gallery I

public program, gallery I

Exhibition: A Resting State, Curated by Hamish Fleming

Image: Hamish Fleming

June 3 - August 23, 2024

Opening event: Friday June 7, 5:30-7:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find A Resting State in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery I is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


Hamish Fleming, George Gilles, Anthea Jones, Robert Viner Jones and Billy Oakley

The Mill is excited to present A Resting State, a new exhibition curated by resident artist Hamish Fleming, featuring work by Hamish Fleming, George Gilles, Anthea Jones, Robert Viner Jones and Billy Oakley. In A Resting State artists have used the medium of painting as a device to create mood and atmosphere within everyday environments. Self-taught artist and now emerging curator, Hamish, has worked closely with the artists to develop an exhibition environment that is rich with feeling through the use of lighting, texture and colour.

  • A Resting State explores the relationship between the individual and their routine environment. Five artists working across different mediums and traditions have created works from mundane domestic settings. By focusing on what is, at first glance, incredibly simple subject matter, each of these works delve into the subtler elements of image making to take these common surroundings and bring forth their potential to reflect contemporary experience. From more traditional realism to dark, vibrant expressionism and even crisp nonrepresentational works, A Resting State is a visual demonstration of how the mental experience impacts our perception of daily life.

 

About the artists:

  • H. Fleming is a contemporary realist painter currently based in Adelaide (Kaurna Country), South Australia. Fleming is a self-taught artist, working closely both with and against the long-standing traditions of realism. He works solely from life, without the use of any reference photos, to convey the subtler elements of the human experience through frequently mundane subject matter. Fleming’s practice draws upon many influences, ranging from the classical masters and post-modernism, to gothic and dirty realism literature. In 2023 Hamish has been a finalist in the Bluethumb Art Prize, Centre for Creative Health Art Prize, and Smallacombe Prize, and winner of the Young Artist Category, Adelaide Parklands Art Prize.

    https://hflemingartist.squarespace.com/

  • George Gilles is a painter and tattoo artist from Adelaide, South Australia. In 2016 she was awarded a state merit for visual art and continued to pursue a career in the industry, winning the Emerging Artist awards from both The Prospect Portrait Prize and Urban Cow Art Prize. Since then she has been part of The Carclew Sharehouse Residency, presented her debut solo exhibition 'The Way Home' and has co-founded Adelaide Arcade’s first tattoo studio, The Gilded Goblin.

    George’s painting practice is driven by her desire to communicate emotional nuance through figurative works as well as inanimate objects and food. Currently, she is creating a body of work that pays homage to the traditional Dutch still life movement whilst also exploring personification and profundity of inanimate objects.

    https://www.instagram.com/georgegilles_tattoo/

  • Anthea Jones is a visual artist and inveterate maker. Born in Millicent, now living in Adelaide, her formal qualifications include an Advanced Diploma in Visual and Applied Art, North Adelaide School of Art, a Graduate Diploma in Management (Arts), UniSA and a Graduate Certificate in Art History (Australian Colonial and Modern), University of Adelaide. In 2023, Anthea received the award of a Diploma in Atelier Art, Rob Gutteridge School of Classical Realism, Adelaide (an accredited atelier with the International Art Renewal Centre).

    Supplementing her formal studies, she has also attended numerous masterclasses at Adelaide Central School, summer school at the London Academy of Realist Art and life painting with acclaimed contemporary artist Shane Wolf in Yorkshire, UK. After the disappointment of a cancelled three months study at the New York Academy in 2020, Anthea was invited to and will be attending, a one-month residency at Chateaux d’Orqueveaux in France in June 2024.

    Anthea has successfully participated in numerous local and interstate art exhibitions and competitions and has had photographs of her works published. While her art training and focus has been on figurative oil painting and drawing, she also enjoys creating with textiles, mixed media, paper and found objects. Anthea is enthralled by the principles, elements and techniques incumbent in developing an artistic piece.

    https://antheajonesartist.com/

  • Robert Viner Jones (AKA Bob Window) is a contemporary printer/painter based in Adelaide (Kaurna Country). Robert’s works offer bold, uncompromising graphics - stark and confident in their nature. Trained in Sydney, obsessed with design and colour, Robert’s works draw heavily on fearlessness of mid 20th century design plus an unbridled willingness to simply paint and print things that make him smile.

    https://bobwindow.com.au/

  • Billy Oakley is a South Australian Artist exploring the subconscious through narrative imagery, people and place through his oil paintings. 
The imagery of naive childish spooky dreams and silly fears rest at the bottom of the subconscious, and here they are brought to the surface to be seen in their curiously cute sulky seriousness. Billy has exhibited at Floating Goose, Urban Cow, Collective Haunt, Brunswick Street Gallery, Mixed Spice Studios and The Mill.

    https://www.billyoakley.com/


 
 

 

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

This project is supported by City of Adelaide.

 

public program, gallery I

Workshop: Storytelling through Photography with Chris Siu

Artwork: Hong Kong Grocery - Adelaide South Australia, Chris Siu, 2022.

Workshop

When: Saturday, April 20, 12:30pm-3:30pm

Where: The Mill, 154 Angas Street, Kaurna Yarta

Cost: $33 (+booking fee)

  • This workshop will include walking around Adelaide CBD.

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


Join artist Chris Siu for a walking photography workshop. Learn about Chris’s approach to crafting narratives through sequences of photographs, focusing on the development of a visual language rather than individual images. Bring your own digital camera (camera phone, digital camera) and take a walk along Angas Street to the iconic Central Markets, collecting images and building a narrative.

What to expect:

The workshop will start at The Mill on Angas Street with an introduction from Chris and an opportunity to view his exhibition Riot on an Empty Street. Participants will be given the opportunity to devise a ‘mood’ or ‘theme’ for their series before walking with the group along Angas Street to the Central Markets on Gouger Street.

Participants will spend some time taking photos on their own devices, focusing on everyday life and following intuition. We will then return to The Mill for refreshments and to share with the group. The workshop will include an opportunity to chat about the photographs taken and to share the stories and narratives created through the photographic series.

Experience level:

No experience necessary. Participants must bring their own digital camera and must know how to operate it (no technical support will be provided about camera settings etc.) Some walking is required, please get in touch if you have any accessibility questions.

  • Chris Siu is a Hong Kong-born photographic artist living and working on Kaurna Yerta in Tarntanya Adelaide. Informed by the traditions of documentary photography, Chris’s work investigates and chronicles the intricate relationships that lie within his surrounding social landscapes. Chris’s practice is profoundly influenced by the flux of sociopolitical happenings in his homeland Hong Kong and his ever-changing place within it. Through exploring notions of layered histories and geopolitics, Chris’s work seeks to offer a reflection on personal and communal experience, pivoting around representations of civil unrest, diasporic experience, cultural displacement and marginality within contemporary existence.

    Chris has exhibited throughout Australia, beginning with his feature at the 2019 Head On Photo Festival. Subsequently, he has exhibited at venues including Nexus Arts, Adelaide Contemporary Experimental, Centre for Contemporary Photography, and Perth Institute of Contemporary Arts.



 

The Mill’s Visual Arts Studio Residency is presented in co-operation with Mahmood Martin Foundation.

 
 

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

This project is supported by City of Adelaide.

 

public program, gallery I

Artist Talk: Chris Siu, Riot on an Empty Street

Photos: Daniel Marks

Artist Talk

Friday, April 12, 5:30-6:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Riot on an Empty Street in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery I is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


Join Chris Siu and The Mill's Visual Arts Curator Adele Sliuzas for a chat about his new exhibition 'Riot on an Empty Street', now showing in Gallery I at The Mill. 

Chris Siu developed Riot on an Empty Street as part of The Mill’s Visual Arts Studio Residency program presented in cooperation with the Mahmood Martin Foundation.



 

The Mill’s Visual Arts Studio Residency is presented in co-operation with Mahmood Martin Foundation.

 
 

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

This project is supported by City of Adelaide.

 

public program, gallery I

Exhibition: Chris Siu, Riot on an Empty Street

Image: Chris Siu, Tattoo of a Wilting Bauhinia - Adelaide, South Australia, (detail), 2023, from the series Then We Keep Living Vol. 2. Courtesy of the artist.

