The Adelaide Review - August Edition by The Adelaide Review

THE ADELAIDE

REVIEW ISSUE 414 AUGUST 2014

ADELAIDEREVIEW.COM.AU

SALA Artist Nicholas Folland leads our coverage of this year's visual arts festival

GLASS WORKS

GOLDEN BOY

ARCHITECTURE AWARDS

With the Philip Glass Trilogy, State Opera is about to perform one of the most spectacular arts events of the year

Paul Wood reviews the Thai fusion hot spot

Leanne Amodeo covers the recent South Australian Architect Awards

WELCOME

TheAdelaideReview

ISSUE 414

AdelaideReview

editor David Knight davidknight@adelaidereview.com.au Digital Manager Jess Bayly jessbayly@adelaidereview.com.au

ART DIRECTOR Sabas Renteria sabas@adelaidereview.com.au ADMINISTRATION & DISTRIBUTION Kate Mickan katemickan@adelaidereview.com.au

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NATIONAL SALES AND MARKETING MANAGER Tamrah Petruzzelli tamrah@adelaidereview.com.au ADVERTISING EXECUTIVES Tiffany Venning Michelle Pavelic advertising@adelaidereview.com.au

Twenty-two-year-old Siham Elmawey is the new head of globally-recognised local fashion label Cameo

INSIDE Features 05 Opinion 10

MANAGING DIRECTOR Manuel Ortigosa

Publisher The Adelaide Review Pty Ltd, Level 8, Franklin House 33 Franklin St Adelaide SA 5000. GPO Box 651, Adelaide SA 5001. P: (08) 7129 1060 F: (08) 8410 2822. adelaidereview.com.au

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Disclaimer Opinions published in this paper are not necessarily those of the editor nor the publisher. All material subject to copyright. This publication is printed on 100% Australian made Norstar, containing 20% recycled fibre. All wood fibre used in this paper originates from sustainably managed forest resources or waste resources.

THE ADELAIDE

review

Books 24 Performing Arts 26 Sala Feature 37 Travel 59 Food. Wine. Coffee 60 FORM 72

HOT 100’S SINGAPORE ADVENTURE

FOOD FOR THOUGHT

The Adelaide Review’s Hot 100 SA Wines is heading to Singapore for a masterclass

Chef columnist Annabelle Baker reveals she has a double standard when it comes to foie gras

COVER CREDIT: Nicholas Folland, Popular science – still 2014 (reclaimed microscope parts). Photo: Nicholas Folland. Photo courtesy the artist and Ryan Renshaw Gallery, Brisbane

Contributors. Leanne Amodeo, Selena Battersby, DM Bradley, John Bridgland, Alan Brissenden, Michael Browne, Jimmy Byzantine, Tish Custance, Anthony Elliott, Stephen Forbes, Charles Gent, Roger Hainsworth, Koren Helbig, Michael Hince, Andrew Hunter, Stephen Koukoulas, Jane Llewellyn, Kris Lloyd, Walter Marsh, John Neylon, Nigel Randall, John Spoehr, Shirley Stott Despoja, Paul Ransom, David Sornig, Graham Strahle, Ilona Wallace, Matt Wallace, Paul Wood. Photographer: Jonathan van der Knaap

“Vision is the true creative rhythm” Robert Delaunay Open Day Sunday 14 Sept | 10 - 4pm

Exhibitions - SALA Festival

Meet staff, listen to talks by lecturers and graduates, visit the Gallery and view student studios and their work.

Telling Nerissa Lea, Chelsea Lehmann, VR Morrison, Marie Peter-Toltz and Anna Platten

Information Night Tuesday 16 Sept | 6 - 7.30pm For prospective students interested in studying in 2015.

Drawing Month September 2014 Drawing Masterclasses Godwin Bradbeer | 30 - 31 August Christopher Orchard | 23 - 26 September

A place in the room New work by Glenn Kestell 22 July - 22 August 2014

Upcoming exhibition... Parallelo | Godwin Bradbeer and Christopher Orchard 2 September - 17 October 2014

2014 SA Architecture Awards Conversion of the buildings for the Adelaide Central School of Art wins Grieve Gillett the Heritage Section Architecture Award. Image The School’s Teaching & Studio Building, Glenside. Photography James Field

Glenside Cultural Precinct 7 Mulberry Road Glenside SA 5065 [via 226 Fullarton Road] T 08 8299 7300 info@acsa.sa.edu.au www.acsa.sa.edu.au

THE ADELAIDE REVIEW AUGUST 2014 5

FEATURE “I felt like I’d arrived home. It’s such a weird thing to say but it was one of the ﬁrst moments of my life as a child where I had clarity. I felt like I was always confused or upset and the only time I felt happy was on my own. I remember driving home from the airport and I just thought everything [in Adelaide] was so beautiful, even the street signs! I just ﬁtted into school really well. I never suffered any teasing or anything like that as a migrant.

OFF TOPIC:

POH LING YEOW Off Topic and on the record as South Australian identities talk about whatever they want... except their day job. From the moment Poh Ling Yeow arrived in Adelaide as a nine-year-old migrant from Malaysia, the artist and cooking identity knew she was home.

BY DAVID KNIGHT

“

Basically the reason we moved was because my parents were concerned about the education of my brother and I, as I was proving to be quite the dunce,” she laughs. “I was not a high performer. I think the culture, obviously, is very different with schooling, the focus is very much on academia [in Malaysia] and I was a daydreamer from day dot; I could never focus and I almost suspect I had some sort of learning difﬁculty. “I just hated school. Hated it,” the inaugural MasterChef runner-up and host of Poh’s Kitchen explains. “When I look back, I think it’s really

funny how you can’t run away from who you are even from the beginning. I remember chopping up my graph paper into noodles and playing Hawker Noodle Vendor when I was supposed to be doing maths. I used to have one of those mechanical pencil sharpeners with the handle on it clipped to my table and the pencil shavings were my garnish, then I’d get coins out and rub them on my maths paper and cut those out for money. I’d just spend my whole time totally not listening in class. Just in my own vagued-out world.” When Poh’s family decided to move to Adelaide, she knew her life would suddenly make sense.

“I had this one girl, I’m looking for her actually, Philippa Pearce, and she took me under her wing. She was just a little mother duck, and watched me all day long and made sure no one was teasing me. She just walked me through everything at school for the first few weeks. She was just my hero. “I performed really well at school. I think it was because Australia has an understanding that kids have social needs and that their social development is as important as their academic development at school. When I came to Australia I thought, ‘What the hell – they’re in sandpits and doing finger painting?’ I remember feeling royally gipped,” Poh, whose exhibition Veiled is currently showing at Hill Smith Gallery, laughs. “On my first day of school my Auntie Kim – who is a very special person in my life. She migrated with us and she’s actually my grandfather’s sister who’s lived with my family since her early 30s – and bless her heart, she thought, ‘I’m going to give Poh her favourite dish to take to school’. It just happened to be chicken giblets in star anise and soy. I was quite horrified when I opened my lunchbox. All I wanted was a vegemite sandwich and a box of sultanas, you know? I went through lots of lunches starving actually, because I couldn’t bare the embarrassment of eating some weird warm lunch that I had to eat with a spoon. They were the kinds of things that made me feel so horrified. The thing about Australia is, people aren’t even like that, they’re just curious and they probably wanted to taste it.

I didn’t see it like that. I’d just clamp it up, chuck it in my bag and go hungry. “As a migrant I always felt on the outer. For many years I didn’t realise it was completely self-imposed and I think that has fuelled my art. I always identify with people who are slightly on the outer. I’ve always had really great experiences in Australia. I’ve never really been the target of racism; maybe once or twice in Rundle Mall some yob yelled out a racial slur at me, but the funny thing is, when it happened it took me ages to realise they were talking to me, like later on in the day, ‘I think that guy was talking to me?’ That’s how at home I felt in Australia.” After they arrived, Poh’s parents bought a newsagency in Collinswood, at which Poh and her brother had to work during the school holidays. “We were the slave labour every school holiday, which my brother and I both resented. It’s funny how full circle all of these things that are ingrained into you at childhood become, even when you hate them, because I’ve just opened stalls [Jamface] at the Adelaide Farmers’ Market and the Market Shed on Holland and all through uni I yearned to play shops again. I just always had this thing in the back of my head that I would love to open a shop and tie it in with food because that slowly became a passion as I got older but it’s essentially what I grew up with. I think it’s interesting that you can’t run away from who you are.”

» Poh Ling Yeow Veiled Hill Smith Gallery hillsmithgallery.com.au pohlingyeow.com

South Australian Museum 26 July – 7 September 2014 Exploring the natural world through artistic creativity Tickets $12 / $10 / $3 / Family(2+3)$25 / Student $6 / Under 5 Free Finalist, Works on Paper 2014. Rebekah Pearson, Thylacine – Dublin Natural History Museum (detail). Watercolour, inks and pencils on paper, 54 cm × 63.5 cm

6 THE ADELAIDE REVIEW AUGUST 2014

FEATURE Proximity Clinical Photography © Chris Herzfeld Camlight Productions.

An interactive video system from an Australian Dance Theatre production is being trialed as a rehabilitation tool for people with neurological impairments. BY DAVID KNIGHT Proximity

DT’s 2012 show Proximity stunned audiences with its use of video effects, as cameras tracked the dancers’ movements onto the stage’s screens and the images of the dancers were manipulated in real time. Proximity’s video system, created by French video engineer Thomas Pachoud, is currently being trialed to help patients recover from stroke and brain injuries. The idea to use Proximity’s video effects for rehabilitation purposes came to ADT’s Artistic Director Garry Stewart when he was an Artist in Residence at Deakin University. While at the university’s Motion.Lab, a choreographer, who had had a stroke, said the effects were great for her neuroplasticity. Stewart was put in contact with Associate Professor Susan Hillier (University of South Australia’s School of Health Science) and they trialed Proximity Clinical at Hampstead Rehabilitation Centre in late June. “It was a huge hit,” Stewart explains. “All the physios were really interested in it, and the patients loved it. Now they’re installing it for six months and are going to write a paper at the end of it, and the aim is to develop a plug and play interface.” “We had about 12 volunteers over the week,” Hillier explains. “It’s fantastic actually, because we could put someone in front of the camera,

someone who had had a stroke or a head injury, of varying ages and backgrounds, and say, ‘What do you think? What do you see? What does this do for you?’” Now the aim is to get some hard data. “From this ﬁrst trial I got a lot of interview data,” Hillier says. “We’d really like some hard data on how it changes performance – does it have lasting effects? – with the view to have a more serious clinical trial, if that’s warranted. “We could see the results,” she continues. “This is the hard thing about research, is that Blind Freddy could see that people had changed. How you capture that as data, that’s the nightmare of a researcher.” With collaborators, Hillier is currently working out how to measure the quality and quantity of movement and whether they can adapt the software to capture data. She says the use of Proximity’s video effects differ from interactive devices used for rehabilitation such as Wii Fit and other virtual reality applications, as, aesthetically, Proximity Clinical is arresting. “It’s not functional, which flies against what we

think about with what the brain gets interested in. You walk into it, stand in front of the camera and you see yourself and you really can’t take your eyes off yourself. It’s quite narcissistic like that. But the effects are so intuitive, we had people who were cognitively pretty impaired and they could make sense of it instantly. “I’m interested as to why this is so different to just watching yourself in a mirror, because everybody that we worked with routinely works in front of a mirror to get visual feedback. But this was something different again. There was something about this that engaged the brain in a way that a regular mirror doesn’t.” Hillier says Proximity Clinical is “science at its best” given the active participation of the patients and the collaboration across the different ﬁelds. “They’ve [stroke patients] collaborated in the trial and they’ll continue to because it’s their feedback that’s driving the process and, in a sense, that’s unique as well. They’re not passive participants in a research project, their feedback is directing where we going next.”

adt.org.au

SOUTH AUSTRALIAN RESIDENTS’ SPECIAL

Kangaroo Island. More for less.

Would You Like Ethics With That? Ethical eating from farm to fair work BY ILONA WALLACE

ucked on Currie Street opposite the TAFE, the Co-op Coffee Shop occupies the ground floor of a building that is fostering its own cultural signiﬁcance. 129 Currie St already hosts Mad Mouse Alley (out the back) and the Co-West writing collective (upstairs). It’s a hive of creative minds, packed neatly behind an espresso machine. As well as good vegetarian food – with gluten-free and vegan options – tea and coffee, the Co-op plays host to a modest collection of books, which is building to become a lending library. There’s a narrow bookshelf filled with zines, too, and the space to use their walls as a gallery. There are, at present, 10 members in the co-operative body that governs the coffee shop; there are two further provisional members, who are undertaking a three-month review process to gauge how well everyone works together. Two full members are sitting at a neat, circular table: Ian Law and Nikki McDaid-Morgan. There’s late afternoon sun coming in the windows, forks being

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The Adelaide Review August 2014 7

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FEATURE clattered onto the counter and a baby (one of the co-op babies, as the joke goes) babbling in the background. There are a few co-op members milling about, and writers trooping up and down from Co-West. A sign on the door says ‘Come inside, it’s warm!’ even though the café closed at three. Law has worked in the public service and McDaid-Morgan as a barista. They found out about the budding co-op through presentations at the South West Community Centre. For Law, the café’s appeal lay in an escape from hierarchical business models. “There’s a lot of literature that shows that people can be far more productive working in this kind of environment,” he says. McDaid-Morgan took an ethical stand at the last café she worked for, and was penalised for her trouble. “I was frustrated with the ethics at the places in which I worked, and my lack of being able to say anything about it in a constructive way,” she explains. “At one point, I had my shifts cut at one of my jobs because I suggested to the corporate body that they might try recycling and they might stop objectifying women – they had women wearing skimpy outfits on the side of the road holding signs, and they were bringing in really nasty customers. “So I came from that job to the co-op wanting to have a say and wanting to be heard. Also,” she continues, “I was pretty tired with activism – not that this isn’t activism, but this is a more positive type of activism, because instead of saying, ‘I don’t like the way things are going, I don’t like the way things are going’, I’m saying, ‘Here’s an option for something that we could do that might work better and be better for people and hopefully the environment, too’.” As part of their responsibility to help other co-operatives, as set out in the seven co-op principles, the coffee shop has been sharing resources and discussing options with other South Australian groups who may be looking to form a similar business. One such organisation is a market garden based out of Aldinga Arts Ecovillage. The group, who completed the Permaculture Design course at Gawler’s Food Forest, joined forces with Ecovillage landowner Claudia Peoples and Nat Wiseman from Wagtail Urban Farm. Their goal is to grow organic vegetables to sell to the village and surrounding community. Lucy Chan, a member of this group, explains that while the co-operative model was enticing, the complexities of the Cooperatives Act meant that they, ultimately, won’t be going ahead as a co-op. Instead, they are forming an incorporated association while upholding the co-operative principles.

“The co-op model offers equal share and value amongst the members,” Chan says, “but unfortunately the Co-operatives Act is more focussed on large-scale agricultural enterprises and not smaller groups such as ourselves. “The Co-operatives Act also requires us to pay ourselves the minimum wage; as a start-up agricultural enterprise, that probably wasn’t going to happen for a while! We also found it difficult to discuss this model with accountants and other professionals we have consulted, who had little experience with the model.”

“The most rewarding leadership day I have ever experienced.” 2012 delegate

SHE LEADS

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The Co-op Coffee Shop is aware of the problems the Act can cause businesses – and the rarity of workers’ co-ops mean that even registering the organisation caused a bit of a headache. “The problem that [Consumer & Business Services and the Council] faced was, with this being new and them not working with it regularly, trying to get around how it works,” Law says. “So, it took probably longer than we would have liked, but they were good in assisting us and we got there.” The co-op members have broader goals than simply fair conditions for themselves on the shop floor. They want to know the provenance of their food, and source as much as they can from local and cooperative suppliers. “All of our coffee, all of the beans in our blend are from co-operative farms,” says McDaidMorgan. “We also have a high level of food ethics in our group, which you don’t need to have to run a co-operative, but we do, so we try to do fair trade, organic or other standards like Rainforest Alliance wherever possible.” Local businesses like Patio Roasters for (delightfully nutty) coffee and Sweet Little Things for baked goods are already on the Co-op’s supplier list. “It’s a balancing thing,” says Law, “because while we’re not-for-profit, we need to be able to make enough money to cover expenses and pay ourselves wages, so we’ve got to make sure we’ve got top quality coffee, tea and produce so that people are prepared to pay a fair price for it. That needs to balance with all our principles.” If you like your coffee with a smooth finish and a clear conscience, drop past the co-op for a cup.

YWCA’s 2014 SHE Leads Conference addresses the theme:

What is Women’s Leadership? Expand your confidence, networks and skills at SA’s only young women’s leadership Conference

Friday 22 August 2014 National Wine Centre General tickets $195 | YWCA Members $110 Book at sheleadsconference2014.eventbrite.com.au @YWCAAdelaide #SHELeads

8 The Adelaide Review August 2014

FEATURE

Pennies for Eileen A strange little Eileen Joyce biopic from 1951 perfectly captures Australian values from a bygone era. Still from Wherever she goes

by Stephen Orr

aulkner was right about the past. The clues are small, bite-sized, imperfect. The monkey bars some council hasn’t yet replaced (playsafe-and-plastic); Patrick White words like yairs; someone who’s called their kid Barry; scallop pies; the neighbour who still insists on mowing his lawn every Saturday morning. To some, refuse from a cold, unreliable, lead-scented past. Fibro houses, three o’clock bank closing. But what if, after we’ve removed the asbestos, binned the Seekers, and given up on Australian music, plays and films, we’re left with a sort of, empty feeling.

The story starts in Tassie. Young Eileen and her brother, John, live in the bush, pet kangaroo and all. There are Skippy moments, but no simulated twitching, thank god. Eileen is running barefoot through the scrub when she hears Daniel the welldressed swaggie (John Wiltshire) playing a mouth organ. Formulaic, perhaps, but we suspect this is the beginning of a long love-affair with music. Young Eileen was played by Suzanne Parrett, who never made another film. Her brother, John, was artist Russell Drysdale’s son, Tim. Cultural synchronicity. Ten-year-old Tim had flown to the West with his family on the way to London, where Drysdale, having just won the Wynne Prize for Sofala and the Melrose Memorial Prize for Woman

in a Landscape, had a new exhibition opening at the Leicester Galleries in August 1950. Soon Mrs Joyce gathers her kids for their own journey west. They join husband-father Will Joyce (Nigel Lovell), who’s promised manna in the wilderness. Instead, they get a tent and a share of his strike-it-rich delusions. There are a few Back of Beyond moments with the mine truck. The accents are all strine, broad, except for Mrs Joyce, whose hopes of upward mobility dehydrate in the desert sun (although she does try to get the tent looking nice). We’re left with the feeling that she thinks she’s had to settle for the leftovers: Will Joyce as week-old bread. It’s all here: Australia as it was, sort of. A few details tacked on, for the Pommies’ sake, but nothing compared to what Mick Dundee did 35 years later.

2014

What if we forget who we are, or were? The 1951 black-and-white biopic Wherever She Goes was the only feature directed by British editor Michael Gordon. It told, and tells, the story of a

young Eileen Joyce, one of Australia’s greatest pianistic talents of the mid-20th century.

Mrs Joyce tries to convince Mr that things need to change. But, we find (and still do), Australian men don’t like working for a boss. They’re independent, proud, determined to live life on their terms. Mrs tells Mr: “You never were one to work for a boss, Will.” To which he replies: “I wasn’t, wasn’t I? Now, see here, I can work for a boss the same as the next man, and twice as hard if it’s to keep my family.” So, independence is one thing, but new shoes are another. Soon the family moves to Kalgoorlie, a tinsided shack with two rooms and a jar of jam for John to eat when his parents are out. Will has found another mine. His mate, Bob, keeps telling the Joyce kids there’s plenty of gold. It’s just a matter of finding it. “She’ll come good… I’ll have the finest string of racehorses in Kalgoorlie

WINTER EXHIBITION PROGRAM

DORRIT BLACK: UNSEEN FORCES THE WORLD OF MORTIMER MENPES: PAINTER, ETCHER, RACONTEUR Discover the art and fascinating lives of two South Australian artists in our simultaneous retrospectives.

Now showing until 7 September Open daily 10am-5pm Free admission

EXHIBITION PARTNER

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The World of Mortimer Menpes is suppor ted by the Maurice A. Clarke Bequest Fund. detail: Mortimer Menpes, Britain/Australia, 1855 –1938, Duchess of Sutherland, c.1899, London; Collection of Rosemary Smith, United States

A RT GA L L E RY O F SOUTH AUSTRALIA artgallery.sa.gov.au

THE ADELAIDE REVIEW AUGUST 2014 9

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FEATURE

Meanwhile, the kids are sent to school. John doesn’t see the point. On the way, he says, “Hope the truck breaks down half-way.” Eileen, though, has the look of destiny in her eyes. She daydreams through arithmetic at St Joseph’s Convent (always the `Joeys’ as a civilising influence), and eventually convinces Sister Augustus to give her piano lessons. The ending has already arrived, but we want to read the clunky script of these people’s lives. We know the real Eileen did well, and want to think it was (and is) because of the spirit of the outback, and its people. Now the film hits its straps. The desert landscapes are all Drysdale. A few black stumps, a pile of old iron, a poppet head, elongated figures leaning on wonky posts of pub verandahs. Blokes with beer. Someone singing a song, somewhere, words remembered from Dublin childhoods. Hope, sharing, and every man for every other man (and woman). No one having more than anyone else. Which is why the Joyces’ new neighbour, Mr Hallohan (Syd Chambers) donates a couple of chairs “to get them started”. At first, Will’s too proud to accept them, but eventually sees the

necessity. It’s not about sympathy, or anyone having more. Just a fair go. Which is what Mr Hallohan comes to represent. Later, when the Joyces buy Eileen her own piano, she practises night and day. Rocks on the roof. The Joyces go outside to ﬁnd Mr H standing, fuming. He says he can’t sleep for the noise. Will tells him to mind his own business, and instructs Eileen to go back in and play. Instead of calling the police or posting his bile on Facebook (or the 1920 equivalent), Mr H takes a deep breath, listens, and eventually says: “Every time me and the missus hear that we always stop and listen. It’s that pathetic music…” This is enough of a compromise for Will, who calls for Eileen to stop. But no, Mr H says, “Go on, let her practise will yer, she’s a keen little worker.” Will admires his neighbour’s geraniums and all is good. And there it is, Australia. Before we became convinced other things were more important than the people over the fence. Eileen soon works out how to raise money for sheet music. Playing her mouth organ outside the pub, the miners throw her coins. She joins the two-up, and wins. When Will ﬁnds out he’s livid. “If they’d gambled with you properly you’d have lost.” Pubs were bloke places. Only the trashiest types would let their kids in (despite Eileen secretly practising on the pub piano). A man has to have his pride. By now, Will has given

up on Bob and his racehorse-dreams and their mine and taken a job which he regularly tells his wife (in a tradition that comes down to the present day) he really can’t stomach. Still, there is a feeling that most Aussies have always sensed the importance of education, and culture. Christmas morning. It’s been a stinker of a night. The Joyces have slept in the now-nearlycivilised back yard. Someone, probably John, has hung socks on a fruit tree in anticipation of sweets. And the kids aren’t disappointed. Mr and Mrs take them inside, and there, newly-tuned, cleaned-up: the pub piano. This, it seems, is what comes from a man holding down a job. The chance for the kids to have something better. To be something better, perhaps. To rise above tin huts and bare feet and move into a world of endless possibilities. This is the promised gold mine. So, Eileen’s off and running, banging on the ivories day and night, until she sneaks into a piano contest. The manager, George Wallace, tries to throw her out, but his stage business is matched by hers. The small part didn’t offer the veteran much scope to improvise. “She sneaked behind my back,” he says, although, in truth, no one upstaged Wallace. He was nearing the end of his career, the only one of the three great Australian comedians (including Roy Rene and Jim Gerard) who built a career in ﬁlm. He revived ﬂagging spirits after the Great War, wrung his hands and lifted his eyebrows through the Great Depression, and survived the last gasp

2014 UNISA NELSON MANDELA LECTURE

of vaudeville in the late `20s. His first film, 1932’s His Royal Highness, drew heavily on vaudeville traditions, and over the next 20 years he cultivated an adoring public that was eventually sold to Lewis through Stiller. Today, Aussie audiences laugh at very different gags. It’s been a slow, terminal drift. Eileen wins, of course. Then it’s a case of raising enough money to get to Perth for her studies. Again, the pub comes to the rescue. The miners buy a round for Eileen, but the publican still shouts 10 schooners. Then, the film collapses in a flurry of newspaper headlines and concert programs that fill the gaps, the actual Eileen is seen playing and the credits roll. And as they do, we’re left with the feeling that these were the only years that mattered in Joyce’s development. If Daniel hadn’t given her his mouth organ, if her parents hadn’t bought the piano, if the miners hadn’t dug deep, if Sister Augustus, even, hadn’t sweltered through dozens of Kalgoorlie summers to make it all happen. In the end, it wasn’t about the years at the Con, the struggle to find an audience, the overseas career-building. It was about the post-leaners, the schooner-swillers, the green-and-gold bakers (to me, the players of Nana Mouskouri, the watchers of Ted Bullpit, the mowers of Santa Anna). Going, going, gone. Like a 1951 classic no one watches any more.

Making partners of enemies: the Irish peace process To be delivered by Mary McAleese, former President of Ireland “If you want to make peace with your enemy, you have to work with your enemy. Then he becomes your partner.” Nelson Mandela. How do communities put aside what is considered to be intractable violence and instead commit to peace and stability? Follow the ongoing journey of the Irish peace process with Mary McAleese, in conversation with political journalist and commentator Annabel Crabb. Wednesday 3 September 2014, 6.00pm Adelaide Town Hall Register for this FREE event at hawkecentre.unisa.edu.au or call 8302 0215

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this time next year.” A touch of the Micawber, but more; the pioneer spirit: a belief the land will yield it common-wealth. Too dry for grain, but nor for gold. That was the Promise, generally unfulﬁlled. A seed-burr caught in the bloke psyche. That fortune was just a day away, and only fools gave in. In the great gold pan of Australian optimism, Will keeps telling Bob: “There’s a bit of colour there.”

10 THE ADELAIDE REVIEW AUGUST 2014

OPINION GREENSPACE Aloe beyond vera BY STEPHEN FORBES

ome years ago I owned up to being a cactophile in this column – while perhaps more technically correct, at that time, I couldn’t quite come out as a succulentophile. Cacti are, of course, a particularly rich and showy group of succulents and some believe they deserve to be separately mentioned. Hence we have ‘cactus & succulent’ societies where ‘succulent’ would sufﬁce. In mid-winter, most cactus growers are frustrated with low light, cold and damp that sees cacti sulking out of doors. Even under glass there are challenges that make growers reluctant to provide plants for the show bench. However, one group of succulents – the aloes – choose this time and these conditions to ﬂower spectacularly. Aloe is a genus of more than 500 species from Africa and the Arabian Peninsula – the most famous is Aloe vera – commonly utilised in skin products, shampoos and antibiotic washes, the therapeutic value of Aloe vera remains disputed with a range of contradictory evidence. It’s generally assumed that, while now

unknown in the wild, A. vera was endemic in the Arabian peninsula – a closely related species, A. ofﬁcinarum, is still found in Yemen. From here, A. vera was collected and sold onto a trade route connecting Europe and the far east (the Queen of Sheba effectively taxed such caravans passing through her territory). Another, less compelling, view suggests A. vera was native to the woodlands of the Sahara – now lost to desertiﬁcation. A long history of cultivation (A. vera was apparently cultivated in ancient Egypt) sees A. vera unable to reproduce by seed, although Aloe vera is still

National Aboriginal Cultural Institute Inc Tandanya presents:

CONVERGENCE

WHERE MY HEART IS

Alec Baker, Beaver Lennon, Damien Shen & Lilly Ulah

Kunyi McInerney

until 23 August 2014

until 30 August 2014

Images: Damien Shen ‘Uncle Moogy’ photo supplied by artist

Kunyi McInerney ‘Collecting Firewood with Kami’ photo by Fernando Goncalves

Tandanya in association with Desart Inc Shanghai International Cultural Exchange Association Meou, Art Investments and Helong Industrial Company presents:

FRAGRANT LANDS

Exhibition of Chinese and Australian Indigenous Art 2014 8 - 23 August 2014

Betty Pula Morton 2014 My Country and Bush Medicine, acrylic on linen

Chen Sidi, Birds flying over tree gouache on paper

National Aboriginal Cultural Institute Tandanya 253 Grenfell Street (cnr East Tce) Adelaide SA 5000 Tel +61 8224 3200 Open Mon-Sat 9:00am – 4:00pm

widely naturalised out of cultivation. However much you might love Aloe vera preparations, the plant itself is less choice in form or flower than many of its genus – grown for utility rather than ornament. With more than 500 species there are a great many life forms to choose from – trees of over 15 metres, such as Aloe barberae from South Africa (also known as A. bainesi) and A. eminens, an endangered species from Somalia, shrubs, climbers, rosettes and bulbs. Molecular taxonomists have put the aloes into the Australian grass-tree or yakka family, the Xanthorrhoeaceae – a curious affiliation. The form and structure of aloes are rich enough to make them worth growing regardless of any flowers. One of my favourites is A. polyphylla – an endangered species from Lesotho with beautiful, almost Paris-green leaves arranged in elegant clockwise or anticlockwise spirals (an explanation of the golden ratio and the Fibonacci series that generate this arrangement’s a future topic). Tissue culture has made this species reasonably available in nurseries. The richness of aloes has attracted some remarkable botanical collectors to the field. Professor Len Newton has spent much of his career at Kumasi University in Ghana and at Kenyatta University in Nairobi chasing aloes all over their range, John Lavranos has a 50-year history in succulent plant collecting and Susan Carter Holmes has worked with euphorbias and aloes at Kew Gardens – together with Colin Walker they’ve published Aloes: the definitive guide through Kew Gardens. I met collector Tom McCoy with Len Newton in Nairobi years ago and was impressed by Tom’s lunacy in chasing aloe species between Eritrean and Ethiopian lines during the war heedless of the conflict. I preferred the pace of a more recent report from the Cactus & Succulent Journal of the American society where Tom and John Lavranos described Aloe barbarajeppeae. The editor wryly observes: “Tom McCoy braved below freezing temperatures waiting for the sun to rise on a lonely hill in South Africa so he could capture the first rays of dawn’s light on this exciting new species of aloe … That said, he confided in me that upon reaching a civilized, little highland town later in the day, he rewarded himself with a

hearty brunch of prime cut South African bacon, crepe-wrapped bananas topped with cinnamon sugar and a fine pot of locally grown coffee. Ah, the life and perils a plant explorer must endure.” Aloe flowering can be extravagant and joyous – showy and nectar-filled flowers attract birds as pollinators and present an exuberant intrusion into winter in bright oranges, reds and yellows, paler shades and even whites and creams. Len Newton notes that the joy isn’t always shared – while the flowering of aloes is important in apiculture in South Africa the nectar and pollen of some species can affect the behaviour of bees – making them vicious! While my interest is largely in species there are some superb hybrid cultivars. You can see species including young quiver trees, Aloe dichotoma (from which quivers are indeed made), old tree aloes, A. barberae and fine fan aloes, A. plicatilis in the Cactus Garden as well as some of the outrageous hybrid showoffs near the old morgue in the south-western corner of the new wetland in Adelaide Botanic Gardens. A visit to the Terrace beds at Wittunga Botanic Garden is also well worthwhile. So, as aloes are generally easy to grow, incredibly drought-tolerant and great structural plants with brilliant flowers, you need to find out more. While there’s no specialist aloe society in Australia, it’s worth joining the Cactus & Succulent Society of South Australia (CSSSA) that meets on the third Friday of most months at Western Youth Centre, 79 Marion Road, Cowandilla (csssa.org.au). Again, while not specifically focussed on aloes, some of Attila Kapitany’s books have great information for Australia (australiansucculents.com). To source the outrageous hybrids bred by Leo Thamm at Sunbird Aloes near Johannesburg, visit Aloe-Aloe Horticulture’s collection (aloealoe.com.au).

