The Adelaide Review - January by The Adelaide Review

THE Adelaide

REVIEW Issue 407 January 2014

adelaidereview.com.au

Streets Ahead Mash and Jock Zonfrillo teamed up to design a dynamic addition to the city’s east end: Street-ADL and Orana

Surviving the Car Crash

The Godless Church

Ludovico Einaudi

The consequences of Holden’s closure must be clearly understood, writes John Spoehr

John Dexter visits Adelaide’s atheist church, the Sunday Assembly

Graham Strahle interviews the Adelaide-bound alt-classical composer

Adelaide Festival Centre presents

live music

Our intimate summer live music hub. Whatever your music style, you’ll find it in the Space over January.

2 – 24 January space theatre

The Basics

Lou Doillon

thu 2 january

thu 16 january

Tickets sold at the door on the night, subject to availability. Media Partners:

The Correspondents

Féfé

Lee Fields and the Expressions

John Grant

sat 4 january

Wed 15 january

Fri 3 january

Fri 17 january

Vincent’s Chair

Flamenco Areti

Babylon Circus

Yellow Blue Bus

PilotFest 2014

thu 23 january

sat 18 january

Fri 10 january

tue 14 january

Fri 24 january

adelaide festival centre’s

adelaide

international

17 : 20 July

g u i ta r fe st i va l

2014

PEPE ROMERO & YAMANDÚ COSTA with ADELAIDE ART ORCHESTRA Legendary music, astonishing performance 18 july FESTIvAL THEATRE

DEBASHISH BHATTACHARYA

GEOFFREY MORRIS & SIOBHAN STAGG

spellbinding slide guitar 18 july dunSTAn PLAyHOuSE

exquisite song, rare masterpieces electric guitarist extraordinaire 19 july dunSTAn PLAyHOuSE 19 july dunSTAn PLAyHOuSE

Full program announced April 2014

GUTHRIE GOVAN

CHRISTOPHER HALE’S

SYLVAN CODA PROJECT Flamenco-infused jazz 20 july dunSTAn PLAyHOuSE

WELCOME

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ISSUE 407

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GENERAL MANAGER MEDIA & PUBLISHING Luke Stegemann luke@adelaidereview.com.au

SENIOR STAFF WRITER David Knight davidknight@adelaidereview.com.au DIGITAL MEDIA COORDINATOR Jess Bayly jessbayly@adelaidereview.com.au ART DIRECTOR Sabas Renteria sabas@adelaidereview.com.au

DIA SA Awards

ADMINISTRATION Kate Mickan katemickan@adelaidereview.com.au

The results are in for the annual South Australian Design Institute of Australia awards showcasing the best in local design

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INSIDE

ADVERTISING EXECUTIVES Tiffany Venning Michelle Pavelic advertising@adelaidereview.com.au

Features 05 Business 06 Politics 10

MANAGING DIRECTOR Manuel Ortigosa

Columnists 12 Opinion 14

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

Circulation CAB. Audited average monthly, circulation: 20,058 (1 April to 30 September 2013) 0815-5992 Print Post. Approved PPNo. 531610/007

Books 16 Performing Arts 19

Lou Doillon

Roman Tragedies

Though she is part of European artistic royalty, Lou Doillon is creating a dynasty of her own

This epic modern six-hour take on Shakespeare will be one of Adelaide Festivalâ&#x20AC;&#x2122;s highlights

Visual Arts 30 Travel 34

Disclaimer Opinions published in this paper are not necessarily those of the editor nor the publisher. All material subject to copyright.

Food. Wine. Coffee 36

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

Fashion 15

review

FORM 45

COVER CREDIT: Orana. Photo: Josie Withers, josiewithersphotography.com

Contributors. Lachlan Aird, Leanne Amodeo, D.M. Bradley, John Bridgland, Michael Browne, Derek Crozier, John Dexter, Alexander Downer, Stephen Forbes, Miranda Freeman, Andrea Frost, Jane Howard, Andrew Hunter, Stephanie Johnston, Kiera Lindsey, Jane Llewellyn, Kris Lloyd, John Neylon, Nigel Randall, Paul Ransom, Christopher Sanders, Margaret Simons, John Spoehr, Shirley Stott Despoja, Graham Strahle, Ilona Wallace. Photographer. Jonathan van der Knaap

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The Adelaide Review January 2014 5

FEATURE they work quite nicely together.” Clarke’s exhibition photographs were all taken during a trip he made to Taipei, Hong Kong and Seoul last year. “It’s kind of like street photography in that I just go for walks and come across things. To me, the photos look like sets out of films and plays because that’s my background, I’ve always done theatre. I like capturing that moment where you don’t know what’s happened before and what is going to happen afterwards.” Clarke then manipulates the photos on his computer to saturate them with colour, blur them and delete a lot of the detail. Greg Clarke.

Off Topic:

Greg Clarke Off Topic and on the record as South Australian identities talk about whatever they want... except their day job. Adelaide Fringe Director Greg Clarke will actually participate in this year’s Fringe as an artist, as part of an exhibition called Alter / Flock.

by David Knight

“

A friend of mine, Louise Vadasz, who is a painter having an exhibition, asked me to be in it with her because we went to art school together here in Adelaide,” Clarke begins. “I said, ‘Oh, why not?’ It’s cool

because the Fringe is this open access thing where anyone can be in it and I thought, ‘Well even I can be in it!’ Because we’re friends, and she does really large scale paintings, really colourful as well, and my photos are quite large,

“I’m not into capturing real life and it’s kind of a weird thing because a lot of street photographers are out there capturing real life, that’s what they want to capture, whereas I’m interested in the real life aspect but then I like to turn it into something a bit more theatrical.” Clarke studied photography under Fiona Hall in Adelaide before moving to Sydney. He held a few exhibitions in Sydney, as well as Canberra and Adelaide. When he hit 30, Clarke decided to study arts administration, which led to work for theatres and festivals but not in visual arts even though the whole of his training was for that medium. “Everything I do is very visual and I come up with ideas like an artist would, I guess. I’ve always painted and I’ve always taken photographs, so I’ve never stopped making art, I just haven’t been doing it professionally. I guess this is an opportunity to try and start again. That’s the beauty of the Fringe, because the Fringe is often where an artist starts, isn’t it? It’s often where you have your first exhibition, so it’s kind of appropriate really. I’m starting again as a mid-life artist.” While in Sydney, Clarke was able to use his

photography creatively through a cult act he and drag performer Vanessa Wagner had in the 90s. “I was Jamie James and we were this sort of husband and wife team. We put on dance parties and we brought together the gay scene, the theatre scene and the arts scene. We brought them all together and we did that through photographs. We would photograph ourselves in costumes, very much like Cindy Sherman, who dresses up as these different characters and photographs herself – we did the same thing. I would set up the photos and we’d be dressed for all of these different situations. They were printed off at a photo lab, where they’d do hundreds of just the one image, and then we’d painstakingly stick those photos onto invites by hand and post them out to people. It was before the internet, so they were personalised invites that were these photographs and they became collector’s items – people would collect these photos.” Clarke’s photos were also projected at the parties, which ran from 1994 to 98. “I think the reason we were so popular is because we were live – we sung live. At that point Sydney was full of drag queens lip-synching and that was very much the gay scene and we were kind of at that whole turning point in Sydney culture where it became about queer culture. We kind of rode that wave and brought everyone together because it wasn’t specifically a gay thing that we were doing.” Will Clarke continue to exhibit after the Fringe? “We’ll see how it goes. It might be a new career for me – you’re never too late but it’s very hard to make a living being an artist. I’d love to take them to some of those places I’ve been; exhibit them back in Seoul – I would love that.”

adelaidefringe.com.au

Adelaide Festival Centre and Adelaide Symphony Orchestra present

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FEATURING COMPASSION *by Nigel Westlake and Lior

and Lior favourites This Old Love, Bedouin Song and Daniel

*commissioned by the Sydney Symphony Orchestra

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6 The Adelaide Review January 2014

BUSINESS “If the public and private sector are unwilling to invest today in the critical economic, digital and social infrastructure that is needed to underpin our state’s development we will not increase opportunity and prosperity for all the people of the state. And we will not preserve the environment and sustain the liveability that we all treasure.

Holden Cruze.

Surviving a Car Crash

Out of the auto crisis must come smart diversification and job rich infrastructure investment. by John Spoehr

ow that the future of General Motors Holden is clear, the consequences of closure must be clearly understood. They are much worse than most appreciate. The 2900 jobs lost from Holden is the tip of the jobs iceberg. Surrounding the automaker is a complex web of suppliers, more than 700 in South Australia. Around 30 of these are major suppliers and many are highly dependent on Holden. In other words, they are very likely to fall over. Nationwide, Holden’s presence in Australia stimulates around $4 billion per year of economic activity and more than 60,000 jobs. In South Australia, that translates into around $1.2 billion per year and 13,000 jobs. Alternative manufacturing jobs are not likely to be an option for those who are retrenched – we have lost nearly 30,000 of them since the Global Financial Crisis in South Australia and many more are likely to go so long as trading conditions remain as hostile to manufacturing as they currently are.

All of this should ring alarm bells. To make any significant difference, the scale of the government assistance package required to deal with closure will need to be in excess of $1 billion – more than the level of assistance sought by Holden. Holden must also make a major contribution to helping the state recover, perhaps by establishing an industrial diversification fund to help drive transformation of the region over the next few decades. To mitigate some of the impacts of closure (in the lead up to the 2017 closure date) an aggressive industrial diversification and innovation program must be launched in 2014. The early focus of this must be component suppliers. To accelerate this process, government, industry and our universities must work closely together to identify and activate the most promising growth opportunities linked to clear sources of demand like assistive technologies to support the elderly and people with disabilities. This has considerable potential given the substantial investments in the Disability Care Scheme and home-based aged care. We could also aim to supply value-

“The debate comparing the state’s debt to a household mortgage is wrong. It is much more like business debt and any business that wanted to grow and thrive that had debt at 10 percent of revenue would immediately go to the bank for a loan. I was talking to my friend Rick Allert the other day and we are in violent agreement that taking the state debt to at least 20 percent of our $92 billion GSP could well be the responsible thing in order to take advantage of the opportunity before us today to transform and grow our economy.” Raymond Spencer, November 22, 2013

added South Australian timber product into new buildings, both here and overseas, by developing a local cross-laminated timber industry using timber from the state’s south east. While there are numerous alternatives to explore, we must focus on those that move us up the economic value chain to the manufacture and supply of knowledge intensive goods and services that offer the prospects of rewarding and sustainable jobs. Part of the answer to the crisis we face over the short-term will be to fast-track new infrastructure projects with a particular focus on northern Adelaide. Cranes in the city’s west end precinct shout confidence in the midst of our automotive industry crisis. The great modernisation of our city must not end with these projects. Much more needs to be done from south to north, east to west, right across greater Adelaide. The benefits of infrastructure investment must be shared. The appetite for sustaining the infrastructure revolution appears to be growing. South Australian Economic Development Board Chair Raymond Spencer recently argued that doubling public debt could sustainably fund major infrastructure projects. I agree with him. Spencer is one of the state’s most successful and savvy business people, globally connected and visionary. When he talks, politicians on both sides of the political fence listen. Raymond Spencer appreciates more than most that today’s public investment in infrastructure underpins tomorrow’s productivity growth and wellbeing. If you don’t invest you stagnate. It is irresponsible to leave a legacy of underinvestment in infrastructure to future generations – it undermines prosperity and wellbeing and threatens lower living standards.