February 5 - May 17, 2024

Artist talk: Friday 5 April 5:30-6:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Riot on an Empty Street in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery I is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


The Mill is excited to present Riot on an Empty Street, a new exhibition of photographs by Chris Siu derived from his ongoing project Then We Keep Living. Through medium format analogue photography, Chris explores his relationship with his homeland, Hong Kong. The work navigates the experience of mass civil unrest, as experienced in Hong Kong and living in diaspora here in Australia. The powerful images give the viewer a sense of dis-ease and tension, incorporating protest, the body, signifiers of colonial and authoritarian resistance and the political power of the masses contrasted with bone-aching isolation associated with cultural displacement, marginalisation and disconnection. Chris’ approach to image-making is cultural and academic as well as deeply feeling and intuitive. He offers us a very personal entry point into a political situation that many have observed through the cycles of journalism. 

Chris Siu developed Riot on an Empty Street as part of The Mill’s Visual Arts Studio Residency program presented in cooperation with the Mahmood Martin Foundation.

  • My residency at The Mill has been dedicated to developing the long-term photography project titled Then We Keep Living. The project navigates my relationship with Hong Kong through a two-volume narrative presented in medium format analogue photography. This exploration takes place against the backdrop of the 2019 mass civil unrest in Hong Kong, followed by my life in diaspora here in Australia.

    The two respective volumes delve into representations of dispossession and defiance amidst the city’s ongoing socio-political transformation, contrasting with poignant reflections on diasporic experience and its isolating facets associated with cultural displacement, marginalisation, and disconnection. The project stands as a testament to the nuanced interplay of political dilemmas, self-discovery, and the frequently overlooked, profound repercussions of civil unrest.

  • Chris Siu is a Hong Kong-born photographic artist living and working on Kaurna Yerta in Tarntanya Adelaide. Informed by the traditions of documentary photography, Chris’s work investigates and chronicles the intricate relationships that lie within his surrounding social landscapes. Chris’s practice is profoundly influenced by the flux of sociopolitical happenings in his homeland Hong Kong and his ever-changing place within it. Through exploring notions of layered histories and geopolitics, Chris’s work seeks to offer a reflection on personal and communal experience, pivoting around representations of civil unrest, diasporic experience, cultural displacement and marginality within contemporary existence.

    Chris has exhibited throughout Australia, beginning with his feature at the 2019 Head On Photo Festival. Subsequently, he has exhibited at venues including Nexus Arts, Adelaide Contemporary Experimental, Centre for Contemporary Photography, and Perth Institute of Contemporary Arts.



 

The Mill’s Visual Arts Studio Residency is presented in co-operation with Mahmood Martin Foundation.

 
 

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

This project is supported by City of Adelaide.

 

public program, gallery I, gallery II

Finissage: Alice Hu, 柔韧的骨头 (Annealed Bone) and Chantal Henley, Gulayi

Image: Courtesy of the artist

Finissage

Friday, January 19, 4:30-6:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Gulayi and Annealed Bone in The Mill Exhibition Spaces, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


The Mill invites you to join us for the closing event of Gulayi by Chantal Helnley and Alice Hu's 柔韧的骨头 (Annealed Bone) and join Alice for a chat about her work.

 
 
 
 

public program, gallery I

Exhibition: Chantal Henley, Gulayí [Woven Vessel]

Image: Courtesy of the artist

October 20, 2023 - January 19, 2024

Exhibition opening: Friday, October 27, 5:30-7:30pm

Artist Talk: Friday, December 1, 5:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Gulayí in The Mill Exhibition Space, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


The Mill is excited to present Gulayí [Woven Vessel], a new exhibition by Quandamooka and Mununjali artist Chantal Henley as part of Tarnanthi 2023. Working with textiles, Chantal explores body adornment through garments, sculpture, dance and film, embedding her connection to her Grandmother’s country and her own experience as a mother.

  • Gulayí [Woven Vessel] is a gathering of exclusively hand woven, hand printed garments and body adornments that highlight the prominence of retaining and reclaiming language, dance, song and design.

    Embellished in gathered fibers, up cycled fabrics, shells, feathers and clay, Gulayí features custom prints that are a direct tribute to my Quandamooka and Mununjali kinship, paying homage to Country and Water through woven techniques reclaimed through the many Gulayí makers that carry and contain the stories of our Elders.

  • Chantal Henley is an Artist & Designer from the Ngugi and Mununjali clans of the Quandamooka and Yugambeh peoples of South - East Queensland.

    From an early age, Chantal connected to culture through Dance and Song and soon became familiar with textiles through both of her Grandmothers, encouraging her to learn various techniques and explore fabrics and fibres.

    Through a brief stay at design school, she explored western design fundamentals and obtained insight into the production and manufacturing processes within the textile and fashion industry, soon deciding to journey elsewhere with her creativity.

    Henley credits her time with master weavers and their unconditional effort to exchange with her through kinship and storytelling, contributing to her ability to regain and retain those Gulayí songlines.

    Chantal carries her strong message of connection and retaining ancestral skills and techniques through her woven Gulayí (bag, vessel) and hand painted Ungarie (Swamp Reed) prints included in her collections and body of work, paying homage to her Mununjali and Ngugi songlines.

    Her textiles and body adornments have been showcased and exhibited by Artisan, National Gallery of Australia, Redland Art Gallery, Jam Factory, Art Gallery Gold Coast and Cairns Indigenous Arts Fair, including publications such as Peppermint & RUSSH Magazine.

    Henley is currently based in Tarntanyangga (Adelaide) Kaurna Yerta with her partner and children.

 
 
 
 

public program, gallery I

Artist Talk: Chantal Henley, Gulayí [Woven Vessel]

Photo: Courtesy of the artist.

Artist Talk

December 1, 5:30-6pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free

  • You can find Gulayí in The Mill Exhibition Space, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


Join Quandamooka and Mununjali artist Chantal Henley for an intimate Artist Talk, discussing her exhibition Gulayí [Woven Vessel] as part of Tarnanthi 2023.

  • Gulayí (Woven Vessel) is a gathering of exclusively hand woven, hand printed garments and body adornments that highlight the prominence of retaining and reclaiming language, dance, song and design.

    Embellished in gathered fibers, up cycled fabrics, shells, feathers and clay, Gulayí features custom prints that are a direct tribute to my Quandamooka and Mununjali kinship, paying homage to Country and Water through woven techniques reclaimed through the many Gulayí makers that carry and contain the stories of our Elders.

  • Chantal Henley is an Artist & Designer from the Ngugi and Mununjali clans of the Quandamooka and Yugambeh peoples of South - East Queensland.

    From an early age, Chantal connected to culture through Dance and Song and soon became familiar with textiles through both of her Grandmothers, encouraging her to learn various techniques and explore fabrics and fibres.

    Through a brief stay at design school, she explored western design fundamentals and obtained insight into the production and manufacturing processes within the textile and fashion industry, soon deciding to journey elsewhere with her creativity.

    Henley credits her time with master weavers and their unconditional effort to exchange with her through kinship and storytelling, contributing to her ability to regain and retain those Gulayi songlines.

    Chantal carries her strong message of connection and retaining ancestral skills and techniques through her woven Gulayi (bag, vessel) and hand painted Ungarie (Swamp Reed) prints included in her collections and body of work, paying homage to her Mununjali and Ngugi songlines.

    Her textiles and body adornments have been showcased and exhibited by Artisan, National Gallery of Australia, Redland Art Gallery, Jam Factory, Art Gallery Gold Coast and Cairns Indigenous Arts Fair, including publications such as Peppermint & RUSSH Magazine.

    Henley is currently based in Tarntanyangga (Adelaide) Kaurna Yerta with her partner and children.


 
 
 
 

public program, gallery I, gallery II

Exhibition: CHARTS Community Housing Arts Awards

September 28 - October 12, 2023

Free entry, all welcome

  • You can find CHARTS in The Mill’s Exhibition Spaces,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    Open daily, 10am-4pm.


The Mill is pleased to host the second CHARTS Community Housing Arts Awards 2023. The Community Housing Art Awards were created to celebrate and showcase the creative diversity, depth and talent of tenants of community and social housing.

The exhibition features a shortlist of entries from established artists, mid-career and emerging artists who live in community housing across South Australia. From paintings, drawings, photography, sculpture to digital and graphic art, poetry and literature, CHARTS is a celebration of creativity!

We welcome art lovers from the Adelaide community and beyond to join us for this exhibition.

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com


 
 
 

call-out, visual arts call-out, gallery I

Exhibition Space Program: Open Call Out

The Mill is calling for Expressions of Interest for our gallery program in 2024 and beyond

This year we are mixing things up, rather than having a hard deadline for exhibition applications we are introducing a rolling, open call out. 

We want this process to be more accessible, and to reduce the labour required for artists to express their interest in exhibiting with us. We want to hear about your ideas, and respond to artist and audience interests. 