» Stephen Forbes, Director, Botanic Gardens of Adelaide @StephenJForbes

THE ADELAIDE REVIEW AUGUST 2014 11

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FEATURE

The Times They Are a-Changin’ For English singer-songwriter Lloyd Cole, a visit to UniSA’s Hawke Research Institute provided an opportunity to reflect upon the challenges of adapting to a music industry vastly different to the one he first explored as frontman of Lloyd Cole & The Commotions.

BY WALTER MARSH

hirteen years since the initial shutdown of file-sharing giant Napster in July 2001, the rise of the internet and the MP3 has proven an unstoppable game changer across the music industry, affecting everyone from bedroom battlers to 1980s pop veterans. For every positive opportunity for artists to build their audience through social media, the online world throws a spanner. The most obvious and infamous example remains the ubiquity of file sharing and digital music piracy, which for many artists has decimated their ability to make a living from record sales over the past decade. “In 1999, I realised not having a website was crazy, but building a good one was very difficult back then, and expensive,” Cole recalls during his recent Adelaide visit. “So I learned how to build websites myself, first learning to use Flash and then HTML when of course everyone started using Flash and I realised how much I hated it! “Now, as a retailer, I sell more CDs than Austria, Switzerland and Italy combined,” he says. Although this might seem an impressive tally, according to Cole it is actually a telling reflection of a shrinking global record market. It is this insight into the changing digital landscape that inspired Professor Anthony

Elliott of the Hawke Research Institute to invite Cole to participate in a Visiting Fellowship in conjunction with MONA in Hobart. During his July visit, Cole worked with staff and postgraduate students at the Institute to shed further light on these changes, including the effect of subscription-based streaming services like Spotify on the music industry. By offering a low-cost, accessible alternative to sites like The Pirate Bay, platforms like Spotify have been hailed by their founders as the natural antidote to music piracy. With musicians earning only a fraction of a cent per stream, however, some artists have been justiﬁably critical of the service as a mere ﬁg leaf for lost revenue. “It’s kind of like getting rid of the minimum wage because hey, it’s better than slavery,” Cole argues. “In the past, an album sold in a store might make you a dollar and one iTunes album sale might make you a dollar. With streaming, though, it can take thousands of streams to come close [to a dollar]. “[Streaming services] might have contributed to a downturn in piracy, but that’s only because they’re offering something so cheap. Maybe that is the new norm, maybe music is valued by society at a far lower market value… but if that’s the case we have to adapt,” he warns. Cheaper recording software and equipment might have made producing music less expensive, but without some degree of financial security Lloyd worries the days of groundbreaking studio opuses may be numbered. “Certainly it seems that if we were to have to rely on Spotify as our primary source of income it would be idiotic to continue to make ambitious records that take time and money to make,” he says. In lieu of recording royalties, Lloyd, like many artists, relies primarily on live performance to make a living. “It’s a huge misnomer constantly referring to the music industry as the ‘record industry’, because over the last 10 to 15 years there has been more money generated in the music industry than before, but it’s mostly been in live performance.” While this model

is sustainable for artists such as himself, he worries the high start-up cost of touring will make it near impossible for new, independent bands to break through. Similarly, marquee acts like Radiohead can afford to experiment with the value of recorded music – as with the ground breaking pay-what-you-want model of 2007’s In Rainbows – while relying on their existing fanbase and lucrative touring to stay afloat, a luxury unavailable to the Thom Yorkes of tomorrow. These changes were the focus of an intimate masterclass hosted by the Hawke Institute that saw Cole work with students from a range of disciplines. “We had students from all fields from electronic engineering to communications and the social sciences, from young postgrads and faculty to people my age,” Cole explains. “None of us could agree which was the chicken and which was the egg; did artists see ahead and focus on touring as sales declined, or did they make less records out of frustration with the industry?” As record companies become less eager to front up cash to back new, unproven bands, crowdfunding sites such as Pozible and Kickstarter have rapidly emerged as a key tool for musicians looking to bankroll new works. Initially used by emerging indie bands to rally their grassroots following to back early recordings, now even major label veterans such as Eskimo Joe have embraced the prospect of maintaining the support of their fans while circumventing the artistic and commercial limitations of their previous labels. Cole has also has experimented with this fan-driven model, with his most recent album Standards partially funded through pre-sales snapped up by listeners eager to purchase the album before it was even recorded. Those who pre-ordered the album were then treated to a deluxe version with exclusive content not available on the officially released CD. Despite live performance overtaking traditional record sales as a breadwinner, for Lloyd the symbiotic relationship between the extra publicity and renewed interest afforded by a new release and ticket sales means that making new music is still a worthwhile

Lloyd Cole.

commercial investment. “I think because the album has been well received I’ve been more visible – but it hasn’t necessarily sold any better,” he reﬂects, midway through a wellreceived Australian tour. “The real positive has come more from the fact that articles are more prominent and the reviews are better, which has enabled the demand for the live show to noticeably go up.”

lloydcole.com unisa.edu.au/research/hawke-researchinstitute

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12 THE ADELAIDE REVIEW AUGUST 2014

BUSINESS Take the Threat of Double-Digit Unemployment Seriously The recent sharp rise in the South Australian unemployment rate to 7.4 percent has set alarm bells ringing. Fears that unemployment will continue to rise are well founded. BY JOHN SPOEHR

he threat of double-digit unemployment is a real one for the state given the collapse of manufacturing and the parsimonious Federal response to the automotive industry crisis so far. A jobs crisis is not inevitable however. We can prevent escalation of the unemployment rate through a combination of short-term stimulus in job-rich infrastructure and urban development projects, mediumterm industrial rejuvenation, and workplace innovation. Our starting point is not as bad as those of other nations and the investment required to sustain recovery is much smaller.

We have done well to contain unemployment to less than eight percent during a period of crippling global economic instability – an economic storm that has wreaked havoc in Europe and the United States. While the former Federal Government’s stimulus package and demand for our mineral resources in Asia softened the blow for us, manufacturing states like South Australia continue to be buffeted by the high Australian dollar and the rise of low-cost manufacturing in Asia. This has led to the loss of around 30,000 manufacturing jobs over the last decade in South Australia. Total employment has remained relatively high, however, with jobs in the health, community

and aged-care services sector increasing by around 30,000. While this has helped to offset manufacturing employment losses, many of the new jobs are casual or part time and lowpaid. While we can expect continued growth in health and aged-care employment over the next decade, this will not be sufficient to compensate for the exodus of jobs from mass manufacturing and significant public sector jobs losses flowing from the impact of the Federal Government’s budget cuts. Over the next few years, or perhaps earlier, the negative effects of the automotive closure will gather momentum, reaching a crisis point in 2017-18. In the absence of new large-scale mining, infrastructure or urban regeneration projects, the outlook for South Australian unemployment is dire.

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So what can be done to avoid sharply rising unemployment and associated population loss over the next few years? There is no simple answer but a substantial stimulus package is needed to help compensate for the collapse of the automotive industry, an industry worth well over a billion dollars a year to South Australia. The problem we face is that GMH and Toyota will not reinvest the resources they withdrew from the auto industry into other areas of economic activity in South Australia. They will deploy it elsewhere. The only real investment alternative available to us in this situation is public investment, predominantly from the Federal Government but supplemented by the SA Government through an increase in infrastructure borrowings. Short-term investment involving a combination of job-intensive physical and social infrastructure projects is needed. This might include morale and job boosting projects like the modernisation of ageing public space and buildings in Adelaide’s northern and southern suburbs. Allied to this is the need to accelerate industrial diversiﬁcation in partnership with South Australian businesses.

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Building on our research strengths, a network of industrial innovation and rejuvenation facilities needs to be established linking the Tonsley regeneration project in

southern Adelaide with the redevelopment of the GMH’s Elizabeth site in Adelaide’s northern suburbs. In the short-term, millions of dollars will need to be invested in remediating the site, generating opportunities for SA companies. Over the medium term, a range of interlinked manufacturing and service companies working closely with our universities could cater for the growing demand for medical devices and assistive technologies that arise from an ageing population. South Australian companies could be supported to help satisfy the voracious global appetite for affordable renewable energy technologies and services by partnering with Spanish, American and Chinese investors. We could revolutionise the building industry by taking the lead in the manufacture of cross-laminated timber for structural, as well as furniture and finishing, purposes. We could be among the first to accelerate the adoption of 3D printing, robotic, optical fibre and sensing technologies, all of which have the potential to revolutionise the way we work and produce. We could help meet the growing demand for clean green food from our neighbors in the Asia Pacific region, adding much greater value to it than we currently do. Of course, some of this is already happening but not on the transformative scale required. Transformation in the face of crisis can’t be done on the cheap. It requires a wellresourced national industrial rejuvenation and infrastructure modernisation strategy. We haven’t got that commitment yet from the Federal Government. The stakes are high. Unemployment will steadily rise over the next few years if the response to the collapse of manufacturing in South Australia is allowed to unfold in the absence of a much more substantial adjustment package.

» Associate Professor John Spoehr is the Executive Director of the Australian Workplace Innovation and Social Research Centre at the University of Adelaide @JohnSpoehr

The Adelaide Review August 2014 13

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FINANCE

Is Australia Due For a Recession?

turn in the Eurozone, Japan and India bode well for Australia, even though risks remain. Domestically, the recession risk seems to be focused on housing and a collapse in house prices from the current high levels. The question is whether there has been already been an error which has allowed house prices to rise so much with very low interest rates and easy regulatory conditions for borrowers and lenders.

The Australian economy is entering its 24th year without a recession, as we move into the second half of 2014.

That said, if house prices were to fall rapidly, the RBA would be alert to the growth and deflationary consequences and would surely cut interest rates to head off the risk of a recession. Unlike many countries around the world with zero interest rates and therefore little scope to cut, the current cash rate in Australia, at 2.5 per cent, could easily be sliced to stabilise growth.

by Stephen Koukoulas

his is a feat of extraordinary economic management and terrific good luck. Most economies experience a recession every seven to 10 years or so, as Australia did prior to the 1991 slump. The reasons why Australia has managed to avoid a period of falling GDP and sharply rising unemployment over recent decades fills one with optimism that the next recession is still some way off. Policy makers have been, and still should be, shrewd and pragmatic, pulling the policy levers without fear or favour as growth and jobs dominate their objectives. Hugely important for Australia’s recent success has been the conduct of monetary policy, including the free-floating Australian dollar. The Reserve Bank of Australia was quick to cut interest rates when recession threatened Australia as the Asian crisis hit in the late 1990s; the tech wreck smashed the US economy in 2000 and the 2008-2009 global banking and financial crisis saw the world economy slump to its weakest since the Great Depression. The Reserve Bank did so knowing that the downside growth risks would see inflation remain within its target. Indeed, as each of those threats to the Australian economy loomed, the RBA sliced rates to what were record lows. The floating Australian dollar did its bit to support economic growth and jobs as it fell at least 20 percent each time recession threatened.

The benefits to the economy are obvious. Exporters not only get an income boost from the lower currency, but the competitive position of competing local import firms is enhanced as import prices rise. The lower Australian dollar also makes it more attractive for foreign investors to invest in Australia, which provides a valuable source of capital for the economy. The other element of economic management is fiscal policy. With trivial levels of government debt over the past four decades, the Howard Government responded to the US recession with an easier fiscal policy, which saw real growth in government spending rise a thumping 9.1 per cent in 2000-01, and the budget slip into deficit in 2001-02. This was appropriate given the downside risks coming from the US slump. The Rudd Government, which obviously confronted a much more parlous economic climate in 2008, aggressively eased fiscal policy with a deliberate strategy of temporary fiscal measures, which centred on cash handouts, a fast track for school infrastructure and insulation for one million houses. These policies promoted economic growth and saw the economy avoid the worst aspects of recession as the budget deficit delivered a near textbook approach to smoothing the business cycle. Then, of course, there was good luck.

China emerging as Australia’s major trading partner was the first bout of good fortune. This generated a huge and sustained lift in demand for Australian exports. Booming export volumes supported bottom line GDP growth, which in turn prompted a stunning lift in mining investment. A lift in export prices for many of the commodities Australia exported was another fortunate bout. Not only was the volume of exports booming, but also the prices exporters received reached record highs, which helped to maintain national income during the slump in activity from the global economy. The near quarter-century duration of the current economic expansion means Australia is overdue a recession. But what will cause it? When Australia falls into its next recession it will be driven by either an external global shock or a domestic policy error that is not recognised early and is allowed to fester. For the near term, the global outlook looks solid. While a Chinese slowdown or a property burst or a banking crisis remain risks, forecasts of the demise of the Chinese economic miracle have failed miserably over the last couple of decades. A stronger US economy and even a few hints of a

In this scenario, there would seem little doubt the Australian dollar would lower sharply and thus provide that boost to the economy seen in other episodes of recession risk. Given the huge success of fiscal policy during the 2008 crisis, Treasury would no doubt be keen to follow a very similar path of fiscal stimulus if it appears that growth was faltering and a recession was on the horizon. Australia will fall into a recession one day, that is for sure, but in the near term, the risks of such a fate seem low. The lessons from the past two decades are so striking that the blue print for avoiding recession is in place. Of course, it is possible that today’s policy makers do not heed those lessons and choose a different option, such as aiming for a budget surplus or holding off interest rate cuts for fear of having the cash rate approach zero. As mentioned, that seems improbable and more likely Australia will clock up a 24th year without recession.

»»Stephen Koukoulas is Managing Director of Market Economics thekouk.com

14 The Adelaide Review August 2014

FINANCE handing over the business as somewhat theoretical rather than practical. They see much evidence of the ‘parent card’ being played well after their alleged departure. So what are the lessons? Family business is a complex beast. It embraces family ownership, which expands through the generations. Management, which was once straightforward, becomes more complex as it moves through the generations or extends to people outside of the family. In addition, and perhaps of equal importance, are the noneconomic factors, which play into its everyday operations. Examples of these non-economic factors might be the role of the business in the family itself or dealing with conflict resolution.

Mind the Generation Gap Preparing for succession in family business by Michael Browne

amily businesses are significant to the economy. More than 30 percent of the world’s companies with a turnover greater than $US1b are family businesses. In an Australian context, around 70 percent of all businesses are family owned and they account for about two thirds of all employment. It is therefore no surprise that the recent Australian Government parliamentary report into family business identified it as a sector which can not be ignored. In a recent report, PwC estimated that over the next 10 years 1.4 million business owners are planning to retire, but how many of them will pass their business onto the next generation? Are

the current owners willing to pass the business on? Are the next generation willing to take on the family business? The consequence of significant failure in the transition process puts the livelihoods of 7.9 million people employed within family business at risk, as it does a portion of the $500 billion contribution that family business makes to GDP. The latest family business survey conducted by PwC obtained views from the next generation, being those who are preparing to take over the family business. They had some interesting observations: • 64% think the current generation will find

it hard to let go • 88% said they have to work even harder than others to “prove themselves” • 59% see the biggest challenge in working in the family business as gaining co-workers respect These findings suggest that there may be a perceived credibility gap in the transition between generations, a point not lost on nearly three quarters of second-generation respondents. The next generation, however, are building their skills and readying themselves for the opportunity, as evidenced in the research. In fact, the profile of the next generation is quite different from the previous owners: • Only 7% went straight to the family firm from school • 31% went to university before joining the family firm • 46% worked elsewhere before “coming home” The next generation sees some real challenges in transition, not the least of which is that the current generation is staying on longer. With 50 the new 40, diminished returns on their retirement savings, and greater life expectancy, this should not be surprising. While the next generation wants to learn from its parents’ continued input, they also see their parents

In any intergenerational transfer, understanding the roles of the family within the business is important. This requires clear definition and may even be best documented so that there is limited chance for misunderstanding. For example, if Dad resigns as CEO and becomes Chairman, as is often the case, it is important to ensure that he understands what that transition actually means. Further, if the expectation is that there will be a generational transfer, it is vital that the next generation is given the experience necessary to succeed. This may involve professional qualifications including management skills training, time away from the business, and mentoring. The next generation wants to succeed and implement new strategies but needs to be ready when transition eventuates. While all of these are important, clear communication between the generations is vital. With an increasing number of Australian business owners facing retirement, understanding each generation’s expectations, goals, challenges and concerns will give family business the best chance of successful transition.

»»Michael Brown is a Partner at PwC pwc.com.au

10-14 October 2014 Adelaide

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The Adelaide Review August 2014 15

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POLITICS

Modern Times Politics: symphony or hypocrisy? BY Andrew Hunter

recently had the opportunity to experience the Australian Chamber Orchestra playing Mahler and Sibelius at the Adelaide Town Hall. The music was beautiful beyond belief. The intricate exercise in precise and perfect collaboration was remarkable. Human beings are capable of extraordinary things. Why is this incredible human potential not reflected in politics, which is perhaps the least cultivated of all human endeavours? The ‘carbon tax’ was recently abolished. The urgent need to address climate change was agreed in 2007. Carbon pricing is a responsible economic policy designed to address the ever increasing level of emissions into our environment. Supporters were moved by a commitment to empiricism and a sense of responsibility to future generations. Public policy has completed a full circle in the intervening period. Three prime ministers and two opposition leaders have fallen largely because of positions taken on the issue. A romantic would see in politics a distinct, savage beauty. Politics is a sublime human

endeavour because it is a contest for values. Unlike a musician, a politician aspires to more than the evocation of feelings. Winning in politics opens the door to the opportunity to realise ones aspirations – an election victory should not be considered the ultimate success. Those who have allowed Sibelius to pluck the strings of their hearts would see politics as an inferior art form because it is a contest. In any contest, no action is taken without considering what reaction it may inspire. At its most base, however, politics is a battlefield on which power alone is the object of the contest. Without power, values serve the cause of protest rather than politics. But without values, power in politics becomes nothing more than a clanging cymbal. The contest for power has caused a string of contemporary leaders to oscillate on climate change policy. John Howard belatedly committed to an Emissions Trading Scheme but later admitted that he did so because of political pressure. Kevin Rudd felt the wind change direction in Copenhagen and changed with it, as did his successor when negotiating a hung parliament. Tony Abbott claimed that the science behind climate change was “absolute crap” and used the issue to condemn his pure but now impotent predecessor. Abbott, the great suppository of modern politics, now asserts a belief that climate change is real.

themselves, testing the extent to which the contest remains focussed on values, rather than a cheap gambit about winning, or retaining, power. Harold Macmillan came closest to explaining why politics cannot rise to the rare beauty, intricate and meaningful collaboration of a symphony: “Events, dear boy, events.” It is often difficult to hear any meaning or purpose in the political debate that led to the rejection of a price on carbon, such was the din created by the clanging cymbals.

In an ideal world, a leader’s attachment to values, and commitment to the execution of an agreed strategy, would be similarly steadfast. Political parties attempt to maintain shape and structure in the face of efforts from opposing parties to disrupt. If our public leaders consistently adjust values to suit circumstances, however, they will produce nothing more than a symphony of hypocrisy. Strategies – not values – can be altered to suit circumstances and events.

Nineteenth century Prussian military strategist Helmuth von Moltke once sagely noted that no battle plan survives contact with the enemy. In politics as in war, one is often left with the impression that that contest descends into turmoil and madness. Greatness lies in the ability to rise above the muck and bullets to express poise through conviction and a steadfast attachment to values.

Mahler’s legacy lives over a century following his death. It is brought alive through the seeming perfection of those musicians who spend hours in the service of his music, such as those members of the Australian Chamber Orchestra who performed so meaningfully at the Adelaide Town Hall. Although its performers may often appear to practice an inferior art form, the practise of politics has an immediate and enduring influence – even when its audience is disengaged.

Traditional orchestral music does not accommodate improvisation. It is a practiced art, the music delivered without any influence of external circumstances. Musicians who ascend to the Australian Chamber Orchestra have spent their lifetimes perfecting techniques. The performance of an orchestral piece requires a strict application of the music. Only when technique has been mastered and the music thoroughly learned can the art lend itself to interpretation and reflect the character of the respective individual musicians.

In politics, circumstances always impose

There is little doubt that a future Australian Government will, out of necessity and urgency, price carbon. In the interim, let us hope that our political discourse is not denied the harmony and rhythm that only an unwavering attachment to values can provide.

»»Andrew Hunter is Chair of the Australian Fabians

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16 THE ADELAIDE REVIEW AUGUST 2014

OPINION THIRD AGE Modest Proposals BY SHIRLEY STOTT DESPOJA

he reasonable time for talking about grandchildren is 10 minutes. Keep it to that and you have a no-lose situation. Grandma is glowing. A person who has no grandchildren goes away thinking, “Thank God I don’t have brats like that in my life”. The moment to draw the line is when grandma starts claiming that the four-yearold shows signs of becoming an astrophysicist or a surgeon (mind the cat). Then you can reasonably bring the conversation back to earth. It’s easy. Just say, “In our day, children did… or didn’t…” and the conversation is mutual again.

The reasonable time for a Sad Story … it’s hard to be dogmatic. You must listen to every detail if the sad story is about your friend or someone close to her or him. But if it’s gruesome for gruesome’s sake and concerns someone you have never heard of, and indeed, the teller may not have met for 30 years, then stop it right there. The acceptable thing is to say: “This wine is very nice. Where did you get it? Let’s have some more and be happy.”

Oh, listen to me, making rules! I am not taking the high moral (or immoral) ground here. We all talk too much about such situations. Suffering becomes tellable because it means we are still alive and fairly well. But there are better ways to rejoice in one’s (temporary) immunity from disaster. Old age is full of revelations. Sometimes we need to go back to the old conventions. For example, when we were young, people said, “How do you do?” and the only acceptable answer was to say “How do you do?” back. These days people actually tell you how they do, and some of it is really boring. If people ask how you are and you think they would not understand you saying just “How are you?” back, then just say “Can’t complain,” and see the relief on their faces. Just one more thing before I get off my high horse: don’t react when young people say they are laying down. We know they mean lying, but to say so only confuses the poor things. Don’t even think of mentioning verbs agreeing with subjects. You will get locked up. I fear the idea of offshore care for old people. It is in the tradition of Swift’s A Modest Proposal, but not yet spoken of freely. Not so far as I know. But if the thought hasn’t entered the heads of our politicians, why is it that I can imagine so clearly the spin they would put on it?

***** In the ‘70s and early ‘80s, some arts incomers from the UK and Europe thought that Adelaide had everything to learn. They got away with saying that Adelaide was a little town on the way to nowhere and that Adelaide women didn’t know how to dress. They thought we needed their lofty northern hemisphere know- how. We needed some of it, for sure, but how insufferable some of these men were. Not so Myer Fredman, who came from Glyndebourne to Adelaide to be the musical director of The State Opera of South Australia. He had liked what he had seen and heard here. And he wanted to build on it and eventually sign off saying, “THAT was worth doing.” Myer died last month in Hobart, after a career that must have satisﬁed him as it pleased others. I liked him enormously. For a start he didn’t ask me to call him “Maestro”. Another conductor I interviewed about that time sent his man to ask me to do this. (I can tell you that in the late ‘70s I was in no mood to call any man maestro.) Myer was not into that. He gave me a long interview that I am still quite pleased with because it explains what conducting an orchestra means and a great deal about his approach to helping a new company in this city he had chosen for his

post-Glyndebourne career. “Musicians,” he said, “who ignore theatre are ignoring the real meaning of music”. And, “we should treat all new music as though it were old and all old music as though it were new.” I hope, when the news of his death at age 82 reached Adelaide, that people were moved by memories of programmes he gave us, including the Australian premieres of Tippett’s The Midsummer Marriage and Britten’s Death in Venice. He made several world premiere recordings and wrote a book about the role of the conductor in Mozart’s operas. The Italian Government gave him an award. Why didn’t we? One little memory I have is of a picnic in his time when the opera company sang happy birthday to my four-year-old son, but the signiﬁcant memory is of a nice man who made a gift to Adelaide of his great talents at an important time, rather than become one of the jet set boys of the baton. If you want to read more about the beginnings of opera in South Australia, Elizabeth Silsbury’s State of Opera (Wakeﬁeld Press, 2001) is a readable, musician’s history, with the gossipy stories left in.

@mollyfisher4

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THE ADELAIDE REVIEW AUGUST 2014 17

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OPINION

Gender Pay Gap – Time For Revolution? BY LIZ FORSYTH

he gender pay gap remains entrenched above 17 percent despite 45 years of legislation dictating equal pay for equal work in Australia. Admittedly the difference in pay between men and women has decreased over that period from between 25 and 30 percent in the late 1960s to today’s ﬁgure of 17.1 percent, but a recent report by Oxfam entitled ‘The G20 and Gender Equality’ suggests at this rate of progress it will be 75 years before pay equality can be achieved in this country.

This assumes progress is linear, and the value placed on the contribution made by women in the workforce remains vulnerable to ﬁnancial pressures over that of men. The Global Financial Crisis facilitated an increase in the gender pay gap up to its current level from a 15 percent low in 2005. Business continues to ignore the economic arguments that document the potential delivery of $5.4 billion growth to GDP by the reduction of the gender pay gap by one percent and up to $9.3 billion by its total elimination. Efforts to really understand the gap’s causes creating little real change in the way workplaces are organised, work undertaken or the way work is valued. The old adage, ‘If you always do what you have always done, you’ll always get what you’ve always got’ suggests maybe it is time for something more revolutionary than government policy and legislated compliance. The role of work in most G20 economies is still enmeshed in a mid 19th century construct, which demanded attendance at work for particular lengths of time between particular hours, with conditions designed to control for maximum production. The industrial revolution changed work from something

woven into a life of seasons, family and survival, to a separate place of commitment, strict order and compliance. Control of time was given up to the role and place of employment, and such order demanded care of children and household demands to be regarded separately. Division of labour between genders became more marked, and men thrived in a workplace that rewarded their contribution with money and, at many levels, excluded women. Men were inevitably more visible in the leadership roles they held, while women accessing education and training in pursuit of the same were dependent on a combination of access to opportunity and sacrifice of parenthood to a career. Modern technology allows us many ways to redesign the way we approach the tasks we construct and call work, which can benefit gender equality in the workplace in entirely new ways. Men and women can complete these tasks from their homes, at times that accommodate the needs of their children and demands of other dependents. We no longer have to be at work between the hours of nine and five, and flexibility does not need to be something added on to the way we work, but can become the way we work. Prescriptive competencies can define what we need to know to be competent in a task, and increasingly precise ways to measure work can inform an employer of your contribution, regardless of the timetable kept.

to both job and family can potentially meet their respective demands. She can organise time to be present at the school gate and the office with a negotiated approach to essential tasks. Emails already get checked at the football match, video conferencing and webinars create virtual space without need for presence, and file sharing allows collaboration between parties at different times. With work and life less separated by industrial constructs of the workplace and hours of work, integration of priorities can be better achieved. More importantly, this can also be so for a man. Through this, greater sharing of life’s responsibilities can occur, with work returning to its place as part of living, not something separate and excluding. Rather than assessment by visibility in the workplace, artificial measurements of commitment through apparent availability, and other barriers that have somehow justified women not being paid as much as men, we can all be measured appropriately by what we achieve whenever or wherever that is. Embracing technology and the virtual office could generate the revolution needed to ensure women do not continue to experience unequal rewards for their contribution to the workplace for the next 75 years and, perhaps, help us achieve that $9.3 billion boost to the economy.

Anne & Gordon Samstag Museum of Art University of South Australia

Challenges to the sanctity of the weekend as a time where work should be considered an exception and valued accordingly are already occurring with awards negotiating penalty rates for weekend work and giving other rewards back to the workforce in industries that can beneﬁt. A woman equally committed

Liz Forsyth

» Liz Forsyth, YWCA of Adelaide Chief Executive » YWCA of Adelaide is holding a Bid for Equality Equal Pay Day Handbag Auction, which features the donated handbags of more than 50 women. The online Handbag Auction will close on Saturday, September 6 during a party in Gays Arcade where all of the bags will be on display. Head to ywca.com.au for more information.

1 August – 3 October 2014

Mooi Indie – Beautiful Indies Indonesian Art Now Alfredo & Isabel Aquilizan In-Habit: Project Another Country

55 North Terrace, Adelaide Open Tue – Fri 11– 5pm, Sat 2 – 5pm and 11– 7pm on Thursdays SMA TAR August 14.indd 1

24/07/14 3:21 PM

18 THE ADELAIDE REVIEW AUGUST 2014

EDUCATION

EDUCATION FEATURE In the following pages, The Adelaide Review’s Education Feature focuses on everything from early learning options to studying the arts.

ADELAIDE CENTRAL SCHOOL OF ART

he Adelaide Central School of Art has a rich 30-year history. Occupying a succession of different sites and expanding to include accredited higher education qualiﬁcations, the School continues to grow and develop. Boasting a faculty of nationally recognised art practitioners, writers and academics, the School remains a springboard to industry success for generations of Australian artists.

Unleash your imagination WITH FLINDERS UNI AND TAFE SA BACHELOR OF CREATIVE ARTS (VISUAL ARTS)

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artistic disciplines including ceramics, jewellery, painting, drawing, photography, digital media, printmaking and sculpture in purpose-built, state-of-the-art studios. The Bachelor of Creative Arts (Visual Arts) gives you the opportunity to be taught by practising artists, with many graduates achieving national and international awards and mentorships. For more information: 1300 657 671 admissions@flinders.edu.au flinders.edu.au/visualarts #studyflinders

Adelaide College of the Arts

Flinders University CRICOS No. 00114A, TAFE SA CRICOS No. 0092B

Delivered by Flinders University in partnership with TAFE SA, you benefit from the renowned practical focus of Adelaide College of the Arts, together with Flinders’ reputation for academic excellence.

At the recent 2014 South Australian Architecture Awards, the most recent evolution of the School was recognised. An exclusive Architecture Award from the Australian Institute of Architects singled out Grieve Gillett Architects, as well as Ingrid Kellenbach, CEO of the School, for delivering the new teaching facility within the Glenside Cultural Precinct. The project was commended for its sensitivity to the existing buildings and the rigor of its efﬁcient and considered design. For those not familiar with the School, the month of September is the perfect time to explore the new Glenside campus. Against the backdrop of Drawing Month, a program exploring the variety, vitality and importance of contemporary Australian drawing, the School opens its doors to fresh audiences with a series of exhibitions, workshops and information sessions. For prospective students, Open Week in mid-September is the ideal opportunity to ﬁnd out everything they need to know about the School’s degree programs, short courses and

master classes. Beginning with Open Day on Sunday, September 14, the School welcomes visitors to tour the facilities, meet staff and students and experience the Drawing Month program. As part of Drawing Month, the School’s Teaching and Studio building will be activated by a live drawing event involving local and interstate artists. In the ﬁrst week of September, artists have been invited to work directly on the walls of the School’s interior, producing ephemeral drawings that will stay on show for the duration of Drawing Month. This project will give school and general public audiences a rare opportunity to engage with artists as they work. Central to Drawing Month will be Parallelo, an Adelaide Central Gallery exhibition by Godwin Bradbeer and Christopher Orchard. These two iconic masters of Australian drawing will also present a series of workshops and lectures that set the tone for the rest of the Drawing Month program. As it enters the second year of a 50-year lease on the Glenside premises, the School looks forward to an expansive and exciting future.

» Adelaide Central School of Art 7 Mulberry Road Glenside 8299 7300 acsa.sa.edu.au

The Adelaide Review August 2014 19

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ADVERTISING FEATURE

EARLY LEARNING GIVES SCOTCH STUDENTS HEADSTART

Spice up your French at the Alliance Française d’Adelaide!

hree and four-year-old children are receiving a first-class start to their schooling at Scotch College through a new Early Learning Centre that has lifted the standard for pre-school education.

rench is definitely on the rise and is currently the fastest growing language in the world. It is the official language in more than 30 countries, is spoken by more than 223 million people worldwide and is undeniably the international language of cooking, arts and, of course, love!