What is often forgotten in the infrastructure investment debate is that government has the capacity to borrow at relatively low interest rates to fund new infrastructure. It can amortise debt over many decades knowing that it will add to the productive capacity of the state, boosting long run economic growth while generating much needed short term industry stimulus and jobs. The latter has suddenly become that much more important. With the automotive industry in decline, a very substantial program of publicly funded infrastructure projects will be urgently needed. It is much more likely that manufacturing workers will be able to make the transition to jobs linked to this than to opportunities that present themselves in many other sectors. Priorities for investment should include major upgrades of civic and transport infrastructure in northern Adelaide, particularly Elizabeth, which is targeted to become Adelaide’s second CBD. The potential building projects associated with this could generate much needed design, engineering, building-related manufacturing and construction jobs at a time when they will be sorely needed. To read Raymond Spencer’s full speech: economicdevelopmentboardsa.com.au/wpcontent/uploads/2013/06/2013_11_22Raymond-Spencer-Property-Council.pdf

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

The Journey - photographs from the Give up smokes for good campaign (until 8 Feb 2014) Freshwater Saltwater - an UMI Arts travelling exhibition curated by Teho Ropeyarn Clifford Possum Tjapaltjarri: Night and Day Dreaming (10 Jan - 14 Feb, 2014) Marsat Newman NPA Croc, 2012. Cottonwood tree wood, recycled dugong bone, 28 x 150 x 35cm

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We search for familiar flavours, to make you feel at home. A warm welcome. It’s that special feeling of sipping your favourite tea, served just the way you like it. It comes from the thought that goes into everything you taste and touch. Because we understand that there’s nothing as comforting as enjoying the things you love, without having to ask. It’s just one of the lengths we go to, to make you feel at home.

8 THE ADELAIDE REVIEW JANUARY 2014

FEATURE indignant, chest-beating mould of Richard Dawkins and Christopher Hitchens. One might expect to see a congregation of people all happy and willing to worship Dawkins’ Flying Spaghetti Monster, and satirise the perceived idiocy of religion. It might even be a place to worship science, proof and logic, like Alain de Botton’s planned ‘Temple to Atheism’ in London. Jones resents this label and any suggestion that the Sunday Assembly is out to divide or attack people. Sunday Assembly welcomes people of any faith, he explains. In Jones’ address to the crowd, which is more stand-up than sermon, he tells us how Twitter’s more militant atheists have attacked the group for being traitorous to the godless cause. Sanderson Jones.

The Sunday Assembly, better known as The Atheist Church, recently opened its Adelaide doors... in the backroom of a pub. BY JOHN DEXTER

“

Live better, help often and wonder more,” the 80-strong audience packed into the back room of The Austral is told. The experience feels like church. We sit in rows facing a stage, and hear exaltations from a bearded man. We are being told of the wonders of life. We sing along in unison. We talk candidly with one another, sharing where we have come from and why we are here today. Yet, unlike a church, many here are cradling pints of beer or glasses of wine. We sing Men At Work’s Down Under and Kool & the Gang’s Celebration. There is no talk of the mystical,

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except of course to explain that we should in no case talk about God. The man on stage is not a priest, but a comedian from the UK called Sanderson Jones, who set up what has been dubbed The Atheist Church in January 2013. As Jones says, “This is like a church, just without the supernatural stuff”. When one hears the Sunday Assembly described as an “Atheist Church”, it is easy to jump to conclusions as to what the group is all about. The term evokes an idea of an ironic attack on religious gatherings and worship from the hard-line atheists following in the

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Yet the web’s connectivity is key to the Sunday Assembly’s exploding interest around the world. Jones’ visit to Adelaide is part of the ‘40 Days, 40 Nights Roadshow’, where Jones spreads the good word in 35 cities over 40 days in the UK, US and Australia. Having only started in January of this year, there are now dozens of Sunday Assemblies worldwide, some were started by practising Christians. With continued viral media interest and events like the Melbourne chapter’s upcoming Festivus for the Rest of Us!, it can only be expected to grow. The group’s critics, both atheist and religious, say Sunday Assembly is a “happy-clappy congregation”. For critical atheists, the group mimics the practise of organised religion too closely, while for the religious, it lacks depth of meaning and a unifying code to bring everyone together. Those involved disagree. A schoolteacher in the front row explains that he has travelled and taught around the country, but has come to roost in Adelaide to make a difference and participate in an active community. He hopes that Sunday Assembly will provide him that chance. On Sunday Assembly’s Adelaide web forum,

Evidently, there are people who are not taken by the spiritual trappings of modern religion, but still want to congregate in a religious, communitarian tradition. Indeed, there is a lot of clapping as the service goes on. It all begins with a lead in clap, like the crowd clapping a fast bowler’s delivery during a cricket match. We clap to the beat of the songs we sing and are pushed to dance. We play the ‘Danish Clapping Game’, where two participants clap their hands together, throw them to the left, right or the sky, meet in the middle with a double-clap if they have moved in the same direction, ad inﬁnitum. “How’s that for happy-clappy?” Jones asks, at once satirising his critics and encouraging us to clap harder. As the service progresses, Jones exhorts us to ponder the importance of daily thankfulness for our circumstances, we hold a minute’s silence to contemplate our own lives, and the crowd has a chance to participate in the service themselves. One fellow sings an old English folk song, a capella until the audience learns and joins the chorus. There are similarities in Jones’ Sunday Assembly to a church service, but for that the crowd are content. They have not come to attack religion, as the group’s religious participants will testify, but hope to celebrate life in a tradition more resembling humanism than atheism. For some, this is too much; too church-like, strict and dogmatic. For others, it won’t be enough. But for those who want to join in, this will be, as Jones puts it, “All the best bits of church, without the religion, and pop songs”.

sundayassembly.com

ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC. RSASA Summer School Tutors Exhibition RSASA Summer School – 19 Jan – 9 Feb 2014 Workshops held : 6 – 30 January 2014 Tutors Exhibition Tutors: Roe Gartelmann, Alan Ramachandran, Gerhard Ritter, Margaret Tuckey, David Braun & Russell Boyd.

19 Jan – 9 Feb 2014 with a mix of watercolours, drawing, acrylics, oils & photography. Vintage Veteran DB1919, Mixed Media by Roe Gartelmann

THE GODLESS CHURCH

“Twitter was made for people from all over the world to tell you how stupid you are.”

a woman contests that, “It’s a real shame that society is getting more fragmented, and that most community groups and support networks have a religious hook. I want to meet some nice people, have tea and a biscuit, and maybe even sing some Lighthouse Family.”

RSASA Members’ Summer Exhibition: Summer Daze Till 12 Jan 2014

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 January 2014 9

adelaidereview.com.au

FEATURE

Heart and Soil

Soil was not forgotten by those attending a subsequent soil symposium at the Waite Institute, which brought together scientists, growers, wine makers, consumers and policy makers to discuss the emerging concept of terroir, and soil’s role in the wine industry. The symposium examined the influence of soil on grape quality and distinctiveness, and current moves towards defining wine subregions (likely to be the next major development in the state’s $1.75 billion wine industry).

by Stephanie Johnston

he passing away of Nelson Mandela calls to mind a number of 20th century giants who have secured a place in the collective global consciousness. Aung San Suu Kyi, Mahatma Ghandi, the Dalai Lama and Mother Theresa are among those who have provided inspiration for us all by ‘being the change they want to see in the world’. Child monk and long-term peace and environmental activist Satish Kumar cites Ghandi as his inspiration for renouncing the world at age nine, and for rejoining it again at age 18 to campaign for land reform in support of Gandhi’s vision for a new India. Then it was Bertrand Russell who motivated him in his early 20s to embark an 8000-mile peace pilgrimage at the height of the cold war. Carrying no money and depending on the kindness of strangers, he walked from India to America, via Moscow, London and Paris, to deliver a humble packet of tea to the leaders of the world’s four nuclear powers. The message was that they should sit down and make themselves a cuppa, instead of pressing the button.

Now based in London, Kumar is Editor-inChief of Resurgence & Ecologist magazine, and a director of Schumacher College for ecological studies. He was in Adelaide recently at the invitation of Leon Bignell, who subsequently got himself into hot water when his passion for a GM-free South Australia trespassed on another’s portfolio. Bignell remains unapologetic about speaking out on the issue, calling for the opposition to make its position clear. (For the record, opposition spokesperson on agriculture David Ridgeway says he supports the GM moratorium, but wants it monitored to make sure that farmers and producers are getting the market advantage the government claims they are.)

Satish Kumar.

For Kumar, the problem is the demise of biodiversity caused by a dependence on GM crops: “There used to be hundreds, if not thousands, of varieties of apple, but the mass production of monocrop varieties such as Golden Delicious, which is neither golden nor delicious, has driven out most of the local varieties that would live up to that name.” Evolution favours diversity and decentralisation, while GM favours monoculture and monopoly. Kumar is part of a movement urging the world to view the economy as a subset of the environment, replacing the “triple bottom line” paradigm which is failing to evaluate policy equally from a social, environmental and economic point of view, allowing an ongoing dominance of the economic imperative. At a gathering in Willunga, Kumar talked about how economics and ecology come from the same root. The Greek word ‘ecos’ means home, and ecology is the knowledge and entirety of ‘home’, while economy refers to its management. “If you lose ‘home’ (ecology), what do you have to manage?” he asked. At another gathering at St Peter’s Cathedral, Kumar proposed a brand new trinity for sustainability based on the concepts of ‘soil, soul and society’. He dismissed other trinities such as the French liberté, égalité, fraternité and the new age mind, body, spirit as being

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too human-centric, saying his proposed trinity would embrace the entire planet, and not just the human species: “We need a philosophy, a science, a religion, and a legal system that benefit all living beings, not just humankind.” In a nutshell, catering for the natural environment (soil), maintaining personal wellbeing (soul) and upholding human values (society) are the moral imperatives of our time. Kumar puts soil first, proclaiming “Soil is the source of life and is so important, yet we have forgotten about it.” ********

A recurring theme was the importance of soil versus the influence of geology and other factors, such as climate (macro and micro), the vine’s position on a slope (aspect), and the general topography of a vineyard. “Plants grow in soil, not rocks” was the key mantra of the day – as were warnings about the misleading use of minerality as a sensory descriptor of wine. Soil and geology do matter in terroir expression, but not necessarily in a direct way. Soil’s physical properties, such as its water-holding capacity are more important than its chemical or mineral elements (apart from nitrogen). Soil scientist James Hall pointed to a wealth of existing information around the extraordinary diversity of soils in South Australia. For him the move towards defining subregions should be about building interest through creating factual stories based in science, that can reinforce and add extra life to the whole South Australian wine story: “That’s what people want, they want an authentic story around their wine.”