So, what is the process?

Please fill in the application form with short but concise answers. Introduce yourself, your practice and your exhibition idea. 

We'll get in touch to have a chat if your exhibition idea resonates with our curatorial direction and organisational aims

We no longer charge Gallery hire to artists in the Exhibition Space Program. Submitting a proposal is no guarantee of acceptance.

About The Exhibition Space

The Mill’s Exhibition Space is located on the Angas Street Window Frontage of 154 Angas Street. The gallery is a rectangle footprint with approx 16.4 linear m of hanging wall space, and 38.8 square metres of floor space. The Exhibition Space is oriented prominently at the front of The Mill’s building with a large window facing Angas Street. It sits adjacent The Mill Showcase gallery, The Mill's office and Creative Industry studios. The Space has professional lighting, wall mountable screens, two projectors and a number of plinths are available for artists to use.

We want to make the application process easy to navigate, please get in contact if you have any questions or need assistance. Email The Mill’s Visual Arts Curator Adele Sliuzas: visualarts@themilladelaide.com

public program, gallery I

Exhibition: Kat Bell, Threads

Image: Courtesy of the artist

August 4 - September 22, 2023

Exhibition opening: Friday, August 4, 5:30-7:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Kat Bell, Threads in The Mill Exhibition Space, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


The Mill is excited to present Threads, a solo exhibition by regional First Nations artist Kat Bell exploring the threads of memories and dreams that are stretched and broken through trauma, and their role in the healing journey.

  • This is a story of life, dreams and memories intertwining, entangling, and unravelling like threads falling from the tail of a wiry old beast.

    The artist has used painting, basketry, crocheting, embroidery, beading, weaving and digital projection, to represent the threads of dreams and memories as a survival of complex trauma, living through PTSD and the healing journey.

    Contrary to the darker, central topic of this exhibition, pieces are made using bright colours, playful imagery, and a childlike presence. The artworks are intended to be a mixture of pleasing, playful, wilful, dreamlike, imaginative, and challenging to the viewer. The viewer may not necessarily feel the immediate impact of the serious topic that is represented in these works, but when looking deeper into the pieces, and through written accompaniments, the somewhat uncomfortable and challenging nature of trauma and PTSD will bare through. This is intentional, as the artist believes that trauma doesn’t always mean that things need to remain dark and uncomfortable.

    Through healing, we can learn, grow, and take hold of these threads of memories and dreams, rethreading them into a new story, a new path, a new future.

    Why threads?

    The use of textiles, fibres, paint, and other mediums seemed like the most apt way to depict how our dreams and memories can be interwoven, or even confused as time goes on and the details become blurred as our minds age and memories slip away into muddled up images of reality and imagination. It also, speaks to the artists relationship with thread-based artforms, such as embroidery, fabric dying, hand stitching, crocheting, knitting, and so on, in their healing journey.

    The broader description

    This exhibition tells the tales of the past and the now, through the artist’s First Nation lens, using storytelling, akin to the dreaming, that looks to the wisdom and guidance of our ancestors to heal her heart, mind, and soul. The wiry beast (trauma) has left an echo of itself (PTSD), which plays a role in her waking thoughts and dreams, visiting her (like the old spirits of our dreaming stories), to remind her of what has been, what she has survived and that despite the past she can find peace, calm, freedom through the healing power of art.

    The artist is interested in how trauma expresses itself in our dreams, memories, and imaginings. How do we conceive and better understand these threads of memories, dreams, and imaginings, with and separate from their trauma beginnings? As each thread is unravelled over the years, how do we distinguish between what are threads of reality and those that are not, those that are the minds internal conjuring’s meant to protect the traumatised mind, those that are the individuals creations (a way of retelling events and seeing things through a different lens, whether intentionally or otherwise) or those that are simply broken, fragmented, damaged imaginings in our minds that are neither real or made-up?

    Somewhat contrary to the darker notion of trauma, the artist has chosen to represent their experiences of trauma in a lighter note, drawing on the idea of dreams as a way of controlling how past trauma can be halted from seeping through into the now.

    For more than 3 decades the artist suffered at the hands of their PTSD, with their trauma flooding through into every aspect of their life. A significant part of that was the way in which their trauma invaded their dreams. A life lived with nightmares, little sleep, a tightly wound nervous system and barely any reprieve from their past trauma, they were captive in what felt like an endless cycle of torture.

    The mind is a powerful tool. Understanding its power and how to take back control of it, was the only way forward. This is where dreams and their role in dealing with trauma became key to the artists own recovery. Through a lengthy process of learning how to regain control of their dreams, mastering the events and their reactions within the dream state and pulling apart these images thread by thread, replacing them with the now (or reality as it is), gave them greater control over their waking experiences. But the artist continues to unravel the threads of their dreams and memories, asking (rationally and logically) always, what is real and what is not.

  • As a First Nation Gudjula and Girramay woman, mother, and autistic person, I am interested in using a range of art forms to create narratives about my life experiences, in particular "surviving complex trauma (e.g. C-PTSD, DV, sexual violence)", and most importantly "what it means for me to be a neuro-diverse Aboriginal woman navigating a neurotypical world". These experiences sit at the core of my artistic practice. I am passionate about continually learning and sharing my Aboriginal cultures and reimagining them in a contemporary context, while also drawing on my experiences living and travelling to other places around the world. I draw on these influences, and my love for country and the colours that lather the Australian landscapes.

 

public program, gallery I

Exhibition: Still Self, Crista Bradshaw, Steel Chronis, Hamish Fleming, Honor Freeman and Angelique Joy

Images: (L) Angelique Joy, Earthly Delights & The Spaces In Between (Audrey) ; (M) Crista Bradshaw, Remember 8; (R) Honor Freeman, Pieces of You. Courtesy of the artists.

May 1 - June 16, 2023

Launch event: Friday, May 5, 5:30-7:30pm

Free entry, all welcome

  • You can find Still Self in The Mill’s Exhbition Space,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.


The Mill presents Still Self, a group exhibition featuring work by Crista Bradshaw, Steel Chronis, Hamish Fleming, Honor Freeman and Angelique Joy, curated by Adele Sliuzas. Still Self brings together artworks that explore connection to and disconnection from the self. Each work exists as a glimpse, a moment captured and shared. The artists reveal traces of emotions, spaces, and bodies through different mediums including painting, sculpture, moving images, and installation.

  • Crista Bradshaw is a proud Wangkumaran contemporary artist. Residing in Adelaide, South Australia, Bradshaw grew up without a strong connection to her Wangkumaran heritage. She came to discover that through the process of colonisation and intergenerational trauma, her family had lost its relationship with their language group. It was in her late teens that she began to re-establish this connection. Crista works with forms of expanded painting, sculpture and installation, investigating modes of representation that showcase the ways in which Indigenous and Australian art has evolved.

    Steel Chronis is a South Australian Artist working on Kaurna Land. Mostly working in the medium of oil paint, she likes to focus her attention to the practice of still life painting.

    H. Fleming is a contemporary realist painter based in Adelaide (Kaurna Country), South Australia. Fleming’s practice blends together traditional and contemporary approaches to painting. Fleming works in the preestablished traditions of Still Life and Portraiture, utilizing them as avenues to address the shared experience of contemporary life.

    Honor Freeman is an artist living and working in the Fleurieu Peninsula on Ngarrindjeri land in South Australia, whose practice utilises the mimetic properties of porcelain, crafting objects that belie their materiality and purpose. Freeman completed her studies in 2001 at the South Australian School of Art. Following graduation, Honor took up an Associate position and Tenant residency in the ceramics studio at JamFactory Craft & Design. Her work has been curated into major exhibitions at institutions throughout Australia, including the MCA, Tarrawarra Museum of Art and The PowerHouse Museum. She has undertaken international residencies at Guldagergaard, Denmark’s International Ceramic Museum and in the US at Indiana University’s School of Art & Design.

    Angelique Joy is a Neuroqueer, visual artist working with photography and the expanded nature of the digital image. Angelique’s practice is informed by their Neuroqueer lived experience and through the intersecting frameworks of posthumanism, queer and xenofeminism.

    Their practice has emerged out of a concern with identity, otherness and space. They are interested in the cultural and material spaces we all unfold within. Increasingly their practice is interrogating the digital spaces we populate and how the technologically mediated bodymind is contributing to new worlds.

    They are particularly interested in exploring how each being, both human and non, unfolds, is constructed and performed within the spaces we inhabit, the spaces we claim, and the spaces we are kept from.