Molière’s language is definitely popular in South Australia: in Adelaide, myriad French cafes and restaurants are opening every year. You would think this is because South Australia is very similar to France with its tradition of great wines and culture of gastronomy, however, the reasons are truly diverse: work, travel, studies. French is not only one of the most beautiful languages in the world, but also a worthwhile investment for a more fulfilling life and career. With a whole range of classes available and tailor-made programs such as ‘French for Travellers’, the Alliance Française d’Adelaide makes it possible to learn French effectively in a rewarding, engaging and fun atmosphere. With more than a hundred years of French teaching experience and native French-speaking, fully qualified and passionate teachers, this independent South Australian not-forprofit association is dedicated to bringing Australian and French cultures together. Part of an international network of more than 800 Alliances present in 136 countries, it is proud of its reputation and teaching practices. Scientific studies have proven that exposing children to a foreign language early in their life gives them the unique chance to develop lifelong learning abilities. By studying French at the Alliance Française, they will gain confidence by learning to communicate in

The Argyll House Early Learning Centre within Scotch’s picturesque Mitcham Campus opened last year and is helping young children make a smooth transition from home to school life through leading-edge programs. Scotch College’s Director of Early Years, Tania Darling, says the College prides itself on providing personalised learning to students from the ELC through to its Junior, Middle and Senior Schools.

another language, and they will also be able to acquire other languages more easily, adapt to new situations and think creatively. Speaking French can also give them access to greater opportunities, open them up to the world and increase their chances for a better future. Adults can also greatly benefit from learning French by positioning themselves competitively in the international job market. A recent study by Natixis Bank suggests that by 2050 over 750 million people will be speaking French, thus increasing the importance of the French language in international relations and business. Beyond that, learning French opens the door to a new way of life, a real ‘art de vivre à la française’!

»»Alliance Francaise d’Adelaide 319 Young Street, Wayville  For more information about classes and events, visit af.org.au or call 8272 4281

“Children learn best when they feel safe, happy and respected, so we’re committed to providing a supportive learning environment where children are taught to respect each other and to value their interactions with others through play and discovery,” she said. “Individual wellbeing, tailored learning and community building are all guiding Scotch’s modern approach to early childhood education, which is already leading to fantastic results and extremely positive feedback from parents.” Mrs Darling says every child at the Scotch Early Learning Centre is given a learning plan based on their individual interests, staff observations and parent insights that help direct learning approaches and enhance outcomes. “The ELC is led by highly qualified staff who strive to nurture relationships between young students and provide emotional support for children and their families as they embark on their educational pathway,” she said. “We work in partnership with families to ensure learning experiences are meaningful and that decision-making is shared by providing a curriculum that promotes inclusion and the participation of all children.

“Ultimately, our aim is to give each child the best possible start to their school life.” The Scotch Early Learning Centre offers unique opportunities to participate in a wide range of activities both indoors and outdoors that help young children learn to explore, manipulate, discover, experiment and express themselves as individuals. The Centre also provides specialist lessons in art, dance, physical education, music and languages such as French, which is rare for Early Learning Centres anywhere in the world. In addition to spacious and secure grassed play areas, children also enjoy supervised access to the College’s fully functioning agricultural farm and campus animals, which provides a popular real-life learning environment. “Young children are influenced in their early development by their ability to explore, think independently and solve problems,” said Mrs Darling. “While play can assist develop so many useful skills and help cultivate a lifelong passion for learning and exploration, which Scotch continually endeavours to impart to all students.”

»»For more information about Scotch College’s Early Learning Centre visit scotch.sa.edu.au, email ELCenrolments@scotch.sa.edu.au or phone 8274 4311.

20 The Adelaide Review August 2014

EDUCATION

Adelaide College of the Arts

ind your creative edge at Adelaide College of the Arts Open Day 2014 on Sunday, August 17.

Come along and check out what happens behind the scenes in the most iconic arts building located in the heart of Adelaide’s CBD in Light Square. Adelaide College of the Arts offers a unique blend of specialist arts training in a purposebuilt, state-of-the art facility. You will have the opportunity to meet and talk to industry experts and tour the facility, which combines over 20 studios, three theatres and dozens of workshops. Information sessions will be held throughout the day in the following disciplines:

11.30am-12pm Technical Production and Design 12.10pm-12.30pm Film and Television 12.40pm-1pm CGI and Game Art 1.10pm-1.40pm Visual Arts 1.50pm-2.10pm Fashion 2.20pm-2.40pm Professional Writing

he Centre for Creative Photography (CCP) guides students on their journey to become practicing artists or commercial photographers — or both. The team at the CCP supports students to express themselves with confidence as artists and individuals. Every experience for students in the program reflects the skill and rigour it takes to maintain a professional creative career.

10.30am-10.50am Contemporary Dance 11am-11.20am Acting

YOUR PHOTOGRAPHIC CAREER STARTS HERE

»»For more information visit acarts.edu.au

The success of any educational program is best measured by that of its students. Mark Zed, owner/ operator of Aspect Photographics is one Diploma graduate who has established a successful career. He speaks to the school’s high standards and commitment to equipping students with the skills to develop pathways into the industry:

Mark also boasts an impressive client list. While he has found a niche servicing businesses in the food and wine industry, other clients include SA Water, Parliament House, University of Adelaide and Exxon Mobil. Mark is also a past President of the Australian Institute of Professional Photographers (AIPP) SA division. “I’m proud of my association with Council and what was achieved when I was the President. It gives me an opportunity to give back to an industry which has rewarded me well.” Mark exceeded his expectations of photographic study: “I initially came to the CCP to challenge my agoraphobia and anxiety. With some hard work and the guidance of staff and support of students at the CCP I left with both technical ability and personal confidence.

“My experience at the CCP prepared me with the skills required to produce a professional standard of work,” explains Mark. “It not only taught me about camera and lighting techniques but also provided a nurturing environment. This encouraged me to build my confidence and communication skills to go out and brave the ‘real world’ of the photographic industry.”

“I approached the studio I wanted to work with and I went on to purchase that business. It’s a privilege to now count my former teachers as my colleagues and exhibit work alongside them. I would recommend anyone who is serious about forging a career in photography to contact the CCP.”

Mark has won numerous awards including AIPP Professional Photographer of the Year 2008 and Commercial Photographer of the Year in 2008 and 2009. Mark has won individual peer-reviewed print awards yearly to date. His photographs are published regularly locally, interstate and overseas.

»»You can contact The CCP with any enquiries. The CCP is holding an Open Day on Sunday, September 21. ccp.sa.edu.au

The Adelaide Review August 2014 21

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ADVERTISING FEATURE

St Barnabas’

St Barnabas’ College is also hosting a oneday symposium focused on Anglican Women’s Ministry on the 10th of October, where Professor Charry will again speak.

n exciting year filled with opportunity continues for St Barnabas’ College, a member of the School of Theology of Charles Sturt University, and the theological and ministerial training college of the Anglican Diocese of Adelaide.

“With everything we have planned this year, we are not only having a national influence in theological education but also knocking on the door internationally,” St Barnabas’ College Principal, The Rev’d Canon Dr Matthew Anstey, says. Next month it will host the conference ‘Flourishing in Faith: Positive Psychology and Theology’. Separated into three main topics – Education, Bible and Theology, and Psychology – it focuses on the contemporary issue of the science of human flourishing through the lens of theology. Ellen Charry, Professor of Systematic Theology at Princeton Theological Seminary,

one of the most prestigious theological colleges in the world, is acting Theologian in Residence at St Barnabas’ and the keynote speaker at ‘Flourishing in Faith’. “The church has written a lot about the problems with human life and sin,” Dr Anstey says. “Professor Charry is a leader among an emerging group of theologians interested in what Christianity has to say about human wellbeing and St Barnabas’ is looking to make this a focus of our College. “For her to be coming to Adelaide for five weeks is wonderful for theological education in Australia and St Barnabas.” The two-day ‘Flourishing in Faith’ conference

is being held at St Peter’s College, who are joint organisers, on the 29th and 30th of September. With over 30 workshops, several keynote speakers and panel discussions, the conference will provide enormous opportunity to explore a wide range of issues, ranging from creation, incarnation and atonement, to educational curriculum design, disability and spirituality. There is an intentional focus on these issues in the context of education, given the widespread incorporation of positive psychology into schools in Australia and overseas in recent years. The conference is relevant to theologians, educators, academics, chaplains, counsellors, and psychologists. Further details can be found at flourishinginfaith.sbtc.org.au.

Another significant development for St Barnabas’ is the recent announcement of the historic donation of more than 90,000 theological texts from a private collection in Canberra. The College is exploring options for new facilities to house the library and the college campus, because its growth means its current location is no longer large enough. “Despite the dire forecasts of Dawkins and his ilk of the end of religion, the yearning for the transcendent and for spiritual experience continues to be a fundamental part of human life and community,” says Dr Anstey. “St Barnabas’ College wants to be at the forefront of thinking critically about what this means for twenty-first century citizens, from the perspective of the Christian faith.”

sbtc.org.au

view Every child has a different way of looking at life. Scotch’s Junior School campus recognises this and provides an ideal nurturing environment for students to explore their individuality and grow in confidence each day. It’s how we do things. Our smaller class sizes, new facilities and wide range of personalised learning activities provide the best opportunity for students to play, and grow, to their own strengths. Here, students can test their leadership skills and get a start in specialist streams of Language, Music and Art. Scotch even has a dedicated Junior School Science laboratory for young minds to experiment with their learning. At the same time they’ll receive solid grounding in the 3Rs; reading, writing and arithmetic... and a 4th... relationships. The Junior School at Scotch provides an excellent learning foundation for students, ready for their middle and senior years. Junior School Tours - 4 August and 20 October. Register at www.scotch.sa.edu.au. For enrolment enquiries email enrolments@scotch.sa.edu.au or contact Head of Enrolments, Jane Bourne on 8274 4209. SCA0425

With an innovative two-day conference, a one-day symposium, the donation of a worldclass book collection and an internationally acclaimed Theologian in Residence due to arrive very soon, St Barnabas’ Theological College is attracting significant attention.

Women have been ordained to the priesthood in the Anglican Church of Australia for more than 20 years and this symposium will provide an opportunity to celebrate and reflect on women’s scholarly and ecclesial leadership and experiences.

22 The Adelaide Review August 2014

FASHION

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Off the Dial

The Adelaide Review’s series about the world of wristwatches concludes with little-known quality timepieces you can buy locally. by Matt Wallace

The Melbourne Watch Company – Portsea The Melbourne Watch Company (MWC) is based in Australia and produces limited-run watches that offer excellent bang for buck. Portsea is powered by a high quality Japanese mechanical movement (modified Miyota Cal. 9120 triple-calendar automatic) with a quality Chinese case. This is the MWC’s third model and can be pre-ordered via Kickstarter for $595 with delivery anticipated in November. Standout features in a watch at this price

include a ceramic dial, triple calendar movement (which is a lot more complicated to manufacture than a movement which simply tells the time and day of month) and a twoyear warranty. MWC watches are Australian designed and, looking at the quality trajectory of their first three models, I suspect (and hope) they will be with us for the long term. melbournewatch.com.au

Bausele Bausele is a high-end Aussie brand, designed by Christophe Hoppe. The watches use Swiss quartz and very high quality Swiss mechanical Soprod-A 10 movements. Prices currently range from $290 to $1500. Each model has something Australian locked inside its crown, with Aussie sand, red earth, cobalt and coal the current options. Later this year, Bausele is likely to offer an even more premium watch available for around $2000. bausele.com

Curtis and Co: World Time There’s definitely a trend toward larger watches. The Curtis and Co World Time displays three time zones and is available in three sizes, ranging from an almost modestly proportioned 42mm, a massive 50mm and finally a gorillaesque 57mm. The movement is Swiss quartz with time zones displayed via a carbon fibre dial. RRP: $2500 (approx). Available through Exquisite Timepieces, facebook.com/ExquisiteTime.

Kaventsmann Watches Kavestmannn is a one-man-shop for German watchmaker Michael Fernandez, who uses Swiss mechanical movements. Fernandez’s brand grew, curiously, from his decision to make a watch for his dad’s birthday. From the get go, he handmade the cases and, more recently, the dials and hands. His watches look handmade and are absolutely stunning. His creations feature up to a staggering 3000 metres of water resistance and are remarkably shock resistant. One specially commissioned Kaventsmann watch, Triggerfish, was treated to the detonation of 10 pounds of C-4 and remained intact and working. I’m not entirely sure why you’d need a watch that will survive that explosion, or is water resistant to depths the human body can’t dive, but I’m impressed nonetheless and they are genuinely stunning objects. RRP: $3000 to $4500. Available through Exquisite Timepieces.

Rpaige, one offs and customs Rpaige produces a variety of custom watches using meticulously restored pocket watch movements from Waltham and Elgin, which were produced in the USA between 1929 and 1987. This was the golden era of American watchmaking, a time when the American watch industry was producing some of the highest quality watches in the world. You can choose from a huge number of original restored dials or one of Rpaige’s own designs. Case options are high polished stainless steel or a matte grey titanium. Both look superb. Available through Exquisite Timepieces.

THE ADELAIDE REVIEW AUGUST 2014 23

ADELAIDEREVIEW.COM.AU

FASHION

Word Up

‘Objects’ at a special showcase, A Night of Fashion at the Art Gallery of South Australia on Saturday, September 20. Elmawey said the line is based on the abstract shapes and lines found in daily life.

Adelaide fashion label Cameo has welcomed new head designer Siham Elmawey to the much-loved local brand.

“It’s a pretty bold collection for us; beautiful spirograph geo-prints, lots of pleating, lines, funnel necklines. It’s quite quirky and interesting.”

BY DANIELA FRANGOS

t just 22, Elmawey has been with the label for three years, working alongside former head designer Kathryn Forth to create the experimenta designs the brand is synonymous with. Since stepping up to the head role last month, Elmawey has been “overwhelmed” by the support. “It’s been amazing; I can’t wait to show everyone what I can do – it’s very exciting,” she says. “At the moment we’re looking for a new member of the Cameo team while designing for the March/April collection for next year.” Elmawey honed her craft at TAFE before beginning work experience – in her second year – at Australian Fashion Labels where she made such an impression she was quickly snapped up for the role of assistant designer. The young creative’s talent and ingenuity is evident in her plans for the new line, which will focus on feminine shapes and bold detailing.

FASHION RENDEZVOUS

“I think we’ve built the brand with a certain aesthetic, so we want to keep that but with a fresh vision. The collection we’re currently working on involves a lot of knotting and ties, twisting details, structured fabrics, a lot of detailing. We’re also

Cameo

just about to shoot the look book for January and that collection has very clean, basic shapes with a lot of beautiful ﬂoral prints.” Images, objects and places she comes across from day to day inspire the industrious designer. “We design collections each month,” she explains, “so basically we build our ranges from an inspiration image. It could be a landscape, or a print, or a ﬂower, it could be anything, and we design around it.” Since its beginnings in 2010, Cameo has soared to reach global status, gaining support and attention from fashion icons such as Kim Kardashian and Whitney Port. The homegrown designs are stocked in more than 2000 boutiques, department stores and online retailers around the world. At a local level, the range is available at Adelaide’s BNKR boutique in Rundle Mall. Far from the seasonal collections of most fashion

labels, Cameo leads the way in innovative, proliﬁc creation with 11 lines each year. “We do monthly collections, so we’re always changing; there’s something new every month. I think that really sets us aside from other labels. One month you might love a print but the next month there’s a completely different print and a completely different collection. And there are 100 pieces per collection, so it’s crazy times but always good times; it’s so much fun.” Cameo will reveal its October collection

Next on the cards is a trip to fashion capital New York, where Elmawey will join the Cameo team for a conference in September. The young designer will also be looking to gain some inspiration for future collections. “We’re hoping to go to [New York] Fashion Week but we’ll see if we can ﬁt it in. There are also a couple other projects up in the air; we’ll soon be introducing accessories like bags and clutches and shoes, all to come in November. I think we’re growing; you go out on the weekend and see everyone wearing our label; it’s such an exciting thing.”

» A Night of Fashion Art Gallery of South Australia Saturday, September 20 anightoffashion.com.au cameothelabel.com.au

GILLES STREET MARKET Sunday 17 August / 10am to 4pm / 91 Gilles Street, Adelaide / gillesstreetmarket.com.au

The Gilles Street Market returns in August. The market is bringing all the fashion to you on Sunday, August 17. More than 85 stalls of fashion, vintage, accessories and great foodies. Is there a better way to spend your Sunday? Hit up the Gilles Street Market on Facebook, Instagram or Twitter for all the details.

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24 The Adelaide Review August 2014

BOOKS

Mothers and Daughters Kylie Ladd / Allen & Unwin

BY Jillian Schedneck

Caro, Fiona and Morag have all managed to get away from their domestic obligations in Melbourne to visit their friend Amira, who has moved out to an Aboriginal community called Lombadina outside of Broome. The four women met and had become friends because their children attended the same school. Yet their ties have loosened since their children became teenagers. This trip is as much to recapture that friendship as it is to rekindle the attention and affection of those teenage daughters: Bronte and Janey, who have their own history with Amira’s daughter, Tess. Kylie Ladd’s large cast of characters is quite ambitious, and in the beginning their names and relationships are frustrating to keep track of. Yet, as Ladd seamlessly switches between all of these characters’ points of view, it is easy to become absorbed in this story of female friendship. The entire book takes place over the week of the trip, revealing nearly every character’s reactions to this dry, naturally beautiful

but severely lacking community. Single mum Amira has come to Lombadina to teach. Here, she thrives, and so does her daughter. Yet her visitors baulk at the sparseness, the lack of Wi-Fi and healthy foods, and the mysterious ways of the Aboriginal community. While the reader does learn a fair amount about this community, and the prejudices of some of the characters, it is not really a story about race and difference, but women and daughters of privilege. In this territory, Ladd’s writing shines. Such themes — the delicate balance of middle class familial relationships — are weighty enough. The relationships between these women and their daughters, and their friends’ daughters, are intricately drawn. And through each character’s perspective we come to sympathise with their beliefs and choices, even though we also know that those choices can have detrimental effects. We find out why Fiona is hard on her daughter, Bronte, and we also learn how Bronte perceives this treatment and the ways it inspires her to action. We see the cruelty of Janey as well as forgive her for her teenage notions of morality and what constitutes private. Each character is malleable as well as an expression of their inalienable qualities, and such realistic contradictions make for a resonating reading experience. Even though the story takes place over a short timespan and Ladd observes closely, the novel moves, hinging on several indiscretions from one of the teenagers. While the ending is somewhat sentimental, all the characters experience a well-earned change for the better — learning more about their daughters, their friendships, and their domestic lives at home. There is just enough intrigue and compelling backstory here, bringing us to a conclusion filled with drama that has real consequences and also allows for a measure of redemption. If you enjoy closely drawn stories with the complexities and puzzles of female relationships at their core, you’ll appreciate Ladd’s latest offering.

The Strays Emily Bitto / Affirm Press BY David Sornig

A 1930s friendship between two Melbourne schoolgirls, framed by their links to the stillfringe modernist arts scene of the day, sits at the heart of Emily Bitto’s convincingly-written first novel, The Strays. Lily, the novel’s narrator, is a wide-eyed suburban girl besotted with the unconventional life of her schoolmate Eva, one of the daughters of artist Evan Trentham and his ‘old money’ wife Helena who, together, shape the core of a Heide-like artists’ colony in a ramshackle house on a sprawling halffarm on the suburban fringe. The Trenthams gather about themselves a milieu that includes Eva’s older and younger sisters Beatrice and Heloise, and a set of up-and-coming younger artists: Vera, Patrick, Ugo, Maria and Evan’s ambitious protégé, Jerome. Lily, the reader’s proxy, is invited by her worldly friend into an idyll, where the line between being a child and an adult is routinely and sometimes uncomfortably ignored. Indeed, the children here are able to experiment with things – alcohol, marijuana, desire – that in Lily’s buttoned-up familial life would be unimaginable. It’s worth noting that Lily’s real family – a pair of muffled

and dull parents – are mostly backgrounded by way of some convenient coincidences without which Lily wouldn’t be able to remain witness to the playing out of the novel’s central drama. It’s not that the adult world is comfortable with what the children do, but that it is so obsessed with its own ambitions that it barely notices the children are there. The narration is energised by Lily’s uncertainty about this world: does she belong in it or not? In her own words, she is characterised by “some foolish reluctance to accept that I am not extraordinary”. She is a voyeur, but a subtle one, a chronicler who is somewhere between convenient narrative instrument and pivotal character. By depicting a movement first as it wrests itself into life, then suffers the inevitable fractures of its own struggles and successes, The Strays perpetuates something of Australian modernism’s romantic mythology. Bitto does a good job of colouring the 1930s canvas with the persistent shame at which the Australian modernists regarded the stiflingly bland and embarrassingly behind-the-global-times culture from which it emerged. It doesn’t seem a coincidence either that in the 1985 frame of the novel, which serves to draw Lily back into the world of the now arts-establishment Melbourne Modernist Art Group from which she has long been alien, a retrospective of Evan Trentham’s work is being staged at the National Gallery of Victoria, from where Picasso’s Weeping Woman would be stolen the following year, ostensibly as a protest against local political and cultural philistinism. Bitto’s big strength is her ability to deliver a tangible world that is populated with characters who act believably. She gets the small details of human communication just right. When in an inevitable eruption of desires, and the too-adult world of the children becomes stickily entangled with the selflicensing world of the artists, Lily and Beatrice acknowledge its implications to one another wordlessly: “Beatrice came up behind me. She widened her eyes and raised her eyebrows. I widened my eyes too in response. I know.” The girls are conspirators who understand that their status, that of precariously positioned children, needs cordoning off. It’s what saves them, in the end.

2014 Salisbury Writers’ Festival 22 August - 31 August Program now available on our website

www.salisbury.sa.gov.au/swf

The Adelaide Review August 2014 25

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BOOKS

Write on, Salisbury by Ilona Wallace

or their 10th anniversary, Salisbury Writers’ Festival has gone further than ever before. 2014’s 10-day line-up boasts talks from Australian authors and publishers, plus workshops and the South Australian heat of the Australian Poetry Slam. For 10 years, Salisbury has hosted this successful festival, bringing literature out of the CBD and into the suburbs. This shift of thinking is vital, says Sean Williams, local author and presenter at the festival. “I was born in the country [Whyalla] and lived for a while in Para Hills, so I know how important it is for cultural events to occur away

from the centre,” says Williams. “It’s all too easy to focus attention on Adelaide Writers’ Week and forget the many other events celebrating the written take place in SA.” Although – and perhaps because – Williams is part of the Advisory Committee of Adelaide Writers’ Week, he recognises the importance of dispersing literature beyond the city limits. “That’s not to say that Adelaide Writers’ Week isn’t a wonderful thing, but there are many ways to spread the word to many different people. The more the merrier! That’s

Bodies of Thought: Twelve Australian Choreographers Erin Brannigan and Virginia Baxter (eds) / Wakefield Press BY Alan Brissenden

Australian dance is in a healthy state despite the inevitable shortage of funds, and this timely, well illustrated and designed book, aimed squarely at academic

AMCHAM IINET BUSINESS LUNCHEON

The chance is there to foster relationships with other local writers, with a potential for friendships and communities to flourish. Sean Williams writes a popular children’s series, Troubletwisters, with fellow young adult writer Garth Nix; the two met at Brisbane Writers’

teachers and students, is a stimulating addition to the increasing number of relevant texts. Innovatively, each section presents an essay on a contemporary choreographer and a particular work and then an interview with the choreographer. Styles of writing differ widely, from the sometimes-obscure postmodern language of Sally Gardner and her subject, Russell Dumas, to the conciseness and clarity of Shirley McKechnie and Jordan Beth Vincent on Meryl Tankard, which precedes a revealing interview on Tankard’s Furioso. Anne Thompson, Erin Brannigan and Garry Stewart are particularly illuminating on Stewart’s Devolution, Amanda Card gets to the inside of Tess de Quincy’s creative

The local writing scene is like this, full of opportunity and connectedness. “There’s definitely a network [of Australian writers],” says Williams, “and I’ve found to be a very warm and welcoming one – particularly when you consider that many of us are insecure creatures who lie for a living.” With Salisbury Writers’ Festival championing writing, Northern Sound System supporting music and the Secret Garden enticing Fringe performers, Salisbury is growing into one of South Australia’s strongest non-central regions for the arts.

»»Salisbury Writers’ Festival Friday, August 22 to Sunday, August 31 salisbury.sa.gov.au/swf

process with Nerve 9 while Rachel Fensham shows deep understanding of Stephen Page and Skin. The other seven choreographers receive like treatment – all 12 have overseas reputation – but there is an overwhelming Sydney/Melbourne bias. Another book is waiting to be written, to include say Natalie Weir (Qld), Sue Peacock and Chrissie Parrott (WA), and Leigh Warren (SA), as well as others from Sydney and Melbourne. Co-publisher RealTime maintains a unique digital archive, realtimearts.net/ realtimedance with reviews, articles, print and video interviews, clips and coverage of the 12 artists in the book, and a great many more, from 1994 on. Indispensable.

How often have “words failed you”? Neuroscience can explain in part the underlying reasons. Paradoxically, poetry can express the inexpressible. Join us as Ian Gibbins, Emeritus Professor of Anatomy at Flinders University and poet short-listed for major prizes, performs work from his book “Urban Biology” and art-science collaboration “The Microscope Project.”

Race Director, Santos Tour Down Under

THE ADELAIDE

E: sa@amcham.on.net

“It’s been great fun, and we have more books in us yet,” says Williams.

The Interference Effect: Poetry, science and crossed wires

Darren Birch Damon Hunt Mike Turtur

T: 8212 4688

The Writers’ Festival doesn’t just host panellists; it invites authors of all levels to share their work. On Monday, August 25, the excitingly titled forum ‘Making Words Do Triple Backward Somersaults through Blazing Hoops’ will be run for high school students. A True North initiative, this twohour session hopes to encourage students from all backgrounds to embrace their authorial voice. Across the day on Saturday, August 23, local writers have the opportunity to present their work in a constructive environment. Guests can request a meeting with publishers Dyan Blacklock (Omnibus Books), Rose Michael (Hardie Grant) or Eva Mills (Allen & Unwin) to have the first page of a story critiqued. On Sunday, August 24, John Marsden (Tomorrow When the War Began) will be hosting a master class, discussing plot, character and voice.

Ian Gibbins

FRIDAY 22 AUGUST InterContinental Adelaide 11.45 – 2PM

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Festival over a decade ago. Since that meeting, 16 years have passed, with five books marking the success of their friendship.

Friends of the University of Adelaide Library

THE BUSINESS IN SPORT

General Manager - Commercial Operations, AFL

why I’m excited and honoured to have been, and continue to be, part of Salisbury Writers’ Festival as it thrives and grows.”

REVIEW

Date: Thursday 14 August Time: 6pm for 6:30pm Venue: Ira Raymond Exhibition Room Bookings by Tuesday 12 August to: robina.weir@adelaide.edu.au Telephone: 8313 4064 Open to the public $5 admission at the door Sponsors: Unibooks, NTEU and Coriole Wines

26 The Adelaide Review August 2014

PERFORMING ARTS WIN! FOR YOUR CHANCE TO WIN, ENTER YOUR DETAILS AT ADELAIDEREVIEW.COM.AU

The Body Beautiful in Ancient Greece

AdYO Gala Concert Youth Revolution

Bendigo Art Gallery, 42-48 View Street, Bendigo Victoria Saturday, August 2 to Sunday, November 9 Win a double pass to The Body Beautiful in Ancient Greece, a visually stunning and thought-provoking exploration of the human condition seen through ancient Greek eyes; with a focus on the human form. Selected from the British Museum’s world-famous Greek and Roman collection, this major international touring exhibition will give audiences the rare opportunity to see more than 100 historical works including the impressive Discobolus; an iconic marble statue of a discus thrower from the second century AD.

Adelaide Town Hall, 128 King William Street Sunday, August 31, 3pm Two hundred and forty musicians and four orchestras bring their energy, passion and talent to a Youth Revolution at AdYO’s annual Adelaide Town Hall Gala.

Romeo and Juliet The Goodwood Institute, 166a Goodwood Road Wednesday, August 13, 7.30pm Urban Myth presents Shakespeare’s classic tragedy – the story of young lovers Romeo and Juliet, who meet and instantly fall in love. From two warring houses, theirs is a tale of conflict, secrecy, urgency, and ultimately, death – a tale that still resonates today across the globe.

The Hundred-YearOld Man Who Climbed out of the Window and Disappeared In cinemas from Thursday, August 21 Dynamite expert Allan Karlsson’s life, and the unlikely events following his escape from the old folk’s home on his 100th birthday. Directed by Felix Herngren. Stars Robert Gustafsson, Iwar Wiklander and David Wiberg.

Magic in the Moonlight In cinemas from Thursday, August 28 Woody Allen’s latest is a romantic comedy about an Englishman brought in to help unmask a possible swindle. Personal and professional complications ensue. Written and directed by Woody Allen. Stars Emma Stone, Colin Firth and Hamish Linklater.

Wirrina Bluegrass & Acoustic Roots Festival Wirrina Resort, Paradise Drive, Wirrina Cove Friday, September 5, 4pm to Sunday, September 7, 4pm Wirrina Bluegrass and Acoustic Roots Festival is a weekend full of singing, fiddles, guitars, banjos and more. Hear concerts featuring international and national acts, and SA’s best. Bring an instrument and join in the music sessions or even perform on stage.

Beethoven Festival 2 Adelaide Town Hall Friday, September 19, 8pm Part of the Adelaide Symphony Orchestra’s 2014 Beethoven Fest – this concert features American pianist and renowned Harvard Professor of Music Robert Levin in Beethoven’s First Piano Concerto. Plus Nicholas McGegan conducts Beethoven’s Leonore Overture and Symphony No 8.

Windmill’s Dream Run Windmill Theatre’s dream year continues, as the youth theatre company recently received six Helpmann Award nominations and are bound for New York, helped by a successful crowdfunding campaign. by David Knight

Hammered: A Shimmer Event Rosemount Estate Cellar Door, Chaffeys Road, McLaren Vale Friday, September 26, 6.30pm Join guest speaker David Sefton, Artistic Director of the Adelaide Festival, and acclaimed photographer Robert McFarlane as they auction a classic photograph encapsulating a moment in the history of the Adelaide Festival, with sublime sounds provided by Monsieur Swing. Proceeds of the auction will be awarded to the creator of the most popular exhibition in the current Shimmer Photographic Biennale.

urrently in pre-production for its debut feature film Girl Asleep, Windmill Theatre is heading to New York with its State Theatre coproduction Pinocchio (which is nominated for six Helpmann Awards) next year. Windmill and State Theatre reached their $15,000 crowdfunding target to aid Pinocchio’s New York jaunt. These efforts back-up an incredible run for one of this country’s premier youth theatre companies that began with the staging of the entire Windmill Trilogy at the Adelaide Festival, which included the premiere of Girl Asleep, the final installment. Girl Asleep, like the trilogy’s previous works, Fugitive and School Dance, received rave notices. After the Adelaide Festival success, Pinocchio enjoyed a season at the Sydney Opera House. The musical, starring Nathan O’Keefe and Paul Capsis, is now booked for a

season in New York, which follows a previous Windmill production, Grug, to the States. Windmill Director Rosemary Myers, who was casting for Girl Asleep when she spoke to The Adelaide Review, says the New York production will be a showcase for “some of the bigger theatres to come and see our work”. “We’ve had interest from the UK, but it’s that much easier for potential presenters from that side of the world to fly into New York to see the show than it is for them to fly all the way here to watch one show,” Myers explains. “Hopefully it will have a further life; it is a show that has to sit on a big stage and have enough people to watch it to justify the expense of putting it on. It does have a lot of people in the cast. It’s a big musical; it’s not big for a commercial musical,

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PERFORMING ARTS but for a Windmill production it’s a big show. A successful crowdfunding campaign, as well as six Helpmann nominations, has capped off a dream 2014 run for Windmill and Myers.