10 The Adelaide Review January 2014

POLITICS The National Interest? BY Alexander Downer

ne of the short essays I’d encourage you to read was by George Orwell, who in the early 1940s, wrote a passionate piece about the use of the English called Politics and the English Language. He decried grammatical solecisms, pretentious use of neologisms and sentences with an unclear meaning. If the reader isn’t quite sure what the author is saying there is one of two explanations: either the author doesn’t really understand the point himself, or he is deliberately trying to obscure the meaning from the reader. That brings me to Mark Scott, the head of the ABC. He decided to amplify claims made by the Guardian newspaper that Australia had, in 2009, tapped the mobile phones of the Indonesian president, his wife and a number of ministers. He has since argued that to do so was “in the national interest”. Now to do something – anything – in the national interest sounds like a very good idea. After all, it wouldn’t be well received if one did something against the national interest. That would at the very least be unpatriotic and in

an extreme case it could be termed traitorous. I try to be fair here but so far Mr Scott has not explained why the amplification of this material was in the national interest. He just says it was. It’s a case of lazy use of language, which Orwell abhorred. Let’s think about this. It could be argued that it is for the best to know there are allegations that our security agencies spy. Well, I think most people would know that and the vast majority would hope they do. With one proviso. If the security agencies were acting beyond the law then that would be a scandalous matter and heads should roll. But there is no suggestion in this case that any law has been broken. The ABC and their mates at the Guardian – a left wing British publication – have never made that claim. So we can rule out altogether that the national interest was served by the ABC revealing our spies are law breakers. There is another issue: that we apparently share intelligence with the Americans. Well,

KNOW YOU ARE AT RISK.

that’s on the record. Anyone with any interest in these issues knows that. It’s no secret, what’s more, that we are part of the so-called ‘five eyes’ arrangement with the Americans, British, Canadians and New Zealanders that involves extensive intelligence sharing. There is, of course, an argument that publishing this material was manifestly not in our national interest. In other words, that it is unpatriotic. That it damages our country. For a start, publishing revelations about our intelligence capabilities tells our adversaries what we can do. That, in turn, helps them to take counter measures. Already, the Snowden allegations elsewhere have led both the Taliban and Al Qaeda to change their modus operandi to avoid detection. And no doubt all sorts of people in Indonesia will now take action to avoid detection by Australia. At a certain level that may not matter. After all, the Indonesian leadership is hardly a threat to Australia. But it will matter if terrorists and people smugglers can work out how our intelligence agencies operate and the extent of their capabilities. Put simply, the ABC and the Guardian may have made it easier for terrorists to avoid detection and threaten the lives of Indonesians and Australians. And they may have made it easier for people smugglers to avoid detection, sending still more people on hazardous journeys to Australia, which will cost lives. So you reasonably could ask a rather pointed

question of the ABC: is this in our national interest? And then there’s the bilateral relationship. You don’t have to be a professor of international relations to know a strong bilateral relationship between Australia and Indonesia is in our national interest. It’s important to our exports, for jobs, for our security and for our overall engagement with Asia. Mark Scott knows that. And he knew that if the ABC amplified the Snowden allegations it would cause substantial damage to our relations with Indonesia. But that, apparently, was less important to him than just pumping up the story. He needs to be put under pressure and have the two sides of the national interest ledger put to him and explain why publication of the allegations was more in our national interest than our relations with Indonesia, stopping people smugglers and fighting terrorism. Don’t get me wrong. The ABC was free to do what it did. I’m an unashamed advocate of freedom of the press. But with freedom comes responsibility. The Guardian and the ABC are responsible for the consequences which flowed from their actions. Just as the Australian newspaper is responsible for the consequences of publishing the salaries of ABC staff. That outraged Mr Scott. But what was the impact on the national interest? You guessed it. Precisely none.

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Jim Carreker

Managing Director, Adelaide Airport

CEO, South Australian Tourism Commission

Owner and Managing Director, The Louise and Appellation

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Hugh ChevrantBreton Manager SA, Singapore Airlines

THe ADeLAiDe

review

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BUSINESS

Plans for Succession

security for a business asset. Understanding the bank attitude will be vital as it will significantly impact on the approach and funding options which may be available to the potential owner. For example, if bank finance is not available would the outgoing owners potentially be prepared to provide vendor finance?

BY MICHAEL BROWNE

Last but not least, the incoming owners need to understand how they will pay for the equity they buy. There also needs to be an expectation that an incoming owner will get a lift in income to reward their ownership position and enable them to pay off their equity. The prospect of simply improving capital value of the equity interest may not be enough.

uccession is becoming increasingly top of mind for many Australian privately owned businesses. This is not surprising, given many are owned by Baby Boomers. Whether a business is family owned or not, determining what will happen when the current ownership decides ‘it’s time’ is a growing topic of conversation between client and advisor. While all private businesses have their challenges around succession, much of what we hear and read relates to family owned businesses. For example, I was recently involved in a conversation where a family business owner said he and his wife did not feel the pressure of resolving exit strategies because their children, a couple of whom had expressed an interest in the business, were gently moving into the business whilst he and his wife remained actively involved, thereby providing a gradual and organised transition. What we hear less about are the non-familyowned private businesses for which renewal is critical to ongoing success. The difference for these businesses is that potential successors do not have any ‘family’ ties, so the future relies on a different set of incentives and rewards. Strictly speaking there are four options available to a non-family-owned business facing ownership transition being management buy in, merger/trade sale, introduction of outside equity (private equity, listing) or closure Given the business is often the major portion of the owner’s intended retirement ‘nest egg’, closure is rarely the best option. Of the three other alternatives, bringing existing management into the business is often considered a great alternative but requires a signiﬁcantly different approach to a trade sale or introduction of outside equity, as the owners are dealing with people they already know. As a result, planning for this alternative requires considerable thought. Key staff should be brought “into the tent” early to help them understand the business and its strategy, as

well as that there is a place for them in the long term as owners. Openness and transparency are a key to a successful management buy-in.

is hoped will be the future owners. The exiting owners need to be able to show the beneﬁt of moving to ownership.

I have seen many circumstances where owners are caught by surprise when key employees leave because of a lack of communication about the transition process and what it will mean for them. What’s more disappointing is that often the employees would have stayed had it been made clear early on that there was an opportunity for them to succeed the current ownership.

Another challenge of a management buy in is funding the ownership transfer. Banks are not always willing to lend against business goodwill so an employee looking to buy into the business may need to ﬁnd the security for any borrowing from their own sources, however they may have little equity or be unwilling to use personal assets such as their home as

From my many discussions with clients, open communication and a well thought through strategy that addresses the needs of both the exiting and entering shareholders early, is the recipe for successful transition for non family owned private businesses. It enables everyone to work together to achieve the best result and avoid the least favoured option – closure.

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

A further major challenge for non-familyowned private business is aligning the valuation expectations of both the exiting and entering parties. For the exiting party, it is important to understand how value is derived. Time needs to be spent ensuring there is an understanding that value is a function of the return that can be expected from the business, not a romantic notion of goodwill or the amount the current owners need to retire. It is also important to ensure that a valuation methodology encapsulated in any shareholder agreement is appropriate in both a rising and falling profit circumstance. As an example, if the methodology is based on prior year profits there is incentive to buy in while profits are rising, however, in a period of declining profits the situation may be the opposite. In the current business environment, this is a very real issue that needs to be addressed in order to ensure that orderly succession is not impaired. Also, critical to success is understanding the motivations of the management group it

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12 The Adelaide Review January 2014

COLUMNISTS I have been mildly surprised to learn that working families in Australia are still as dependent on grandparents for childcare as they were 30 years ago, according to the Australian Institute of Family Studies, quoted in the Sydney Morning Herald. Granny nannies are a preference. I wonder how often grandparents are the ones who express the preference. It must be a bit strange to be shovelled out of your job because you are too old and then take on the exhausting care of toddlers. Or maybe people retire just to look after the grandkids.

Doris Lessing

Third Age New Year: Watch out BY Shirley Stott Despoja

he festive season has just about exhausted itself and I am obsessing, as always, over how much of my life has been used up looking for the end of the sticky tape. Christmas can be a pain in the neck, but a New Year, when one is old, is the scariest thing. Our long experience tells us that the first disaster of the year is going to happen just about now. Then there are those doleful words of John Donne: “…never send to know for whom the bell tolls…” Let’s leave it right there, shall we? I have an edgy feeling that the new government that has mugged us with silence on some important things so far, might spring into action this year by tackling the “aged problem”. So much easier than climate change.

Stopping old people from doing things is a lot easier than stopping the young from doing things. I don’t want to put ideas into its head, so I won’t mention my fears out loud. I expect the continuation of research that shockingly reveals that old people are really quite like young people in many ways. A heading that stopped me in my tracks was on the ABC News website: “Silver Surfers fighting loneliness with technology”. The study it refers to found that teaching old people to use Facebook helps reduce their feelings of isolation and loneliness. Fancy that. Why do they think young and middle-aged people use social media if not to feel less isolated and lonely? Even a cat called Henri shares his existential angst on YouTube. I found being classed as a silver surfer so depressing that I needed time on Facebook to recover. Nice things happen too. Mother duck brought her 10 ducklings to meet me. The ducklings grouped and re-grouped behind her like shuffling beginner recruits. Mother duck looked nervous. But was she their mother or their granny nanny? Is the granny nanny unique to the human species?