    Angelique is currently a PHD candidate at RMIT, School of Art.

  • The still life genre of painting, as an artefact of the western canon of art, can be seen as a public remnant of personal connection to objects; intimate, domestic, and related to our sense of self. The artists in this exhibition use objects within their work to tell stories specific to their experience of life. Tension is drawn between the real and virtual: the plush textile of Angelique’s sculptures and their rematerialised, digital twin; objects echoed in mirrored poses in Steel’s still lifes. Honor’s slip cast ceramic works create a sense of the uncanny, where we recognise the life-like qualities of the objects, but also understand that they are duplicates of the ‘real’. Hamish’s paintings of everyday objects create meaning through presence and absence. Crista invites the audience to witness moments of reconnection, using collage and mixed media to build a faceted journey of her and her family’s reconnection with the Wangkumara Language Group.

    -Adele Sliuzas

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com


 

expand, public program, gallery I, gallery II

Expand: Make|Shift Exhibition

Image credit: Inneke Taal

July 8 - 28, 2023

Immersive opening weekend: Saturday, July 8, 6-8pm, and Sunday, July 9, 12-4pm

Free entry

  • You can find Make|Shift at The Mill Exhibition Space,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    The exhibition will run July 8-28. The Exhibition Space will be open:

    Monday-Friday, 10am-4pm

    Saturday-Sunday July 15-16 and 22-23, 4:30pm-7pm.


The Mill presents Make|Shift, an immersive and experimental exhibition of projection art as part of Illuminate Adelaide. The exhibition features digital image and projection based work by six South Australian multidisciplinary artists; Larrakia man James Alberts, Ray Harris, Sarah Neville, Liam Somerville, Inneke Taal and Tanya Voges, with Margie Medlin as Artistic & Curatorial Facilitator.

Working across dance, performance, visual arts, installation and experimental media the exhibition explores digital and virtual spaces. Make|Shift aims to create a space for the artists to experiment with ways of making and shifting time, place and space. Make|Shift artists are supported by artistic mentorship from illuminart’s Cindi Drennan, and Tim Gruchy.

 
 
  • Make|Shift invited artists to explore their approach to formal notions of screen-media in an art gallery context. We invited each other to provoke the boundaries and traditions of photography, the moving image, sculpture, performance, and interaction within screen technologies. In workshops and practice-led discussions, across the gallery, we explored the interstices and intermeshing of these forms.

    As a group we mapped the gallery space as series of sites and surfaces. Projecting along the right angles, adjacent walls, corridors and crevasse of the galleries the moving images to create encounters that dominate the built environment, like geographers, our survey explores the shifting terrains of space, memory, story, and image. The exhibition asks how can cinematic ephemera interact with/in the gallery.

    -Margie Medlin

  • Spirit Shelf

    On a domestic shelf filled with jars, books and plastic, spirit shelf nods to preserved animals floating in flammable liquid on shelves in museums. But by projecting live animals filmed going about their daily life Spirit shelf speaks to extinction, cruelty, indifference humans have for the other inhabitants of the earth, through our use, abuse, denial, consumption, greed and destruction.

    Much as we are slowly destroying our home, we are rapidly affecting those who innocently live and try to survive and adapt around us. While we treat them with very little regard or relevance, much like the mundane inanimate objects in our pantry or office. Or token special items we hold in higher regard, a much-loved book or pet cat, while others become our endless mass of the unwanted.

    Ray Harris is an Adelaide artist working in video, performance and installation exploring the psychological complexities and struggles of the self. She is also a curator, advocate and initiator of projects and studios. Ray is committed to furthering the SA arts through participation, support, spaces and opportunities. She has a Master’s degree from UNI SA has won several grants and awards and has exhibited locally, nationally and internationally including: the Samstag Museum, AEAF, Adelaide Festival Hugo Michell Gallery, Sydney Contemporary Art Fair, Casula Powerhouse, Brenda May Gallery, Pirimid Sanat and Istanbul Contemporary Art Fair (Turkey) and SEEAF Art Festival (South Korea). Her work is held in The Borusan Collection and Project 4L- Elgiz Museum Collection, Turkey and private collections in Australia and has featured in publications such as Artlink, Art Collector, Broadsheet, Real time, and ETC magazine Canada. Ray led, curated (2 co-curated) and managed 3 group exhibitions and performance events at Holy Rollers, and Led, initiated, developed and executed Neoteric, a 20 mid-career SA group exhibition with 20 writers in Adelaide Festival, 2022. Ray was a co-director of FELTspace ARI from 2010 to 15, the co-founder of Peer studios, founder and director of Holy Rollers Studios, Prospect and now The Third Level Studios in the Adelaide CBD.

  • T = I/I0 Transmittance

    T = I/I0 Transmittance is a daylight simulator that explores the amount of light energy that glass absorbs, scatters, or reflects. The installation is constructed of glass and light, projecting weather as shadow for personal reflection on winter-time ambience in enclosed spaces. In a speculative future world, where underground/ weatherproof living is normal, identifying the psychological importance of dappled light as light fairies on walls will connect with us with seasonal shifts to enhance quality of life.

    Sarah Neville is an Australian choreographer and scenario designer who devises new media performance, instigates inter-disciplinary practices and invests in multi-platform processes and production outcomes. Sarah has created work for Adelaide Festival and Fringe, Ausdance Choreolab, Dance House, Australian Choreographic Centre, ADT’s Ignition season, Strut Dance, Link Dance Company (WAAPA) Vitalstatistix, MOD UniSA and the Venice Biennale 2019. In 2021 Sarah was awarded an Arts SA Fellowship to create dance for virtual reality experiences. In 2022, Sarah received a PhD from Deakin University/ Coventry University researching embodied participation in immersive digital environments. Sarah was an intern at the research centre for interactive and virtual environments (IVE) at UniSA and has presented at Siggraph, Technart and the 7th MoCo Conference. Sarah is currently an adjunct research fellow at UniSA Creative/ IVE.

  • marine_digital_conservation_SA_2023.exe

    marine_digital_conservation_SA_2023.exe, looks toward the inevitable digital future where we may live on a lifeless, artificial planet with only poor digital representations of the extinct species we have destroyed. Wouldn't it be so much better if we preserved the real thing instead?

    All over the world climate change caused by human hands under western capitalism has already made an enormous impact on the extinction of biodiversity of flora and fauna. If we continue on this path, which we show no meaningful signs of slowing down, soon there will be nothing left other than us humans and the livestock we like to consume. Millions of years of evolution annihilated for the sake of short-term corporate profits.

    As a society we have chosen not to stop our unsustainable consumption practices but to instead poorly digitise these living natural beauties before they are lost forever. Some chilling examples include the last remains of the extinct thylacine - 80 seconds of black and white film footage and a handful of pelts. Or the island digitisation project of Tuvalu, a Pacific Nation which will soon be underwater due to rising sea levels who are creating a virtual replica in a desperate effort to preserve their cultural heritage.

    Liam Somerville is a video artist and cinematographer living and working on unceded Kaurna Country in South Australia. After completing a Bachelor of Digital Media Arts from University of South Australia in 2010 Liam went on to form CAPITAL WASTE PICTURES where he has created and collaborated on music videos, video installations, feature films, documentaries, television commercials, VR games, dome projections and live visual experiences. Their digital works often circulate around inputting the beautiful imperfections of the human experience into the digital space to create cyborg interactions through the use of interactive sensors and motion capture. This can be witnessed in ESCHATECH VR, a post-human VR experience created in Unreal Engine with the assistance of Flinders University's 2021 Assemblage Artist in Residence Program. Other residencies such as with Cinematic Experiments with Margie Medlin at The Mill, Adelaide (2021) and Morphos Digital Dome Artist in Residence (2016) with Denver Arts +Tech Advancement in Denver, CO have all been beneficial for his continual visual exploration of the moving digital image.

    As a cinematographer Liam has credits including feature music doco The Angels: Kickin’ Down the Door (2022) directed by Madeline Parry which opened the 2022 Adelaide Film Festival, Video Nasty: The Making of Ribspreader (2020) directed by Matthew Bate and Liam Somerville and Yer Old Faither (2020) directed by Heather Croall.

  • A series of self-credits (as object; as site; as drama)

    I am considering the cross-over of theatricality behind the gallery (white-cube) and the theatre (black-box) as corresponding spaces at The Mill. Each are make-shift spaces that house processes of rehearsal, editing, experimentation, and production.

