Adelaide Contemporary Experimental

‘Anarchive: Gut-feeling’ exhibiting artist – Oriana Julie⁠
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'eat me (carcass)' unfolds as a live, durational process in which an edible sculptural form is constructed and gradually undone. Drawing on the croquembouche, an elaborate filled-pastry-based confection historically associated with celebration and prestige, Julie reconfigures this structure⁠
into a horizontal, body-like terrain built on a ceramic base suggestive of bone and torso. Through the live, penetrative piping of custard —a somewhat violent gesture – and the binding of the pastries with molten sugar, the work develops through accumulation, instability, and collapse, shifting in response to environment, and touch. As the structure is gradually dismantled, the work foregrounds the relationship between consumption, labour, and the body, positioning the sculptural form as both material object and site of shared, embodied exchange.⁠
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During the performance, audiences are invited to remove and consume elements of the work, participating in what Julie describes as “a metabolic process of consumption, transformation, and continual becoming.”⁠
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Images: 'Anarchive: Digesting The World', event documentation, 2026, Adelaide Contemporary Experimental. Photography by Lana Adams.

‘Anarchive: Gut-feeling’ exhibiting artist – Tayer Stead⁠
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'Touch tutorial' is a participatory project that explores the role of touch and intimacy in interpersonal relationships and nervous system regulation. In small groups, participants were invited to engage with themselves and each other through the exploration of sensorial objects that Stead has made⁠ to be handled collaboratively. The work aims to consider physical touch and embodiment as remedies to culturally incentivised hyperindividualism.⁠
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Images: 'Anarchive: Digesting The World', event documentation, 2026, Adelaide Contemporary Experimental. Photography by Lana Adams.

‘Anarchive: Gut-feeling’ exhibiting artist – Brad Darkson

"The only way into, and out of, the large ACE gallery space is through Brad
Darkson’s sound installation, 'My own identity after Reich' (2026)."
– Sasha Grbich and Danni Zuvela for the 'Anarchive: Gut-feeling' Catalogue essay. ⁠

'My own identity after Reich' references avant-garde sound art traditions to address representation of Aboriginal and Torres Strait Islander sound artists. The work is a critical response to Steve Reich’s sound artwork 'Come Out' (1966), which abstracted the voice of Daniel Hamm; one of the African–American youths falsely accused of murder in the Harlem six case (1964). Darkson responds to Reich by employing his looping and phasing technique; and using excerpts from a conversation he recorded with Nici Cumpston, a senior Barkandji artist, curator, writer and educator in his
Community who has been working in the arts for many decades. By reproducing the formal tactics of minimalist art in his critique of its historic record of appropriating black voices, Darkson’s work is at once sobering and affirmative.“ I wanted to celebrate the voice of an Aboriginal artist and
woman at the entrance to this exhibition in honour of the exhibition, but also to highlight the critical role that women in Community have played in passing down culture to me throughout my life.”
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Image 1: Tikari Rigney (2026), Adelaide Contemporary Experimental. Photography Andre Castellucci.