Their Shadows in Us 14 December 2013 - 16 February 2014

F l i n d e rs U n i ve rs i t y C i t y G a l l e r y S tate L i b ra r y o f S o u t h A u st ra l i a N o r t h Te r ra c e , A d e l a i d e Tue - Fri 11 - 4pm, Sat & Sun 12 - 4pm w w w. f l i n d e r s . e d u . a u / a r t m u s e u m

This certainly takes the pressure off the formal childcare system we have. No wonder the government is being mean about increasing the pay of childcare workers when, it seems, grandparents are gagging for the job and probably doing it for nothing. Increasing the pension age to 70 (about which many politicians are speaking behind their hands) would mean another childcare crisis. Without having had the experience myself, I would still not recommend 70 as the starting age for caring for infant grandchildren. You don’t have to be heartless to find childcare tough going in your senior years. The spirit may be willing but the flesh… and all that. I wonder how much tension there is in families over the expectation that grandparents, especially the younger sort, will look after the kids. It is a problem that has been around for a long time. The great Doris Lessing, the Nobel Prize-winning novelist who died in November, nailed it. She wrote in the 1980s a parable of a put-upon grandmother, Dorothy, within a very spooky novel, The Fifth Child. The novel is many other things besides Dorothy’s story. It is about changes in society. Lessing was divining at the time and, no surprise, it ends up as a sci-fi horror story. Dorothy’s daughter Harriet and husband David could well have been Generation Something before their time. They fall in love and start living a dream beyond their means, which entails having “a lot” of children. The in-laws demur, aware that they will be called on to keep the young couple afloat. Poor Dorothy cops the hardest jobs when four babies in six years delight the happy pair. David’s father signs the cheques and keeps out of the way, but Dorothy is always there, her duty to perform. Then the fifth child changes everything. Doris Lessing was in her 60s when she wrote the book that gave even her the creeps. She seems to have liked the young couple more than I did. I found them selfobsessed exploiters. Dorothy leaps out of the pages as spirited, noble, long suffering but powerless. And I dare say that’s how the New Year will find many granny nannies. But happy, I hope.

DR K’S CURIOUS CHRONICLES The Poisoned Hat Pin BY Kiera Lindsey

he Edwardian Age is often depicted as a time of prosperity and innocence — a peaceful interval — that punctuated the vigorous brutality of Victorian industrialism and the horrendous devastation of World War I. Many who survived the carnage of the Great War later recalled how the sun appeared to cast an enchanted light upon what they then assumed to be the eternal garden party of the British Empire. The languid lull of the age indulged a new sense of South Australian exceptionalism, particularly in Adelaide. The early decades of European settlement had been influenced by social reformers dedicated to making their colony better planned, better managed and much more respectable than the garish penal outposts and vulgar gold-rush towns of Sydney and Melbourne. The years that followed Federation in 1901 witnessed a swing towards self-congratulatory conservatism in South Australia, licensing what Derek Whitelock evocatively described as the reign of ‘gimlet-eyed funereal zealots’ who insisted upon Sundays of ‘black sweltering clothes and bone numbing pews, padlocks on playgrounds, banned beaches’, and worst of all, no alcohol. Into this world of pious – even peevish – respectability entered the firey and florid Thistle Anderson. A well-read, muchtravelled Melburnian-Scot who had toured with J. C. Williamson’s theatre company, and published a little raunchy verse before marrying a well-to-do stockbroker from North Adelaide, Thistle refused to conceal her contempt for the narrowminded ‘Churchianity’ of Adelaide society. Indeed, in a small book entitled Arcadian Adelaide, which she published in 1905, she energetically ridiculed the ‘self-constituted halo of excessive virtue’ worn among those she mockingly described as ‘villagers’. Thistle bristled at the locals’ celebratory assertions regarding ‘Adelaide, Adelaide’. Contrary to the rapturous and repetitious praise of those who had never left what she considered an isolated town backing onto a great expanse of desert, Thistle had seen ‘the world’ and confidently declared to the villagers; ‘your hills are not the greenest, or your morals the cleanest, or your shops the brightest’. Contrary to assertions of refinement, Thistle considered the women ‘passing plain to look upon’, and the men almost all ‘narrow-minded bores’ she

The Adelaide Review January 2014 13

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COLUMNISTS

MAPPING OUR WORLD

Image courtesy: aboutcards.blogspot.ca

Te r r a I n c o g n i t a To Au s t r a l i a

sneered. However, of the city’s many failings, which included ordinary pubs, sordid hotels, dirty lodging rooms and a tram system that brutalized horses, it was Adelaide’s false piety that most infuriated Thistle. ‘Ye people of Adelaide’ were ‘ostentatious in their charity’ and ‘outward respectability’ she riled, and yet there was, ‘little depth beneath the surface’, and certainly not much sincerity. Despite their assertions of moral purity, Thistle insisted that brothels, prostitutes, opium dens and drunkards were significantly more numerous in Adelaide than the more densely populated Melbourne. Furthermore, and aiming where it would inflict the gravest injury, at least by today’s standards, Thistle declared the local wines were ‘the worst ever made’. ‘May a merciful God forgive Adelaide her wine’, she provoked with a flourish, advising residents that in the face of such a litany of woes, they would do well to relinquish their false pride and strive instead to ‘be a little more humble’. Thistle had drawn blood, and within days all ofPARTNERS Adelaide was rushing out to buy her GOVERNMENT AIRLINE PARTNERS book, then raging like a kicked hornet’s nest at what they read within. Outraged by what one commentator condemned as ‘forty pages of forty poison hat pins’, gossip writers responded to Thistle’s barbs by inflecting their newspaper columns with thinly veiled and genteel malice, National Collecting Institutions Touring & Outreach Program

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which only ensured the book became a best seller, enjoying 10 impressions in the first year of publication. Thistle was surprised that she had tapped such a venomous and vitriolic vein; but she did not shrink from the attention, nor regret the considerable book sales. After her husband died in 1912, the handsome Mrs Herbert Fisher, aka Thistle Anderson, left Adelaide to enjoy the liberal pleasures of Paris. Some 20 years later, in the spring of 1932, as South Australians struggled with the crippling humiliation of the Great Depression, a Mrs Clavering-Sherwin was spotted at the greyhound races in Adelaide. She had been an amateur journalist all her life, the 50-something year old conceded to the reporter from The Mail, and was here to report upon the dogs. Yes, she had remarried and yes, PRINCIPAL PARTNER GOVERNMENT PARTNERS she was the author of ‘that book, but …’, and we might imagine her gazing wistfully along North Terrace, ‘seeing it all now’, she confessed that she had ‘never realised how beautiful the city really was’. Perhaps the horrors of war and the PARTNERS hardship of the depression had humbled MAJOR Adelaide, or at least softened its sanctimonious edges. It is equally possible that after a glut of European sophistication and wartime suffering, our lady of the poisoned hatpin was better placed to appreciate the simple delights that her caustic cleverness had previously obscured. National Collecting Institutions Touring & Outreach Program

L o s e Yo u r s e l f i n t h e Wo r l d ’ s G re a t e s t M a p s 7 N OV E M B E R 2 0 1 3 – 1 0 M A R C H 2 0 1 4 Only at the National Library of Australia, Canberra PRINCIPAL PARTNER

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FREE EXHIBITION GALLERY DAILY FROM 10 AM BOOKINGS ESSENTIAL nla.gov.au/exhibitions

Fra Mauro (c. 1390–1459), Map of the World (detail) 1448–1453, Biblioteca Nazionale Marciana, Venice. The loan of the Fra Mauro Map of the World has been generously supported by Kerry Stokes AC, Noel Dan AM and Adrienne Dan, Nigel Peck AM and Patricia Peck, Douglas and Belinda Snedden and the Embassy of Italy in Canberra.

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14 The Adelaide Review January 2014

FASHION

Julie White: Alter Native

Local artist and designer Julie White recently completed a Masters in Textile Print at the prestigious Glasgow School of Art. Channelling homesickness into her craft, White returns to Adelaide with new collection Alter Native for her eponymous clothing label and a refreshed view of the Adelaide fashion industry.

by Lachlan Aird

and some furry critters that are entirely conceived by White. For her, the creative process is a rather laborious one, even before she chooses a suitable fabric. “I start by getting obsessed with something. If I can’t shake it off, I’ll start using it in my designs. Then I’ll do a lot of research, drawing as I go. Gradually a theme emerges. Sometimes it’s on the first day but more often it takes weeks. The Glasgow School of Art is an impressive 165-year-old institution that enjoys a boastful roll call of alumni, including Oscar winning director and Doctor Who actor Peter Capaldi and the Sculptor in Ordinary to The Queen in Scotland, Alexander Stoddart. White was suitably in awe by the history entrenched in the city.

shook me up,” she says. “For me, sugar gliders and waratahs are a part of home, but people in the UK think of them as exotic. Realising that really changed the way I thought about Australia.”

“It was inspiring living in a place responsible for some of the world’s most iconic textiles. Scottish textile designers are hardcore about their craft; it’s as if they have centuries of tradition to live up to. “Scotland also taught me that you can deep fry a pizza,” she laughs.

“Living in the UK made me miss the Australian wilderness in a way that really

Alter Native is a collection of oversized shirt dresses, open jackets, pleated trousers and blouses splashed with colourful original prints that are inspired by native blossoms

hite confesses that she has always relied on nature for inspiration, although she was struck by the extent to which she missed Australian flora and fauna while in the UK, especially during the harsh Glasgow winter.

Besides new skills and appreciation for her

THE ADELAIDE REVIEW JANUARY 2014 15

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FASHION seen a change in Adelaide’s fashion scene since her departure, one that is much more optimistic and “charged for change”, but there are still a few home truths that her travels have made clear.

FASHION RENDEZVOUS

“Adelaide will never be the centre of Australian fashion. As soon as you can admit that you realise it’s an advantage; it’s an opportunity to be distinct from the obvious stuff that you’ll ﬁnd in the centre. We should be aiming at that audience who are able to recognise that there’s something fresh and undiscovered about Adelaide. I feel like you can say that now and people will believe you, whereas a few years ago they wouldn’t.” While she feels it would be “foolish to make predictions” on where the Adelaide fashion industry would lead, she has a similar feeling toward her own career. “I really don’t think about my career. I just thought about making great clothes — garments that can change the way people feel about themselves. Clothing has that potential and it is fascinating trying to ﬁgure it out. If I can do that my career will take care of itself.”

GILLES STREET MARKET Sunday, January 19 10am to 4pm 91 Gilles Street, Adelaide gillesstreetmarket.com.au For fab vintage and pre-loved fashion including the latest from local emerging designers, check out the Gilles Street Market. DJs spin the tunes alongside delicious food vendors and over 90 stalls of fashion and accessories.

juliewhite.bigcartel.com

~ An Italian weekend in the heart of Adelaide ~

“I’ve reﬁned my ability to make exactly what I want. When I started I had to compromise all the time. I don’t do that anymore. I’ve always wanted to create one of a kind, collectible pieces that are treasured beyond the seasons. Those are the types of garments that made me fall in love with fashion. Not the trends, but the limited editions.”

to her collections will be her “lifelong love affair with ﬂora and fauna”. While she isn’t divulging exactly what her focus will be for future collections, she hints that she will continue to celebrate her own interpretation of modern Australiana, and has discovered a new focus in creating accessories.