Myers will direct the film version of Girl Asleep, her debut feature film, which will premiere at next year’s Adelaide Film Festival, as it was funded by the Festival’s Hive Fund, which commissions ambitious art projects for the Festival. The Fund experienced success with last year’s crop, which included Matthew Bate and Gideon Obarzanek’s I Want to Dance Better at Parties, which won the DENDY Award at the Sydney Film Festival, as well as Tender and the all-star musical cast (Tim Rogers, Megan Washington and Paul Capsis) of The

BO O K

N O W

Pinocchio

Photo:Tony Lewis

“I just want to enjoy every moment of it but it’s high pressure as well. We just had a month of Pinocchio in Sydney and that went incredibly well. That was our third chance to revisit that show. It premiered in Adelaide and then we took it to the Malthouse in Melbourne for a month and then Sydney. Each time we’ve tightened the screws of the show and the storytelling. We received feedback from the audience about where maybe it wasn’t clear and where it could be more dynamic. I think we’ve got the production tight and in really good shape. To take it to New York is really... I mean the Sydney Opera House was a brilliant season but to take it to New York is a dream. It’s going to be brilliant.”

Boy Castaways. Though Girl Asleep is Windmill’s first feature, film isn’t a giant leap for the company, as its theatre work is renowned for using screen on stage.

and our show Big Bad Wolf will tour America.” Despite the interstate and international tours, Myers says Windmill’s number one priority is South Australia.

When Windmill began planning the film, Myers says they were going for a traditional filming of the play. But the producers, and funding partners, told Windmill that they commissioned them due to the fact they love Windmill’s achievements in the theatre and they wanted to see how that would translate to film. The idea was then to be bold and make something that is either “amazing or a spectacular failure”.

“They’re the kids and families that own the company in our minds. Touring is a great opportunity to create a profile for the company and generate work for the artists. If you’re an artist it’s hard to make a living and the more work we can generate for our great actors, and the more employment we can generate for them, the more we get to keep great talent in South Australia.”

“They said the worst thing we could do is make something that looks like a low budget teen flick,” Myers explains.

Are there plans to expand given that the 12-year-old company is constantly creating new work while touring interstate and overseas?

“One thing about our theatre is that it uses a lot of screen. Screen is the predominant art form of our time, and we have a lot of fun with the conventions of film in our theatre, we use a lot of slow-mo and montage, and part of the fun of our theatre shows is how we stage film live. People really enjoy that.”

“I think we’re at a bit of a point where there are so many opportunities coming our way but we do have to manage them in terms of our resources. Things such as making the film and getting Pinocchio over to New York, they’re dreams we’ve been working towards for several years. We often sit down and dream up what we want to do. We double the dreams and if half of them come true we’re doing really well, but the crazy thing about this year is that they’ve all come off.”

In November, Windmill will present its Grug sequel, Grug and the Rainbow, for local audiences, which will be directed by Sam Haren. “I think it looks better than the original Grug. I think it looks fantastic, as Grug goes out into the world. It’s a lot of fun. That will go on tour

windmill.org.au

imogen cooper One of the greatest pianists of her generation, Imogen Cooper CBE makes a long overdue return to Australia for a special program highlighting her poetic, insightful interpretations of Brahms, Schubert and Schumann.

“An outstanding artist, one of the finest pianists now playing” DAILY TELEGRAPH, UK

THURSDAY 21 AUGUST 7.30PM Adelaide Town Hall Tickets from just $42*

Visit musicaviva.com.au/Cooper | Book Now bass.net.au or 131 246 *Terms and conditions apply. Booking fees apply. Prices shown are C-Reserve

28 THE ADELAIDE REVIEW AUGUST 2014

PERFORMING ARTS

Glass Uncut, Well Almost Something halfway between Moby-Dick and The Ring might describe the scale and significance of August’s Philip Glass Trilogy as a locally produced operatic event.

BY GRAHAM STRAHLE

inimalist music will always have its share of detractors, but there can be no denying how Philip Glass has changed the course of opera in the present era. He brought opera back into the popular mind, communicating stories of our own time with a musical language that straddles the popular and classical divide. Yes, he did it almost completely by accident when, together with Robert Wilson, he created a giant, experimental, plot-less ‘dream play’ about Albert Einstein with powerfully hypnotic music that exploded all existing categories.

On the back of Einstein on the Beach’s unexpected success at the 1976 Avignon Festival, Glass was famously asked to write a ‘real opera’. That request, coming from Hans de Roo of the Netherlands Opera, gave rise

three years later to Satyagraha, a shorter, three-hour opera based on Ghandi’s philosophy of passive resistance. Then in 1984 came the third of Glass’s operas on visionary historical individuals; this was Akhnaten, which relates how the ‘heretic’ pharaoh Akhenaten bequeathed to Ancient Egypt a revolutionary new monotheist religion. Extraordinarily, it has taken until now for someone to mount all three ‘portrait’ operas in a single production. Where other opera companies have dilly-dallied about doing it, State Opera of SA is about to dive in to what’s being widely claimed as a world ﬁrst when it performs Philip Glass Trilogy this August. The claim may or may not be correct – if The New York Times’ John Rockwell review of Stuttgart Opera’s production of the three operas on consecutive nights in 1990

is anything to go by, it isn’t, although apparently that company entirely ditched Robert Wilson’s original staging.

ways, this is unﬁnished business. Structurally, the productions this time will be similar. We’re keeping what was best but maintaining each opera’s distinctive look and stories – the primal and ritualistic in Akhnaten, for instance, and the symbolism of mathematics and dark versus light in Einstein. However, the proscenium arch at Her Majesty’s Theatre requires us to take a different approach to staging. The dance element will be brought into greater prominence, so the critical job of relating narrative will take place much more on three levels – music, staging and dance.”

In any case, State Opera’s Trilogy is set to make history. Typically, quite substantial cuts are made to all three operas, particularly to Einstein on the Beach, during whose epic ﬁve-hour duration Glass actually invites audiences to wander in and out as they choose. But State Opera’s head, Timothy Sexton, says he is making only the barest alterations for the August premiere. “Basically it’s to Akhnaten. We jump a couple of numbers to join the action more quickly, and skip a repeat to enter a new section. It won’t be Glass uncut so much as beveled at the edges. The difference is only ﬁve or six minutes, which the audience won’t notice unless they are intimately familiar with the music.”

“There’ll be a lot of people on stage,” Sexton says. Dancers are being brought back from as far as Europe. A dozen extra dancers are coming from the Adelaide College of the Arts, and the chorus will nearly double in size. Mary Moore’s sets are being rebuilt, and all the costumes are new. In the pit, Sexton will be conducting not one but two orchestras: the Adelaide Symphony Orchestra in Satyagraha and Adelaide Art Orchestra in Akhnaten and Einstein.

Those with longer memories will recall, how in 2002, Sexton, in league with Leigh Warren and Dancers, staged an ‘in the round’ performance of Akhnaten at SOSA’s Netley studios. They contracted the work’s original three acts to two ‘parts’ and substituted four synthesisers for the orchestra, in an arrangement Sexton himself made. But what stood out was a beautifully expressive choreographic overlay supplied by six of Warren’s acclaimed dance troupe. In 2004, the same team took on Parts 3 and 4 of Einstein on the Beach, followed by Parts 1 and 2 two years later in the Dunstan Playhouse. They ﬁnished their exploration through Glass the next year with Satyagraha, with Adam Goodburn very memorably taking the role of Ghandi.

At its centre, of course, will be Glass’s music, about which Sexton speaks effusively, saying it has found a place at the core of contemporary culture. “It sits at the cusp of an explosion of electronic music and multiple other directions, in which he and Steve Reich brought classical music to the level of pop music. Glass’s music sets the pattern of much of what we listen to today. It is incredibly exciting to perform and hear.”

Sexton says his holy grail was always to do all three operas as a complete cycle. “In many

Says Sexton: “It will be the biggest single arts event Adelaide has seen in the last 10 years, eclipsing Moby-Dick and halfway towards The Ring in cost and number of people involved”.

» Philip Glass Trilogy State Opera of SA Tuesday, August 5 to Saturday, August 23 saopera.sa.gov.au

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PERFORMING ARTS

Guillermo Dmon, Josep Gombau and Ignacio Mas-Bagà

Adelaide International Guitar Festival Guests of The Adelaide Review attended the Guitar Festival’s Gala, which featured the Australian String Quartet with Pepe Romero, Maximo Pujol Trio and Slava Grigoryan plus the Aurora Guitar Ensemble at the Adelaide Festival Centre on Saturday, July 19. Photos Jonathan van der Knaap

Tania Garrand and Gabrielle Kelly.

Joshua Thorp and Larissa O’Rielley.

Ray Garrand and Robin Brown.

Shaun Rigney, Peter Louca and Leigh Warren.

Christine Blazincic and Gina Petrillo.

Kerry Flannagan and Michael Petrillo.

30 The Adelaide Review August 2014

PERFORMING ARTS

Beautiful Kate by Amelia Pinna

ate Miller-Heidke recently released her fourth solo album and completed a series of sold-out shows in the UK. Now, she returns to Australia to perform songs from her latest album, O Vertigo!, in a series of intimate acoustic shows around the country. “Australia is home and it always will be,” says the Brisbane-born singer-songwriter, who will perform at the Adelaide Hills’ Bird in Hand winery on Saturday, August 2. Released in March and garnering rave reviews along with a top five debut on the ARIA album chart, O Vertigo! is a fresh and unexpected collection of songs in which MillerHeidke playfully redefines the pop genre, while drawing on her classical roots to explore unchartered vocal terrain.

“Stylistically, this record is all about the voice and just being playful with it and nudging the extremities a bit,” she says of the album, which jumps from operatic falsettos to gentle voice percussion across its 13 tracks. “There’s one sound on it that my friend describes as a yodelling ambulance. I haven’t shied away from using those sorts of sounds. Overall, it’s pop music but I’d like to think that I make surprising pop music. It’s not formulaic. It’s like a mixed bag of jelly beans.” A far cry from her darkly cinematic and introspective previous album, Nightflight, Miller-Heidke’s latest work oozes fun. The album embraces a range of contemporary styles, featuring collaborations with British folk-rock singer Passenger, fellow Aussie Megan Washington and, most surprisingly, Perthbased hip hop artist Drapht. “In a lot of ways it was a reaction against my last record,” Miller-Heidke says. “It’s an eclectic mix of songs; I didn’t really strive to make one coherent statement. It’s more of a jerky ride perhaps. There are songs about love and heartbreak and feelings, but I think there’s a spontaneity about this record that wasn’t there last time.” This sense of freedom was echoed by Miller-Heidke’s decision to release her fourth solo album independently, funded through PledgeMusic in a record-breaking three days thanks to the immense support of her fans. The writing of the album was also primarily her own. “I wrote most of this album myself. A lot of it outside, walking around the Brisbane River singing into my phone like a crazy person. I think what it came down to was confidence. The fact that this is my fourth record, and because of the overwhelming success of the crowd-funding campaign to make the record, I had the luxury of seven weeks in the studio. So it was time enough to play around with things and try ideas – some of them turned out to be completely shit and others turned out to be good.” Miller-Heidke will be touring the country with a full band, performing her latest tracks alongside UK singer-songwriter and guitarist Ryan Keen. “There will be a bit of an emphasis on the new record but it’s going to be a mixture of new and old stuff. Ryan Keen, who’s opening the show, has never been out to Australia before. I think my audience will like his stuff and vice versa.”

Kate Miller-Heidke.

After her Australian tour it’s back to the UK for the European release of O Vertigo!, after which Miller-Heidke will head to the USA to perform for the New York Metropolitan Opera. The 32-year-old singer is also writing a new children’s opera for Opera Australia, which will be staged next year. Amid all the touring, it’s hard to imagine where she finds the time to write music. “I guess I’ve realised that discipline is important when I’m creating and writing. I need to force myself to write every day. As unsexy and un-rock-and-roll as it is, I just need

to have a routine. Especially with such a funny, mixed up life on the road, getting home and having a routine is, in some ways, freedom and a bit like a holiday.”

»»Kate Miller-Heidke Bird in Hand Winery Saturday, August 2 birdinhand.com.au

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PERFORMING ARTS While adapting Shakespeare for school-age audiences can prove a challenge, following the success of the company’s 2013 production of Macbeth, Hayden couldn’t ask for a better play as his send-off. “Romeo and Juliet is a fantastic play for young actors,” he says, fresh from another run-through with his cast. “I think it’s really important for the senior ensemble to experience a classic text, and to tackle Shakespeare you really need to have all the skills that an actor needs to succeed physically and emotionally.” Ranging in age from 18 to 27, Urban Myth’s Senior Ensemble is testament to the success of Hayden’s team in cultivating a talented and assured crop of young actors. With an average of ﬁve students going on to drama schools such as NIDA, Flinders and AC Arts each year, the company is well-equipped to meet any future challenges head on while continuing to provide a thriving, inner-suburban cultural hub for South Australia.

Juliet and Nurse

Take a Bow BY WALTER MARSH

aving helped guide the careers of some of South Australia’s biggest exports and rising stars – from Packed To The Rafters’ Hugh Sheridan to acclaimed young director and ActNow Theatre founder Edwin Kemp – Unley’s Urban Myth Theatre Company now ﬁnds itself on the cusp of a new era. After nearly a decade with the company, Artistic Director and CEO Glenn Hayden is wrapping up a tenure that has overseen some of the biggest changes in the company’s 32-year history, most recently relocating to its new home at the 130-year-old theatre, Goodwood Institute.

While the move to the 212-seat theatre has thrown some challenges, Hayden and his team are keen to celebrate the company’s past, present and promising future with Hearts & Fire, a gala performance of the company’s new production of Romeo and Juliet. With a silent auction, wine wall and a range of door prizes, the August 15 event is the latest in a series of initiatives to secure Urban Myth’s future at its current Goodwood Road location. “The dream is for the building to become an international centre of performing arts with

a focus on young people,” Hayden explains. “We want this to be a really funky venue where theatre, bands, spoken word, dance and visual arts can all come together in the one place in Unley.

company,” he says. “It’s especially important, with a youth theatre company like Urban Myth, that it’s revitalised every decade to make sure it remains both contemporary and energised by an injection of new ideas and directions.”

“This is the ﬁrst gala we’ve held and it will be quite fabulous. [Adelaide jeweller] Albert Bensimon has designed a special ‘Hearts & Fire’ pendant inspired by Romeo and Juliet which will be auctioned off on the night.”

Season 2 O 1 4

Although fundraising remains an ongoing challenge, with a busy production schedule throughout August and September, the company will continue to do what they do best: engage audiences young and old with the unique magic of theatre, while nurturing a new generation of actors and directors. The August run of Romeo and Juliet will also serve as Hayden’s directorial curtain call with Urban Myth.

» Romeo & Juliet Wednesday, August 13 to Saturday, August 23 The Goodwood Institute urbanmytheatrecompany.blogspot.com.au

Yankalilla Acoustic Music Group presents

THE 3ND ANNUAL

ACOUSTIC ROOTS Bluegrass and beyond Including: The Heggarties Chris Finnen The Company Carol Bean & Tony Burt Astro Cobalt The Cherry Pickers

“Ten years is a long time, so I think it’s time to let some new blood come in to the

Come and join us for great concerts, jam sessions and even a few masterclasses.

Siempre Tango ... be seduced

Argentine Tango classes two for one special.

Enroll for Siempre Tango’s beginners course beginning 17 August 2014, and you may bring along your dance partner for free! (usual fee for 4-week introductory class $50 per person).

Enrolment is essential. To enquire about our upcoming classes please contact 0400 257 027 or dance@siempretango.net.au For details on upcoming specials, events and classes for all skill levels, check online at www.siempretango.net.au

Gala Concert

Youth Revolution Sunday 31 auguSt 2014 3.00pm Adelaide town hall

a d e l a i d e yo u t h o r c h e S t r a keith crellin oaM Conductor a d e l a i d e yo u t h W i n d o r c h e S t r a Bryan griffiths Conductor a d e l a i d e yo u t h S i n f o n i a Peter handsworth Conductor a d e l a i d e yo u t h S t r i n g S Martin Butler Conductor Book at BaSS 131 246 www.bass.net.au

Book early – tickets sell fast!

www.adyo.com.au

Where Wirrina Resort & Conference Centre Wirrina Cove South Australia When 5–7 September 2014

TICKETS AVAILABLE NOW info@wirrinabluegrass.com www.wirrinabluegrass.com

32 THE ADELAIDE REVIEW AUGUST 2014

PERFORMING ARTS

THIS MONTH THE ADELAIDE REVIEW’S GUIDE TO AUGUST’S HIGHLIGHT PERFORMING ARTS EVENTS

RICHARD TOGNETTI AND THE ASO Friday, August 1 and Saturday, August 2 Adelaide Town Hall aso.com.au

The Cast of The Importance of Being Earnest

Seriously Trivial For stage veteran Nancye Hayes, Oscar Wilde’s infamous upperclass snob Lady Bracknell is a bucket list role, or as Hayes jokes in her best Lady Bracknell voice – a “bouquet list” role. BY DAVID KNIGHT

ydneysider Hayes, who ﬁrst performed in Adelaide in 1962 (My Fair Lady), will star as Lady Bracknell in the State Theatre’s production of Wilde’s last and most wellknown work The Importance of Being Earnest opposite Adelaide actor Nathan O’Keefe, who plays Algernon. Hayes agrees that Bracknell is a more daunting role than other iconic characters she has played in musicals and theatre, such as The Glass Menagerie’s Amanda Wingﬁeld. “I think so – well, everyone goes, ‘Oh, you’re playing Lady Bracknell’ but it’s like everyone has sort of played it, so there’s that anticipation of what has gone before,” Hayes explains. “And while you need to keep an element of that, because she is what she is, I mean she’s very authoritative and a very snobbish woman – how delish to play all these things – but that’s what she is, and I think that within that premise of what she is as a character, that Wilde has written, trying to put your own stamp on it is important but she still has to be played in that way.”

The Importance of Being Earnest (whose subheading, A Trivial Comedy for Serious People, says it all) is a late 19th century satire of the Victorian upper class. It was ﬁrst performed just a few months before Wilde was imprisoned for homosexuality in 1895 and was the last piece he ever wrote. Hayes, who spoke to The Adelaide Review during rehearsals, says Earnest stands out for its “extraordinary dialogue”. “There are so many words that are just not used constantly, so getting it into your mind is one thing and getting it out of your mouth is another. So we’re just getting over that now [in rehearsals] and we’re just starting to hit that rhythm, because it is a very particular rhythm that he writes in and it’s wonderful.” Hayes, who recently had a Sydney theatre named after her, has been a staple of Australian theatre since the 60s. She says she wanted to be on stage

from an early age but her mother wasn’t keen on that idea, so Hayes agreed go to secretary school to please her mother, which she did for a year. “We had a sort of a bargain, I suppose would be the word, that I would work for two years and then she felt I would have, as they say, something to fall back on. So I did that and then I started auditioning and I almost went straight into My Fair Lady and went on from there. So I was glad to get out of the forestry commission. I had the job of typing the number of railway sleepers that went to India. They were endless lists and if you made a mistake in those days you had to start again, so it was a bit stultifying I must say but I did meet some wonderful people and they’ve always come over the years to see my shows. I used to have my leotard and tap shoes and everything else in the ﬁling cabinet and going off to classes and things.” Her mother was in My Fair Lady’s audience. “She was proud. She saw me do Sweet Charity which was a very big break back in those days because Australia didn’t really have Australians in leading roles then – JC Williamson had the policy that they would bring in imported artists to play the lead roles and Australians would do the supports. Then Australian audiences started to want to see people that they were beginning to follow in the leading roles and that’s when Jill Perryman went into Funny Girl and they gave me Sweet Charity the following year and Toni Lamond, of course, in Pyjama Game.”

» The Importance of Being Earnest Dunstan Playhouse Continues until Saturday, August 16 statetheatrecompany.com.au

Acclaimed violinist Richard Tognetti, Australian Chamber Orchestra’s Artist Director, leads the Adelaide Symphony Orchestra for Masters 6. Tognetti and the ASO will perform Charles Ives’ Three Places in New England, Michael Tippett’s Corelli Fantasia and Beethoven’s Sixth Symphony.

REASSESSMENT: A DOUBLE BILL Space Theatre Wednesday, August 6 to Saturday, August 9 adelaidefestivalcentre.com.au New Artistic Director of Leigh Warren and Dancers, Daniel Jaber, presents a work in two parts, as he asks both the performers and audience to consider how they judge in regards to gender roles and normalisation with his new contemporary dance double-header Reassessment.

ED KUEPPER The Governor Hindmarsh Friday, August 8 thekuepperfiles.com Former The Saints and Laughing Clowns guitarist and songwriter Ed Kuepper returns to Adelaide to tour his latest album The Return of the Mail-Order Bridegroom. Kuepper, who toured as part of Nick Cave’s The Bad Seeds, is one of this country’s finest punk, post punk and alternative artists.

RUSSELL MORRIS The Governor Hindmarsh Friday, August 22 thegov.com.au The Real Thing singer Russell Morris has returned with a vengeance with his latest two albums Sharkmouth and Van Diemen’s Land, which are the first two installments of a trilogy of albums based on national folklore. With both critically acclaimed albums hitting the top 10, the ARIA Hall of Fame inductee is in career best form.

THE ADELAIDE REVIEW AUGUST 2014 33

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PERFORMING ARTS

Bunking Down with Bach

Adelaide Symphony Orchestra Performances to inspire you in August and September THE MOLDAU - MY HOMELAND Master Series 7 Master 5

29 & 30 August, Adelaide Town Hall Christopher Seaman Conductor Smetana Ma Vlast : Vltava (The Moldau) Sibelius Karelia Suite Strauss Tod und Verklärung (Death and Transfiguration)

BY GRAHAM STRAHLE

ne of the Elder Conservatorium’s highest proﬁle events of yesteryear was its Bach Festival, which Beryl Kimber OBE started in the late 1970s and ran annually from 1980 to 1996. Comprising a fortnight of lunch-hour concerts in Elder Hall, it was just one of many things Kimber did to elevate the Conservatorium’s public proﬁle – plus teach many of Australia’s leading younger generation of violinists.

Go on a musical journey to the Czech Republic with Smetana’s evocative Ma Vlast, then travel further north to Finland with Sibelius’ rousing Karelia Suite. The evening ends with Richard Strauss’ powerful symphonic poem Death and Transfiguration.

OUR DON New Music Now Series

Well, the good news is that the festival is back. Elizabeth Koch, formerly ﬂute principal in the ASO and now head of performance and woodwind at the Con, has taken on curating a three-day Bach Festival from Friday, September 5 to Sunday, September 7.

Thursday 14 August 7pm, Adelaide Town Hall Koehne Square order shuffle Golijov Songs - Greta Bradman Soprano Williams Our Don - Gary Sweet Narrator

As before, there will be a mix of leading local and interstate musicians, plus a few “ﬁrsts”. “It’s the one thing I’ve most loved to do after running a series of ﬂute festivals,” Koch says. “There’s the Mostly Mozart Festival in New York, which has been drawing extremely healthy audiences for years, and there’s so much music that one can base an event like this on that it seems a formula worth developing with fresh ideas.” The opening lunchtime concert sees Lachlan Bramble directing the Elder Conservatorium Chamber Orchestra in an arrangement of the famous Toccata and Fugue in D minor. “Lachlan’s got a wonderful relationship with the young players – he’s just the person for it,” says Koch. The ASO’s oboist Celia Craig and violinist Elizabeth Layton are soloists in the Concerto for Violin and Oboe in C minor, and Lisa Gill, also from the ASO, plays in the Orchestral Suite No. 2. Christopher Wrench plays the Elder Hall’s wonderful Casavant organ in works by J.S. Bach and his son C.P.E Bach, the 300th anniversary of whose birth is being celebrated this year. Says Koch: “A big screen using video projection will enable people to see every detail of him [Wrench] performing. People have loved this in previous concerts.” In the evening, baroque violinist Lucinda Moon plays three sonatas in partnership with John O’Donnell on harpsichord and chamber organ – Pilgrim Church’s marvellous little instrument made by Kenneth Tickell.

The pick of the Con’s top students give a concert on day two preceded by chorales by the Conservatorium Brass Ensemble. Then comes Brandenburg Concerto No. 4 in the Adelaide Baroque Orchestra’s debut concert presented by Adelaide Baroque. A staff concert follows, with soprano Rosalind Martin singing three Bach arias – violinist Wendy Heiligenberg, Craig and Koch herself, join her. Up late, jazz chanteuse Michelle Nicolle sings Bach with the Michelle Nicolle Quartet. Renowned young Adelaide pianist Mekhla Kumar returns from Freiburg for the last day in arrangements of Bach organ works, and Timothy Nott’s Ensemble Gallant performs Ich Habe Genug with soprano Tessa Miller. All through the festival, Art Gallery Food + Wine will serve German breakfasts, lunches, dinners “and everything in between”, says Koch. “Audiences might feel they could actually live on North Terrace for the whole three days.”

Our Don, a new multimedia musical portrait for orchestra and narrator by South Australian composer Natalie Williams. Interwoven with stunning archival video, and words by Bradman biographer, Peter Allen. Commissioned by the State Government of South Australia

BEETHOVEN FEST 15 Aug, 12-20 Sept Beethoven Festival 1 12 & 13 September Beethoven Festival 2 19 & 20 September And a series of events for every musical enthusiast Conduct Your Orchestra 15 August Chamber Music Concert 14 Sept Moonlight Dinner 13 Sept Film: Beethoven’s Hair 17 & 18 Sept Classical Conversation 18 Sept

For more information visit aso.com.au

» Bach Festival Elder Hall Friday, September 5 to Sunday, September 7 music.adelaide.edu.au/elderhall/concerts/bach

Tickets from $33.30 Book at bass.net.au or 131 246

34 THE ADELAIDE REVIEW AUGUST 2014

PERFORMING ARTS

Rite of Return

“because I had danced in Pina Bausch’s Rite Of Spring and it was a masterpiece.” Indeed, the origin of The Oracle owes more to serendipity than particular ambition. Tankard was working in the studio with Australian dancer Paul White and her partner and set designer Regis Lansac, when she stumbled upon the idea of working with the Rite of Spring. Inspired by a book she had about the painter Odd Nerdrum, she asked White to create a sequence based on the idea of an earthquake. Later that day, while she and Lansac were reviewing video of the piece, Tankard suggested they try and match it to Rite.

When controversial choreographer Meryl Tankard jets back into town to remount her serendipitous interpretation of Stravinsky’s Rite Of Spring, she will bring her past, present and possible future with her. Cue The Oracle.

“We could not believe it,” she recalls. “We fast forwarded Paul’s body by about six seconds and it looked like we had created a dance to that piece of music. And that actual piece remains in the work to this day.”

BY PAUL RANSOM

gor Stravinsky’s much loved (and loathed) Rite Of Spring has fascinated and confounded critics, audiences and choreographers since it made its literally riotous Paris debut in 1913, when Diaghilev’s Ballets Russes, with the legendary Nijinsky at the creative helm, shocked their patrons with a dangerous story of pagan ritual sacriﬁce.

As much as the complex rhythm of Stravinsky’s music represents a challenge for the choreographer, it also creates issues for the dancer. Fortunately, Tankard’s collaborator Paul White is one of this country’s foremost dance artists and a man of rare creative and athletic ability. “What was interesting was that I had danced to that music so many times but when I was working with Paul’s male body – and of course the sacrifice is female – it just made me look at it and hear the music in a completely different way,” Tankard explains.

Since then, Rite has been interpreted by ballet and contemporary companies the world over, including Pina Bausch’s Wuppertaler Tanztheater and, more recently, Michael Keegan-Dolan’s Fabulous Beast. Most have tended to use ensemble casts to recreate Stravinsky’s violent pre-Christian motifs. Tankard is breaking that mould. When she returns to the Festival Centre to restage her international hit The Oracle she will do so using just one male dancer. It may sound like a risky and surprising creative venture but for locals who recall Tankard’s tenure as Artistic Director of the Australian Dance Theatre (ADT), this will come as no great shock. With works like Furioso and Aurora, Tankard marked herself out as a truly forceful auteur, one unafraid to ruffle the feathers of convention. Since her

Using just four elements (a heavy velvet cloak, a bonnet, a pair of underpants and a fur stole) Tankard and White set out to recreate the maelstrom of the pagan ritual. “So with the clothes I tried to make Paul become all the characters. At times it felt like there were hundreds of girls on stage, so I was able follow the story of the maidens preparing for the spring festival.” controversial departure from ADT in 1999, she has created works for the Australian Ballet, Lyon Ballet, Nederlands Dans Theater and, even, Disney.

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However, even for someone as adventurous as Tankard, Stravinsky’s notoriously ‘difﬁcult’ score represented a challenge. “It was not something I ever wanted to do,” she says frankly from her base in the south of France,

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The Adelaide Review August 2014 35

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CINEMA sometimes test the concentration of the auditorium. For Tankard, the desire to keep the piece “pure and minimal” while maintaining the dynamism of Rite’s narrative meant that the lighting and Regis Lansac’s visuals were more than usually critical. “I always feel that it’s not a solo that you could do justice to in a studio because Paul really dances with the light; that’s really powerful because it creates this force around him.” Clearly, the artistic choices that Tankard, Lansac and White made have served them well. Since its 2009 Sydney premiere, The Oracle has toured extensively and been showered with accolades. Adelaide audiences will doubtless be hoping that the work retains its freshness and vigour, despite it having being performed dozens of times over five years. It should therefore please them to note that its creator is still tinkering. “There’s a very strong structure but, y’know, those fine little details, little nuances that you can still get more out of, I still have notes for Paul about them.” White’s virtuosity, Tankard’s vision and Stravinsky’s arresting score aside, there remains one obvious curio about The Oracle. Why Oracle and not Rite? Here again the paintings of Swedish artist Odd Nerdrum provided the springboard. His large canvases are frequently rich in allegorical and apocalyptic imagery, often setting people in desolate landscapes. As Tankard says, it’s very much about humanity in the context of nature. “I just thought it was appropriate because the oracle was someone who derived their power through nature, who could foretell the future because they would hear it in the birdsong. Y’know, the birds would tell him that there was going to be a storm or an earthquake. So I just thought that there was this connection to the earth that we’ve lost now and I really wanted to bring that out.” Of course, this is underscored by the fact that dance (along with drumming and singing), is the most primitive and elemental artform and one steeped in ritual. The power of The Oracle, although augmented by the modern inventions of choreography, theatrical staging and orchestral music, stems from the notion of one man alone and ultimately naked in a world that will eventually kill him. In this, it is as much about our ever-present mortality as any lucid dream of the future.

»»The Oracle Dunstan Playhouse Wednesday, August 20 to Saturday, August 23 adelaidefestivalcentre.com.au

The 100-YearOld Man Who Climbed Out the Window and Disappeared by Christopher Sanders

candinavia is in vogue for Nordic Noir on the small and big screen, as well as on the page. From The Bridge to Jo Nesbo, we’ve witnessed many Scandinavian characters get brutally murdered while detectives cross the thin blue line to solve the crimes. Crime drama is an easier genre to cross the cultural and language divides than comedy, but The 100-Year-Old Man Who Climbed Out the Window and Disappeared proves that Scandinavia can produce a comedy vehicle as satisfying to English-speaking audiences as The Killing. Based on the best-selling novel by Jonas Jonasson, the Swedish movie with a hideously long title announces itself as a dark and shocking comedy from the opening scene. The main character Allan (Robert Gustafsson) loses his beloved cat to a fox. He then attaches a bunch of hot dogs to many sticks of dynamite, waits for Mr Fox to return, and blows his cat’s murderer to smithereens. If this scene doesn’t tickle your funny bone, then The 100-Year-Old Man... isn’t the film for you. After this explosive opening, Allan is sent to a nursing home and escapes through the window on the day of his 100th birthday. With no plans, he winds up at a bus station, buys a ticket to a small town in the middle of nowhere, but before boarding, kindly looks after a bikie’s suitcase when the bikie visits the restroom. Allan,

of course, hops on the bus with suitcase in hand, which, unsurprisingly, is full of cash. The dark comedy switches from the present day, where Allan and his band of new friends escape from the bikies, to flashback sequences, as we discover that his love of blowing things up began at an early age. His explosive tendencies led Allan to a rich life, as like Forrest Gump, the seemingly simple Allan mixed with historical figures (Stalin, General Franco and Harry Truman) but unlike Gump, Allan wasn’t

exactly noble. Directed by Felix Herngen, The 100-Year-Old Man... is worth the price of admission for its shock laughs and a brilliant performance in the lead by Swedish comedian Gustafsson.

