"Invoking Piranesi, 2020" by Mulloway Studio. It's a model based on the former Shed 26 in Port Adelaide. The wharf-shed's demolition in 2019 came after it was granted heritage listing, with the then government siding with the developers and reversing the heritage listing, ignoring the community's long protest campaign to save the shed. The model is made of plywood, with windows and door openings cut from the walls so that you can view the interior. It sits over an illuminated mirrored box containing images of archeological material and found objects.

A photo of part of the crowd who came to the opening of "Vessel" in 2020. On the left can be seen a gold framed photograph by Narelle Autio titled "Goana Number 1, 2002" showing the part of a dead body of a goanna from a series of road kill images called "Indifference". In the foreground to the right can be seen a part of Hossein Valamanesh's installation from 1985 titled "Sifting through, gold was found here", mixed media. The crowd are standing around inside this beautiful industrial space, chatting with each other.

An image of part of the crowd from our 2023 opening of "BILGE", with Quentin Gore's "Low life" made from reclaimed French oak barrel stays hanging on the left and Trevor Wren's "ship of the desert" made from found object including a large rope cargo net hanging on the right. Andrew Purvis, Curator of the Adelaide Central Gallery, can be seen opening the exhibition in the background.

SHED

Visual Arts and Design • Contemporary

South Australia

That bodged together iron clad building in the back yard where workbenches, shelving and the family's forgotten history live. It could be a shed for cows, shearing or boats; the man cave or the she shed. Or it could be the flaked off, discarded, junked, scrapped, the gotten rid of. Shed a tear, shed some light, shed your inhibitions. Once a year, a group of contemporary visual artists get together to produce work in response to a single word, this year’s word is SHED. The words we’ve responded to in the past (since 2009) have been words with a Port-centric theme as the exhibitions have taken place in the Port: RUST | SALT | TAR | SMOKE | KNOT | GRIT | GRAIN | BRIDGE | VESSEL | BILGE | HOLD. Never predictable, often accidental, sometimes unruly and provocative, always pretty wonderful.

Presented by: Tony Kearney

In 2009, Tony asked a few friends if they would be interested in joining him in a community led protest exhibition to take a swipe at the planned "redevelopment" of Port Adelaide. RUST was the theme, with its byline "The corrosion of culture and the culture of corrosion". They were protesting the wanton removal of the cultural and material heritage from the Port’s Inner Harbor. 15 years on and the now RUST|SALT|TAR collective has over 50 contemporary artists on the books and they are about to open the 12th iteration in the award winning series; SHED. Tony is an analogue photography (three portraits in the National Portrait Gallery in Canberra and a portrait of Jacob Junior Nayinggul hung in the National Portrait Gallery London was listed in the Top Ten Portraits of the year, Guardian UK).

To learn more about our collective and our exhibitions that have taken place over the last 15 years, go to www.rustsalttar.com