ﬁeld, White has taken from her studies abroad a new outlook that ensures her future collections fulﬁl her creative intentions.

39 years

va ls

ce of

brati le

ian fest

“Right now I’m obsessed with scarves. There’s so much you can do with scarves – I can make the prints as bold as I like within the perimeters of a square.” GOVERNMENT PARTNER

White can conﬁrm that a consistent element

Upon her return to Australia, White has

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16 The Adelaide Review January 2014

BOOKS

SUMMER READING

Steven Marshall State Liberal Leader

It’s been another hectic year for publishing as the dynamics of the book trade both contract under the commercial pressure of sales, and expand with the possibilities of new technologies and platforms for readers. As ever, works of sharp and challenging brilliance jostle for shelf space with over-hyped fodder; meanwhile, we continue to see the relentless proliferation of writers’ festivals, the largest of which have become behemoths of cultural confluence and clout, writers shadowed into the corners by stellar chefs, political tricksters and sexedup ‘thinkers’, all talking endlessly into the spin cycle where the hyper-local meets with the hyper-globalised. In the midst of all this flux and gamble, we’d like to think the humble book, in any form - printed, e-book or audio - will still take pride of place under many a Christmas tree. What better gift? Here at The Adelaide Review we asked a selection of notable people to guide us through 2013’s output with an eye to the summer months ahead. We urge you to give books generously - now or at any time, and to support our local publishing industry.

Best of 2013 • Valerie Volk, Passion Play – The Oberammergau Tales (Wakefield Press) • Eleanor Catton, The Luminaries (Granta Books) • Maggie Beer, Maggie’s Kitchen (Lantern) Summer Reading • Tim Winton, Eyrie (Hamish Hamilton) • Peter Goldsworthy, His Stupid Boyhood (Hamish Hamilton) • Hannah Kent, Burial Rites (Picador)

Douglas Gautier Adelaide Festival Centre CEO and Artistic Director

Laura Kroetsch Adelaide Writers’ Week Director

David Sefton Adelaide Festival Artistic Director

Anna Krien Author, Night Games

Best of 2013 • Sebastian Faulks, Birdsong (Random House) • Thornton Wilder, Bridge of San Luis Rey (Penguin) • Ernest Hemingway, For Whom the Bell Tolls (Arrow)

Best of 2013 • Richard Flanagan, The Narrow Road to the Deep North (Random House) • Rachel Kushner, The Flamethrowers (Random House) • Rabih Alameddine, An Unnecessary Woman (Text Publishing)

Best of 2013 • Rachel Kushner, The Flame Throwers (Random House) • David Lodge, A Man of Parts (Vintage) • Nick Harkaway, The Gone-Away World (Windmill Books)

Best of 2013 • Alexis Wright, The Swan Book (Giramondo) • Laura Jean McKay, Holiday in Cambodia (Black Inc.) • JM Coetzee, The Childhood of Jesus (Text Publishing)

Summer Reading • Neil MacGregor, The History of the World in 100 Objects (Penguin) • Jacques Barzun, From Dawn to Decadence (HarperCollins) • Eduard Morike, Mozart’s Journey to Prague (Oneworld Classics)

Summer Reading • Laura van den Berg, The Isle of Youth (Farrar, Straus, Giroux) • Randolph Stow, Tourmaline (UQP) • Sebastian Hamspon, The Train to Paris (Text Publishing)

Summer Reading • Mark Edmundson, The Death of Sigmund Freud (Bloomsbury) • Nick Harkaway, Angelmaker (Random House) • PG Wodehouse, Summer Lightning (Arrow)

Summer Reading • John Safran, Murder in Mississippi (Hamish Hamilton) • Chris Womersley, Cairo (Scribe) • Elizabeth Strout, Olive Kitteridge (Simon & Schuster)

2 0 1 3 / 2 0 1 4

OUT NOw a d e l a i d e r e v i e w . c O m . a U twitter.com/hot100SA

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BOOKS

DAVID SORNIG Author, Spiel

STEPHEN ORR Author, Time’s Long Ruin

JAY WEATHERILL Premier of South Australia

Best of 2013 • Eimear McBride, A Girl is a Half-formed Thing (Text Publishing) • George Saunders, Tenth of December (Bloomsbury) • Christos Tsiolkas, Barracuda (A&U)

Best of 2013 • James Agee, Let Us Now Praise Famous Men (Houghton Mifﬂin Harcourt) • Christopher Hitchens, Arguably (A&U) • Theodore Dalrymple, Our Culture, What’s Left Of It (Ivan R Dee)

Best of 2013 • David Plouffe, The Audacity to Win (Penguin) • Gideon Haigh, End of the Road (Penguin) • Enrico Moretti, The New Geography of Jobs (Houghton Mifﬂin Harcourt)

Summer Reading • Knut Hamsun, Hunger (Text Publishing) • Elena Ferrante, My Brilliant Friend (Text Publishing) • Sonya Hartnett, Life in Ten Houses (Penguin)

Summer Reading • Gary Disher, Bitter Wash Road (Text Publishing) • David Vann, Goat Mountain (Text Publishing) • Jessica Anderson, The Impersonators (Penguin)

ANTONY LOEWENSTEIN Author, Proﬁts of Doom

KIRSTIE CLEMENTS Author, The Vogue Factor and Tongue in Chic

Summer Reading • Hannah Kent, Burial Rites (Picador) • Billy Grifﬁths, The China Breakthrough (Monash University Publishing) • George Packer, The Unwinding (Faber)

KRISSY KNEEN Author, Steeplechase

Best of 2013 • Jeremy Scahill, Dirty Wars (A&U) • Breaking the Silence, Our Harsh Logic (Scribe) • Joe Sacco, The Great War (Random House)

Best of 2013 • Kevin Kwan, Crazy Rich Asians (A&U) • Robert Hilburn, Johnny Cash - The Life (Hachette) • Gillian Flynn, Gone Girl (Hachette)

Best of 2013 • Elena Ferrante, My Brilliant Friend (Text Publishing) • David Vann, Goat Mountain (Text Publishing) • Chris Somerville, We Are Not the Same Anymore (UQP)

Summer Reading • Max Blumenthal, Goliath (Nation Books) • George Orwell, 1984 (Penguin) • Kooshyar Karimi, I Confess (Wild Dingo Press)

Summer Reading • Jimmy Nelson, Before They Pass Away (TeNeues) • Giancarlo Giametti, Private (Assouline) • Yves Marchand & Romain Meffre, The Ruins of Detroit (Steidl)

Summer Reading • Kristina Olsson, Boy, Lost (UQP) • Ashley Hay, The Railwayman’s Wife (A&U) • Susan Johnson, My Hundred Lovers (A&U)

30 Celebrating

L♥ve the movie? Buy the book! For movie related titles and an unequalled range of summer reading, visit us at 135 Rundle Mall 8223 5380 Follow us

summers

Some 30 years ago, a little shop called Imprints Booksellers opened on Hindley Street. Against all odds that little bookshop still stands today, defiant, a literary haven in Adelaide’s West End. So come in, buy a book and wish us a happy birthday. 107 Hindley Street, Adelaide • 8231 4454 • books@imprints.com.au • www.imprints.com.au

Imprints BOOKSELLERS

18 The Adelaide Review January 2014

OPINION/WIN WIN! FOR YOUR CHANCE TO WIN, ENTER YOUR DETAILS AT ADELAIDEREVIEW.COM.AU

The Gilded Cage

The Book Thief

Now showing Exclusive to Palace Nova Eastend Cinemas Writer/director Ruben Alves’ charming, semi-autobiographical Parisian comedy is the story of a loving, hardworking, married couple whose long-held dream of returning to their homeland finally comes true – only to be secretly undermined by their friends and neighbours. Directed by Ruben Alves. Stars Rita Blanco, Joaquim De Almeida, Barbara Cabrita, Lannick Gautry and Alex Alves Pereira.

In cinemas from Thursday, January 9 While subjected to the horrors of World War II Germany, young Liesel finds solace by stealing books and sharing them with others. Under the stairs in her home, her adoptive parents are sheltering a Jewish refugee. Directed by Brian Percival. Stars Sophie Nélisse, Geoffrey Rush and Emily Watson.

The Secret Life of Walter Mitty In cinemas from Thursday, December 26 A daydreamer escapes his anonymous life by disappearing into a world of fantasies filled with heroism, romance and action. When his job along with that of his coworker are threatened, he takes action in the real world, embarking on a global journey that turns into an adventure more extraordinary than anything he could have ever imagined. Directed by Ben Stiller. Stars Ben Stiller, Kristen Wiig and Adam Scott.

The Railway Man In cinemas from Thursday, December 26 A victim from World War II’s ‘Death Railway’ sets out to find those responsible for his torture. A true story. Directed by Jonathan Teplitzky. Stars Nicole Kidman, Stellan Skarsgård and Colin Firth.

South Australian Prize

GIVEAWAY

Buy South Australian and The Adelaide Review have teamed up to offer a monthly all South Australian giveaway.

This month’s prize is a hamper filled with an assortment of goodies from iconic South Australian companies, worth over $300! Enter at: www.facebook.com/BuySouthAustralian

The Book Thief – Meet the author Q&A and book signing Palace Nova Eastend Cinemas, 3 Cinema Place (off 250 Rundle St) Friday, January 17, 6.30pm To celebrate the film adaptation of The Book Thief, author Markus Zusak is coming to Palace Nova for a special screening followed by a Q&A and a book signing.

Crush Festival 2014 Robert Johnson Vineyards Building 3C, Old Woollen Mill, Lobethal (behind Lobethal Bierhaus) Friday, January 17, 6pm The Audreys will be bringing their signature bittersweet folk to Crush 2014! Join them at the winery on the eve of their fourth album launch. Talented, warm and disarmingly funny.

Twelve Years a Slave In cinemas from Thursday, January 30 In the antebellum United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery. Directed by Steve McQueen. Stars Chiwetel Ejiofor, Michael K. Williams and Michael Fassbender.

The Best of the Edinburgh Festival performing at the Salisbury Secret Garden Hoyts Salisbury 102 Gawler St, Salisbury Sunday, February 23, 7pm The Best of the Edinburgh Festival is performing at the Salisbury Secret Garden, the newest and largest Fringe Hub outside the Adelaide CBD.