    I am moved by the invitation embedded in rehearsal processes. Impulse, improvisation, and the slow reflexive consideration of the space to be dressed for performance or exhibition as what activates a site and makes it responsive. The plurality of these bodily-spatial dialogue holds a state of becoming that I find precious, a series of vital passing moments that gather over time to form a multi-faceted whole.

    I also wish to interrogate the inextricable act of self-crediting that goes into making and viewing art.

    Through multiple modes of deconstruction, the collapsed rolling credits and truss as figures in space; the projection of the infinite gallery architecture reflecting itself and those who pass through in delay; and the illumination of an empty blacked-out performance space, I seek to promote the embodiment of these processes with the act of anticipation and viewing.

    The before the event.

    Inneke Taal’s sculptural practice utilises multi-media installation and performative practices as a way of considering subtle embodied experiences and spatial relationships. Taal has a particular interest in reflecting the making and receiving of artwork as a subject in her work, as well as producing site-responsive works. With a focus on process-based modes of production, Taal seeks to interrupt common modes of presentation, and interrogate linear narrative and logic, using a range of media including found objects, paper, moving image, text, and sound. The role of video and projection have become central mediums in her practice to explore the agency of the body, the lens, and site. Inneke completed a Bachelor of Visual Art Honours in 2019 following a Bachelor of Visual Arts in 2018, at Adelaide Central School of Art. She has a background working for performing arts organisations after completing a Bachelor of Arts Double Major in Linguistics and Drama in 2006 at Deakin University, Melbourne. Inneke received an Adelaide Fringe Festival Weekly Award for Art & Design in 2022 for her solo show ‘Site Interrupted’ at Sauerbier House and is a recipient of The Anne and Gordon SAMSTAG International Visual Arts Scholarship 2023 - 2024.

  • With/In

    With/In illustrates the relationship of the body to space, between the bodies of performer and witness and to itself as a kinaesthetic exploration. The interplay of the projected figure within the installation and architecture invites the viewer to consider their own sense of physicality as they are moved with and in the space. The experimental projection techniques show a study of the dance artist’s process informed by movement scores demonstrating elements of contemporary dance linage. Unlike viewing an ephemeral performance With/In offers an interactive glimpse into the ever-evolving practice of the artist’s signature choreographic process and only exists with the presence of the audiences’ movements.

    Interdisciplinary artist Tanya Voges brings her experience in dance, drawing, community engagement and dance film making to make multimedia performance works, live dance pieces and dance for screen. A 2004 graduate of Victorian College of the Arts, Tanya is currently back at the University of Melbourne undertaking a Master’s in Dance Movement Therapy. The cross over between arts and health has been a common theme in the community engagement works Tanya has created in recent years especially as Artist in Residence at Flinders Medical Centre Arts-in-Health (2020 & 2021) where she developed Drawn to Movement and Dance for Tender Times particularly with the patient experience in mind. Other residencies have been through Australian Dance Theatre (2021), The Mill (2020) and Guildhouse/SA Museum Tracing the Anthropocene (2020), Critical Path (2014), BigCI(2014) and Bundanon (2011 & 2013). Recent collaborations with Artist Louise Flaherty and Musician Belinda Gehlert have led to participatory performances in the Parklands (2020), Adelaide Botanic Gardens (2021 Nature Fest), Mt Lofty Botanic Gardens (2022 Fringe) and a new work for Lobethal Bushland Park (April 2023 Fabrik). As an advocate for dance for all ages Tanya facilitates choreography, contemporary dance and improvisation for Adelaide Festival Centre, Tafe SA, Restless Dance Theatre, Flinders Medical Centre and Carclew.

  • James Alberts, aka Jimblah, is a Larrakia Brother who specialises in activating community & using the power of creative space to bring about healing, joy, and play where Community and Country are concerned. James is a music producer, vocalist, photographer & cinematographer, and utilises Song & Story to help uplift and transform Community for the better, and has close to 20 years of experience working within the First Nations sector, in particular youth spaces, all across the Country.

    Artistic & Curatorial Facilitator:

    Margie Medlin’s practice tracks in a linage of expanded cinema, her interdisciplinary projects explore interrelationships between movement, devised spaces, and media technologies. Throughout her practice, she has continued to experiment and forge new ground aesthetically, collaboratively, and technically. Her media artwork has been exhibited extensively including in India, the USA, Cuba, Australia, Germany, the UK, Japan, and Finland. As an educator, Margie was the director of Critical Path, centre for choreographic research in Sydney from 2007-2015.

    Artistic Mentorship and Professional Development:

    Tim Gruchy’s extensive career spans the exploration and composition of immersive and interactive multimedia through installation, music and performance, whilst redefining its role and challenging the delineations between cultural sectors. He has exhibited multimedia works, photography, video, music and performance since the early 1980s on 5 continents as well as his larger expressions in the public art arenas. His installations and performances feature in many international and Australasian institutions, festivals and public spaces including IlluminateADL 2021, Future Intelligence Shanghai 2019, WOMAD (2018/7), Wenzhou Bienalle (2016), Dak’ Art Dakar (2016), Auckland Arts Festival (2015 & 2009), New Zealand Arts Festival (2014), SCOUT Auckland (2012), Biennale of Sydney (2012) (collaboration), Beijing 798 (2011), Shanghai Expo (2010), 2nd Asian Art BIennial Taiwan (2009), Melbourne International Arts Festival (2009), Adelaide Festival (1986-2008), and Sydney Festival (2004). Theatre and opera credits include ‘AIDA’; Sydney Opera House and touring Australia (2009-2013), ‘Ainadamar’, Adelaide Festival (2008);The Leningrad Symphony (2006). His visual designs have featured in works by Opera Australia, OzOpera, Sydney Theatre Company, Australian Dance Theatre, Auckland Philamonia Orchestra and Mau. He is an Adjunct Research Professor at the University of South Australia, and was Art Director and Distinguished Professor of the Digital Art Department, Shanghai Academy of Fine Arts from 2018 – 2021. His research has extended into areas of interactivity, the human computer interface, performative interactives, having established dedicated labs at QUT in Brisbane and SAFA in Shanghai. He is represented by Kronenberg Mais Wright Gallery in Sydney. He has lectured and facilitated workshops in video art and interactive digital design at creative institutions around the world including Shanghai; Future University of Hakodate (Japan); National Institute of Dramatic Art (Sydney); University of Technology Sydney; Te Papa (New Zealand) and Queensland University of Technology (Brisbane). He has also been extensively involved in museum design and various projects at the intersection of architecture and multimedia. www.grup.tv

    Cindi Drennan/Illuminart is an Australian multimedia artist and artistic director, specialising in projection art, with a passion for community building at the heart of her practice. Cindi is the founder and director of illuminart, bringing a wealth of experience and passion for the artform, and leadership to the projects. Architectural Projection and Projection arts projects directed by Cindi include Luminous Hall for UWA 2013; award winning No Boundaries Project in 2012; award winning Port Inhabited for Port Festival 2011; RED on Sydney Opera House for World Aids Day 2011; Fractured Heart for ARIAS and VIVID 2011-2012; The Ribbon for the Regional Centre of Culture program in Murray Bridge SA 2010, and Landed for the National Regional Arts Conference in Launceston, 2010, and Harts Mill Inhabited and Promise in 2009. Cindi’s multi-disciplinary background encompasses over 25 years experience in filmmaking, illustration, animation, community arts & interactive media. Cindi founded Illuminart in 2007, a South Australian arts company that integrates community consultation and engagement within high quality projection arts, architectural projection and audiovisual storytelling. Prior to this Cindi’s creative leadership roles included Tesseract Research Laboratories 1997-2004, The Electric Canvas 2004-2006, and also team leadership roles at the Institute for Interactive Multimedia (UTS) and Unlimited Energee 1993-1997. Cindi’s accomplishments include contributing projection art for the Commonwealth Games in Melbourne, DOHA opening ceremony and Singapore National Day; directing several short films and television commercials; directing two experimental AV theatre projects (Alpha Release at p-space, and Sprocket at The Studio Sydney Opera House); pioneering VJing and projection mapping in Australia.

  • Make|Shift is part of The Mill’s Expand program, a responsive process and development program, with interest in challenging artists to explore interdisciplinary, site-specific and audience-focused new work.

    Expand supports artists to explore different modes of collaborating and encourages peer-learning. It enables risk taking, experimentation and freedom of expression in the creation and realisation of new works. Expand invites audiences to not only appreciate, but actively participate in the practice of art-making through artists talks, Q&A’s and public workshops.

    The exhibition has been developed through Expand’s Cinematic Experiments: Projection Techniques and Technologies program.