»»The 100-Year-Old Man Who Climbed Out the Window and Disappeared opens on August 21

36 THE ADELAIDE REVIEW AUGUST 2014

CINEMA

Clio Barnard and The Selfish Giant BY DM BRADLEY

W MAGIC IN THE MOONLIGHT SA

riter/director Clio Barnard’s ﬁrst proper feature The Selﬁsh Giant is drawn from one of Oscar Wilde’s children’s stories (originally published in an 1888 volume) but it’s been much changed, especially by taking out the giant. “Wilde wrote lots of fairy tales,” Barnard explains. “It’s only about four pages long… But it was my favourite. It’s a story where there’s a giant who won’t let children play in his garden, and I think that it’s about what happens when you exclude children, and the things of real value that get lost.”

The Selﬁsh Giant also draws inspiration from Barnard’s’s previous effort, 2010’s The Arbor, which she describes as “not strictly a documentary, a sort of hybrid”. “It’s set on the same street in Bradford, and when I was making The Arbor there were lots of kids around and I got to know a few of them, and I discovered that lots of teenage boys there are simply not going to secondary school. I felt angry about the lack of opportunity for them, and the way that they’re pushed to the edge, out of the way... I really just wanted to make a movie where people would care about these kids that I’d got to know.” Many members of The Selfish Giant’s cast were non-actors, including the two leads, Conner Chapman (as a kid symbolically named Arbor) and Shaun Thomas (as his mate Swifty). “Neither of them had ever acted before and when Conner came to the first casting session, he thought it was for a school play. He was really only there to get out of lessons… What both of them had was a strong instinct for story and storytelling, especially storytelling about their own lives. I believed in their imaginations, and I could tell that they could really engage with the reality of the story.”

THE KEEPER OF LOST CAUSES BY NIGEL RANDALL

HHHH “Casts a lovely, lingering spell” TIME OUT NEW YORK

“Romance blooms under the sun and stars” VARIETY

IN CINEMAS

AUGUST 28

There is nothing much new about Mikkel Norgaard’s The Keeper of Lost Causes. Another in the recent line of Scandinavian crime thrillers adapted from a best-selling novel, which while not offering much new to the genre, is crafted well enough to sustain the suspense and interest to its predictable end. Nikolaj Lie Kaas (who looks like a Danish cross between Mark Wahlberg and Jason Bateman) plays hand-quivering, pill-popping cop Carl Morck, who is assigned to the newly created ‘Department Q’ on returning to work after being shot in the line of duty. His new assignment is to sort and close 20 years of cold cases with the assistance from cheery and clearly mismatched Assad (Lebanese-born Swedish actor Fares Fares from Zero Dark Thirty). Carl’s been shoved down to the basement as much for his prickly social skills as for his post-trauma rehabilitation. True

Shot in a naturalistic, low-budget way (which meant that it was “absolutely freezing in February”), Barnard is comfortable with the inevitable comparisons to the work of filmmaker Ken Loach. “Ken’s film Kes was a big influence on The Selfish Giant, and it’s a wonderful film. When I was researching and writing and developing my film, I was interested in sort of ‘realist fables’ that are about children for children, and I watched a lot of these films with my own children, including Kes and Samira Makhmalbaf’s The Apple and Truffaut’s The 400 Blows. They’re films about kids that are seemingly so simple, and kids get a lot out of them… It’s useful for kids to see that experience, and to see that life can be hard, and to have that experience reflected back at them. It’s not always about happy endings.” Uneasy about discussing her next film, Barnard reveals that it’s based on a novel, but adds, “I’m too deeply immersed in it and preoccupied with it to really talk about it… The novel is Trespass by Rose Tremain – but that’s all I’m going to say.”

» The Selfish Giant (MA) is screening at Palace Nova Eastend Cinemas

to the ‘loner battling demons doing it his way’ stereotype that he is, Carl defies his boss’s orders and starts re-investigating a case of Merete (Sonja Richter), whose apparent suicide left behind a mentally disabled brother, Uffe (Mikkel Boe Folsgaard), for whom she cared. The dual narratives – one focusing on the police procedural as they slowly piece together the truth of the case and the other revealing Merete’s backstory leading up to her present day ongoing ordeal – are edited together with care for clarity and pacing. Scenes in which Merete is held captive in a pressure chamber and systematically tortured are tense indeed, with some viewers possibly finding one in particular too much to bear. If you think you can handle it though, and the milder torture of familiar stock genre conventions, then The Keeper of Lost Causes is a sharply structured, well-performed and gripping film… in a squirm-in-your-chair kind of way.

» The Keeper of Lost Causes is in cinemas now. Rated MA.

THE ADELAIDE REVIEW AUGUST 2014 37

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SALA FESTIVAL

SALA F E S T I VA L 2014

CONTENTS

NICHOLAS FOLLAND

JAMES DODD

THE WATERHOUSE

MADISON BYCROFT

CENTENNIAL PARK

SALA WINNERS

56 south australian living artists festival

1 – 24 AU G U ST 2 01 4 Artist: Nicholas Folland, Untitled (study) 2014

salafestival.com

38 THE ADELAIDE REVIEW AUGUST 2014

SALA FESTIVAL 2014

SALA FESTIVAL The SALA Festival returns with more than 4,500 local artists participating in nearly 550 exhibitions across the state throughout August. With exhibitions housed in galleries, ofﬁce buildings, pubs and, for the ﬁrst time, cemeteries, there are plenty of spaces and art to explore, including three exhibitions featuring this year’s Monograph recipient, Nicholas Folland, whose work is on this month’s cover. Jane Llewellyn interviews Folland on page 41, other artists interviewed for this year’s SALA feature include Madison Bycroft and James Dodd.

Adelaide Central Gallery. VR Morrison, Little Beast (Baby Vanitas), 2013, oil on Mahogany, 50cm x 50cm

Adelaide Convention Centre. Caitlin Millard – Circular

Adelaide Central Gallery

Adelaide Convention Centre and Regattas Bistro

7 Mulberry Road, Glenside

GALLERY ONE

MITCHAM PRESENTS

ELEMENTS Andrew Barr; Liam Barr; Robyn Barratt ;John Blines;

Continues until Friday, August 22

Julie Cutts; Naomi Campbell; Wende Dahl; Mem Graham; Judith Hombsch; Eric Hudson; Anthea Jones; Belinda Keyte; Sydney La Faber; Therese Molloy; Nicola Neutze;

ACSA.SA.EDU.AU

Liesbeth Pockett; Robyn Quinn; Fabian Rojas;Lauren

North Terrace, Adelaide Centre ArtBeat SALA Showcase Adelaide Convention Centre will showcase four visual art collections as part of its Centre ArtBeat initiative program. Artists and their titled works include Caitlin Millard – Circular, Chelle Destefano – A Collection of the Rainbow Abstract and Michelle Willsmore – Victoria’s Secrets. Artists will be able to take advantage of vast wall space and an abundance of natural light throughout the Centre to illuminate their works during the Festival.

and Todd Salter; Linda Schofield; Erika Walter

Continues until Monday, September 1 (9am-5pm) Official public opening event Tuesday, August 5 (5.30-7pm)

GALLERY ONE, ATRIUM AND EAST WING MITCHAM CULTURAL VILLAGE

3-24 August Mon-Fri 10.30-4.30 pm, Sat-Sun 11.00-4.00pm Weekends- Open Studio Phone: 08 8272 4504 Email: office@galleryone.org.au Website: www.galleryone.org.au

Angela Black & Joanna Poulson 3 August to 31 August 2014 Official Opening Sunday August 3rd, 3-5 pm

The British Hotel 58 Finnis Street, North Adelaide www.angelablack.com.au www.joannapoulson.com.au

LAKE TEKAPO

PERPETUAL JOURNEY

FACEBOOK.COM/CENTREARTBEAT

JOANNA POULSON

Gallery One Cnr 1 Torrens Street / Princes Road Mitcham

ANGELA BLACK LEVI AND LEROY

Fabian Rojas, Ignis. Mixed Media

Gallery One and City of Mitcham Collaboration

Telling Telling brings together work by five artists (Nerissa Lea, Chelsea Lehmann, VR Morrison, Anna Platten and Marie Peter-Toltz} who use narrative to explore some of their concerns, experiences and psychological landscapes. These narratives are of both personal and broader significance and employ the agency of materials and figuration as a means to engage the viewer in the specific context of story.

THE ADELAIDE REVIEW AUGUST 2014 39

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SALA FESTIVAL 2014

Allyson Parsons Art. Allyson Parsons. Made in Strahan

Alfred James Funeral Directors

Allyson Parsons Art

Art Gallery of South Australia

1564 Port Vincent-Minlaton Road, Port Vincent

North Terrace, Adelaide

164 Port Road, Alberton Ray Meandering: Light of Memories in Honouring Life Local artist Ray Meandering will convert the Alfred James Alberton funeral home into the most appropriate exhibition space for this year’s SALA festival. The exhibition titled Light of Memories in Honouring Life, focuses on closure, saying goodbye and seeking a place of rest. Adelaide’s father of funerals, Alfred James, is also posthumously referenced in this thought-provoking piece. Friday, August 1 to Friday, August 29 (Monday to Friday 9am-5pm)

Allyson Parsons & Marie Parsons: The Farmhouse Exhibition This SALA exhibition at the Farmhouse near Port Vincent will showcase paintings, pastels and charcoal drawings by Allyson Parsons, Allyson’s son Henry and her mother Marie Parsons. Landscapes featured are Yorke Peninsula, Flinders Ranges, far north South Australia and Tasmania. Also exhibiting still life subjects and Henry’s first exhibits. Sunday, August 3, 10, 17 (2-5pm, or by appointment) ALLYSONPARSONSART.COM

ALFREDJAMES.COM.AU PARTPART.NET/RAY-MEANDERING

Art Gallery of South Australia. Nicholas Folland, Doldrum, 2005, found boat, crystal and glassware, fluorescent light, dimensions variable, temporary installation, courtesy the artist and Ryan Renshaw Gallery, Brisbane

Nicholas Folland: The extreme climate of Nicholas Folland Staged to coincide with the release of the SALA and Wakefield Press monograph on

Nicholas Folland, this exhibition explores the polarities at play in Folland’s work. From the arid to the glacial, The extreme climate of Nicholas Folland will showcase key examples of Folland’s work alongside works of art from the Art Gallery’s collection. Continues until Sunday, November 30 ARTGALLERY.SA.GOV.AU

Recent works by Greg O’Leary

Still Life with blue vase, oil on canvas, 50 cm x 40 cm

Alfred James Funeral Directors. ‘Alfred James’ and ‘Music amongst the trees’. Image credit: Ray Meandering. Medium: Multiple Mediums

Gallery 239 239 Cross Road Cumberland Park T: 08 8351 4163

Works for sale Portrait demonstration Studio clearance sale Afternoon tea

Sundays during August (3, 10, 17) 2-5 pm, or by appointment www.gregoleary.com.au

SALA EXHIBITION Best of Watercolour, Anita Bentley, Julie Lawry, Lorraine Lewitzka, Diana Mitchell, Arthur Phillips, Alan Louis Ramachandran and Gerhardt Ritter.

The Red Umbrella by Lorraine Lewitzka.

Opening on 27th July until 14th August.

DAVID SUMNER GALLERY 359 Greenhill Road Toorak Gardens Ph: 8332 7900

Tues to Fri 11-5 | Sat to Sun 2-5 www.david-sumner-gallery.com

40 THE ADELAIDE REVIEW AUGUST 2014

SALA FESTIVAL 2014

Art Hunt Studio

Art Hunt Studio. Enchanted forest (detail), Tamara Huntington, acrylic on canvas

Art Images Gallery. Eliza Piro, Exotic Gathering (detail), acrylic on canvas

Beltana House. Cheryl Bridgart, On the Dark Side (detail), freehand embroidery on canvas (48 x 64cm)

Through her large colourful abstracts she hopes to share universal love and light with you all.

Art Images Gallery

Beltana House

32 The Parade, Norwood

364 Carrington Street, Adelaide

Patterns and Rhythms Patterns and Rhythms is a themed exhibition focussing on repetition and movement. The artists will reference textiles, organic and natural patterning, rhythms of nature and music, abstract contemplations and microscopic motifs. Artists: Annabelle Collett, Rebecca Cooke, Ann Newmarch, Megan O’Hara, Eliza Piro, Mark Warren and Ian Willding.

Cheryl Bridgart: A Black Tie Affair An intimate experience of the extraordinary detail of the ‘drawn’ stitch. This visual feast of stitched narratives in the form of wall-art, men’s one-off waistcoats, bow-ties, hats and colourful paintings all respond to and celebrate the title. Dream-based inspirational drawings on show along with Cheryl Bridgart working in her studio.

250 Pirie Street, Adelaide Tamara Huntington: Shot With Love Tamara Huntington is a local Adelaide artist packed with a life of travel and creative endeavours. Her passion for painting has inspired her to open her own studio at 250 Pirie St, Adelaide. Art Hunt Studio has a vibrant feeling evoking happiness and love.

Friday, August 1 to Saturday, August 30 (Wednesday and Thursday 10am-4pm, Friday and Saturday 12-4pm, Sunday to Tuesday by appointment). Permanent studio open beyond SALA dates. ARTHUNTSTUDIO.COM.AU

Red Poles SALA exhibition

Fleurieu Flavours

Polymer discs, Belinda Shaw.

Mixed media group exhibition which is an artistic response to the poem “Ode to the Artichoke” by Pablo Neruda

Sunday, August 10 to Saturday, August 23 (daily 11am-5pm)

ARTIMAGESGALLERY.COM.AU

BRIDGART.COM

The Aphrodisiac Part 2, Sarah-Jayne Prince.

From July 26 to August 24

Friday, August 1 to Sunday, August 24

190 McMurtrie Road, McLaren Vale SA 5171. Open Public Holidays – Live Music Sundays 08 8323 8994 redpoles@redpoles.com.au www.redpoles.com.au

THE

Microscope Project Nicholas Folland, Ian Gibbins, Deb Jones, Catherine Truman, Angela Valamanesh Flinders University City Gallery

26 July - 21 September 2014

State Library of South Australia, North Terrace, Adelaide Tue - Fri 11am - 4pm, Sat & Sun 12 - 4pm www.flinders.edu.au/artmuseum

Ian Gibbins, Deb Jones and Catherine Truman, Thesaurus of Reconstructive Microscopy (detail), 2014, mixed media installation, dimensions variable, courtesy the artists. Photograph Catherine Truman

The Adelaide Review August 2014 41

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SALA FESTIVAL 2014

Nicholas Folland If you are yet to encounter the work of Adelaide artist Nicholas Folland, that’s about to change. Not only is he the subject of this year’s South Australian Living Artists (SALA) monograph (published by Wakefield Press) but his work also features in three SALA exhibitions to coincide with the publication’s release.

Untitled (1-6), 2013, found crystal vases, LED lights, dimensions variable Artist with Untitled (study), 2014,taxidermy deer, chandelier crystal, 80 x 65 x 60cm. Photo Saul Steed

olland likes to collect things and is drawn to materials and objects that are instilled with history. He manipulates and reconfigures these often-familiar objects and draws on the audience’s association with them. It’s this connection, and how these objects might ignite something from our past, that interests Folland.

The survey show at the Art Gallery of South Australia, particularly, highlights Folland’s interest in exploration and discovery, and contextualises the works by exhibiting them alongside other works from the AGSA’s colonial collection.

“A lot of the cut crystal I use is essentially quite kitsch and archaic stuff, but certainly for my parents’ generation it was a classic wedding gift,” he explains.

“A lot of my work deals with early narratives of Australian exploration or discovery but also has some links back to my own family’s history coming across to Australia,” explains Folland, whose ancestors arrived at Holdfast Bay in Adelaide in 1839.

While these pieces were often kept at the back of the cupboard and rarely taken out, they were never thrown away. In works such as Floe and Jump Up, he combines expensive crystal with cheap glassware. “I like the kind of democracy that is set up once you begin to put things together like that. The other thing I am aware of is that, because people have associations with the material, they tend to see the work on a number of levels.” In other works, where Folland uses items of furniture, it’s furniture that aspires to be antique rather than the genuine pieces. “It might have a thin veneer of an expensive material but it is essentially a cheaper production and there is

Works like Doldrum, a boat filled with crystal and glassware, and Rose, a model ship in a perfume bottle, make reference to maritime encounters. Folland: “Narratives of early exploration have often inspired my works, a lot of my boats in bottles are about boats that have gotten lost on journeys in and around Australia.” Other works in the exhibition reference the expeditions of early explorers into the centre of Australia who battled extreme heat and isolation. In the work Mount Hopeless, which consists of heated granite boulders, Folland encapsulates the despair felt by Edward John Eyre when he abandoned his expedition and named the stony rise in the Flinders Ranges.

There are also a number of works that deal with polar exploration and the climatic circumstances of the glacial environment. Whether they are explorations on the sea, land or ice, Folland is interested in the expectations and disappointments that are associated with these journeys.

The Extreme Climate of Nicholas Folland Art Gallery of South Australia Continues until Sunday, November 30 The Microscope Project

“There is a lot of tragedy in those stories and something that interests me is the fine line between success and failure and the vulnerability of people going through new encounters. The more I travel the more I become interested in those narratives and the history of travel.”

CHERYL BRIDGART

‘A Black Tie Affair’ August 10 to August 23 Daily 11am to 5pm Beltana House, 364 Carrington Street Adelaide Ph. 0417813779 www.bridgart.com Cheryl Bridgart Artist

Flinders University City Gallery Continues until Sunday, September 21 Touch and Go Greenaway Gallery Continues until Sunday, August 31 nicholasfolland.com.au

A Black Tie Affair, Cheryl Bridgart - freehand embroidery on paper (56 x 66cm)

By Jane Llewellyn

something I like about that mass production that works very well with the kind of mass of materials I tend to clump together.”

42 THE ADELAIDE REVIEW AUGUST 2014

SALA FESTIVAL 2014

BMG ART 444 South Road, Marleston Don Rankin: Still life This collection of recent works reflects Don Rankin’s keen knowledge of the history of oil painting. The transience of life and the pleasure taken in everyday objects lie at the heart of his aesthetic, but these are hardly conventional representations – they belong to the now. This will be Rankin’s first solo show in Adelaide since 2005. Continues until Saturday, August 16 (Tuesday to Friday 11am-5pm, Saturday 2pm-5pm) BMGART. Don Rankin’s Two Quinces

BMGART.COM.AU

The British Hotel. London, 1979 Joanna Poulson (detail), Oil on Canvas

The City of Unley. Good wood Sean Mullarkey Photography

The British Hotel

City of Unley

58 Finnis Street, North Adelaide Angela Black & Joanna Poulson: Perpetual Journey Inspired by their personal histories, journeys through time and place, and their connection to others, the artists (Angela Black and Joanna Poulson), respond to the idea of the perpetual journey. Even after we’re gone we leave traces of our existence in both what we have created and in the memories of those with whom we have connected. Sunday, August 3 to Sunday, August 31

MORE THAN BEAUTIFUL FLOORS

Various businesses, galleries and studios in The City of Unley SALA in Unley SALA in Unley recognises the contribution made by artists and venues to participate in SALA Festival for eight years. The City of Unley provides ongoing financial, promotional and professional commitment to artists and venues. Unley is proud to be a sponsor of SALA on Show at Soldiers Memorial Gardens Sunday, August 24, 10.30am-5pm. Friday, August 1 to Sunday, August 24 UNLEY.SA.GOV.AU/ARTS

ANGELABLACK.COM.AU JOANNAPOULSON.COM.AU

SALA on Terrace 2014 Opening: Thursday July 31 at 6:30pm

Runs: Monday-Friday 9am-5pm and Saturday 10am-4pm until Saturday August 16 Features: emerging and established artists in an energetic exhibition of various mediums – oils, collage, printmaking, sculpture, jewellery, photography and ceramics.

Winter Dreams 27 July – 24 August 2014 RSASA Members’ Winter Exhibition – an exciting variety of artworks, painting, mixed media, photography, sculpture, printmaking and much more.

Enchanted Forest, Acrylic by Jutta Prus

ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC.

www.rsasarts.com.au

Michael Meade

Tsering Hannaford

FINEST WALL-TO-WALL CARPET • BEAUTIFUL RUGS • TIMBER & RESILIENT FLOORING HOME ACCESSORIES • COMMERCIAL PROJECTS • CUSTOM RUG & CARPET DESIGN

51 Glen Osmond Rd Eastwood Ph 8274 1125 www.terracefloors.com.au Open Mon–Fri 9am–5pm Sat 10am–4pm

Where: RSASA Gallery, Level 1, Institute Bldg, Cnr North Tce & Kintore Ave, Adelaide. Mon – Friday 10.30 – 4.00pm, Sat & Sun 1 – 4.00pm. Closed public holidays. For more information: Bev Bills, Director, RSASA Office: 8232 0450 or 0415 616 900.

Royal South Australian Society of Arts Inc. Level 1 Institute Building, Cnr North Terrace & Kintore Ave Adelaide, Ph/Fax: 8232 0450 www.rsasarts.com.au rsasarts@bigpond.net.au Mon- Fri 10.30-4.30pm Sat & Sun 1- 4pm Pub Hol. Closed.

The Adelaide Review August 2014 43

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SALA FESTIVAL 2014 when we name things and whether it’s confining and limiting. The work, filmed at Dead Horse Bay in New York, includes narration from a segment of a short story by Jorge Luis Borges about a fictitious place where people don’t use nouns but instead describe things using adjectives. The work also shows some of the items collected by Bycroft to create the sculptural work First Alphabet Of...

Madison Bycroft

Bycroft’s alphabet is not your typical A-to-Z, she has turned the alphabet into fetish objects. “The A doesn’t look like an A. Part of that was that I wanted to embed in each letter something magical or something unexplainable,” she says. The work continues to explore the idea of labelling things and in this case breaking out of it. If you rearranged the letters to make a word, Bycroft suggests you would end up with a weird community of things that doesn’t make sense.

While much of Bycroft’s work looks at the past and strips back language and symbolism to its most primal form, suggesting a world where all living creatures are equal, the flip side is her fascination with post-history and the apocalypse and what might happen after man. In the video work Alternate endings, Bycroft explores this notion. She says: “It’s an over the top way of saying let’s consider others as well. We are developing and evolving but in a lot of ways we aren’t developing at all.”

Madison Bycroft: Synonyms for Savages Australian Experimental Art Foundation Continues until Saturday, August 16 madisonbycroft.com

The last time The Adelaide Review caught up with Madison Bycroft she was about to embark on a residency with the Nars Foundation in New York. Since then she has completed a number of overseas residencies. She’s returned to Adelaide for her latest exhibition, Synonyms for Savages, at the Australian Experimental Art Foundation before she heads back overseas to Rotterdam, where she is due to start her Samstag residency.

By Jane Llewellyn

ycroft continues to explore ideas around animism in her latest body of work but in this instance she specifically delves into language and the process of naming. “It’s about the archive. The trace that things leave and how we understand that and how we appropriate that to human knowledge, and what does that mean for the things that we are talking about or thinking about.” The exhibition combines video work and sculptural pieces, which relate to each other on a number of different levels. Bycroft says that she thinks of the exhibition as one work and has created that feel with works flowing into each other. In some instances, it’s as if the sculpture has crept out of the screen or vice versa.

24 July – 23 August 2014 www.hillsmithgallery.com.au

Another work, The First Encyclopedia of Tlön, explores the idea of language and what it means

Madison Bycroft

patterns & rhythms annabelle collett rebecca cooke ann newmarch megan o’hara eliza piro mark warren ian willding Until 24 August artimagesgallery 32 The Parade Norwood 08 8363 0806 Mon-Fri 9-5.30 Sat 10-5 Sun 2-5 artimagesgallery.com.au PMS colours: red 201c bluegrey 432c

Rebecca Cooke, Remnants of Harmony (detail)

poh ling yeow veiled

The first work you encounter – the fourchannel digital work, Unsung: The primordial – sets the tone for the rest of the exhibition. The four different screen projections explore ideas of symbolic expression and sound. As the title suggests they are very primal. It’s an interesting collection of sounds – a bird filmed at the Grand Canyon makes its own music, and MC raps without words, a jazz musician channels an alligator skull and Bycroft plays the violin. “It’s quite a cacophony of sounds. It’s a little overwhelming but it’s not meant to be an easy experience,” she says. The sounds are quite similar in tone, so instead of competing for your attention, they work together and draw you in.

44 THE ADELAIDE REVIEW AUGUST 2014

SALA FESTIVAL 2014

VAPAA. Tsering Hannaford, Portrait of Rachael Lawley, charcoal on Canson paper, 65x50cm, 2014.

SQUARED An exhibition of mixed media by Cornucopia

1 – 29 August 2014

Anna Mycko, Squared Away #2

Artists: Kveta Deans, Anna Mycko, Cathy Sarles, Jane van Mierle, Ros Matson, Kocksi Thoelke and Janice Lane

The Contemporary Art Centre of South Australia. Deviation (detail), James Dodd, Acrylic on Canvas

Clare & Gilbert TheContemporary David Sumner Valleys Council, Art Centre of Gallery Regional South Australia 359 Greenhill Road, Toorak Gardens Council of 14 Porter Street, Parkside Best of Watercolour Goyder and Mid The exhibition Best of Watercolour displays James Dodd: Sabotage a wide range of watercolour styles and North Visual Project 6 will be the CACSA’s main techniques, showing the versatility of this contribution to 2014 SALA Festival with its cult medium. Traditional, contemporary, and Performing presentation of Sabotage by James Dodd, diffi impressionist and abstract genres are has rapidly developed a national and represented by established artists, many Arts Association who international profile based on his inclusion of whom are educators as well. Don’t miss in several high profile group exhibitions over this opportunity to view seven of the best SA (VAPAA) recent years. watercolourists together for the first time. SALA is alive and well in the Mid North. Fifteen exhibitions cater for all genres with venues in a variety of towns and villages including Spalding, Burra, Balaklava and Auburn, Polish Hill River, Farrell Flat, as well as the heart of Clare. VAPAA.ORG.AU CLAREGILBERTVALLEYS.SA.GOV.AU GOYDER.SA.GOV.AU

Henry Jock Walker: Froth Machine Henry Jock Walker is winding up a 12-month art adventure around Australia by parking Henry’s Mobile Studio (HMS), a Toyota HiAce for his exhibition Froth Machine.

Free entry - all welcome!

Artists: Anita Bentley, Julie Lawry, Lorraine Lewitzka, Diana Mitchell, Arthur Phillips, Alan Louis Ramachandran and Gerhardt Ritter. Continues until Thursday, August 14 DAVID-SUMNER-GALLERY.COM

Project 1 Main Gallery, James Dodd: Sabotage Project 2 Project Space, Henry Jock Walker: Froth Machine Continues until Sunday, August 31 CACSA.ORG.AU

Opens: Friday 1 August 6 pm Launch Guest: Lizzy Emery, Art History Tutor, University of South Australia Artists On Site Saturday 9 and 16 August 2 pm - 4 pm

David Sumner Gallery. Dance (detail) of the Datura by Diana Mitchell

T’Arts Collective Gays Arcade (off Adelaide Arcade)

STEPHEN GLASSBOROW

Exciting artist run contemporary gallery / shop in the heart of Adelaide.

Margaret Marsh - Upcycled cuffs

bronze sculpture

DON RANKIN

Still life paintings Pepper Street Arts Centre Exhibitions, Gift Shop, Art Classes, Coffee Shop. 558 Magill Road, Magill PH: 8364 6154

25 July-16 August 2014

Hours: Tuesday to Saturday 12 noon - 5 pm

Window Display at Tarts from 27th July to 30th August

An arts and cultural initiative funded by the City of Burnside

Open Mon-Sat 10am-5pm Phone 8232 0265

pepperstreetartscentre.com.au

444 South Road, Marleston, SA 5033 | T +61 08 8297 2440 | M 0421 311 680 | art @bmgart.com.au | www.bmgart.com.au

www.tartscollective.com.au Find Us On Facebook

THE ADELAIDE REVIEW AUGUST 2014 45

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SALA FESTIVAL 2014

Eastwood Community Centre 95 Glen Osmond Road, Eastwood Gloriousity Community Bridging Services (CBS) Inc. Art Groups are participating in SALA Festival for the sixth consecutive year. This year its exhibition of vivid, personal and inventive paintings and drawings is titled Gloriousity. The exhibition features artworks from 22 artists with a disability from four CBS art groups, who attend art sessions at community locations in Eastwood, Parkside and Salisbury.

Community Bridging Services. Diamonds (detail), Glenda Cloak, acrylic paint and paint pens on canvas, 50 x 40 cmsÂ

Elderton Wines. Flowers for Jane, Anna Small, Mild Steel

Elderton Wines

Entropy

3-5 Tanunda Road, Nuriootpa

37 Little Queen Street, Thebarton

Heart of your Garden Husband and wife team Anna Small and Warren Pickering have collaborated to design a body of decorative and playful metal artworks to warm the Heart of your Garden. Their current sculptures are derived from sketches of flowering shapes inspired from the natural world. Awarded joint winners of the SALA Oz Minerals Copper Sculpture Prize 2013.

Elise Bonato: covet. From emerging visual artist Elise Bonato, covet. presents a visceral exchange amidst space, painting and video installation to create a dialogue exploring contemporary ideologies of beauty. Through experimental

Friday, August 1 to Sunday, August 24 ELDERTONWINES.COM.AU

Wednesday, August 6 to Friday, August 29 COMMUNITYBRIDGINGSERVICES.ORG.AU

Autumn Glow by John Lacey

Autumn Abstract , Oil on Canvas

An exhibition of contemporary autumn landscapes of the Lenswood area complementing the cellar door.

730 Mawson Rd, Lenswood 5240 Ph (08) 8389 8102

www.pikeandjoyce.com.au

Entropy Group. Pluvialis, (detail) 2014, Elise Bonato, acrylic, oil and silver leaf on canvas

and performance-based practice, her work aims to explore and illustrate new versions of the sublime for a contemporary art context. Friday, August 1 to Sunday, August 24 Opening Friday, August 1 at 5:30pm ELISEBONATO.COM

46 THE ADELAIDE REVIEW AUGUST 2014

SALA FESTIVAL 2014

Flinders University Art Museum Flinders University Art Museum Flinders University City Gallery State Library of South Australia North Terrace, Adelaide The Microscope Project The Microscope Project explores the creative

Flinders University City Gallery. Catherine Truman & Deb Jones, Citizen Scopes (Plyscope) 2014, mixed media, 48 x 44 x 34 cm, courtesy the artists, Photograph Grant Hancock

Gallery One, Atrium and East Wing-Mitcham Cultural Village. Flare, Todd & Lauren Salter, Kangaroo skin, natural fibres, leather, bone, antique findivngs, lantern

intersection of art and science, as five South Australian artists respond to a suite of decommissioned electron microscopes, ancillary tools and equipment with new work. Artists: Nicholas Folland, Ian Gibbins, Deb Jones, Catherine Truman and Angela Valamanesh.