MONTEFIORE The ghost of Sir Thomas Playford is watching as the state Liberal Party ambles towards the state election. BY Sir Montefiore Scuttlebutt

ir Thomas Playford, orchardist, anti-redtape evangelist and long-deceased Liberal and Country League premier is watching from on high as the Liberals stalk a tired Labor Party lurching towards the March 15 state poll. Playford’s legacy is evoked in state Labor’s Government of South Australia Economic Statement 2013, released last March. Under one heading, `Strategic Priority: An Affordable Place to Live’, the concept of affordable housing gets significant discussion. They are not talking orchard cottages, as old Tom preferred. They are talking houses and apartments – those desirable homes you see in glossy pictures featuring happy, two-child families cavorting in spacious, light-filled rooms filled with new, expensive European furniture. “It is important that economic growth does not come at the price of either an inflated cost of living, or forcing lower income earners to the margins of our cities and towns,” Labor’s statement intones. “Ensuring an adequate supply of housing, and in particular, of affordable housing, has been a focus for government, for example, through the requirement for 15 percent affordable housing in significant new developments.” Such policy “was central to Sir Thomas Playford’s industrial revitalisation of South Australia in the 1950s and 1960s... affordability enables comparatively higher standards of living than less affordable locations...” Setting aside debate about the pitiful 15 percent figure, such policy could be vital to growth in Adelaide’s city centre, contrasting developers’ vital need to make a profit – as each salivates at the projected population growth figures in the 30 Year Plan for Greater Adelaide. However, like that grandiose plan, the gap between aspiration and reality obscures a pea and thimble trick known for some time by both sides of parliament but never publicly challenged. It has allowed a succession of ministers to claim political dividends. That’s because the 15 percent affordable housing policy is not mandatory and regulations set up to enforce it are easily dodged.

Town Hall knows this, and perhaps to compensate has gone the extra mile by encouraging development of several highdensity buildings targeted at low-income renters, capitalising on tax-free commonwealth grants to ease the rent burden. Several not-forprofit housing companies also have delivered – for renters. But for private developers, it’s a different game plan – creating expensive housing for buyers – and their output turns on the technicalities of the city development

plan that the Labor government in March 2012 completely overhauled in their interests. Government regulations work in sympathy with developers to the extent that, despite a continual reference to the policy provision for affordable housing, none actually need be provided. As long as developers don’t purport to provide it, and as long as it continues not to be a mandatory requirement when a development application is lodged, it’s a political mirage. It may be a shimmer on the horizon, but its prospect is sprinkled across the ministerial speeches and rolls like tumbleweeds across the building industry’s glossy advertising liftouts. Then, that Alice’s Adventures in Wonderland definition applies: the word means whatever the industry wants it to mean. To return to the South Australia Economic Statement 2013 – Labor’s penultimate pre-election blueprint. “Since 2006, state government agencies have been involved in a rigorous process of reducing red tape for business ... Locking in the efficiency gains ... building a culture that avoids an increase in red tape in the future; that is, a focus on better regulation that achieves objectives without imposing unnecessary compliance or economic costs on business. ... Not all regulation imposes burdens. Well designed regulations can be a driver of innovation, for instance, the 15 per cent affordable housing target...” There they go again. Planners, architects and builders wink at each other, knowingly. Since the concept of affordability is, according to state Labor, “central to Sir Thomas Playford’s industrial revitalisation of South Australia” it’s odds-on that old Tom will be watching closely at the Liberal Party’s election launch. To cater for families seeking genuinely affordable housing in the inner city, senior Liberals could consider making a key housing portfolio policy decision: propose real legislative change that mandates real affordability, and well above the ludicrous 15 percent target. This would be better than fiddling at the margins with concessions and grants and pretending that the regulations impose rigour when a development proposal is being assessed. It would arm the Liberals with a major `point of difference’, and provide opportunities for thousands who currently can’t afford to buy in the city. But even if they promise it, would they have the courage to implement it? For one thing, it would alienate a building and construction industry that traditionally has been one of the Liberals’ key election-fund contributors. And that, as 12 years of Labor has proven, identifies the most challenging policy issues of them all.

THE ADELAIDE REVIEW JANUARY 2014 19

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PERFORMING ARTS

RESTLESS EXPLORATION

of self-esteem, and because we’re looking at ‘worth’ in the show, I needed a character that was full of self-conﬁdence, so he’s perfect. There’s one scene where I ask him if he likes driving, and he says, ‘Ah, yes,’ so we turn the bed into a car using stools.

sually working with gravity-defying circus performers, Madrid-based dance director Rob Tannion explores the idea of self-worth with the upcoming stage show Salt. Teaming up with Adelaide-based dance company Restless Dance Theatre, Salt stars three disabled dancers and one able-bodied dancer in the contemporary piece. “I feel like I’m very connected to salt; I’m a very ‘salty’ person,” Tannion muses. “A few years ago I read a book called The World History of Salt by Mark Kolanksy, and it was a really fascinating read as to how civilisation has been formed, wars have been raged and revenues have been funded by [salt]. So the idea for Salt has been on the backburner for about 10 years, but obviously I had to meet the company and the performers.”

In 2011 Tannion took a break from his duties as Artistic Director of Spanish circus company Organización Eﬁmera to attend a two-week Restless workshop in Adelaide. There, he met the cast he’d long been waiting for – Lorcan Hopper, Jianna Georgiou, Dana Nance and Felicity Doolette. “After that workshop I went, ‘That’s the group. That’s the group I want to talk about Salt with,’” he enthuses. The stage set for Salt will feature the interior corner of a house and a big pile of salt, which will be interacted with throughout the performance in a variety of ways. Other props in the show will be “transformed into different things to challenge the idea of what you can and can’t do”. “The scene we’re working on now welcomes the male dancer, Lorcan, into the show with some stools. He’s very positive and has loads

The soundtrack for the show has been created by Adelaide’s own DJ TR!P, who has a longstanding relationship with Restless. “The score for Salt is very electronic, but tied in with lots of soundscapes like salt breaking and the wind. The pace is very diverse – there’s one scene where they’re picking up salt and throwing it and really throwing themselves around, there’s some moments that are quite theatrical, some which involve partnering, and some which are pure dance. But within it all, I do always look for context.”

Photo: Sam Oster

BY MIRANDA FREEMAN

“Then we’ve got Dana, who has short arms,” he continues. “I said to her one day, ‘Can you pick up the stool and put it on its end?’ She had a few tries, and she ended up getting herself underneath it and pushing it up. Which is great, because I do want to challenge what I guess is regarded as disability in the arts. The main theme is salt, but I’m really looking at selfworth and value. There’s some scenes that are quite poignant and some scenes that are quite funny, but I really do need that contrast to play with the four characters.”

» Salt Odeon Theatre, 57a Queen St, Norwood Friday, January 17 to Saturday, January 25 restlessdance.org

“10/10... not to be missed” with

cHRiStine anu & MitcHell butel fRoM 29 DeceMbeR

•

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131 246

net. net.au

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Sun Herald

20 THE ADELAIDE REVIEW JANUARY 2014

PERFORMING ARTS if after an hour lots of important things have happened already. It gives you the importance of the whole thing. A sense of urge.” And while the history of the texts and the time they talk about is integral to Roman Tragedies, for van Hove it is essential his productions “talk about today”. Looking at the stories from a contemporary perspective, of course, it was important for van Hove to make a big change from Shakespeare’s text: show more women. “That for me very important,” he says. “And I did it always when there was not a real relationship with a woman involved. Octavius is not married, he is still a young man in Shakespeare’s play, but here I made him into a woman because I think it would be a shame if I made a production about politicians today not to have woman involved.”

Epic Tragedies Roman Tragedies sounds nothing if not daunting: nearly six interval-free hours of Shakespeare… in Dutch. BY JANE HOWARD

his contemporary take on Coriolanus, Julius Caesar and Antony & Cleopatra, however, has been winning accolades around the world, and now makes its Australian debut. Presenting the work since 2007, director Ivo van Hove describes Roman Tragedies as “like wine: it gets better”. Given it takes 50 people to stage the work, van Hove’s Toneelgroep Amsterdam must be selective on where and when they can perform it. On invitation from the Adelaide Festival, van

Hove immediately agreed because he knew the Festival could handle a big production such as Roman Tragedies. “I know that it is a really very important festival, so I am really proud that we were invited; that we can play (finally) this production for Australian audiences.” Throughout the show, the audience will be able, and encouraged, to take a seat on stage or come and go as they please. Audiences can Tweet, buy food and drink from the stage, and take photographs. It’s not just the audience capturing the work on their phone cameras though – ﬁlm is integral to van Hove’s staging.

existing in digital worlds. But, he says, “that’s the great thing: we are together here in the theatre. And we also use the internet and we communicate through Twitter […] but the Shakespeare tragedies go on. And that’s live in front of you.” In combining the plays together, van Hove had to make “brutal choices”, including cutting the crowd scenes from Shakespeare’s text. Here, it is the audience that steps into place. “We use the audience that comes to see the production as the people watching: witnessing what the politicians are doing,” he says. “So they are really like a community in the theatre together with the politicians.”

“In this production everything that happens on stage is on ﬁlm and video: and that is, of course, a very powerful instrument these days. It’s like Big Brother watching you all the time,” he explains. “And that’s also, of course, in the production: these politicians also use video – the fact that they are ﬁlmed – to communicate their message. It’s a good thing, and it can be a bad thing.”

As audiences enter they are welcomed with a running sheet breaking down the production. Says van Hove: “We are given the information when the show starts that within ﬁve hours and 28 minutes Cleopatra will die. It gives you a sense of importance, the historical importance: things have happened already historically, and you will witness it again now.”

It would be easy to assume with the internet and video such a constant presence through the production that van Hove is making a commentary on our shared public spaces now

Through this, he strives to create the same sense of cliffhangers as in television. “You know you have to stay because lots of really important things are going to happen, even

Citing women from Margaret Thatcher to Angela Merkel to Hilary Clinton, “a lot more women are really in charge these days”. “I’m not interested in museum pieces, I’m not interested in a production the way that Shakespeare has done it in the 17th century: that makes no sense for me,” he says. “I want theatre for today, for the people of today, with the theatrical instruments available today. That means I can use microphones, I can use video, I can use Twitter, I can use social media: I can use what ever is available to me, when it makes sense. Not for the effect of it, but when it makes sense. “And I think that’s my only goal: to make theatre for the people today about the things that interest them today.”