  • The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Unfortunately, the main entrance is not accessible, as it has a small step from the pavement.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team you would like to come into the building.

    A member of The Mill team sit in the foyer Monday to Friday and can assist you with access to our wheelchair accessible entrance.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact us via email

 
 
 


Illuminate Adelaide are the presenting partner for Make|Shift.

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Make|Shift and Cinematic Experiments: Projection Techniques and Technologies are presented with support from City of Adelaide.

 

 
 

public program, gallery I, gallery II

Exhibition: Surviving the Sunset

A photograph of a river landscape, the sky is orange and the sun is a bright orb close to the horizon. In the foreground, a shadowy person is pulling a fishing net out of the water. Image: Courtesy of the Artist.

April 4 - 15, 2023

Launch event: Tuesday April 4, 4-6pm

Free entry, all welcome

  • You can find Surviving the Sunset at The Mill Exhibition Space,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.


The Mill is pleased to host the Surviving the Sunset fundraising art exhibition, organised by the Australian Myanmar Institute for Democracy, Human Rights and Peace Limited (AMIDHRP) and Amnesty International.

The theme, Surviving the Sunset, refers to the current situation in Myanmar, where the military-led junta known as the Tatmadaw overthrew the democratically elected government. This theme alludes to the need for the people of Myanmar to overcome the "sunset" of democracy in their country and to restore human rights and peace.

We welcome art lovers from the Adelaide community and beyond to join us for this exhibition. The collection features a selection of works from Myanmar and Myanmar-Australian artists, curated by LuLu Htet, founder of iLearnBurmese and Director of AMIDHRP.

In addition, the exhibition includes artwork donations from local Australian artists Kingsley Wilson-Head, Director-Secretary of AMIDHRP, Andrew Wilson-Head, Peter Westerhoff, as well as some framed photographs from Anne Wilson.

Contact the registered charities of AMIDHRP and Amnesty International to find out more about their programs and how to donate to their charitable aid causes.

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com


 

public program, gallery I

Artist + Curator Talk: Museum of Old Money, THE GOOD NEW$ BANK, Steph Cibich

Friday, March 24, 2023, 12-1pm

The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Free to attend


Join us on the final day of Museum of Old Money for a lunchtime Artist and Curator Talk with THE GOOD NEW$ BANK's Nick Hanisch and Cassie Thring, and curator Steph Cibich.

The talk will discuss themes explored in the exhibition, playfully touching on the ideas surrounding ‘currency’, ‘value’ and ‘worth’ under consumer-capitalism.

  • The Mill is excited to present a new exhibition Museum of Old Money by THE GOOD NEW$ BANK curated by Steph Cibich. THE GOOD NEW$ BANK is the collaborative moniker for artist duo Nicholas Hanisch and Cassie Thring, who have been working closely with Cibich to develop a body of work that playfully comments on the ideas surrounding ‘currency’, ‘value’ and ‘worth’ under consumer-capitalism. What is art worth? What value does the artist play within our society? How do we understand the exchange value of creative work? How do you put a price on the way that works of art make us feel?  

    With the current ‘cozzie livs’ (cost of living crisis), we are all making daily choices to determine how we can make our money stretch. Art can be seen as a luxury item, but at what cost? We know from our times in pandemic lockdown that art and creativity are central to our sense of self, and sense of community. Featuring Art Vending Machine Australia’s (AVMA) ‘Adelaide Art Vending Machine’, in which Curator Steph Cibich seeks to democratise the process of buying artwork, without undermining the work of the artist.

    The vending machine will sit alongside other works, developed through a collaborative relationship between curator and artists, offering unique moments for audience participation. Artworks will be available for purchase giving audiences an accessible option for becoming collectors of contemporary art.

  • Steph Cibich is a Kaurna Country (Adelaide) based curator and arts writer. Since 2019, she has worked as the Assistant Curator/Program Officer at the Centre for Creative Health and has built a strong independent curatorial practice. She is the founding force behind Art Vending Machines Australia (AVMA) and received the inaugural City of Onkaparinga Contemporary Curator Award (SALA 2019). In 2020, Steph was simultaneously appointed FELTspace Emerging Curator and the inaugural ART WORKS Emerging Curator, presented by Guildhouse and the City of Adelaide. Recently, Steph was appointed Co-chair of the Art History & Curatorship Alumni Network (AHCAN) and was a writer for ‘Neoteric’, an exhibition presented as part of the Adelaide Festival (2022). Steph’s curatorial approach centres on collaborating with and championing the work of contemporary artists. Through democratic and meaningful art projects, Steph seeks to bring people and ideas together by fostering connections between artists, art and audiences.

    @steph_cibich

    __

    Nicholas Hanisch is a sculptural installation artist graduating as a scholarship recipient at Adelaide Central School of Art. Hanisch’s ongoing practice has involved a diverse and continual exploration of mediums, conceptual themes, and collaborations. His recent body of work investigates creation narratives within the field of figurative sculpture. Hanisch’s sculptural forms are informed by the history of figurative sculpture, whilst celebrating the humour, the horror, the happenstance, and the sheer endeavour of creation. Previously Hanisch has attended the New York Studio School, practiced, and exhibited in Berlin, participated in residencies across India, and exhibited as part of The Art Gallery of South Australia collection.

    @nicholashanisch

    www.nicholashanisch.com

    __

    Cassie Thring is a multidisciplinary artist working from Floating Goose Studios on Kaurna land, Adelaide, SA. A passionate advocate for accessible community art programs, her work reflects an interest in the riches and sorrows of life, often through an apparently humorous lens. A graduate of Adelaide Central School of Art, Thring has participated in local and international residencies. Her work A Gazillion was exhibited as part of The Art Gallery of South Australia and is now in their permanent collection. Thring’s work is also held in the National Museum of Canberra and private collections, both in Australia and internationally.

    @cmthring

    www.cassiethring.com 

  • The Mill is an accessible space. Disability access is available via Angas St, and a disability toilet is also available on-site.

    You can find more detailed information on our accessibility page.

    If you have any questions or additional accessibility requirements, please contact us at info@themilladelaide.com


 

Museum of Old Money is presented with support from City of Adelaide.

 

public program, gallery I

Workshop: Portraiture, Identity and Symbolism with Charlene Komuntale

Artwork: Charlene Komuntale, Aqua Dresses, 2022


Workshop

When: Tuesday, February 14, 1-3pm

Where: The Exhibition Space, The Mill, 154 Angas St, Kaurna Yarta

Cost: $25 (+ booking fee), all materials included

  • The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


Join Ugandan artist Charlene Komuntale for a workshop exploring her portraiture practice. Charlene Komuntale is a digital artist and illustrator based in Kampala, Uganda. She is the current LK Artist in Residence, she will be spending 6 weeks living in Adelaide and working from a studio at The Mill supported by Sanaa. Charlene uses digital mediums to create stunning portraits of Black African women that centre empowerment, liberation and confidence.

What to expect:

Participants will hear from Charlene about her digital and conceptual process, and how she creates her work. The group will then work with her to develop their own symbolic self-portrait in Charlene's style. Portraits will be created using paper, collage, texta and acrylic paint and can be taken home on the day.

  • Charlene Komuntale is a digital artist and illustrator based in Kampala, Uganda. She holds a BA in Animation from Limkokwing University, Malaysia. In her recent series “Not Fragile”, Komuntale portrays women - mostly black African women.

    The subject matter is personal yet presented in a relatable way as inspiration is drawn from her own experiences but also informed by the experiences of other women around her.

    The heads of the women she portrays are covered by different elements, which create poetic yet striking narratives around a broadly relatable figure. At first sight, the works evoke a dreamy, peaceful, and quiet atmosphere, whereas at a closer look powerful, empowering and unapologetic messages come to the fore. Dominant, male-centered perspectives on women’s roles and supposedly nature-given capabilities and constraints attached to female bodies are being evaluated and re-examined. The juxtaposition of different elements creates an interesting asymmetry between awareness of self and the (male-centered) gaze of others. Intimacy, tenderness, vulnerability, and female beauty do not suggest fragility. Instead, it is related to strength and unapologetic confidence. Komuntale’s digital paintings deconstruct patriarchal narratives as shaped by culture, religion, and politics and provide a ground for inquiry and interrogation, and for visions of different futures.

    Her compositional choices create a space at the edges of reality – moments frozen in time and filled with surreal elements and metaphorical and symbolical references.


 

The LK Artist in Residence Sponsored Studio is presented in partnership with Sanaa.