Gallery One, Gallery 1855 Atrium and East 2 Haines Road, Tea Tree Gully Wing-Mitcham The art of romance Cultural Village Mostly not-so-traditional artworks created

Continues until Sunday, September 21 (Tuesday–Friday 11am–4pm, Saturday and Sunday 12 – 4pm) FLINDERS.EDU.AU/ARTMUSEUM

Shot With Love Tamara Huntington Art Hunt Studio 250 Pirie St Adelaide Permanent open studio open beyond Sala dates Wed and Thu 10am till 4pm Fri and Sat 12pm till 4pm Sun, Mon and Tue Apponitments Only www.arthuntstudio.com.au 0411899318 Tamara Huntington

Cnr 1 Torrens Street/Princes Road, Mitcham Elements A Gallery One and City of Mitcham collaboration, Elements acts as a metaphor for fundamentals of organic life being earth, air, fire and water, transferring into art materials as mixed media. Artists: Andrew Barr, Liam Barr Robyn Barratt John Blines Julie Cutts, Naomi Campbell, Wende Dahl, Mem Graham, Judith Hombsch, Eric Hudson, Anthea Jones, Belinda Keyte, Sydney La Faber, Therese Molloy, Nicola Neutze, Liesbeth Pockett, Robyn Quinn, Fabian Rojas, Lauren and Todd Salter, Linda Schofield and Erika Walter. Sunday, August 3 to Sunday, August 24 (Monday to Friday 10.30am-4.30pm, Saturday and Sunday 11am-4pm. Weekends Open Studio)

Gallery 1855. Ewa Skoczynska, What am I doing here 2013, found objects, acrylic pigment, paper, sterling silver, 10 x 8cm

in response to romance, as a concept or simply a word. Will challenge the Mills and Boons fans amongst us. Artists include: Magda Agenburg, Susan Bruce, Catherine Buddle, Gary Campbell, Jo Crawford, Barbara Davis, Annette Dawson, Areti Devetzidis, Elizabeth Fotiadis, Sasha Grbich, Sally Heinrich, Debbie Hooper, Susan Long, Alison Main, Holly Marling, Diana Mitchell, Jan Monks, Ann Newmarch, Christine Pyman, Lee Salomone, Margaret Sanders, Ewa Skoczynska, Niki Sperou, Silvia Stansfield, Merrilyn Stock, Tim Thomson, Nancy Viljoen and Diana Whiley. Wednesday, August 13 to Saturday, September 13 Launch: Sunday August, 10 (2pm) TEATREEGULLY.SA.GOV.AU/GALLERY1855

GALLERYONE.ORG.AU MITCHAMCOUNCIL.SA.GOV.AU

“DRIDAN’S FLEURIEU AND BEYOND”

SALA FESTIVAL 2014

SABOTAGE

DAVID DRIDAN OAM David “Dridan’s Fleurieu and Beyond” exhibition showcases all that is unique by this acclaimed Australian landscape artist, who infuses his zest for life and bold character into these striking, unspoilt scenes throughout this corner of South Australia. With a professional eye, and passion for his craft, David brings to life, detail in composition which can not only be seen through our eyes but genuinely felt, in these disarming pieces that acknowledge some of natures’ own finest works.

James DODD 25. July_31. August 2014 Contemporary Art Centre SA 14 Porter Street Parkside www.cacsa.org.au

246 ELLIOTT ROAD, MCLAR EN FLAT SA 5171 WWW.HUGOWINES.COM.AU PH. 08 83830098 OPEN 10.30AM TO 5PM 7 DAYS

Adelaide Review August.indd 1

29/07/14 2:03 PM

The Adelaide Review August 2014 47

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SALA FESTIVAL 2014 Indonesian boat. Jukung Bike has two large poles - like bamboo outriggers - with the bike somewhat suspended between these outriggers like a boat. “It’s a lot more sculptural in that it doesn’t have any real world outcomes - you can’t do anything with it.” Another of the works, Sound System Bike, has what Dodd describes as a definitive performative outcome in public. The bike carries a large sound system, like a party machine, which will further evolve when it’s in the gallery. “In the gallery space it will hopefully make more of a soundscape rather than a straight musical track. It is very much the beginning of some thoughts.” jukung bike, James Dodd.

of its set of phases and thanks to some funding he has employed the skills of a professional bicycle frame builder, so it will be presented in a more refined form. “Most of the stuff I have been making with the bikes is pretty crusty and punk orientated, which is cool and totally an aesthetic I enjoy and celebrate, but I am curious to extend beyond that and see what happens when you make a really slick thing.”

The title Sabotage makes an obvious reference to the lead single from the Beastie Boys 1994 album Ill Communication. “The Beastie Boys were a great band who made great music which was about being a little punk. It was really rebellious. They took the piss a little bit too and I feel that same tone. I don’t need things to be super serious.”

James Dodd: Sabotage Contemporary Art Centre of South Australian Continues until Thursday, August 21

www.jamfactory.com.au

A recent trip to Indonesia inspired the work, Jukung Bike, named after the traditional

New Products Coming Soon

Breach, James Dodd, Acrylic on Canvas

Sabotage James Dodd has always been fascinated with bikes but he has resisted the temptation to let them creep into his artwork. Until recently, that is, when he decided to bite the bullet and find out what would happen if these two worlds collided.

By Jane Llewellyn

ast year he began working on some bike experiments culminating in his current exhibition, Sabotage at the Contemporary Art Centre of South Australia (CACSA), which features a number of bike works interspersed with paintings.

Dodd is particularly interested in people and objects that slightly bend or break the rules. “I am interested in things like hijacking and hacking and things that divert the path of what you usually expect. Sabotage fits all these things. It fits with the idea of breaking the rules and taking something and destroying it.”

Several of the paintings in Sabotage are in Dodd’s familiar style where he collects scrawl from public places and reconstitutes it as a painting. In other works, the motif of a chain link fence reappears. Some of the fences have holes in them while others are pushed over representing the idea of breaking free and breaking down barriers. Presented alongside the paintings will be five to six bike projects. Dodd says: “It is somewhat of a formal play on this thing I am trying to work out. Considering what I have done in the past with painting, what I am interested in doing with bikes and whether there is a relationship there or not and whether it’s simple or what it is.” Dodd describes his work as stemming from small acts of social rebellion andthings that test the boundaries of what we expect. This is evident in projects like Easel Rider, which he exhibited last year at Ryan Renshaw Gallery in Brisbane. The tall bike which has an easel attached to it is making a play on the notion of plein air and the Heidelberg School. The title Easel Rider also references the movie Easy Rider, which had a strong anti-establishment theme. According to Dodd, Easel Rider is at the end

james-dodd.com

products for everyday www.jamfactory.com.au

48 THE ADELAIDE REVIEW AUGUST 2014

SALA FESTIVAL 2014 Gallery 239

Gallery M

239 Cross Road, Cumberland Park 5041

Marion Cultural Centre, 287 Diagonal Road, Oaklands Park

Greg O’Leary: Recent Works Gallery 239 is Greg O’Leary’s home and studio – see recent works as they might look in your home. Each Sunday he will draw a charcoal portrait of a prominent Adelaide legal identity. Watch him at work, find a treasure in the studio clearance sale and enjoy afternoon tea. Sunday, August 3, 10, 17 (2-5 pm, or by appointment) GREGOLEARY.COM.AU

Gallery 239. Greg O’Leary, Mandarin Blue (detail), oil on canvas, 50 cm x 40 cm

Gallery M. David Taylor, Coo Stick Totem, Lower Manhatten, New York, mixed media on stretched canvas

Fanfare The exhibition includes approximately 100 members of the Red House Group Inc, as 2014 marks the Red House Group’s 20th birthday, and this exhibition of members’ work will celebrate and acknowledge this significant milestone. The Red House Group is a not-for-profit artist-managed group that acts as a focus for art and cultural activities for all individuals and groups in the City of Marion council area and surrounding region. Works in all media will be featured, including paintings, drawings, photography and a range of 3-D works in glass, textiles, clay and timber. Jewellery in a variety of styles will also be on show. The Red House Group manages Gallery M on behalf of the City of Marion. Each year, Red House members get several opportunities to exhibit in this premier suburban visual arts venue. Friday, August 1 to Sunday, August 24 GALLERYM.NET.AU

01-29 August Honouring lives tHrougH living Art 2014 Visit the ‘Light of Memories in Honouring Life’ SALA exhibition at Alfred James Alberton, by local artist Ray Meandering.

Alfred James Funeral Directors supporting South Australian artists.

Exhibition Dates: 1-29 August Monday to Friday 9am-5pm Multiple Mediums.

alfredjames.com.au

salainc.com.au

Alfred James Funeral Homes 164 Port Road, Alberton (08) 8447 7233

THE ADELAIDE REVIEW AUGUST 2014 49

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SALA FESTIVAL 2014 Guildhouse Room BH2-16, Level 2, Barbara Hanrahan Building, UniSA, City West Campus Guildhouse Sessions Guildhouse presents three inform sessions, Manufacturing Works, Diverse Practice and The Crit Session for SALA. Manufacturing Works features Gavin Artz and Mark Ledson from the Department of State Development and Heath Edwards from Urban Design and Planning. Diverse Practice is an artist panel with Lynette Wallworth, Cath Cantlon and Peta Kruger, as they discuss multiple areas of practice and working across different types of industries. With the final session, The Crit Session, you can learn how to create a productive crit with Dr Michael Newall. Manufacturing Works, Wednesday, August 6 (6pm-7.30pm) Diverse Practice, Wednesday, August 13 (6pm-8pm) The Crit Session, Wednesday, August 20 (5.30pm-8.30pm) GUILDHOUSE.ORG.AU

exhibitions gallery shop

1 - 24 August 2014

Fanfare

artwork in various media by members of the

Red House Group Inc

Approx 100 artists exhibiting - examples shown - top from left: acrylic on canvas by Ian Willding; mixed media on canvas by David Taylor; ceramic sculpture wall hanging (detail) by Roger Hjorleifson; blown glass (detail) by Stephen Skillitzi; bottom from left: oil on canvas by Margaret Slape-Phillips; encaustic & pigment on paper (detail) by Kathryn Hill; fine art photography by Leonid Olijnyk

The Red House Group - celebrating twenty years 2014 marks the 20th anniversary of the Red House Group Inc. The Red House Group is an artist managed not-for-profit organisation that acts as a focus for art and cultural activities for all individuals and groups in the City of Marion council area and surrounding regions. Gallery M, Marion Cultural Centre, 287 Diagonal Rd, Oaklands Park SA 5046 P: 08 8377 2904 E: info@gallerym.net.au Mon-Sat: 10am-4pm; Sun: 1-4pm

www.gallerym.net.au

Hahndorf Academy. Laura Smith, Adrift (detail), oil on canvas

Hahndorf Academy

surreal narrative between the animals and their surrounds.

68 Main Street, Hahndorf

HAHNDORFACADEMY.ORG.AU

Laura Smith: Migrating Marsupials Laura Smithâ&#x20AC;&#x2122;s captivation with her surrounds is ever-present in her work and this exhibition featuring the local wildlife is no exception. Her enchanting oil paintings create quirky scenarios featuring Australian native marsupials. Each with its own unique personality, Smith presents an entertainingly

Friday, August 1 to Sunday, September 21

50 THE ADELAIDE REVIEW AUGUST 2014

SALA FESTIVAL 2014

Hardy’s Tintara Winery. Jewellery by Kim Thomson

Hill Smith Gallery. Poh Ling Yeow , Memories of Green 5 (detail), acrylic on canvas, 90 x 90 cm; Blush (detail), acrylic on canvas, 90 x 90 cm; Madeleine (detail), acrylic on canvas, 90 x 90 cm

Hardy’s Tintara Winery

Hill Smith Gallery

202 Main Road, McLaren Vale

113 Pirie Street, Adelaide

The Pleasure of All Things Inspired by Elizabeth Gilbert’s epic tale The Signature of All Things (Adelaide Writers’ Week 2014), an exhibition of work and events unfolding the pleasures of our lives, desires, discoveries and the natural world. Discover ‘the pleasure of all things’ through Hardy’s Tintara Winery’s engaging exhibition, workshops, art and wine tours and the Grand Market Bazaar during the SALA Festival.

Poh Ling Yeow: Veiled Poh Ling Yeow’s new body of work explores themes of belonging and identity. Her paintings of veiled girls set against deep black or white backgrounds explore themes of cultural fragmentation. Despite the sometimes-suffocating effects of contemporary culture, a sense of both emergence and concealment is evoked in these enigmatic compositions.

Friday, August 1 to Sunday, August 24 (Thursday to Sunday 10am-4pm)

Continues until Saturday, August 23

Hugo Wines. David Dridan AOM, Dry Grass Lake Alexandrina (detail)

Jamfactory. Julia Robinson, Please the Pig, 2014

Hugo Wines

JamFactory at Seppeltsfield

HILLSMITHGALLERY.COM.AU 246 Elliott Road, McLaren Flat

THEPLEASUREOFALLTHINGS.COM.AU

ALLYSON PARSONS & MARIE PARSONS

“THE FARMHOUSE EXHIBITION” LANDSCAPES STILL LIFE’S

David Dridan OAM: Dridan’s Fleurieu and Beyond Dridan’s Fleurieu and Beyond showcases all that is unique by the acclaimed Australian landscape artist David Dridan, who infuses his zest for life and bold character into these striking, unspoilt scenes throughout this corner of South Australia. With a professional eye and passion for his craft, David brings to life detail in composition which can not only be seen through our eyes but genuinely felt, in these disarming pieces that acknowledge some of natures’ finest works.

Be Consumed: Creative Collaborations from the Barossa Be Consumed: Creative Collaborations from the Barossa explores collaborations between leading artists and designers and renowned food and wine producers from the Barossa. Looking at the conceptual and practical relationships between food, wine, art and design, this exhibition celebrates the distinctive contexts and characteristics of an iconic Australian region. Continues until Wednesday, September 17

Sundays: 2 – 5pm, or by Appointment

Friday, August 1 to Sunday, August 31 (10.30am-5pm)

1564 Port Vincent – Minlaton Road, Port Vincent (08) 8853 7067 www.allysonparsonsart.com email: AP_art@bigpond.com

Seppeltsﬁeld Road, Seppeltsﬁeld

Allyson Parsons Art

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2014 SALA FESTIVAL IN UNLEY

The City of Unley is proud to support all the artists exhibiting in over 40 local businesses, galleries and studios in the 2014 South Australian Artists (SALA) Festival. For more details on art in the Unley area including SALA on Show at Soldiers Memorial Gardens on Sun 24 August please visit www.unley.sa.gov.au/arts

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SALA FESTIVAL 2014 Johns has been designing his sculptures around an engagement with landscape and the unique look of Australia since 1990 and his large work that will be shown in Centennial Park reflects that idea. His work is a vertical form and reflects the format of plants and the landscape of Australia.

Nicholas Uhlmann – one of the sculptors of outdoor exhibition Journeys, to be held within Centennial Park’s memorial gardens.

Photos courtesy of Tom Roschi Photography.

“There’s a figure almost coming out the top of it – like a spirit emerging from the landscape.”

Hailey Lane – one of the artists of indoor exhibition Arcadia, to be held within Centennial Park’s Jubilee Complex.

Centennial Park Welcomes the Living This year, in a first for a South Australian cemetery, Centennial Park will host two exhibitions for the South Australian Living Artists Festival (SALA).

By Tish Custance

ith sculptures up to six metres high, the outdoor exhibition Journeys will explore the theme of ‘life as a journey’ and will feature prominent local sculptors including Chris Ormerod, Greg Johns, Deb Sleeman, Astra Parker, Rick Clise and Nicholas Uhlmann. Journeys, curated by Ormerod and Johns will feature a series of large-, medium- and smallscale figurative sculptural art pieces in the cemetery’s memorial gardens. Centennial Park Chief Executive Officer Bryan Elliott says they are looking forward to welcoming new visitors to the grounds to enjoy artwork in Centennial Park’s gorgeous surroundings. “This is a great opportunity for art enthusiasts, families, friends and children to walk through our gardens and grounds and admire sculptures, photography and other works.” Johns emphasises the beauty of the Centennial

Park grounds and said that was one of the aspects that attracted them to exhibiting there. “It’s interesting for the show that the six sculptors are all interested in questions of spirit. The grounds are very, very beautiful and it [the cemetery] provides interesting backdrops and brings up questions of spirit and notions of journey. There’s a story to be told about people’s lives, which is also an interesting notion.” In addition to curating the SALA exhibition at Centennial Park this year, Johns runs the Palmer Sculptural biennial event and has worked on the project since purchasing the property in 2001. Ormerod, winner of the OZ Minerals Cooper Sculpture Award at the 2014 SALA Awards, will be exhibiting a metal sculpture abstract. He has been a metal sculptor for about 12 years but is also a metal fabrication and welding lecturer at TAFE SA.

“Part of what I do is to show the skills that you can learn as a tradesman are adaptable,” he explains. “There should be more of a link between trade skills and art – years ago there used to be, in my way I’m trying to break down the idea that trades are all about nuts and bolts.”

Johns will also have some smaller versions of his work on display, a series of figures, which he describes as spirit returning to place, and that explores the notion of reincarnation. Ormerod and Johns both agree that SALA is a fantastic South Australian event, which involves the community. “The whole idea is to get art more accessible for people; it’s also about letting people know there are a lot of artists – it’s a good thing,” Ormerod says. Centennial Park will also host an indoor exhibition (titled Arcadia) in their Jubilee Complex that will feature sculptures, photography and works-on-paper. Arcadia, curated by Carollyn Kavanagh, explores place, landscape and memory through elements of the natural world.

Hosting the exhibition in Centennial Park appealed to the spiritual side of Ormerod as much as the landscape did. Journeys

“For me, sculpture is all about place, I get a lot of inspiration from space and off of landscape, land and, obviously, getting the opportunity to get work in a spiritual place – it appealed.”

Centennial Park, 760 Goodwood Road, Pasadena Friday, August 1 to Sunday, August 24, 7am-7pm centennialpark.org

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SALA FESTIVAL 2014

Kerry Packer Civic Gallery. Untitled. Black and white - photographic paper

UniSA City West campus, Hawke Building Level 3, 55 North Terrace, Adelaide Hidden Places: Hidden Lives A thought-provoking photographic narrative reflecting the experiences of people

living in Adelaide’s Supported Residential Facilities, this collection of photographs is a collaborative project, created by residents mentored by four well-known local photographers, who have built up the confidence and enhanced the photographic skills of residents. The exhibition explores inclusion and citizenship of this generally unknown community. Co-presented with Seniors Information Service.

Lee Salomone, Love is, 2014, ink jet print,16 x 49cm

The art of romance Artworks produced by 28 artists in response to romance or lack thereof.

Opening Speaker: Penny Griggs, SALA Festival General Manager Exhibition open 13 August – 13 September

Murray Bridge Regional Gallery. Yvonne East, Lunar, 2012, Oil on Canvas, 920 x 820 mm. Photo: Richard Hodges.

King William Road Traders

Murray Bridge Regional Gallery

Various shops, cafes and restaurants on King William Road, Hyde Park

27 Sixth Street, Murray Bridge

Continues until Wednesday, August 27 UNISA.EDU.AU/BUSINESSCOMMUNITY/HAWKE-CENTRE/ KERRY-PACKER-CIVIC-GALLERY/2014EXHIBITIONS/#HIDDENPLACES

Opening 2pm, Sunday 10 August

King William Traders Association. Mirella Bordignon at Original Sin (Image Immaculate Deception)

SALA on King William Around 40 venues on King William Road, Hyde Park, will feature artists’ work during SALA, creating a walkable art gallery on the Road. Artists from Splashout Studios Art will feature strongly with several venues displaying exhibitions of their members. “It’s great to have new shops coming on board each year,” said Road Coordinator, Helen Lewis. “This year, even the Food Works Supermarket has got involved.” A flyer listing all artists and venues will be available on King William Road and at kingwilliamroad. com.au.

Lyn Wood: Worked Surfaces The paintings in this exhibition are a measure of time. They are new stories about old land, told through pattern. The patterns document the worked surfaces of our land and our connection to place.

Friday, August 1 to Sunday, August 24

Yvonne East: Stratum A combination of traditional drawing and painting techniques with multimedia installation investigates the physical and psychological connection with the Australian landscape. Stratum was the culmination of Goolwa-based East’s selection for the inaugural Breaking Ground Visual Artist Professional Development Award from Country Arts SA.

KINGWILLIAMROAD.COM.AU

Continues until Sunday, August 24 MURRAYBRIDGEGALLERY.COM.AU

Migrating Marsupials

The Interlopper. The Dingo in Roos clothing 95 x 70.

Kerry Packer Civic Gallery at the Hawke Centre

A collections of paintings by Laura Smith 1 August to 21 September Opening Saturday 2 August at 5:30 pm

Further information: niki.vouis@cttg.sa.gov.au

AB WAU GH J & VIGNERONS

VINEYARD & CELLARS Radford Road Seppeltsfield We advise that our 2012 wines, along with the 2009 Roennfeldt Road range, will be available from Saturday, 13 September 2014 Cellar Door is open daily (except Tuesdays) from 11am to 5pm. Do call in for a tasting.

Gallery1855, 2 Haines Road, Tea Tree Gully Opening times: Wednesday to Saturday 12-5pm teatreegully.sa.gov.au/gallery1855

Visit us for Hahndorf Academy 68 Main Street, Hahndorf Ph 08 8388 7250 Open daily 10am – 5pm

during August!

An exhibition of unique sculptures in the arbour “Eclectic Rhythm” www.hahndorfacademy.org.au

For details: Phone (08) 8562 8103 greenockcreekwines.com.au

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SALA FESTIVAL 2014 With the top prize taking out $50,000 there is an obvious incentive for artists to enter. In addition to this, the artworks are for sale. While the Museum takes a commission, it provides a means for artists to sell their work and usually over 50 per cent of them sell. Being selected as a finalist and, of course, winning can also boost an artist’s profile. When the Museum carried out its own research into the reasons for entering, Gilchrist says the main drivers were the prestige and the opportunity to exhibit at a North Terrace location. From the 627 entries this year, the judges whittled it down to 101 finalists in the categories of Paintings, Works on Paper, Sculpture and Objects and Youth. This year sees the prize reestablish itself as a SALA exhibition. Even though entries came from local, national and international artists, a lot of the entrants are South Australian `living artists’ so it fits the criteria. Looking to the future, Gilchrist believes there are still opportunities to grow and there are plans for a formal review of the Waterhouse Prize to work out where it’s at and what it means to the museum, visitors and the art world. One area that it hasn’t yet embraced is the digital medium. “I’m not sure we are ready for that but it is something we need to consider. It seems to be the way of the future and it’s something for us to fully comprehend, how the digital world is working in this sphere.”

Carole King , High Tide, Wynnum

Art Vs Science The Waterhouse Natural Science Art Prize is now in its 11th year and provides the South Australian Museum with an opportunity to broaden its audience and remind the public that the institute is more than just a natural history museum. BY JANE LLEWELLYN

im Gilchrist, Manager of Galleries & Exhibitions at the Museum, explains, “We are a research institution and a lot of people don’t make the connection between the wonderful displays and the fact that most of our employees are scientists working in research - contemporary scientiﬁc research.”

Last year saw the prize change its name slightly (it used to be known as The Waterhouse Natural History Art Prize) broadening the brief for artists and also reinforcing what the Museum is about. “While we are a natural history museum we also have a big focus on life sciences like anthropology and ethnology,” explains Gilchrist.

The 2014 recipient of The Waterhouse Prize was Carole King for her painting High Tide, Wynnum. King received $50,000 in prize money and her work will be acquired by the Museum. This means the Museum has now collected 11 works - enough to warrant an exhibition of Waterhouse winners, which is an interesting history in itself.

The Waterhouse Natural Science Art Prize South Australian Museum Continues until Sunday, September 7 waterhouse.samuseum.sa.gov.au

HERD by Louise Vadasz

A collection of eclectic oil paintings depicting rural South Australia and imaginary themes with exciting colours and brush strokes.

EXHIBITION OPEN 7 DAYS 11am - 5pm

august 3 to 31 2014- TURKEY FLAT CELLAR DOOR

Turkey Flat Vineyards - Bethany Road, Tanunda, BAROSSA VALLEY www.turkeyflat.com.au ph: (08) 8563 2851 info@turkeyflat.com.au

SALA AWARDS This year’s SALA Awards were presented to the winners at Keith Murdoch House on Friday, July 4.

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SALA FESTIVAL 2014

SALA is alive and well in the Mid North Fifteen Exhibitions cater for all genres with venues in a variety of towns and villages from Balaklava to Spalding, Eudunda to Burra, Auburn to the heart of Clare and everywhere in between. Yet another excuse to explore the Mid North.”

1. Wonkysloth Images, Barb Wire Pub, 19 Main St, Spalding, (08) 8845 2006, barbedwirepubspalding.com.au

8. The Art Class, Sevenhill Cellars, 111C College Rd, Sevenhill, (08) 8843 4222, sevenhill.com.au

2. Old Dogs - New Tricks, Gally’s Meeting House, 4 Patterson Tce, Farrell Flat, 0428 347 315, gallys.com.au

9. 2014 Balco Balaklava Art Prize Exhibition, Balaklava Courthouse Gallery, 6 Edith Tce, Balaklava, (08) 8862 1688 10. Fun In The Sun, Cogwebs Hub Cafe, 30 Main North Rd, Auburn, 0400 290 687

3. Tsering Hannaford - Homecoming, The Gallery @ Pikes, Pikes Wines, Polish Hill River Rd, Sevenhill, (08) 8843 4370, pikeswines.com.au

11. Barrels Vines And Bikes, Vineart Studio and Gallery, 289 Blocks Rd, Leasingham, 0418 346 836, vineartstudio.com

4. Bali to Burra, White Cedars Cafe, 24 Commercial St Burra, (08) 88922867

12. Big And Little, Greg Cooley Wines, Main North Rd, Clare, (08) 8843 4284, gregcooleywines.com.au

5. Live Out Loud, Scarlattis Gallery Mt Surmon Wines, 280 Basham Rd Stanley Flat, 0438 421 250

13. Clare Valley Collective, Clare Town Hall, 229 Main North Rd, Clare, 0428 274 083, claregilbertvalleys.sa.gov.au

6. On Identity, Burra Regional Art Gallery, 5 Market St, Burra, (08) 8892 2411, burragallery.com

14. With Or Without, Claymore Wines, Lot 91 Main North Rd, Leasingham, (08) 8843 0200

7. Lake Everard Station ‘Beyond the Bitumen Road’, The Town Square Gallery & Cafe, 4 Commercial St, Burra, 0423 280 363

15. Funky Junk Too, Eudunda Visitors Information Centre, 12 Bruce Street Eudunda 0427749729

National Wine Centre of Australia. Caroline Taylor, Deep Valley (detail), oil on canvas, 2014, photograph, Quentin Chester 2014

National Wine Centre of Australia North Terrace, Adelaide How do we love thee? Let us count the ways Kangaroo Island Wetlands and Waterways Fine Art Kangaroo Island presents new works by 19 exceptionally talented artists who explore the island’s fresh water lagoons and river systems. The island has some of the most, pristine waterways in the world. These

unique ecosystems, essential to a myriad of species, present significant challenges in their preservation. Artists: Deborah Sleeman, Jenny Clapson, Diana Keir, Fred Peters, Gay de Mather, Janet Ayliffe, Jennifer Woodhouse, Joyleen Cowin, Maggie Welz, Michele Lane, Neil Sheppard, Patti Blucher, Quentin Chester, Audrey Harnett, Caroline Taylor, Cath Cantlon, Cecilia Gunnarsson, Daniel Les and Dean Fox. Thursday, July 31 to Monday, August 25 FINEARTKANGAROOISLAND.COM.AU/ EXHIBITIONS1.HTML

Spalding

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Burra 4

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Clare

Pepper Street Arts Centre. Anna Mycko, Squared Away #2

Pfitzner Furniture. Phil Hodgson , Cardboard Chick, Mixed Media on Canvas

Pepper Street Arts Centre

Pfitzner Furniture

558 Magill Road, Magill

33 The Parade, Norwood

Squared: An exhibition of mixed media by Cornucopia Squaring can describe the act of creating a square of equal sides; or the act of multiplying a number by itself; the bringing to balance an account, debt or score; and even how we make our beliefs compatible. In Squared, Cornucopia’s five artists explore the curious and creative human condition of squaring, by using a variety of visual media to express how we square things up, square things away and square things off.

Phil Hodgson: Colour My World Graphic designer and artist Phil Hodgson explains his exhibition, Colour My World: “I am loving the experimentation of colour in my works and maintain the mantra that my world is one full of colour and the expression that it brings. I love big, bold, colourful paintings and get immense satisfaction from the effect (usually positive!) they seem to have on people.”

8 3

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Auburn

Balaklava

Eudunda 15

GENERAL CONTACT INFORMATION: VAPAA.ORG.AU

Friday, August 1 to Sunday, August 24 Friday, August 1 to Friday, August 29 (12-5pm) Opening Friday, August 1 (6-8pm). Launch Guest: Lizzy Emery, Art History Tutor, University of South Australia

MID NORTH VISUAL AND PERFORMING ARTS

ASSOCIATION

PEPPERSTREETARTSCENTRE.COM.AU

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SALA FESTIVAL 2014

Program highlights Don’t miss out! Pike & Joyce. John Lacey, Lenswood Vista (detail), oil on Canvas

Pike & Joyce Wines 730 Mawson Road, Lenswood John Lacey: Autumn Glow An exhibition of contemporary autumn landscapes of the Lenswood area complementing the cellar door. The Pike &

Joyce ‘On Top of the Hill’ Cellar Door is now open Thursday-Monday, 11am-5pm. With amazing views across the Adelaide Hills, premium wines, delicious food and now a permanent John Lacey art display, it is a wonderful destination to visit. Friday, August 1 to Sunday, August 24

INFORM: SALA sessions Make connections and expand your practice across creative sectors and other industries. RSVP at our website for these sessions designed especially for SALA. 6 August: Manufacturing works 13 August: Diverse Practice artist panel 20 August: The crit session

PIKEANDJOYCE.COM.AU

The Collections Project A collaborative project between Guildhouse, the Art Gallery of South Australia and the South Australian Museum providing artists the opportunity to work with the collections of these pre-eminent institutions. Art Gallery of South Australia Deidre But-Husaim Showing until 7 September South Australian Museum Robin Tatlow-Lord 12 August - 28 September Red Poles. Resin earrings by Hannah Carlyle, photography by Sarah-Jayne Prince

RSASA Gallery. Steve Smart, Rainy Day in the city (detail), oil on canvas

Red Poles

Royal South Australian Society of Arts Gallery

190 McMurtrie Road, McLaren Vale Fleurieu Flavours Mixed media group exhibition where all works are a response to the poem Ode to the Artichoke by Pablo Neruda, which opens a plethora of visual images to evoke an artistic challenge in relation to a poetic concept. Artists consist of jewellers, textile artists, painters, ceramicists, mixed media and photographers. Artists: Ken Baker, Zoe Brooks, Gary Campbell, Hannah Carlyle, Nik Demasi, Gaynor Hartvigsen, Jillian Harvey-Gregurke, Cheryl Hutchens, Courtney Jackson, Heather Lorenzon, Kristy McConchie, Michele Nooteboom, Sarah-Jayne Prince and Belinda Shaw.

The Collections Project will also take place at the Adelaide City Council’s City Library in 2015.

Studio Sessions Level 1, Institute Building, Cnr North Tce & Kintore Ave, Adelaide Winter Dreams Dreaming on from winter, or is it the love of the rain and cold? Artworks by RSASA Members. Contemporary artworks include paintings, mixed media, photography, textiles, sculpture and much more. Artists include, embroidered drawings by Cheryl Bridgart, photos by Ann Nolan, Jack Condous and Stephanie Schrapel, paintings in oil, acrylic and watercolour. Textiles by Vikki Waller and Pat Michell, handwoven scarves by Bev Bills, mixed media by Uta Mooney and much more.

Continues until Sunday, August 24 Continues until Sunday, August 24

Don’t miss this opportunity to visit the private studios of some of Adelaide’s top creatives. 27 October: Anna Platten & Rod Taylor AM 30 November: George Street Studios Tony Rosella, Martin Murray, Groundplay (Greg Healey and Gregg Mitchell), Astra Parker & Lex Stobie

guildhouse.org.au Level 1, 38 Hindley St, Adelaide Tel: 08 8410 1822

REDPOLES.COM.AU RSASARTS.COM.AU Adelaide Review Aug 2014.indd 1

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Splashout Studios Art. Splashout Studios members artworks.

Terrace Floors & Furnishings. Tsering Hannaford, Persimmons, oil on board.