» Adelaide Festival Roman Tragedies Festival Theatre Friday, February 28 to Sunday, March 2 adelaidefestival.com.au

The more you buy South Australian, the more South Australians you support. Find out who you’re supporting, www.buysouthaustralian.com.au

Jan, Foodland Customer

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LUDOVICO EINAUDI With his 6-piece band

Pianist with rock god tendencies Daily Telegraph

In A Time Lapse

22 THE ADELAIDE REVIEW JANUARY 2014

PERFORMING ARTS

Simpler Places

garden. He said the only interest in music is to share it. There’s something dreadfully wrong to want to do music that no one is going to hear. I thought that he was absolutely, fundamentally right.” It seems strange that Doillon would be so private considering her well-established career as an actress and international model (she is the spokesmodel for Givenchy and Anthony Vaccarello). As Doillon explains, the “real blessing” in her life is music, as acting and modelling just adds more layers to society’s misconceptions about her.

In France, Lou Doillon requires no introduction. The daughter of Jane Birkin and Jacques Doillon, and half-sister of Charlotte Gainsbourg, is a successful actress, model and now singer-songwriter through the release of her debut album, Places.

laces is a beautiful melancholic collection of songs that Doillon recorded in 10 days in a studio down the road from her Paris home. It’s a simple and honest album, which

Photo: Mathieu Zazzo

BY LACHLAN AIRD

Lou Doillon.

is exactly what Doillon aimed to achieve. The last thing she wanted to do was “impress” anyone, which is why she chose to record in English. “I love to be moved; I hate to be impressed,” Doillon says. “I didn’t want my music to go through this obsession that the French have to impress. Also, only the French would understand me and I had a desire – well, more a curiosity – to see how universal feelings could be. I realised that in many ways going on stage in a different place is like meeting with a boy for the ﬁrst time. In a wonderful way, the snog is the same; it’s just how we get to each other [that] is different.”

AUSTRALIAN YOUTH ORCHESTRA WITH JAMES MORRISON SMETANA/ KOEHNE/ MUSSORGSKY/ Principal Sponsor

THURSDAY 6 FEBRUARY 2014, 7:30PM ADELAIDE TOWN HALL TICKETS / $20 - 49 BOOK

Adelaide will have its chance to court Doillon on stage when she is here for Sessions at the Adelaide Festival Centre in mid-January. Just over a year ago, however, this would not have been possible. For years Doillon kept her music secret, with Birkin eventually fearing she was becoming “not mad – but slightly recluse”. It was a friend of Birkin’s – French musician Étienne Daho – who coaxed Doillon through a powerful emotional connection to share her music. “In a way, love is always what changes everything,” Doillon claims. “It was in the kitchen where I picked up my guitar and showed him some songs and he did the glorious thing of falling in love with me, in the musical sense. It was very sweet how he convinced me to record an album because he thought it was so odd how I wanted to keep my music as my private

“I was raised with this very strange relationship to the world. Since I was an infant I couldn’t go anywhere with my mum or my family – and since I was 15, myself — without people stopping their conversations or hushing down because my family is a strange form of royalty in France. My mother was very kind and famous; she was loved by everyone, and so was Serge [Gainsbourg], and so is my sister Charlotte, but that was already a little bit too much. By the time I came along, people didn’t want to hear about me and so, funnily enough, I was stuck in a weird teenage-hood where I didn’t know who I was and at the same time everyone was looking at me. I’ve spent the last 25 years of my life trying to excuse myself for not being the person [people] thought I was or trying to be the person [people] think I might be. “The French being the French, and that’s what I love about them, the ﬁrst thing they want to do is chop the heads off royalty – and that’s where I come along,” Doillon continues. “I can’t really reproach it; the whole world is getting worse and worse – and in France it’s especially bad. Daughters and sons of celebrities are favourite meat.” It’s a vicious insight, embalmed by the recent news (that happened after this interview) that Doillon’s half-sister and Birkin’s eldest daughter, Kate Barry, allegedly committed suicide by falling from the balcony of her Parisian apartment. The modern tragedy of the Birkin/Barry/Gainsbourg/Doillon empire is a complicated one. Above all the opulence and romance that they represent, there has hung a permanent shadow, which now darkens with Barry’s death. Within this context, it can help explain why Doillon has gravitated so strongly towards music: it allows her heady life to become simpler. “I see many people trying so hard and I think they’ve just missed the point,” she says on fame and success. “It’s the same with anything in life. If it’s more simple; it will actually work.”

» Lou Doillon Adelaide Festival Centre (Space Theatre) Thursday, January 16 adelaidefestivalcentre.com.au

The Adelaide Review January 2014 23

adelaidereview.com.au

PERFORMING ARTS

THIS MONTH The Adelaide Review’s guide to JANUARY’s highlight PERFORMING ARTS events

South Pacific

Lee Fields and the Expressions

Festival Theatre Sunday, December 29 to Sunday, January 26 Starring Lisa McCune and Teddy Tahu Rhodes, this production of Roger & Hammerstein’s South Pacific won seven Tony Awards and broke records during it’s Sydney Opera House run. Featuring a 37-strong cast and a 26-piece orchestra, South Pacific also stars Christine Anu and Mitchell Butel.

Festival Centre (Space Theatre) Friday, January 3 With his raw yet tender voice, soul veteran Lee Fields’ (aka ‘Little JB’) career stretches back to the 60s. Having toured with acts such as Kool & the Gang and Sammy Gordon, Fields is currently making the best music of his career on Truth & Soul Records with his band The Expressions. Fields plays the Space Theatre as part of the Festival Centre’s Sessions program.

Bonobo

Sarah Blasko

The Governor Hindmarsh Wednesday, January 8

Flinders St Baptist Church Friday, January 24

British beatmaker Bonobo will play a live electronic set at the Governor Hindmarsh on the back of releasing one of 2013’s most acclaimed albums, The North Borders. Joining the Ninja Tune artist are talented locals Oisima and Flamingo.

Australian singer-songwriter Sarah Blasko returns to Adelaide for Heavenly Sounds, the tour of Australia’s churches and cathedrals, which Blasko launched with her side project Seeker Lover Keeper. This show will be the last time Blasko will be in Adelaide to tour her ARIAnominated album I Awake.

YO U R TICKET TO THE WORLD

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TONEELGROEP AMSTERDAM (NLD) By William Shakespeare, directed by Ivo van Hove

By Ohad Naharin

AUSTR ALIAN PREMIERE, EXCLUSIVE TO ADEL AIDE Co-presented by Adelaide Festival Centre

“One of the most fascinating dancemakers on the planet.” NEW YORK TIMES

“ O n E W O R D : G O.”

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B AT S H E VA I S B A C K

Festival Theatre, 28 Feb – 2 Mar

Festival Theatre, 5-8 Mar

Settle into a couch on stage as this immersive spectacular unfolds around you. A must-see event.

Sensation of the 1996 festival, Batsheva is back with this choreographic voyage of cinematic proportions.

O n S A L E n OW

EXCLUSIVE CONCERT SERIES

“An essential composer.” THE

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F I R S T A n D O n LY AUSTR ALIAn VISIT Festival Theatre, 11-14 Mar Featuring John Zorn, Mike Patton, Bill Laswell, Marc Ribot, Joey Baron, John Medeski, Dave Lombardo, Elision Ensemble, Adelaide Symphony Orchestra and many more adelaidefestival.com.au or BASS 131 246

24 The Adelaide Review January 2014

PERFORMING ARTS

Journeys of Exploration and Distillation When The Independent recently described Ludovico Einaudi as “one of the world’s most successful living classical composers”, it put neatly into words what others have struggled to say about this shadowy, solitary figure. by Graham Strahle

His film credits include the Doctor Zhivago 2002 remake (starring Keira Knightley), the coming-of-age British drama This Is England that chronicles British immigrant culture in the Midlands, and Acquario, which won a Grolla d’oro for best soundtrack in 1996. He has issued 11 studio albums that include the solo piano collection Le Onde (The Waves) and In a Time Lapse for piano and orchestra, which became a top-seller in Australian and overseas classical charts in 2013. The Turin-born composer is also a prolific writer of music for TV commercials, from airlines to energy companies – all of which bear his same personal signature of gently rolling piano chords entwined with wistfully poignant melodies. `Atmospherica’ is what some have dubbed it. Einaudi seems to find a unique meeting ground between classical and new age, one where the minimalism of Philip Glass et alia fuses with a pop sensibility and absorbs a range of influences spanning folk, world and electronica. Its reminds one especially of Michael Nyman’s music for The Piano, the nostalgia-tinged nature music of John Luther Adams, or perhaps even Brian Eno. Dreamyism, another cute name for it, is of course now all the rage – every new age shop has rows of CDs of slow, repetitive meditation

music, sitting next to aromatherapy bottles and incense sticks, that turns these ideas into a cheap banality. But while Einaudi helped spawn all this way back in 1992, with his album Stanze for electric harp (played by Cecilia Chailly, who also worked with John Cage), nothing about his music sounds empty. He arrived at his distinctive introspective style – call it alt-classical if it must be labelled – through a progressive distillation of ideas and a desire to come to emotional truth in his music. Luciano Berio, his first teacher, took him through the 12-tone hoops, after which he has pursued his own journey of exploration. “Every year my music gets deeper, like old wine,” Einaudi says. “It is the result of work and a lot of thinking. At the beginning I was coming from Luciano Berio, composing more for orchestra and chamber music. But at a certain point things changed and I became involved in several projects in theatre. These helped me to focus on expressing freely my desires in music. Then I started to compose my own albums, first with Le Onde [in 1996]. This was the turning point in the development of my career. In it I found facility and tension; music started to be connected with feelings. Then filmmakers asked me to do films, so I started at that.” Unlike many other classical composers of his generation, Einaudi has also taken an equally strong interest in pop and folk music. He explains: “Since I was a child, my mother played classical music [on the piano] and

SALISBURY SECRET GARDEN HAVE YOU HEARD THE SECRET? 21st - 28th FEBRUARY 2014

Photo: Cesare Cicardini

t extolled him “as much the inheritor of Chopin and Satie as minimalists such as Glass and Reich”. That might make one puzzled as to what his music sounds like, except that we’ve all heard it: Einaudi’s music is more pervasive and familiar than many probably realise.

also folk tunes and songs. I started to focus on the beautiful melodies in these songs. Meanwhile my sisters listened to pop music like the Beatles and Jimi Hendrix, and since then I kept listening to a lot of different kinds of music. Even now, from folk to pop or classical, it doesn’t matter where it comes from. It’s just what I like.”

to Vivaldi. I always love strong writing and techniques. I was trying to find how to involve those ways into a new score; I was definitely thinking of Vivaldi.” He later reworked Divenire into the electronica-inspired Live in Berlin album, before initiating a large project based on folk music from South Italy that recreates the traditional, frenetic taranta dance.