Sanaa aims to facilitate intercultural understanding by providing a platform to artists from culturally diverse backgrounds, with past exhibitions featuring international artists from many other cultures around the world, alongside Australian based artists from Aboriginal, African, Middle Eastern and South American backgrounds.

The LK Artist in Residence is supported by Principal Partner LK Law.

 

public program, gallery I, gallery II

Exhibition: Snug Diaries, Tikari Rigney

Artwork: Tikari Rigney

February 6 - March 24, 2023

Opening event: Friday, February 10, 6-8pm

The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

  • You can find Snug Diaries in The Mill’s Gallery II, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery II is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


The Mill is thrilled to present a new solo exhibition titled ‘Snug Diaries’ by Tikari Rigney. Kaurna, Narrungga and Ngarrindjeri visual artist and poet Tikari has developed this body of work during their 6-month Sponsored Studio Residency at The Mill in 2022, a new initiative supported by the Mahmood Martin Foundation. Snug Diaries is a sensory and tactile environment that encourages audiences to ponder the complexities of human experience. The exhibition includes soft ‘bodies’, made from textile scraps that have been machine and hand embroidered with Tikari’s poetry. The undulating forms are friendly and inviting to touch, providing a unique sensory experience for audiences. Yet, the words in both English and First Nations languages (Kaurna, Narrungga and Ngarrindjeri) explore Tikari’s experiences and challenges navigating queer, Aboriginal, non-binary identities.

The recently formed Solidarity Collective, facilitated by Tikari, have also contributed to the exhibition, with an installation of objects, performance and poetry. The emphasis on peer learning and multidisciplinary collaboration within this project create a profound sense of community and care.

  • I would like to acknowledge Snug Diaries at The Mill is on Kaurna land, my grandmother’s land. I feel grateful to the Kaurna community for looking after Country, this land for thousands of years and proud that I am part of the oldest living culture in the world. Sovereignty was never ceded, always was, always will be Aboriginal land.

    Snug Diaries is a culmination of works that highlight anti-monolith identities and explores the consistent changing and emotions of navigating identity. 

    I have to acknowledge and thank members of the Solidarity Collective as their sharing helped shape this exhibition and my practice as a whole.

    These poems are like diary entries, thoughts, emotions, bodily challenges documented and try to understand myself. Difficult, sometimes painfully honest insights into my identity yet comforted by the textures of flowing fabric and the hug of soft forms. I encourage you to touch, cuddle with the works, feel solace and familiarity in their fleshy humanoid forms. I hope my writing exploring my daily challenges with my mental health, First Nations culture, queerness and non-binary identity brings solidarity to folks in these communities and learning and empathy to allies.

    Ngathu tampinthi ngaityu nakunakupinya ‘Marti Tirntu-irntu Piiparna’ Tawiwardlingka Kaurna yartangka, ngaityu ngapapiku yartangka. I acknowledge (that) my exhibition Snug Diaries at The Mill is on Kaurna land, the land of my grandmother (father’s mother)

    Yaintya yarta irdinti yarta, pukipukinangku. Yaintya yarta irdinti yarta muinmurningutha tarrkarri-arra. This land is sovereign land, from long ago. This land will continue to be sovereign land into the future.

    Marti Tirntu-irntu Piiparnapira About the Snug Diaries

    Yaintya tunki ngaityu piipa. This cloth is my book.

    Ngaityu pintyapintyanya ngatparnarli tirntu-irntu piipangka. My writings are like entries in a diary.

    Ngathu ngaityu yailtya, ngaityu muiyu, ngaityu nunupira pintyanthi ngaintipira tirkatitya. I am writing my thoughts/beliefs, my emotions (and) about my body in order to understand/learn about myself.

    Ngai muiyu, ngai yitpi, ngai tuwila, ngaityu ngutu, ngaityu mukapa, ngaityu yailtya yaintya tunkingka. My emotions, my soul, my spirit, my knowledge, my memory, my thought is in this cloth. Kurdantu, manmantu, martintu yaintya tunki. Touch, grab, embrace this fabric! Ngaityu pintyapintyanya nintaitya wangkaingku! Let my writings speak to you!

    Yaintya ngaityu tiyati warra. This is my truth.

  • Tikari Rigney is a non-binary (they/them) Kaurna, Narrunga and Ngarrindjeri visual artist and poet living and working on Kaurna land. Their process is centred around their language, identity specifically their family’s First Nations history and informed by personal challenges and experiences. Their interests are in community connection, solidarity and learning. These are explored through a range of mediums however, their practice currently is focused on textiles and fleshy anthropomorphic sculptures. 

    Tikari has been involved with several group shows and will be exhibiting their first solo exhibition at the completion of their residency at The Mill in February 2023. Their next residency is at Nexus towards the end of 2023.


 

The Mill’s Sponsored Studio program is presented in co-operation with Mahmood Martin Foundation.

 

public program, gallery I

Exhibition: Museum of Old Money, THE GOOD NEW$ BANK (Nicholas Hanisch and Cassie Thring), curated by Steph Cibich

February 6 - March 24, 2023

Monday-Friday, 10am-4pm, and extended hours during The Mill’s Adelaide Fringe season

The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

  • The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


The Mill is excited to present a new exhibition ‘Museum of Old Money’ by THE GOOD NEW$ BANK curated by Steph Cibich. THE GOOD NEW$ BANK is the collaborative moniker for artist duo Nicholas Hanisch and Cassie Thring, who have been working closely with Cibich to develop a body of work that playfully comments on the ideas surrounding ‘currency’, ‘value’ and ‘worth’ under consumer-capitalism. What is art worth? What value does the artist play within our society? How do we understand the exchange value of creative work? How do you put a price on the way that works of art make us feel?  

With the current ‘cozzie livs’ (cost of living crisis), we are all making daily choices to determine how we can make our money stretch. Art can be seen as a luxury item, but at what cost? We know from our times in pandemic lockdown that art and creativity are central to our sense of self, and sense of community. Featuring Art Vending Machine Australia’s (AVMA) ‘Adelaide Art Vending Machine’, in which Curator Steph Cibich seeks to democratise the process of buying artwork, without undermining the work of the artist.

The vending machine will sit alongside other works, developed through a collaborative relationship between curator and artists, offering unique moments for audience participation. Artworks will be available for purchase giving audiences an accessible option for becoming collectors of contemporary art.

  • ‘I’m not in it for the money – just the stuff it buys’ – Unknown.

    Our values change as our world evolves. In 2023, our consumer-driven culture determines what is ‘valuable’ based on how much something is ‘worth’. In other words, how much something costs or can be exchanged for something that is...well...better.

    Due to our contemporary relationship with commercialism, words like ‘value’ and ‘worth’ have lost their meaning. How we associate with people, relationships, places, objects, and experiences is commodified to reflect our globalised existence. In this environment, even trust is overthrown for economic opportunity. We find ourselves competing and comparing through any means necessary; on social media, in business, through our disposable possessions, even with new systems of currency. Yet, as people, we are often pressured by conflicting ‘values’ and seek to identify what (or who) is ‘worthy’, or ‘worthless’. We want to belong, to have someone reaffirm our ‘self-worth’ and to help our loved ones feel ‘valued’. Instead, we feel confused, disconnected, and lost. We’ve come to know the cost of everything but the ‘value’ of nothing.

    Cast against a backdrop of inflation, rising interest rates, a pandemic, the climate crisis, and escalating tensions overseas, The Museum of Old Money explores our evolving relationship with notions of ‘currency’, ‘value’ and ‘worth’. Curated by Steph Cibich and featuring new work by collaborative duo, THE GOOD NEW$ BANK (Cassie Thring and Nick Hanisch) including a unique takeover of Art Vending Machine Australia’s ‘Adelaide Art Vending Machine’, this exhibition offers a timely reminder of the things that really matter and how easy it is to get lost along the way. 

  • Steph Cibich is a Kaurna Country (Adelaide) based curator and arts writer. Since 2019, she has worked as the Assistant Curator/Program Officer at the Centre for Creative Health and has built a strong independent curatorial practice. She is the founding force behind Art Vending Machines Australia (AVMA) and received the inaugural City of Onkaparinga Contemporary Curator Award (SALA 2019). In 2020, Steph was simultaneously appointed FELTspace Emerging Curator and the inaugural ART WORKS Emerging Curator, presented by Guildhouse and the City of Adelaide. Recently, Steph was appointed Co-chair of the Art History & Curatorship Alumni Network (AHCAN) and was a writer for ‘Neoteric’, an exhibition presented as part of the Adelaide Festival (2022). Steph’s curatorial approach centres on collaborating with and championing the work of contemporary artists. Through democratic and meaningful art projects, Steph seeks to bring people and ideas together by fostering connections between artists, art and audiences.