Turkey Flat. Louise Vadasz, Checking the Mobile (detail)

Walkway Gallery. Bernadette Clifford, Black & White (detail)

Splashout Studios Art

Terrace Floors & Furnishings

Turkey Flat

Walkway Gallery

Turkey Flat Bethany Road, Tanunda

Tatiara District Council & Country Arts SA 43-55 Woolshed St, Bordertown

Six venues through Hyde Park and Goodwood

51 Glen Osmond Road, Eastwood

Splashout on SALA Splashout on SALA features 50 vibrant artworks newly created by Splashout artists and members. This fabulous, colourful art mix is displayed in six different venues through Hyde Park and Goodwood. Splashout is an upbeat independent studio, presenting qualified art education near Brighton.

SALA on Terrace 2014 SALA on Terrace features emerging and established artists in an energetic exhibition of various media – oils, collage, printmaking, sculpture, photography, and jewellery.

Herd Herd is a collection of eclectic oil paintings by Louise Vadasz that depicting rural South Australia and imaginary themes with exciting colours and brush strokes.

Bushland, Bull Ants & Bracken The artists use a range of textiles, fibres and yarns through traditional techniques such as quilting, knitting, weaving, paper making, collage, basketry, embroidery, felting, printing, painting and dyeing to capture the pattern and rhythm of Limestone Coast bushland. Artists featured: Bernadette Clifford, Glenys Hughes, Hilda Henderson, Julie Ann McEwen, Kay McDonnell and Peggy Schwarz.

Sunday, August 3 to Sunday, August 31

Saturday, August 2 to Sunday, August 24

Thursday, July 31 to Saturday, August 16 (Monday-Friday 9am-10pm and Saturday 10am-4pm) Opening night Thursday, July 31

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TERRACEFLOORS.COM.AU

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Friday, August 1 to Friday, August 29 TATIARA.SA.GOV.AU

SALA 2014 Award Winners The Advertiser Contemporary Art Prize Henry Jock Walker

Breaking Ground Arts Award Morgan Allender

The Adelaide Review Special Artist Award Community Bridging Services

Centre for Creative Photography Bridgette Minuzzo

Rip It Up Young Artist Award Glenn Kestell

Atkins Photographic Award David Evans

OZ Minerals Copper Sculpture Award Chris Ormerod

JamFactory Contemporary Design Award Jennifer Ahrens

The Austral Hotel Emerging Artist Award Stuart Templeton

1-24 AUGUST 2014

Julie Lawry at BIBA Boutique

Splashout Studio Artists at Tomich Wines

Liesbeth Pockett at Baby Bien

Mirella Bordignon at Original Sin

A wonderful variety of work by South Australian artists on display in many of the fabulous shops, restaurants and cafes of King William Road, Hyde Park, 1 – 24 August. Collect a brochure on the Road and spend a day enjoying the SALA art and a coffee, a glass of wine, a meal or a browse! FOR MORE INFORMATION VISIT WWW.KINGWILLIAMROAD.COM.AU www.kingwilliamroad.com.au

#SALAonKWR

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A-Z CONTEMPORARY ART

ARTSPEAK KANTIAN You look at a sunset and admire it for its agreeable, aesthetic qualities and not for the clues it provides to tomorrow’s weather. You are having a Kantian moment. Enjoy. KUNSTWOLLEN Put simply, later 19th century Austrian art historian Alois Riegel’s idea that through its willful, active nature (its kunstwollen), art becomes, not the imitation of reality, but the expression of a desired reality, has a lot going for it. But maybe you knew that.

Helpful hints on how to make your art say NOW. Plus ARTSPEAK Bonus Pack

Buy Australian. No need to look at pasticheurs like Paul Tomato Heads’ McCarthy, Mike ‘Pants-shitter and proud of it’ Kelley or Takashi ‘Mr DOB’ Murakami for inspiration when a galaxy of possibilities lies in waiting on your own doorstep. To my knowledge no artist has yet plumbed the depths of the ‘Rose Fountain’ at the Roselands Shopping Centre, Sydney (Australia’s first enclosed regional shopping centre). The aesthetic effect of its beaten copper petals defies adequate description. Other tantalising sources of inspiration include the blowfly inset cufflinks; the kangaroo paw bottle top remover and the beer can footy beanie. Forget the bush though. Albert Tucker’s setsquare explorers and Syd Long’s Laura Ashley flautists covered this territory way back. But Australia awaits a real Steve Irwin artistic tribute. Crikey, now there’s an idea.

BY JOHN NEYLON

K = KITSCH Kitsch Where to start? It has been variously associated with things tacky, sentimental, overdone, tawdry, undiscriminating, of low quality, lowbrow, and of questionable aesthetic value. With credentials like this, who wouldn’t want a piece of the action? But there’s a snag. Being known as a kitsch artist can put a lot of lead in the career saddlebag. The trick is to turn it into a positive. For help you can’t go past the man – Odd Nerdrum. Odd of God Odd Nerdrum has almost single handedly relocated kitsch out of the constricting, phobic, neurotic world of art and repositioned it as a philosophy. How has he done this? Perhaps some Nerdrum wisdom will explain. “If you fall asleep on horseback the horse will stop at the rock. Art is a car. Kitsch is a horse.” Still not sure? Try this statement from the 2010 Kitsch Biennale, “Kitsch represents a return to craft and narrative without irony.” Now this is the real breakout statement. How many times have you looked at a work and had your enjoyment of a nice sunset, a pretty face or a pregnant pause spoiled by a dash of irony? The same irony that you have convinced yourself is necessary to prevent an artwork from being judged sentimental tack is the very thing you need to set aside. You’d never see a kitschmeister like Jeff ‘Balloon Dog’ Koons wallowing in irony. Tretchikoff who? The gold bar standard of kitsch art is the Russian Vladimir Tretchikoff. His talents and fame went far beyond the ubiquitous Green Woman (a 1950 painting titled Chinese Girl, not to be confused with Zulu Girl). It is one of the best selling prints of the 20th century. That puts it in the Singing Butler class. Singing Butler? You know, that painting of a couple in eveningwear waltzing on the beach. The Scottish artist Jack Vettriano painted it in 1992. The original sold at auction in 2003 for £90,000 and in the following year for £744,000. And this despite the carping of various ‘critics’. What would they know about the business side of art? Just think if you too

So cute: Berlin, 2005 Photograph John Neylon

could come up with an iconic image. A diamondstudded skull perhaps? Tip: Remember Picasso’s advice: don’t borrow – steal. Hot tips Stuck for some start up ideas? Try one of these Go Paleo. Line up a lot of nude people and large ﬁerce animals, like carnivores. Mash them all into a tableau in which everyone and every creature is looking super cool. For some extraordinary reason it always works. Maybe it’s the Eden before the Fall vibes. Detail above from Kitchen Garden series by Daniel Tsatsaronis

Circus manque. Cast your subjects as circus folk. The usual suspects: the ringmaster, strong man, various acrobats, pretty girl in tutu on white horse and a clown. Introduce some narrative notes such as nervous glances and impending disaster such as fraying high wire cables. And don’t forget to make the clown look really sad behind his merry mask. For high camp accents substitute animals for humans. Hi lo. This is one of the oldest tricks in the book. Take something associated with ‘high’ culture and glue it onto a bit of ‘low’ culture. A simple illustration would be the Virgin Mary having a fag. But I’m sure you can be cleverer than that. How about Mad Magazine meets the Gutenberg Bible or Tarantino re-does The Ten Commandments? Or Marina Ambrovic drowning in a spa tub of Norgen Vass ice cream being rescued by a Bondi lifesaver? As Baudrillard has it, “Only painting which itself succeeds in being a monstrous act succeeds in resolving and in reabsorbing the monstrosity of our lives”. Quite.

Gloriousity presented by CBS

Exhibition Dates 6-29 August 2014 The Adelaide Review Special Artist Award Winner Eastwood Community Centre 95 Glen Osmond Road Eastwood Telephone (08) 8373 2225 Mondays 12:30pm - 4:30pm Wednesdays 1:00pm - 4:30pm Thursdays & Fridays 11:30am - 4:30pm Community Bridging Services (CBS) Inc. providing art, recreation, education and open employment services to people with a disability

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VISUAL ARTS

Annette Bezor BY JANE LLEWELLYN

ven artists of the calibre and experience of Annette Bezor have had to adapt and evolve in response to the changing face of the commercial gallery scene in Australia. Bezor, in some respects, was given little choice, with the galleries that previously represented her in Melbourne and Sydney both closing down. However she is also making changes to her practice to make her work more accessible. Bezor is broadening her audience with her current exhibition at Aptos Cruz Galleries in Stirling, a space that combines art and design. While Australian Galleries, who now represent her in Sydney and Melbourne, concentrate on her paintings, the current exhibition at Aptos Cruz has given her the opportunity to focus on prints, works on paper and limited editions.

John Lennon Silkscreen Portrait.

“I wanted a bit more freedom to do other things,” Bezor explains. “Sometimes not a lot happens between exhibitions. You have a show and there is a great hoopla and then it goes ﬂat until your next show.” Bezor wanted to ﬁll this gap, and pushing the works on paper seemed the logical way to do this. Her paintings can be very labour intensive, so it also provides an avenue for getting more work out there without compromising on quality. The exhibition includes 12 prints, some of which are prints of paintings, but the majority of which are new images. “That’s the direction I want to go in. Rather than just making prints of paintings which I don’t think is very exciting, I want to make them individual things. I want to make them more accessible and more affordable.”

These works continue Bezor’s fascination with women and her exploration of veiling and layering, but she says because of the size of these works (only 80x80cm unframed) they are very intense and full of imagery and information. Along with the prints are a couple of works she has been developing called Art Cushions - a fusion of painting, soft sculpture and furniture. These works are hand-upholstered cushions with Bezor’s imagery on the back and front. The idea is that you can stand them up in the corner of the room like a soft sculpture but they are tough enough so you can sit on them. “It’s a useable piece of fine art,” says Bezor.

An Exhibition of Limited Edition Prints & hand written Lyrics by the legendary John Lennon, arranged with the cooperation of Yoko Ono Lennon Jewellery from The Mistress Von Berlow Collection.

Dates Thurs 24th July to Sunday 27th July 2pm to 6pm Thurs 31st July to Sunday 3rd August 2pm to 6pm Also open by appointment. 48 Esmond Street, Hyde Park,South Australia 5061 T 0449 957 877 hanrahanstudio@bigpond.com Barbara Hanrahan and Jo Steele’s private residence and gallery are open for viewing during exhibition hours

» Annette Bezor Aptos Cruz Galleries Continues until Sunday, August 31 Artist talk: Saturday, August 9, 2pm bezor.com.au

Lennon Exhibition

Susan Sideris at Hanrahan Studio

While the Art Cushions are a bit of an experiment to see how audiences receive them, Bezor is very excited about them. “They are made to order – it will take three weeks and each cushion is a one-off. It’s quite an exclusive little thing that is kind of quirky. They tickle my fancy.”

Outsourcing Mothers(2014), HD, single-channel, color, sound, 10:50mins

Wait for Red, otherwise sink or fly Kahori Kamiya NY-based artist, Kahori Kamiya, explores the idea of frailty in individual identity through her new video works: Job Interview and Outsourcing Mothers.

10 August – 28 September 1 Thomas St (cnr Main North Rd) Nailsworth prospect.sa.gov.au facebook.com/ProspectGallery

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TRAVEL ‘How to judge’ Using Hot 100 Finalists (an Interactive Session) - Unique to the Hot 100 is judging that rewards wines for ‘drinkability’ – a word that encapsulates a more visceral, pleasure-focused experience with wine, rather than looking for ‘technical merit’ as commonly used in wine show judging. The Hot 100’s unique approach to ‘judging’ sees an immersion in local, South Australian culture, food and arts, to enhance the experience, and bring a more human focus to the task at hand.

This unique experience and tour of Singapore is from Thursday, November 13 to Sunday, November 16 and has limited spaces. For full itinerary and details please contact: All/any Phil Hoffmann Travel branches Or Corey Enthoven – Tel – 8350 5700

HOT 100 BOUND FOR SINGAPORE The Adelaide Review Hot 100 SA Wines is heading to Singapore in November for wine masterclasses with Chief Judge Banjo Harris Plane and wine journalist Mike Bennie.

n conjunction with Singapore Airlines, Phil Hoffman Travel released a special three-day tour of Singapore based around the Hot 100 Singapore experience to take guests through a specialised gastronomic tour of Singapore from Thursday, November 13 to Sunday, November 16. Aside from the Hot 100 masterclasses, the trip includes five-star accommodation, luncheons and dinners at exclusive clubs and restaurants, sightseeing tours with a twist and return economy class flights with Singapore Airlines. The showcase event of this tour is three masterclasses at Fordham & Grand on Friday, November 14. Fordham & Grand is a bistro and bar that has won the palates and hearts of discerning diners with great food, delightful cocktails and a handsome concept styled after the speakeasy bars of the 1920s. The pairing of Fordham & Grand’s food with South Australia’s finest wines will make this day a vinaceous event to remember.

Details of the masterclasses are below: The New Breed of Wines of SA –The image of South Australian wine is often Barossa Valley-centric and set to an expectation of big, rich, jammy, alcoholic shiraz, ignoring much of the diversity, excitement and evolution that is rapidly emerging from this most diverse of wine-growing states. From cool climate, higher altitude wines, to expressions of ‘classic’ regions that defy the potential staidness and sameness expected, there is a wealth of exploration to be had in tasting a selection of wines that represent ‘a new breed’. Led by Australia’s highest-ranked restaurant’s general manager and sommelier, Banjo Harris Plane from Attica (Melbourne, number 32 in S. Pellegrino 50 Restaurants List), and joined by Mike Bennie (wine journalist Gourmet Traveller Wine Magazine, Winefront, Decanter Magazine) this tasting is focussed on exciting, delicious wines, from artisan producers looking to best express site and diversity of style from their wine region. Food and Wine Pairing (Using Hot 100 finalists and food by Timothy Lim) - One of the most highly-prized assets of the best wines

coreye@pht.com.au

of the Hot 100 is food-friendliness – an idea that the wines are not only immensely drinkable, but brought alive when paired with a variety of dishes. This tasting session aims to explore concepts in food and wine matching while showing diversity away from the red wine/red meat, white wine/ white meat paradigm.

Melanie Wynne – Tel – 8350 5700 melaniew@pht.com.au fng.com.sg singaporeair.com pht.com.au hot100wines.com.au

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60 THE ADELAIDE REVIEW AUGUST 2014

FOOD.WINE.COFFEE REVIEW:

GOLDEN BOY BY PAUL WOOD

t seems every time a high-proﬁle chef departs one restaurant for another, stories of strained relationships and poorlyplated politics are rife. Just months after opening to local applaud, the Golden Boyloving public was ‘rocked’ at the news that Chef Nu Suandokmai had quit. The headlines were dramatic and the industry unsettled, according to local reports, but who knows what really goes on below deck? As betrayed as they might have felt, kitchen crews behind these restaurant rifts stand united, keep on cooking and maintain the same standards. Even if the Captain had jumped ship (or was forced to walk the plank), there’s almost always a First Mate to step in and steer the new vessel. Enter new Captain Miles Davies – formerly of Jolleys Boathouse, as incidental pirate-puns would have it.

Friday 12 & Saturday 13 Dec 2014 Adelaide Convention Centre

Recently based in Sydney developing a dedicated taste for South East Asian food under the eye of revered chef Christine Mansfield at former fine dining restaurant Universal, Davies has returned home to take the mantle as the new (and perhaps improved?) Golden Boy of Adelaide’s Asian-fusion cuisine. I had eaten at Golden Boy a few times before and it was always a great experience, but let’s not dwell on the past; instead let’s concentrate on the delicious and the charming. Golden Boy’s interior is delightful. I think back to the days when this was the Botanic Bar’s dark and dated Chesterfield-clad cigar lounge and thank the designers for this resurrection. Clean, bright and comical, with etchings and prints traversing white walls and a white marble bench running right down the centre of the compact but well-utilised space. The bright and white extends through to the kitchen with

Price includes 3 course dinner, beverage package, lolly bar and entertainment from Attack, The Gate Crashers and DJ duo Jason Lee and Dave Collins BOOK ONLINE AT www.adelaidecc.com.au For more information please contact 8210 6734

THE ADELAIDE REVIEW AUGUST 2014 61

ADELAIDEREVIEW.COM.AU

FOOD.WINE.COFFEE a row of golden light fittings suspended from black metal poles – a striking feature against the rest of the clean interior. The food is delicious. Betel leaves are stuffed full of seafood flavours that change regularly. I’m a fan of the salmon but the crab is even better, as the silky, creamy paste filling and chilli hit excites and leaves you wanting more – drizzle it with supplied lime wedges if you love a bit of tang, it’s worth it for balance and takes the chilli edge off, too. In the salmon vs kingfish sashimi battle, the salmon proves almighty – a dainty little fish dish with perfect lime-y acidity supported by galangal, soy and palm sugar to balance the mix. Keeping with the seafood tradition, a beady-eyed barramundi is battered, herbed, fried and placed decadently atop a pile of leaves, spices and herbs. Out of the ocean and onto the land, a flavourinfused Jungle Curry dish features stir-fried sirloin, kangkung, holy basil and banana chilli that almost pushes you over the spicy edge. The TBBC is a simple combo of edamame beans, chilli and bean curd and is a play on the locally-adopted Gouger Street favourite with a touch of Thai. Spice-rubbed pork spare ribs are slow roasted for hours and served with a roast garlic dipping sauce. These are lip-smackingly delicious and a good break from the chilli heat of the rest of the menu. The Massaman curry is the only slight let-down. Although tasty,

the Wagyu beef was not as tender as expected and while I do enjoy the ﬂavour of star anise, mistaking a pod for a curry-soaked morsel of meat left a fairly strong taste between my teeth. Fortunately the duck curry made up for it. Roasted legs swam in a lovely fragrant yellow curry, sweetened with pineapple and Thai basil. It’s one of those dishes you can never go past on a menu, and in this case you certainly shouldn’t. For those of you with ambition (or those on the hunt for that perfectly Instagram-able bird’s eye shot) make sure you order the plate of chilli accompaniments. The staff is charming. Whether it was the time seated at the chef’s bench overlooking the kitchen or the main dining space, the service makes the experience. Attentive, professional and just a little bit cheeky, these guys and girls know their business, their food and their customers. Golden Boy hasn’t changed too much since opening its doors, but where it has, it’s for the better. It is testament to the idea that there’s more to navigating a ship than who is at the helm. Boatswains and deck hands all have their place to ensure smooth sailing, especially through turbulent waters.

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62 THE ADELAIDE REVIEW AUGUST 2014

FOOD.WINE.COFFEE

The Secret Blend

The Philosophy of Coffee BY DEREK CROZIER

BY DEREK CROZIER

aylor Blend may seem small when you walk in, but the passion and enthusiasm of the staff is huge. I even noticed it radiating though to the smiling customers walking in at the same time as me. The décor consisted of woodgrain and browns with eye-catching artwork that really stands out when you enter. Brewing methods on offer other than espresso include the pour-over, but the chilli-infused cold drip is definitely of note. Taylor Blend offers plenty of single origins and blends depending on what’s in season or what rare and exotic beans they can get their hands on. They have the freedom to use different roasters from around Australia, so, as you can imagine, choosing what to try for my espresso was hard. I went with a single origin from Costa Rica called La Pena Tarrazu and it was divine. The ﬁrst sip had a sharp acidity that amazed me when it turned into roasted nuts and savoury biscuits. It also had a natural sweetness in the aftertaste, resulting in a memorable experience. The latte was made from a secret blend, which is always on offer, called ‘The Taylor

I House Blend’, locally roasted by Simply Coffee. It was made with Tweedvale milk and served with a rosetta as the latte art. The ﬁrst sip of the latte had a strong almond taste, followed by a creamy caramel aftertaste. The next time you have a day off, I recommend taking a drive up the hill to Taylor Blend, not just for the amazing coffee, but for a beautiful scenic walk through Ferguson Park next door. You may even come across a koala to share your coffee with.

f you studied the philosophy of coffee, would it be called coffylosophy? Now there is no need for debate because this little hidden gem on Hutt Street answers that question. While most of our city lives speed along at a frantic pace, Coffylosophy’s painted bookshelves full of titles is relaxing in an almost subliminal way. Using beans from Veneziano Coffee Roasters, Coffylosophy have many brewing methods on offer, such as the huge glass cold-drip on display next to the Synesso espresso machine. The friendly barista suggested I try a single origin bean from Nicaragua called Luis Balladarez for my espresso, which was served immediately. It had sweet fruity notes

in the aroma and produced wheat and raisins in the taste all the way through. The latte was made from the house blend called Forte e Ardito, which consisted of beans from Brazil, Colombia and India. It was presented with a symmetrical rosetta leaf as the latte art and the taste of caramelised orange stood out with every sip. It had a pleasant chocolate aftertaste. They have fresh orange slices in their complementary water and little chocolate bud treats with your coffee that enhance not only the house blend’s tasting notes but also the overall experience. They say that caffeine causes increased neurons ﬁring in the brain, so it’s deﬁnitely the place to grab a great coffee and ponder the ‘coffylosophy’ of life.

» Coffylosophy 198a Hutt St coffylosophy.com.au

» Taylor Blend 1/34 Hallett Road, Stonyfell taylorblend.com.au

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THE ADELAIDE REVIEW AUGUST 2014 63

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FOOD.WINE.COFFEE

National Wine Centre Welcomes Winter

so many wonderful food and wine regions in such close proximity, and the festival will give everyone the opportunity to taste quality produce grown in the state. “Our state has been so aptly referred to as ‘Australia’s wine capital’ for so long; South Australia offers diverse and multifaceted landscape for winemaking,” Emeny says.

The National Wine Centre is helping to fill the winter void in Adelaide with its inaugural Winter Food and Wine Festival.

“The climate and soils of our state are ideal for grape-growing, so it’s no wonder that South Australia crushes nearly half of Australia’s total grape.”

BY TISH CUSTANCE

s South Australians slip into their routines throughout winter and prepare themselves for next year’s season of events, the National Wine Centre is planning to bring some vibrancy back to the state and give South Australians the opportunity to go out and indulge in a day of food and wine. “We tend to see winter as a bit of a hibernation-style period in Adelaide but we are determined to help keep the diversity and activity in the city all year round,” says National Wine Centre Manager Adrian Emeny. The new Winter Food and Wine Festival welcomes South Australians to the National

Wine Centre for a day of live music, fresh produce sourced from around the state, and more than 30 different wines, ciders and beers from McLaren Vale, Clare Valley, Adelaide Hills and Barossa Valley.

“The centre offers an appeal well suited to winter. With plenty of natural light due to the architecture of the building, the Winter Food and Wine Festival is an indoor event with an outdoor feel,” he says.

“This is the ﬁrst time since the centre opened 13 years ago that the National Wine Centre is open to the public in such a large-scale food and wine event,” Emeny sayss.

Local vendors from the Adelaide Hills Farmers Market will sell winter produce at the festival.

Emeny says the festival is about attracting more people to the National Wine Centre to show off the centre’s new features and recently renovated exhibition space.

“We are thrilled to bring a few of our market stallholders into the heart of Adelaide,” says Dominique Lieb, Organiser of Adelaide Hills Farmers Market. South Australians are fortunate to have

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The festival will feature food and wine masterclasses throughout the day, with guest wine makers from around the state hosting each of them. “[The masterclasses are] an opportunity to educate consumers about the wonderful wines from the regions on Adelaide’s doorstep, and how stylistically different all the wines from these regions actually are,” Emeny says.

» Winter Food and Wine Festival National Wine Centre Sunday, August 24 wineaustralia.com.au

64 The Adelaide Review August 2014

The Hotel Metropolitan Having worked at The Hotel Metropolitan for almost six years, Duty Manager (and Pinball Manager) Thomas Byrnes describes the Grote Street destination’s menu as “great pub food with some interesting twists and no MasterChef references” while his personal favourite dish is the classic soya bean and tofu stir fry (BBC). The perfect winter pub destination, Byrnes says the best thing about visiting The Metro during winter is the “open fire and listening to the constant open-ended debates on the latest premiership favourite (mixed with some amateur nuclear physics)”. Byrnes’ tip for the ideal food and drink match is to head to The Metro on Monday and order the $8 chunky beef rissoles with a glass (or two) of Killerman’s Run Cabaret Sauvignon.

The Balti House The Balti House’s Head Chef Abdul Wahid (Aziz) brings a wealth of experience having worked in many Indian restaurants across the UK. “I lived and worked in cities like Luton, Peterborough and Edinburgh, and became familiar with the tastes of the UK people who like Indian curries,” he explains. Wahid’s Balti House tip is one of their house specialties – chicken or lamb tikka balti. “We cook balti dishes in a cast iron wok with freshly blended spices, fresh tomatoes, green peppers, onions and flavoured with herbs, and serve with either plain rice or plain naan. The best part is that we can tailor the strength of these dishes to suit our customers’ own taste.” Aziz says the Bangladeshi-inspired food goes well with any beer or wine: “However, Kingfisher Lager seems to be the most popular drink at the Balti House.”

Lenzerheide’s former Executive Chef Mark Gaston has been with the iconic Hawthorn restaurant for 25 years. Now a Partner, as well as Food and Beverage Manager, Gaston says Lenzerheide “pays great respect to our long standing classic dishes while incorporating modern technique and flavours”. “Our philosophy on sourcing produce has always been to work closely with other local businesses that share our desire and passion to provide the very best food experience available. Fresh local produce and the very best from around Australia and Europe are combined to showcase these elite products.” Gaston says the ideal winter food and wine combination is Lenzerheide’s “Onkaparinga Valley venison (served medium rare) with a glass of Alan & Veitch Merlot.”

The Anchorage The Anchorage’s Head Chef Adam Crabtree says his menu is loosely based on “Mediterranean flavours with lots of seafood during summer”. But for winter, Crabtree says diners should try the Victor Harbor hotel’s 12hour slow-cooked Yankaponga lamb shoulder with preserved couscous. Of the winter menu, Crabtree says: “We put lots of love into our winter dishes and our menu tends to offer more peasantstyle food. I love the less expensive cuts that can be braised or slow cooked.” And to drink? “Either the Dust Kicker GSM or the Rymill Yearling Cabernet Sauvignon.”

Mark Gaston

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Abdul Wahid (Aziz)

146 Belair Road, Hawthorn. Lunch: Tuesday to Saturday from 12pm, dinner: Tuesday to Saturday from 6pm, High Tea: Tuesday to Saturday 12pm to 3pm. 8373 3711. lenzerheide.com.au

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2/167 Goodwood Road, Millswood. Open seven days a week, 5pm until late. 8357 7716. baltihouse.com.au

46 Grote Street. Open seven days a week. Lunch: 12pm to 2.30pm Dinner: 6pm to 8.30pm. 8231 5471. hotelmetro.com.au

WINTER PAIRINGS

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Located in the heart of cosmopolitan North Adelaide, all 46 compact rooms (14sqm) feature a king bed, free unlimited Wi-Fi, bar fridge, wall-mounted LCD TV and all the modern conveniences you would expect. And each room has been transformed exclusively by a cutting edge South Australian artist. 146 Melbourne street | north adelaide Phone 8334 Street, 7766 | free call 1800 779 954 55 Frome Adelaide majestichotels.com.au

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The Adelaide Review August 2014 65

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King’s Head The King’s Head Duty Manager Tony Bayles might be a Victorian country lad but he loves the pub’s gourmet pie floater. “As a good Victorian country lad, the thought of meat and pastry floating in some soup really wasn’t something I was rushing to try. However, the combination of slow roasted, perfectly tendered beef brisket with a thick house-made pastry, served in a fresh and delicious pea soup, turned out to be enough to convert me to becoming a proud pie-floater eating South Aussie.” Along with the SA-only beverages, the menu features ingredients completely sourced from local producers and growers. “Our chef is brilliant and is very proud of our menu which is the perfect combination of traditional pub food and a continuously evolving bigger plates selection.”

Jack Ruby Aaron Sandow is one of the owners of the Americana bar and restaurant Jack Ruby, which offers a twist on food from the Americas. Sandow says he wants diners to experience “high-standard food and beverage offerings and service in casual, non-pretentious setting”. “We spend a great deal of time sculpting a menu that changes frequently, and sourcing exclusive beers from the USA and other parts of the world to set ourselves apart. It all comes together in the way the venue looks, feels and sounds.” Personally, Sandow digs Jack Ruby’s The Yoder Meat Fest with “12-hour brisket, pulled pork and BBQ ribs all smoked in-house by our kitchen crew. Add buffalo wings, chili greenslaw and scorched corncob and you have the fest.” And to drink? At the moment, Sandow recommends the North Coast Old Rasputin stout from Fort Bragg, California or, if you want to go local, Mismatch Brewing Co’s Dark Ale.

Matching the menu of Maxwell Wines’ Ellen Street Restaurant with Maxwell’s wine is a collaboration between chef Tom Boden and winemaker Mark Maxwell. “We discuss wines, both from our current range, as well as a considerable selection from our museum cellar, to look for food and wine combinations that enhance the overall experience. “Tom has an affinity with the local area and its produce and as a team we get together for the awful job of trying the food with a large selection of our wines to come up with the best combination.”

Mark Maxwell and Tom Boden

Barossa... Be Consumed Gourmet Weekend

24-26 Kangarilla Road, McLaren Vale. 10am to 5pm, seven days a week, 8323 0188. oxenberry.com

Aaron Sandow

Corner of Olivers and Chalk Hill Roads, McLaren Vale. Lunch: Friday to Monday from 12pm, dinner: Fridays from 6pm. 8323 8200. maxwellwines.com.au

Tony Bayles

Maxwell’s Ellen Street Restaurant

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Oxenberry Farm Cellar Door & Cafe Oxenberry Farm’s Marketing and Administration Manager Rachael Scarpantoni has been with the McLaren Vale destination for around nine months and says Oxenberry’s menu is “generously wholesome and decadent with a strong focus on using the finest local produce,” which supports local businesses. Scarpantoni says you can warm yourself by the open fire with a Haigh’s hot chocolate. And to eat? “Our signature and exclusive ‘Grapple’ Pie and our original Oxenburger with our own ‘Two Tribes’ Shiraz Grenache-infused meat patty.” Or you can try the Farmers’ Platter, which “showcases the region at its best and is the perfect complement to any of Oxenberry’s wines or ciders.” Rachael Scarpantoni

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66 THE ADELAIDE REVIEW AUGUST 2014

Hot 100 FOOD.WINE.COFFEE Wines

THE ADELAIDE REVIEW

SOUTH AUSTRALIAN

Making Chardonnay the Grimley Way BY CHARLES GENT

Stephanie Liamos and Linda Burlison.

s well as producing a scattergun of styles, Chardonnay is a variety that provokes wildly diverging levels of enthusiasm.

McLaren Vale Winemakers as a studio-scale winery is all in an attempt to “keep it real”, and he describes the ess & see label as his “touchstone”.

TURKEY FLAT IN THE CITY

It’s an ambivalence McLaren Vale winemaker Steve Grimley has never shared: “I’ve always been a Chardonnay lover since I was allowed to drink.”

Chardonnay was the ﬁrst cab off the rank for ess & see, and given Grimley’s tastes, small barrel oak treatment was always going to be part of the making. Response to his 2012 ess & see No 1 Chardonnay shows he is not alone, and among its fans are the judges of The Adelaide Review Hot 100 SA Wines, who gave the wine a top 10 spot in the competition.

Turkey Flat celebrated its 25th birthday with a special event at Queen’s Theatre on Wednesday, July 16.

And he isn’t talking about any mildmannered, pallid Chardonnay made in stainless steel: his preference is for full-bodied, ﬂavoursome styles. Born and bred in the Barossa, Steve Grimley came to rest (if that’s the word) in the back roads of McLaren Vale in 2006. For Grimley, whose continuing work as a wine consultant has included starting up a major winery from scratch on the Limestone Coast and selecting and supplying wine for an airline, setting up

Their write-up spoke of “tangy, pithy grapefruit flavours and a hint of briny tang” as well as gunflint, smoke and cedary oak. While Grimley has never made wine in Burgundy, he has visited more than once and acknowledges the French approach as an influence both on his career and winemaking.

Kristina Bahnisch, Sarah Price and Will Bahnisch.

