Wunderkammer asks us to contemplate the consequences of our actions and examine our responsibilities as inhabitants of a shared world.

Disclaimer: all the animals in Wunderkammer have been ethically sourced. No animal has been harmed to make this work in the first instance; the skins are the result of death by natural causes, medical euthanasia, hunting, culling and/or food production and have been traded on, sometimes multiple times, before they became part of this body of work.


All exhibitions are supported by


Visions of Australia is an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia.