Giselle Stanborough, Cinopticon (2021), wall drawing (detail). Courtesy the artist.

9 April - 14 May 2022

Curated by Patrice Sharkey


Roy Ananda 

Britt d’Argaville

Harun Farocki

Giselle Stanborough 

Opening hours:

Tues – Sat, 11am – 4pm

  • Wheelchair Access

Metaverse is a group exhibition that considers what it means on a human-level to be shaped and governed through the advent of the Internet.

In October 2021 Facebook announced that the company would be rebranding itself, intent on making our virtual lives more seamlessly integrated with our real ones by building the ‘metaverse’. In the same month, Facebook whistle-blower Frances Haugen testified before the British Parliament that the company’s CEO Mark Zuckerberg ‘has unilateral control over 3 billion people.’

Against this backdrop, Metaverse brings together a select number of works that foretell dystopian visions in response to our increasingly inescapable relationship to technology. Addressing issues ranging from corporate surveillance, social isolation and conspiratorial tendencies, a sense of latent violence is ever present.

When life is mediated through the ether of digital communications and computer-generated images, what do we understand as truth, reality and selfhood? Intentionally immersive and drawn towards the hand-made and outmoded, Metaverse invites its audience to think critically about the way we use technology and what technology is doing to us.

About the artists

Roy Ananda is a visual artist, writer, and educator practicing on Kaurna Country (Tarndanya/Adelaide Plains). His objects, drawings, installations, texts, and videos variously celebrate popular culture, play, process, and the very act of making. Since 2001 he has exhibited prolifically around Australia, holding solo exhibitions at Adelaide Central Gallery (Adelaide), the Contemporary Art Centre of South Australia (Adelaide), Dianne Tanzer Gallery+ Projects (Melbourne), FELTspace (Adelaide), Gallery 4a (Sydney), Hugo Michell Gallery (Adelaide), Samstag Museum of Art (Adelaide), and West Space (Melbourne). His work has been included in such significant survey exhibitions as Primavera (2004) at the MCA (Sydney), the Australian Drawing Biennial (2004) at the Drill Hall Gallery (Canberra), and CACSA Contemporary 2015 at SASA Gallery (Adelaide). In 2017 Ananda completed a post-graduate research degree at the University of South Australia with a specific focus on the intersection of pop-culture fandom and contemporary art practice. Ananda presented a major new work in the 2018 Adelaide Biennial of Australian Art at the Art Gallery of South Australia, inspired by his lifelong passion for the fantasy role-playing game Dungeons and Dragons. He has lectured in drawing and sculpture at Adelaide Central School of Art since 2004 and currently holds the position of Head of Drawing. His writing has appeared in a wide variety of journals, books, exhibition catalogues, zines, and websites. Ananda was the feature artist of the 2021 South Australian Living Artists Festival and subject of that year’s SALA Publication, co-authored with Andrew Purvis, Bernadette Klavins, and Sean Williams, and published by Wakefield Press.

Britt d’Argaville works predominantly in sculpture and photography, and straddles the line of humor and austerity with commonly libidinal architecture using defunkt technological excess, pipes, musical instruments and debris. It is through these abject yet seductive scenes that d’Argaville interrogates the external-internal, revealing the meat beyond the facades in which we infinitely encounter. The traces of body which engage her work leave a stain on the viewer’s eye, with the economy of minimal gestures often equating to maximal actualisations. Her objects submit to the states of tension that they engage, commenting on much, yet never straying far from the age old sex and death dichotomy.

Harun Farocki (1944-2014) was born in German-annexed Czechoslovakia. From 1966 to 1968 he attended the Deutsche Film- und Fernsehakademie Berlin (DFFB). In addition to teaching posts in Berlin, Düsseldorf, Hamburg, Manila, Munich and Stuttgart, he was a visiting professor at the University of California, Berkeley.
Farocki made close to 120 films, including feature films, essay films and documentaries. He worked in collaboration with other filmmakers as a scriptwriter, actor and producer. In 1976 he staged Heiner Müller’s plays The Battle and Tractor together with Hanns Zischler in Basel, Switzerland.
He wrote for numerous publications, and from 1974 to 1984 he was editor and author of the magazine Filmkritik (München). His work has shown in many national and international exhibitions and installations in galleries and museums.

Giselle Stanborough (b 1986, Waratah, NSW) is an intermedia artist based on Gadigal land in Sydney. Her works combine online and offline elements to address how user generated media encourage us to identify and perform notions of self, and the relationship between connectivity and isolation. Motivated by a curiosity in the increasing indeterminacy between the private and public spheres, Stanborough’s work often addresses contemporary interpersonal experiences in relation to technology, feminism and consumer capitalism. Her work has featured in the Washington Post’s Pictures of the Day and has been shown at major venues such as the Australian Centre for Contemporary Art, 2018; Museum of Contemporary Art Australia, 2017; Australian Centre for Contemporary Art, 2017 and Next Wave Festival, 2014.

Roy Ananda’s commission, Electronic void illusion 2021-2022, has been supported by the Andreyev Foundation.