“But in terms of that particular wine, we found a great vineyard in Bill Hardy’s, and it was delivered to our winery where basically we pressed it, ﬁlled the barrels and 10 months later put it in bottles. There wasn’t a lot we did.” He does admit, though, that the oak barrels were from the Rolls-Royce end of the spectrum.

Newer t wiN meNu

The Kangarilla-grown fruit brings ess & see into a group of increasingly smart and sleek Chardonnays from the Adelaide Hills and the Fleurieu that is helping to dispel any linking of South Australia’s reputation for Chardonnay with quantity ahead of quality.

The

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The ess & see range (the initials are a mnemonic tribute to the previous generation) now includes a Grenache, a Pinot Noir and a Shiraz, all under clean, stylish labels.

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“I don’t mind a bit of oak as long as it’s in balance and in harmony, and that’s the great thing about Chardonnay: it can handle a lot of different techniques and there’s a lot of ways to interpret its capabilities, and we’re seeing that right across the board in Australia at the moment.”

46 Grote St, AdelAide 8231 5471 www.hotelmetro.com.Au

As a winery, McLaren Vale Winemakers is speciﬁcally designed to handle small parcels of wine in runs of 100 to 150 cases, and the site on Chalk Hill Road has become a professional and social hub for several other kindred spirits – small-scale or part-time winemakers who are committed to leavening their hard work with a modicum of fun, in which the Grimley pizza oven plays a pivotal role. “The wines coming out of there at the moment – not just the ess & see – express

Gabrielle Kelly and Kerry Flanagan.

Ben Dawson and Kimberley Gifford.

that. They are not pretentious in any way or overly serious; they’re good solid wines that ideally pronounce where they come from and have a really good dose of drinkability,” Grimley says. “Something as a winemaker I’ve always been a proponent of is that it’s all very well to push the boundaries with sites and varieties and clones and the different techniques that you can use, but at the end of the day, someone’s going to pull the cork or unscrew the cap and it needs to put a smile on their face.” So, it seems it’s not all in the name: there’s nothing remotely grim about Steve.

The Adelaide Review August 2014 67

adelaidereview.com.au

FOOD.WINE.COFFEE

Zero Waste Dining The Barossa... Be Consumed Gourmet Weekend will feature a new event this year, the Zero Waste Long Lunch. by Tish Custance

osted by two of the Barossa Valley’s most integral communities – the Barossa Bushgardens and the Barossa Farmers Market – the Long Lunch is a different event for the weekend, as nothing from the lunch will end up in landfill and guests will be told to bring their own crockery and cutlery. “Each placemat is going to be a recycled (compostable) flour bag, and on there, we’re going to print out a little blurb that tells people the concepts behind it, and then at the end of the day they can use that little bag to put their dishes in and take that away with them again, so there’s nothing disposable,” Barossa Farmers Market Manager Jess Greatwich explains. “I think it’s a new kind of event for something like Gourmet Weekend – we really wanted to have something that was genuinely centred in the place and traditions of the Barossa.” Those attending the lunch will also learn

about different ways to use cuts of meat, which may otherwise be thought of as waste. “We’ll have different options of how to use [left overs], so people can get an idea of what they can do at home,” says Sarah Barrett, Barossa Bushgardens and Natural Resource Centre Coordinator. The lunch, held at the Barossa Bushgardens, will be a three-course event showcasing produce sourced only from the region. “We have fabulous resources and access to beautiful fresh local produce, and the menu that we’ll be having at the Long Lunch reflects that,” Barrett says. Guests attending the event in the Bushgardens’ volunteer centre can expect to receive a roaming entrée on arrival, consisting of crostini completed with a range of toppings prepared by volunteers from the Barossa Bushgardens.

Local chef Alison Short will be preparing the main course, consisting of Hutton Vale lamb ragu with soft polenta and pulled pork from Barossa Heritage Free Range Pork and a range of beautiful salads. “The Barossa is really well-known for making chutneys and condiments, so we’re going to have a whole range of little sauce stations,” Greatwich says. The dessert course will be prepared by some locally renowned home-cooks. “[The volunteer centre] is basically like a big shed, and this is where we do lots of potting up of our plants and propagating, but we’re also now going to have it as a dining hall, so we’ll be doing lots of work to create some ambience in our lovely shed,” says Barrett. “It’s a good space; it’s a community space and it has a lovely community feel.”

The main courses will be delivered to tables on large platters to encourage sharing and communication during the meal. “I’ve found at events like this, if you have individually plated portions, everyone stops talking, looks down and focuses on their [meal], and then five minutes later resumes the conversation,” Greatwich says. “I’m really excited that at the end of the day we will finish up with not one single scrap of anything going into landfill – I think that’s going to be really cool.”

»»Zero Waste Long Lunch Barossa Bushgardens, 653 Research Road, Nurioopta Sunday, August 17, 12.30pm-4pm barossagourmet.com

THE BIRTHPL ACE OF McL A RE N VA LE

Open Fire, Haigh’s Hot Chocolates, Fortified Wines, Perfect Winter Warming Destination... Let’s meet at Oxenberry Farm For the complete Winter Warming Experience, plus so much more, visit Oxenberry Farm today! Monday to Saturday 9am-5pm, Sunday 10am-5pm OPEN MON – SAT 9AM – 5PM

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68 THE ADELAIDE REVIEW AUGUST 2014

FOOD.WINE.COFFEE

Photo: Michael Jones

American Cheese BY VALERIE HENBEST

f I ask you to think about artisanal cheese, your mind is likely to wander to traditional cloth-bound Cheddars of England, Comte from France or Italy’s Parmigiano Reggiano. The US is probably not the place you are likely to contemplate, but ask Americans today what their number one food craving is and they will likely answer ‘cheese’, with chocolate running second. Although records show that cheese was stored in pilgrims’ rations on the Mayﬂower in the 17th century, the modern US artisan cheese movement is fairly recent, beginning in the early 1980s. In 2014, America counts almost 1000 cheesemakers producing worldclass cheese, as they ﬁnally take their rightful place in the realm of gastronomy. Wisconsin has been leading the way for a long time and is now the fourth largest cheeseproducing region in the world. It became

Bellavitano Espresso by Sartori.

known as America’s Dairyland in the 1930s and in 2012 Wisconsin produced 1.265 million tons of cheese. Today, because consumers are generally demanding more distinctively-flavoured cheese, specialty cheeses are the fastestgrowing category in Wisconsin. Artisanal American cheesemaking is moving beyond the familiar cheese states of Wisconsin and Vermont to places not previously thought of as cheese hot spots, such as North Carolina and Maine. A few months ago, Daniel Lippman mentioned in the Wall Street Journal that Whole Foods supermarkets recently promoted Americanmade cheese with cheeky posters, including ones featuring Uncle Sam (with a cheese

face) proclaiming, ‘I WANT YOU to enjoy our American artisan cheeses!’ The number of independent cheesemakers in the United States has doubled since 2000 and some of them seem to rebel against what they see as an overly industrialised system of food production in America. Others are trying to preserve local landscapes, jobs and a traditional way of life. Peter Dizikes, from MIT News Ofﬁce, said in 2012 that “for all the stress and strain of running a farm and selling a product, artisanal cheesemakers represent a new version of an old American dream: people who make a living doing what they want, where they want, on their own land”.

So, if I ask you again to think about artisanal cheese, maybe you might like to turn your thoughts towards America for a change. And if you are wondering what a Wisconsin or a Vermont cheese tastes like, look no further, as you will be pleased to know that you now have the opportunity to experience them next time you visit the Adelaide Central Market. The Sartori cheeses from Wisconsin and the Vermont Creamery cheeses are likely to rock your world.

» Valerie Henbest is Smelly Cheese’s Importer smellycheese.com.au

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The Adelaide Review August 2014 69

adelaidereview.com.au

FOOD.WINE.COFFEE

Cheese Matters Pizza BY Kris Lloyd

izza is generally loved by all, but what have we done to it? There must have been a point in time where it was decided that we had to throw every possible food known to man on a pizza, at once, in order for it to be appealing. Let’s go right back to basics. Real pizza has texture, taste and aroma, not an overkill of salt and competing flavours. Traditional pizza should illustrate complexity in simplicity by using a variation of toppings that are clean, fresh and simple. This style features widely in Italy as a classic pizza made of tomato, Buffalo Mozzarella and basil, with a drizzle of good olive oil – nothing short of simple pizza perfection. If you have not made pizza at home before, have a go; you may never dial out for one again. Making your own dough is pretty simple but does require a bit of patience. You need just four ingredients: active yeast, warm water, good quality plain flour and some salt. There are many recipes available. Alternatively you can buy pizza dough, which is ready to go. Choose

one that is made locally; they work a treat if you don’t have the time to do it from scratch. Mostly, the pizzas in Italy are rectangular slabs, but whatever shape you decide to roll, be sure to brush your pizza tray with olive oil before placing your pizza base. Mozzarella, originally from Southern Italy, is traditionally made from buffalo milk using the pasta filata – meaning ‘spun paste’ – method. The cow’s milk used is called ‘Fior di Latte’. These fresh cheeses are the ultimate cheese for pizza. Choose the fresh variety of these cheeses, usually found swimming in brine solution in deli cabinets; this will ensure pizza sensation. It is sweet and milky and adds the perfect texture to your pizza without dominating. I much prefer it to a matured, harder version of Mozzarella. Other cheeses to consider are Tilsit, Blue Vein, Parmesan, which has been freshly grated, goat curd (or Chevre), Feta and Pecorino. Combinations of toppings should be kept to a

minimum, around three or four for the best result. The general rule of thumb is to spread olive oil on the dough base, which is then followed by the all-important cheese and so on. Some variations to consider are: thinly sliced potato with Tilsit, fresh Mozzarella and sprigs of rosemary. The Tilsit is a sweet and nutty cheese that complements the potato perfectly. If you are a lover of Blue Vein cheese and asparagus (when in season), this is worth a go. Place some fresh, thinly sliced Buffalo Mozzarella on the base, then crumble Blue Vein cheese on top, followed by thinly sliced fresh asparagus. Season with salt and freshly cracked pepper. Bake in a super hot oven until the cheese is melted and serve immediately. Mushrooms and cheese are delightful together and make another great style of simple pizza. Choose several types of mushrooms. I like locallygrown Swiss brown, button and Shiitake. Cut them thinly and cook in a pan with cultured

butter, add to a prepared base of Buffalo Mozzarella, some fresh thyme and cook in a hot oven. A variation is to remove the pizza when the cheese is just melted and crack an egg in the centre, then continue cooking until the egg is just cooked. Serve with freshly grated Romano cheese and a fresh green salad – pizza heaven. Pumpkin may not always be considered as a pizza topping, but it is delicious. Pre-cook some cubes of pumpkin, either in the oven or by steaming. Once cooked, toss them in a small amount of cultured butter, add a few roasted pine nuts and some nutmeg. This goes on your prepared base of fresh, thinly sliced Fior de Latte with a little caramelised onion. Cook in a hot oven until it is ready (when the cheese is bubbling). Throw a handful of fresh parsley on top before serving with a glass of crisp white wine. The most important part of the pizza is often debated. Is it the crust? The cheese? The topping? If you have beautiful fresh ingredients that are used carefully, they are equally important. Although, for me, the cheese is the foundation. Funny about that!

»»Kris Lloyd is Woodside Cheese Wrights’ Head Cheesemaker woodsidecheese.com.au

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70 THE ADELAIDE REVIEW AUGUST 2014

FOOD.WINE.COFFEE Walnut and Muscatel Bread

FOOD FOR THOUGHT

Makes 3 loaves Ingredients • 500g plain flour (organic if possible) • 7g dried yeast • 300ml warm water • 1 tsp salt • 2 tbs extra virgin olive oil • 2 tbs sugar • 1.5 tbs spice mix • 150g dried muscatels

BY ANNABELLE BAKER

want my chickens roaming free in paddocks of green pasture and eating nothing but grass and the occasional worm – I don’t purchase or eat eggs that come from anything less, but my position on the production of foie gras is far less passionate and, to be honest, I have somewhat double standards on the issue.

Method 1. Activate the yeast in the warm water for five minutes. 2. Combine the flour, salt, oil and sugar in the bowl of an electric mixer. 3. Mix briefly with the dough hook on a low speed to combine the dry ingredients. 4. Slowly add the yeast and water. 5. Increase the speed to medium and leave for 15 minutes or until the dough will stretch and allows you to see through it. 6. Add the walnuts and muscatels. Mix until combined. 7. Place in an oiled bowl, leave to prove for 45 minutes or until doubled in size. 8. Divide the dough into three even pieces and form into a baguette shape. 9. Place on a floured baking tray and leave to prove for a further 30 minutes. 10. Bake in the oven for 30 to 45 minutes. Bread is ready when if tapped on the bottom, the echoing sound is hollow. 11. Leave to cool. 12. Slice thinly and toast in the oven for a crisp finish.

Geese have been ‘force-fed’ for more than 5000 years and, in fact, it was the Egyptians that are said to have noticed how migrating geese would naturally plump up for the long trip ahead of them. It wasn’t long until the Romans noticed how geese could overeat and that their lack of a gag reﬂex allowed them to consume copious amounts of ﬁgs and, in turn, enlarge their liver and provide a prized delicacy of the era.

Pork and Pistachio Terrine Ingredients • 1.8kg pork • 200g back fat • 10g fennel seeds • 1 white onion • 1 tsp thyme leaves

The fall of Rome would almost see the practice of foie gras disappear and it is said that if it wasn’t for the Jews taking the technique around Europe it may have been lost in history forever. The very rich livers provided Jews with kosher fat to cook with, while olive oil and dairy fat were scarce. Adopted and loved by France, the technique was, and will possibly always be, synonymous with French gastronomy. With the production and consumption of foie gras now steep in French history, the rise of pâté, terrines and parfaits was seen all throughout the 17th century. This ingenious method of preserving meat by the addition of animal or dairy fat is making somewhat of a comeback and artisan producers are popping up all over the country. Chicken liver parfait that has been perfectly protected with a seal of clariﬁed butter, served with crunchy sourdough and a cornichon for some wanted acidity, is something not to be refused.

I admit the technique in which foie gras is produced is not the most ethical, and for that reason banned in Australia and many parts of the world, but it is an important part of food history that deserves to be recognised for its mark on history and, let’s face it, its

delicious contribution to gastronomy and its means for preserving food through less opulent times.

@annabelleats

CHEESE AND CHOCOLATE

THE WORLDS STINKIEST CHEESES

BEER VS WINE

$70 inc GST ($63 for members) Venue - 25 Wright St, Adelaide

$80 inc GST ($73 for members) Venue - 25 Wright St, Adelaide

Chocolate is often paired with wine or spirits, but it is also a great match with cheese. Both are rich and savoury and together they can create some incredibly complex and intriguing flavour combinations. Do you start with your favourite cheese or your favourite chocolate! Maybe start with a triple cream filled with a delicious chocolate paste and graduate to a full flavoured hard cheese and see whether a mild milk or dark bitter style of chocolate suits your taste.

The term “stinky” refers to the washed-rind cheese family. While these stinky cheeses don’t taste as strong as they smell, sometimes it takes a leap of faith to take your first mouthful. You will be glad you did though as you will find what may be described as dirty sock odour will convert into a very enjoyable gastronomic experience. You will sample the very famous Epoisses from France, Bruny Island 1792 from Tasmania, Taleggio from Italy among other surprises. We will skilfully match these with beverages for you to enjoy. The stinkier the better, what an evening it will be!

When it comes to cheese and beverage pairings, wine may still be the first thing that comes to mind. But have you ever wondered whether beer could be another option? Some dryer cheese styles will handle the bold and tannic red wines but the creamier cheese styles may benefit from a cleansing ale. So what are the best pairings for different cheese styles? You will sample some of the world’s finest cheese with both wine and beer so you can decide for yourself. The challenge is on!

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• 1 egg • 1/2 cup whole pistachio • Salt and white pepper • Sliced pancetta or thinly sliced bacon

Method 1. Ask your butcher to mince the pork and back fat on a 8mm blade. 2. In a generous glug of olive oil, sweat the onions, thyme and fennel seeds until translucent and soft. Leave to cool. 3. Combine the pork mince, back fat, cooled onions and the egg, mix until it becomes sticky and forms a ball (slapping the mixture on the side of the bowl will help it combine). 4. Add a large pinch of salt and pepper along with the pistachio nuts and mix until evenly dispersed throughout. (Frying a small amount of the mixture to check the seasoning at this stage will help you get a perfect end result). 5. Line a terrine mould with greaseproof paper. 6. Line the tin with sliced pancetta, length ways and with a slight overlap. 7. Pack the mix in to the mould making sure you pat the tin frequently to remove any air pockets. 8. Cover the top of the terrine with the remaining pancetta slices. 9. Tightly cover the top of the terrine with greaseproof paper and a layer of aluminum foil. 10. Fill a large baking tray with boiling water in an oven preheated to 160 degrees. 11. Place the terrine in the water bath. 12. Bake for an hour and then remove the cover, continue to bake for 20 to 30 minutes or until 72 degrees in the centre. 13. Leave to rest and cool to room temperature before placing two tins of tomatoes on top to lightly press in the refrigerator overnight. 14. Serve at room temperature with slices of crusty bread.

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THE ADELAIDE R EVIEW AUGUST 2014

FORM D E S I G N • P L A N N I N G • I N N OVAT I O N

SOUTH AUSTRALIAN ARCHITECTURE AWARDS

Goolwa BeachHouse, Grieve Gillett Pty Ltd. Photo: PeterBarnes.

72 THE ADELAIDE REVIEW AUGUST 2014

South Australian Health and Medical Research Institute by Woods Bagot COLORBOND® Award for Steel Architecture Keith Neighbour Award for Commercial Architecture Robert Dickson Award for Interior Architecture Derrick Kendrick Award for Sustainable Architecture

FORM

SOUTH AUSTRALIAN ARCHITECTURE AWARDS 2

This year’s South Australian Architecture Awards were held at the Adelaide Entertainment Centre on July 4, where the state’s ﬁnest projects received recognition across 13 different categories.

BY LEANNE AMODEO

South Australian Health and Medical Research Institute by Woods Bagot. Photo: Peter Clarke

THE ADELAIDE REVIEW AUGUST 2014 73

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Matt Davis

n what came as no surprise to anyone, the major winner at this year’s South Australian Architecture Awards was the South Australian Health and Medical Research Institute (SAHMRI). The Woods Bagot-designed building has come to symbolise the growth and development currently taking place in the state and also sets a new benchmark for public architecture across the country. With its monumental form, the building has divided opinion, but this year’s juries deemed it worthy of awards in ﬁve different categories, including the Derrick Kendrick Award for Sustainable Architecture and the Jack McConnell Award for Public Architecture.

Manager Mel Hunter states, “SAHMRI was a collaborative effort, not only within our practice, but with our clients, consultants, contractors and stakeholders. For the Woods Bagot team itself, the project is an example of how our global studio model allows for contributions from outstanding team members across the world in order to achieve an international, quality outcome.”

Praise for SAHMRI came thick and fast at the awards presentation dinner, held on Friday, July 4 at the Adelaide Entertainment Centre (AEC), and the majority of the night’s Tweets made note of its winning streak. Although the juries’ citations in each of the respective categories focused speciﬁcally on the architecture, the team involved in SAHMRI’s design cannot be overlooked. In fact, it would be hard to do so, considering they almost spilled over the stage when accepting each of the ﬁve awards.

Another notable winner on the night was Architects Ink, taking out the SA Chapter Award in the inaugural Residential Architecture – Houses (Alterations & Additions) category for Residence R. The jury (chaired by Sean Humphries) welcomed this new category and praised the winning project for its “formal simplicity that successfully pays its respects to the Californian case study houses of the midcentury, whilst stamping its own mark on the style”. For Architects Ink, the win was a significant one, as interior designer Laura Tisato explains, “We were very pleased to hear about the new category because in the past it’s been difficult for juries to judge alterations and additions against new houses, so to win the inaugural named award is just fantastic.”

The impact of their multiple wins not only resonates within the Woods Bagot South Australia office, but also filters throughout the practice at both national and international levels. As Administration

A highlight of the program was the six prizes that were also awarded, including the 2014 James Irwin President’s Medal presented to Susan Phillips & Michael Pilkington, co-founders and directors of

Phillips Pilkington. SA Chapter President Steve Grieve concedes that choosing a worthy recipient for the Medal is always a difficult task because there’s an unlimited field of outstanding practitioners to choose from; on the other hand, this year’s choice was easy. “One of the main criteria I focus on is whether recipients have been true to their values,” he explains. “And I think it’s fair to say Phillips Pilkington have demonstrated that. I also like the fact they are not simply producing buildings, but also have a broader role as teachers as well as involvement with community issues.” The South Australian Architecture Awards may not have received the same amount of entries as the eastern states, but the mood at the presentation dinner was lively and overwhelmingly positive. Adelaide’s finest were treated to a lavish share-platter dinner and the audience was noticeably bigger than the year before, which suggests support for local industry is growing. A total of 28 awards and commendations were presented across 13 categories this year, with category winners proceeding to the National Awards, to be held in Darwin on Thursday, November 6. It will be the first time South Australia has been represented so convincingly by one project at the nationals; Woods Bagot may very well be the big winner yet again.

wp.architecture.com.au/voice

Matt Davis won the 2014 Emerging Architect Prize. by Leanne Amodeo Matt Davis, Director, Davis + Davis Architects and Principal Urban Designer, Renewal SA What does it mean to win the Emerging Architect Prize? I’ve been practicing in one way or another for the past 15 years, so it reminds me that architecture is a long game and the best is yet to come. Winning the award provides me with a boost for the next phase in my career, while validating my work in practice, education and government. What motivates you professionally? I’m interested in how architecture and design can make people’s lives better, drive economic outcomes, and be equitable, sustainable and joyful. This still means producing beautiful places and spaces, but it’s also about developing strategy and building relationships. Who has been your major inspiration? I’ve learnt a lot about architecture from many people I’ve worked with, but the most influential figure has been a former Adelaide Thinker in Residence, Professor Laura Lee. My involvement in her residency marks a shift in my career, from someone hoping for change to someone actively working to make it happen. What does the next five years hold for you professionally? In my role at Renewal SA my primary focus is to contribute to major urban renewal projects around Adelaide. I’ll also continue supporting my partner Sally in building Davis + Davis Architects.

davisanddavis.com.au

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74 The Adelaide Review August 2014

Awa r d s

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COLORBONDÂŽ Award for Steel Architecture

Architecture | Interior Design | Tel 08 8363 4244 | adelaide@architectsink.com.au | Sam Noonan Photography

1. Architecture Award South Australian Health and Medical Research Institute by Woods Bagot Commendation Sustainable Industries Education Centre by MPH Architects

Photo: Peter Barnes

Photo: Milton Wordley

Photo: Peter Clarke

Photo: Lyndon Stacy

Commercial Architecture

Enduring Architecture

Heritage Architecture

1. Keith Neighbour Award for Commercial Architecture South Australian Health and Medical Research Institute by Woods Bagot Commendation Unley Offices by Con Bastiras Architect

2. Jack Cheesman Award for Enduring Architecture The Bicentennial Conservatory Adelaide by Guy Maron Architects

3. David Saunders Award for Heritage Walkerville Civic & Community Centre by JPE Design Studio 4. Architecture Award Adelaide Central School of Art by Grieve Gillett Commendation Stirling House by Max Pritchard Architect

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THE ADELAIDE REVIEW AUGUST 2014 75

ADELAIDEREVIEW.COM.AU

FORM 5

Photo: Peter Clarke

Steve Grieve The Australian Institute of Architects’ SA Chapter President speaks to Leanne Amodeo about this year’s major awards winner. by Leanne Amodeo Steve Grieve, Director, Grieve Gillett Dimitty Andersen Architects

INTERIOR ARCHITECTURE

PUBLIC ARCHITECTURE

5. Robert Dickson Award for Interior Architecture South Australian Health and Medical Research Institute by Woods Bagot 6. Architecture Award Sustainable Industries Education Centre by MPH Architects Commendation The Collins by Woods Bagot

7. Jack McConnell Award for Public Architecture South Australian Health and Medical Research Institute by Woods Bagot Commendation Whyalla Regional Cancer Centre Redevelopment by Hames Sharley Commendation Walkerville Civic & Community Centre by JPE Design Studio

Photo: Peter Fisher

Photo: David Sievers

How do SAHMRI’s multiple award wins reflect the growth and development currently taking place in South Australia? SAHMRI reflects the government’s interest in creating a ‘world-class’ health science precinct. And its multiple award wins reflect the very good investment the government has made in this sector, so that South Australia can attract the best in health professionals and researchers. Does SAHMRI set a new benchmark for architecture in South Australia? It’s raised the bar for public buildings, there’s no doubt about that, and it’s also elevated the discussion about the importance of good architecture in the public domain, which has been a great outcome of this project.

How does our representation at the National Awards look this year? It’s certainly the best representation we’ve ever had at the National Awards with one project. SAHMRI is short-listed in five national categories and it’s the first time we’ve had a South Australian project compete in that many categories in the one year. I’ll be surprised if it doesn’t win something; it might even win more than one award, which would be fantastic. What major architectural shifts will we see in the state within the next five years? The last five years have involved the most intensive public infrastructure development that Adelaide has seen in a long time and the next three or four years will see the completion of a lot of that work. There’s no doubt the existing Royal Adelaide Hospital site will get some attention within the next 12 months and then there’s the Convention Centre nearing completion of its Stage One development. The landscape will change with the building of major University of South Australia and Adelaide University projects in the new health science precinct and I think these two projects will respond to the standard set by SAHMRI. I also think the private sector will respond with development on the south side of North Terrace. There’s generally a better appreciation for design in the community and projects like SAHMRI have assisted this.

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76 The Adelaide Review August 2014

FORM

Residential Architecture – Houses (New)

Small Project Architecture

Photo: Sam Noonan

11. John S Chappell Award for Residential Architecture Houses (New) – Goolwa Beach House by Grieve Gillett Commendation Dune House by Max Pritchard Architect Commendation Prestipino House by Max Pritchard Architect

Photo: Sam Noonan

Photo: Peter Clarke

8. SA Chapter Award for Residential Architecture Houses (Alterations and Additions) – Residence R by Architects Ink 9. Architecture Award Toorak Gardens Residence by Dimitty Andersen Architects 10. Architecture Award Stirling House by Max Pritchard Architect Commendation Roodenrys Kewell Addition by Troppo Architects Commendation Unley Residence by Dimitty Andersen Architects

Photo: Sam Noonan

Residential Architecture – Houses (Alterations and Additions)

12. Commendation Tree Top Studio by Max Pritchard Architect Commendation one.one Adelaide by one.one committee Adelaide

Urban Design 14. Commendation UniSA City East Public Realm by Grieve Gillett

Additional Prizes 2014 Sir James Irwin President’s Medal Susan Phillips and Michael Pilkington, Phillips/ Pilkington Architects 2015 Emerging Architect Prize Matt Davis, Davis + Davis Architects

Photo: Peter Barnes

13. Derrick Kendrick Award for Sustainable Architecture South Australian Health and Medical Research Institute by Woods Bagot Commendation Jam Factory at Seppeltsfield by Grieve Gillett Commendation Billabong Houses by Julian Rutt Lumen Studio

Photo: Peter Barnes

Sustainable Architecture

The City of Adelaide Prize Café Troppo by Troppo Architects The City of Adelaide Prize People’s Choice Award Foods for Life Parklet by Troppo Architects The Adelaide Review People’s Choice Award for Residential Architecture

Houses (New) – Billabong Houses by Julian Rutt Lumen Studio The Adelaide Review People’s Choice Award for Residential Architecture Houses (Alterations and Additions) – Toorak Gardens Residence by Dimitty Andersen Architects

The Adelaide Review August 2014 77

adelaidereview.com.au

FORM Architecture Awards South Australia’s architectural community gathered for the Australian Institute of Architecture’s annual SA Chapter Awards for Excellence on Friday, July 4 at the Adelaide Entertainment Centre. Photos Andre Castellucci

Phil Harris and Cary Duffield Troppo Architects won the City of Adelaide Prize People’s Choice Award for the Foods for Life parklet in Gawler Place, as well as the 2014 City of Adelaide Prize for Café Troppo. by Leanne Amodeo Phil Harris and Cary Duffield, Directors, Troppo Architects Were you surprised by your People’s Choice Award win? PH: It’s humbling to win a peer-reviewed award, but even more humbling to win a people’s choice award. After all, it’s for ‘the people’ that we get up out of bed everyday; the City of Adelaide Prize People’s Choice Award might just be the best award we’ve ever won.

How do the Foods for Life parklet and Café Troppo contribute to Adelaide’s CBD? CD: Both projects respond to the Adelaide City Council’s goal to enliven the city centre and acknowledge Council’s support of an active public realm. Café Troppo and the Foods for Life parklet hopefully give modest family ventures the confidence to take a punt on the planning and construction process, which eventually gives small footprints such as these a strong public presence. Can we expect to see another Cafe Troppo open? PH: No… Cafe Troppo is Cafe Troppo; it’s very much a product of all who work and create there and you can’t replicate that. But look out for Hotel Ivaritji – and at this time of year you’ll need to get your possum skin coats on for that! troppo.com.au

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78 The Adelaide Review August 2014

FORM

The Space Within

and Clouds for The Studio, as part of Turner from the Tate and formed a partnership with the Adelaide Festival Centre to present Phantasmagoria, a projection and soundscape as part of the Festival Centre’s 40th anniversary celebrations last year.

The SAHMRI exhibition The Space Within continues Bridgette Minuzzo’s exploration of new media.

n 2011, Minuzzo completed an Honours Degree in Visual Arts at the University of South Australia, which was an opportunity for Minuzzo to develop exhibition work and focus her art practice in a new direction: new media and digital work. Since graduating, Minuzzo has continued to explore moving image, installation, sound and digital imagery. She won the Helpmann Academy Graduate Exhibition’s City of Adelaide Award in 2012 and has twice been a finalist for SALA’s moving image award. In 2013, Minuzzo was commissioned by the Art Gallery of South Australia to make Of Light

“My visual art practice encompasses moving image, photography, installation and soundscapes,” Minuzzo explains. “I have been making works about experiences which are often unnoticed; light and shadow, shapes and patterns in the built environment, movement of the wind and ambient sounds.” This celebration of architectural form, in sound and moving image, led to an artist’s residency at SAHMRI. Minuzzo is one of two artists currently in residence at SAHMRI (alongside Sonya Unwin) and their exhibition The Space Within is the first art exhibition to be presented at SAHMRI, as part of SALA. During her residency, Minuzzo has taken the opportunity to document and interpret forms and patterns in the SAHMRI building – the play of light and shadows throughout the seasons – and reflect on the nature of medical research with respect to her own creative processes. She has experimented with looking and listening to the building through the interphase

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of medical research equipment, and has produced a series of three works. “SAHMRI – Through another Lens is an interpretation in moving image of the form and function of this unique health and medical research institute. “I wanted to make a meditative and reverent work, that was somewhat elemental, so I have worked with digital imagery of SAHMRI within circles (a symbol of the holistic), adding heartbeat, breath and a vocal harmonic rendition of the elements of the periodic table.” “The Space Within was an opportunity to explore this amazing space, talk with medical researchers and laboratory staff and explore

making objects from moments captured through the lens of my camera and through laboratory glassware.” Minuzzo, who was a finalist in The Advertiser Contemporary Art Award for SALA, says The Space Within is about place and function and is a “celebration of the SAHMRI architecture, which also references medical research conducted at the centre”. * Article supplied by The University of South Australia

»»The Space Within SAHMRI, North Terrace Friday, August 8 to Friday, August 29

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Bendigo Art Gallery 2 August — 9 November 2014 Tickets 03 5434 6100 • Packages 1800 813 153 www.bodybeautifulbendigo.com

Higher Education Partner

This exhibition is indemnified by the Victorian Government through Arts Victoria

Schools Program Partner

Official Hotel Partner

Presented by the British Museum in collaboration with Bendigo Art Gallery

Discobolus (discus-thrower) (detail), Roman copy of a bronze original of the 5th century BC. From Hadrian’s Villa in Tivoli, Lazio, Italy. © The Trustees of the British Museum