    @steph_cibich

    __

    Nicholas Hanisch is a sculptural installation artist graduating as a scholarship recipient at Adelaide Central School of Art. Hanisch’s ongoing practice has involved a diverse and continual exploration of mediums, conceptual themes, and collaborations. His recent body of work investigates creation narratives within the field of figurative sculpture. Hanisch’s sculptural forms are informed by the history of figurative sculpture, whilst celebrating the humour, the horror, the happenstance, and the sheer endeavour of creation. Previously Hanisch has attended the New York Studio School, practiced, and exhibited in Berlin, participated in residencies across India, and exhibited as part of The Art Gallery of South Australia collection.

    @nicholashanisch

    www.nicholashanisch.com

    __

    Cassie Thring is a multidisciplinary artist working from Floating Goose Studios on Kaurna land, Adelaide, SA. A passionate advocate for accessible community art programs, her work reflects an interest in the riches and sorrows of life, often through an apparently humorous lens. A graduate of Adelaide Central School of Art, Thring has participated in local and international residencies. Her work A Gazillion was exhibited as part of The Art Gallery of South Australia and is now in their permanent collection. Thring’s work is also held in the National Museum of Canberra and private collections, both in Australia and internationally.

    @cmthring

    www.cassiethring.com 


 

Museum of Old Money is presented with support from City of Adelaide.

 

public program, gallery I

Exhibition: Sonya Mellor, Deep Listening


Sonya Mellor, Lemniscate 1, Image: FINN MELLOR.

December 2, 2022-January 27, 2023

Finissage event: Friday, January 27, 5:30pm

Opening event: Friday, December 2, 6-8pm

Midsummer meditation: Tuesday, December 20, 6pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Accessibility: Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.

  • You can find Riot on an Empty Street in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery I is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.


For our final exhibition of the 2022, The Mill presents Deep Listening by artist Sonya Mellor. Through sculpture, installation, movement, sound and performance art, Sonya Mellor will be activating The Mill’s Exhibition Space, inviting audiences to experience a vibrant, dynamic, living exhibition. Sonya builds on concepts that she explored while participating in The Mill’s City Mobilities Public Art Masterclasses in 2020 and 2021, bringing ideas of public space into the gallery space.

The exhibition’s title makes reference to writing by Quanamooka artist Megan Cope, who encourages the viewer to consider the relationship between sound, vibrations, our bodies and the land, inviting “...’deep listening’, in order to align mind and body with the earth”. Sonya’s approach to the act of deep listening is concerned with attention and respect, acknowledging her role as a non-Indigenous person on stolen land. ‘Through my passions of nature and community, I would like to engage the community/public, through arts activation, into deep listening’ she states. The works are created using a diverse range of materials, and artistic practices; Using reclaimed, repurposed, discarded and found on the ground objects, the discarded parts of natural objects, poetry, sound and movement. The exhibition will also include an ephemeral floor installation consisting of natural objects found on daily walks explorations during the exhibition time, an acknowledgement of ‘deep listening’ to the land where we live, work and play.

  • My practice is about finding a unique visual, sound and movement language for ‘deep listening’. I am inspired by nature and what the community/public has to offer, contribute and share. This exhibition will translate community poems into movement, language and sound works. Creating a practice of embodiment, the exhibition is about finding my own way of ‘deep listening’. It navigates my connection to the Earth and Nature, here in South Australia, from a non Indigenous persons perspective, whilst holding a deep appreciation and respect for Indigenous connection to the land, sea and sky.

    Life is about movement, moving forwards, under, around and through. By utilizing the action of ‘deep listening’, we can access these movements more readily, with a sense of grace, calm, peace and a sprinkle of humour. In these times of busy, busy, rush, rush...by ’listening deeply’ and weaving gossamer threads of nature, connection and community.

  • Sonya Mellor is a South Australian, multi–disciplinary Sculptural, Installation and Performance Artist. She also is known to dabble in photography, drawing and painting. Having grown up in South Australian nature, this has been a great influence throughout her arts practice.

    Growing up as an only child of German immigrants, with no other family around, she has always spent time creating community wherever she goes. This has created an eclectic group of friends and acquaintances from all walks of life. And has given her confidence in creating and facilitating community workshops, as she is always keen to meet new and interesting people. To listen to their stories and adventures and create art and music with them.

    Sonya started her professional life as a musician, band leader, music teacher, dancer, and artistic director of various music and dance companies, and having always wanted to study visual arts from an early age, now that her children are older, in 2019 the time had finally come! She is currently a BVA student at ACSA (Adelaide Central School of Art) A feeling of finally having found her people, as she continues to follow this thread to see where it may lead.


 

The Mill is supported by the Government of South Australia, through Arts South Australia.

 

public program, gallery I

Exhibition: The World Needs Us, We Need the World: Political poster art for climate action

Image: Australian Youth Climate Coalition ‘Climate Justice Bootcamp’ poster illustration.

October 7 - November 18, 2022

Opening event: Friday, October 14, 6-8pm

School Holiday workshop: Tuesday October 11, 1pm

Opening hours: Monday-Friday, 10am-4pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.


For Nature Festival 2022, The Mill presents a new 6-week exhibition that celebrates the role of art as activism in the context of climate crisis and various political issues. The exhibition features poster art from the Australian Youth Climate Coalition (AYCC), historical works from the FUMA collection, alongside contributions from local activists.

We invite the general public, young people, artists and creatives to contribute to a community poster wall as part of the exhibition. A poster making station with materials will be a permanent feature of the exhibition, with audiences invited to create a poster and add it to the wall. Contributing artists can respond to the theme ‘The World Needs Us, We Need the World’. 

A free school holidays workshop (Tuesday, October 11) will invite young people and their families to create and contribute to the exhibition.

Call-out for contributions:

We invite you to contribute a poster to the exhibition to be included in the community poster wall. Flex your creative muscles and design something meaningful and authentic that responds to the theme of the exhibition ‘The World Needs Us, We Need the World’. See examples from AYCC below!

Artworks must be:

  • A3 or smaller

  • Able to be pinned to the wall

  • Welcoming, inclusive and appropriate for all ages (keep it clean folks!)

  • include your name, email and phone number on the reverse

Delivered to The Mill by September 30, 2022

Att. Adele Sliuzas, The Mill, 154 Angas Street, Kaurna Yarta, Adelaide, 5000

Artworks can be collected from November 21, or include a return self addressed envelope

'The World Needs Us, We Need the World: Political poster art for climate action is presented as part of Nature Festival 2022 with support from City of Adelaide.


public program, gallery I

Exhibition Space Program 2022/23: Expressions of interest

The Mill’s Exhibition Space program highlights the practice of art-making and aims to make process more available to audiences. Our focus is on multidisciplinary projects, and we welcome applications from artists, creatives, curators, makers, or projects that seek to explore multi-disciplinary practice and process. We have one exhibition opportunity available in late 2022 and several available for 2023 including during Fringe Festival and SALA Festival.

Exhibitions run for ~approx. 9 weeks (including bump in and bump out)

The Mill is a growing organisation, and as such we are endeavouring to pay an artist fee of $1000 per project as well as modest production & public program costs, however this funding is unconfirmed. Before applying, please consider whether this project is viable for you without confirmation of these fees. And keep your fingers crossed for us! We do not charge Gallery hire to artists in the Exhibition Space Program.

About the Exhibition Space:

The Mill’s Exhibition Space is located on the Angas Street Window Frontage of 154 Angas Street. The gallery is a rectangle footprint with approx 16.4 linear m of hanging wall space, and 38.8 square metres of floor space. The Exhibition Space is oriented prominently at the front of The Mill’s building with a large window facing Angas Street. It sits adjacent The Mill Showcase gallery, The Mill's office and Creative Industry studio's. The Space has professional lighting, two projectors and a number of plinths are available for artists to use.

Selection Criteria:

The selection will be made by a panel of The Mill staff & Board based on the following criteria:

  • Focus on multidisciplinary practice, &/or focus on process

  • Accessibility for a diverse audience

  • Exhibitions and proposals that engage existing and new audiences

  • Viability and suitability of the proposed exhibition

  • Professional and artistic merit

Applications due Friday, September 2, 5pm ACST

Submitting a proposal is no guarantee of acceptance.

We want to make the application process easy to navigate, please don't hesitate to get in contact with Visual Arts Curator Adele Sliuzas if you have any questions or need assistance.

Applications have closed