In 2003 he travelled to Mali and played with musicians there, culminating in the album Diario Mali, in which he duets with Malian kora player Ballaké Sissoko. Around the same time, an interest in Russian music led to creating the soundtrack for Doctor Zhivago, which so memorably sets the haunting voice of Lyudmila Georgievna Zykina. “She sings a traditional Russian song for the solo voice,” says Einaudi. “When I heard it, I was looking for traditional melodic material to go into the soundtrack, so when I found this beautiful song I recorded it but rearranged it completely differently harmonically.”

“So there are lots of different experiences, musicians and opportunities I’ve had to explore different approaches to music,” says Einaudi. “They’ve all stayed with me like each brick that makes up a wall. For me, music must help me think, reflect and elevate my spirit to some different level. I also want music to feel the joy of life, like when a child feels pure passion. Sometimes we forget about that.”

Then came the 2006 album Divenire, whose track Primavera – perhaps Einaudi’s bestknown piece – recalls Vivaldi’s Spring in The Four Seasons. “Yes,” he says, “it is an homage

»»Ludovico Einaudi In a Time Lapse Festival Theatre Tuesday, February 11 ludovicoeinaudi.com

www.salisbury.sa.gov.au/ssg www.facebook.com/salisburysecretgarden

The Adelaide Review January 2014 25

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PERFORMING ARTS

At the Speed of Clouds

by Paul Ransom

e are used to the spectacle of speed and we thrill to the sight of dancers executing precise moves at great velocity. In a way, this is a modern staple of the artform. But what if it all slowed down? Would we still watch?

When New York-based artist David Michalek first conceived of the idea of Slow Dancing with his ballerina wife, neither of them could have guessed the extent to which this inspired and avowedly simple concept would enrapture audiences. By utilising both massive scale and incredible slowness, Michalekâ&#x20AC;&#x2122;s paean to the human form and the beauty of dance has become one of most talked about â&#x20AC;&#x2DC;film projectionâ&#x20AC;&#x2122; works on the public art and festival circuit. In 2014, it will grace the (very big) screens at the global music love-in that is WOMADelaide. Slow Dancing is a series of 43 short film pieces featuring dancers and choreographers from around the world and across the genre spectrum, each of them filmed in ultra-slow motion, (a thousand frames a second, compared to the usual 25). These five-second dance phrases are then slowed to fill up 10 minutes and projected in triptych form onto enormous, four storey screens. David Michalek explains: â&#x20AC;&#x153;I got interested some time ago in working with slowness as a medium; and that means a lot of different things. Not just decelerated images but slowness as a concept.â&#x20AC;?

Together with his wife, New York City Ballet artist Wendy Whelan, Michalek set out to realise his fascination with slowness as a work of moving portraiture. â&#x20AC;&#x153;I wanted to make a spectacular portrait of her,â&#x20AC;? Michalek recalls, â&#x20AC;&#x153;a portrait that looked very much like a still photograph but had what I kept calling a â&#x20AC;&#x2DC;motion principleâ&#x20AC;&#x2122;.â&#x20AC;? This led the husband and wife team to search out the best motion analysis cameras, the kind used by golfers and ballistics experts to minutely dissect both tee shots and gun shots. Eventually they chanced upon what, at the time, was brand new technology. â&#x20AC;&#x153;When I first did this at the Lincoln Center Festival back in 2007 I can say with a high degree of certainty that I was using a camera that was not even on the market,â&#x20AC;? Michalek says. â&#x20AC;&#x153;It had been invented in an engineering lab and the cooling system wasnâ&#x20AC;&#x2122;t even perfected. We kept the camera cool with frozen peas.â&#x20AC;? Slow Dancing not only unites art and science but brings together an extraordinary array of dancers, all of whom performed their brief pieces on Michalekâ&#x20AC;&#x2122;s specially constructed and rather small set. From legendary choreographers like William Forsyth to street dance stars like Lil C, the project celebrates both the diversity and universality of dance. â&#x20AC;&#x153;Every dancer I worked with was sort of a master dancer and I wanted them to bring something that was indelibly theirs,â&#x20AC;? Michalek enthuses. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m not really a choreographer. Iâ&#x20AC;&#x2122;m more of an arranger, and so because I

CHORAL ACCOMPANIST REQUIRED The Adelaide Philharmonia Chorus is seeking an experienced accompanist/ repetiteur. Please submit an Expression of Interest via the Chorus website www.philharmonia.net by 17 Jan 2014.

The Adelaide Philharmonia Chorus is seeking new members for 2014. To learn more about the choir and how to join please visit our website www.philharmonia.net

was working with all of these dance makers I really let them bring something, a movement sequence, that felt right for them.â&#x20AC;? The result, despite the immense scale and time distortion, is an incredible intimacy. â&#x20AC;&#x153;Both of them allow the viewer an opportunity to travel within the image. With scale and deceleration I really give people the chance to explore micro expressions and micro stories. With dance, yes they might do a certain kind of sequence, but within that there are hundreds, if not thousands, of things that are not necessarily gestures or positions but are transitions between those things â&#x20AC;&#x201C; and theyâ&#x20AC;&#x2122;re filled with wonder.â&#x20AC;? However, Michalekâ&#x20AC;&#x2122;s drive for slowness

The obvious question here is whether Slow Dancing is a work of beauty (art) or simply an object of fascination (spectacle). In response, David Michalek rubs his hands with glee. This is clearly his territory. â&#x20AC;&#x153;When people first saw it I think it was the first time in history that anyone had seen other people moving in uncompressed high definition on that scale and at that rate of deceleration. So yes, there was fascination. They were like, â&#x20AC;&#x2DC;how did he do that?â&#x20AC;&#x2122;â&#x20AC;? With its accent on humanity, Slow Dancing is perhaps a perfect fit for WOMADelaide. As Michalek argues, â&#x20AC;&#x153;Part of what Slow Dancing does is to announce and project the idea of democracy.â&#x20AC;?

ÂťÂťWOMADelaide Botanic Park Friday, March 7 to Monday, March 10 womadelaide.com.au

Are you worth your weight in salt?

RESTLESS DANCE THEATRE presents

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Virtual Proximity

ATTENTION SINGERS!

Photo: David Michalek

Slow Dancing.

Photo: Sam Oster

You may have enjoyed a slow dance before, but not this slow. New York artist David Michalekâ&#x20AC;&#x2122;s ultra slow-mo celebration of the body, the dance and the human spirit takes slow dancing to new heights.

was not simply about velocity, but quality. â&#x20AC;&#x153;I was always looking for a certain speed; and as I said to Wendy [Whelan], I was looking for something to move at the speed of clouds passing overhead. I wanted to play that same game we play as kids where we lay on the ground and watch clouds and make shapes.â&#x20AC;?

The Rainbotic Ensemble 8pm $15/$8 (COMA members) the Wheatsheaf Hotel 39 George Street, Thebarton

monday 06 jan Improvised electronic beats with live visuals. Space jazz with influences from Angelo Badalamentito to Sun Ra.

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17 - 25 January 2014 : 8pm 21 + 23 January 2014 : 12 noon The Odeon Theatre 57a Queen Street Norwood Tickets $25 / $20 conc book online at: www.trybooking.com

earlybird save $

before Dec 31.

Direction Rob Tannion Design Geoff Cobham + Gaelle Mellis Sound DJ TR!P

26 THE ADELAIDE REVIEW JANUARY 2014

PERFORMING ARTS

Kick out the Docs

Photo: Timothy Greenfield-Sanders

DocWeek, the Adelaide International Documentary Conference’s public program, returns in 2014, expanding on 2013’s inaugural event with a tantalising line-up of guests including Oscar winner Alex Gibney and two-time Oscar nominee Marshall Curry.

BY DAVID KNIGHT

ibney, the director of acclaimed ﬁlms Enron: The Smartest Guys in the Room, Wikileaks: We Steal Secrets, Silence in the House of God and his Oscar winner Taxi to the Dark Side, will be a guest of DocWeek, either in

“IT’S INCREDIBLY EMOTIONAL... THIS IS A MAJOR ACHIEVEMENT” MARGARET POMER ANZ , AT THE MOVIES

“EXTRAORDINARILY POWERFUL ... A REMARKABLE FILM” DAVID STR AT TON , AT THE MOVIES

Still from The Last Impresario.

person or via a video-link for an industry session (conference) or a screening (public). DocWeek will premiere Gibney’s new film The Armstrong Lie, about disgraced cyclist Lance Armstrong. Joining Gibney will be fellow Oscar nominated director Marshall Curry, a Canadian director who stunned the documentary world with his incredibly raw political debut, Street Fight. DocWeek Director Joost den Hartog’s professional relationship with Curry stretches back to his debut feature, as den Hartog attended the film’s premiere. “I absolutely loved it,” he enthuses. “At the time I was working for the Documentary Film Festival in Amsterdam and I pushed that film through the program department and it did really well at our festival. A few months later it got nominated for an Oscar. Getting him out here to celebrate his work is a very nice thing to do.” DocWeek will screen three of his films with the others being If a Tree Falls: A Story of the Earth Liberation and Racing Dreams. Curry will also be part of a panel and preview his upcoming and incomplete film. The big name guest, however, is Alex Gibney. The prolific investigative filmmaker, who in the past 12 months has released Silence in the House of God and We Steal Secrets, is one of documentary’s most consistent talents. DocWeek will screen nine of his films in a stream, which den Hartog is hesitant to call a retrospective given that Gibney is still in his prime and releasing films at a rapid rate. “Gibney has been on my list for a long time. I always wanted to invite him to a conference and ask him to do some sort of keynote speech

Alex Gibney

or something like that. Every year I have been trying and now with the festival [DocWeek] we have an opportunity to share his work, which makes it a lot more attractive for filmmakers to come. The problem is Gibney’s ferocious schedule, so we’ve tried to negotiate around that.” DocWeek will open with The Armstrong Lie and the Australian premiere of Gracie Otto’s [daughter of Barry, sister of Miranda] new film, The Last Impresario, about the notorious London theatre and film producer Michael White, promoted by the film as the most famous person you’ve never heard of. “It’s a great film, it’s very fast-paced. There’s a whole string of celebrities giving their two cents, and it sort of fits in with festival season in Adelaide – it’s big, it’s extravagant and it’s quite a nice film.” An interesting DocWeek stream is Kick out the Jams, which features five films about Detroit. This is a program that is close to Adelaide’s heart given the recent Holden announcement but aside from the motor industry, Detroit is famous for its rich musical history, which stretches from jazz to Motown to the MC5 (hence the Kick out the Jams title) to techno. “We present it as a five-part documentary series but they’re all stand alone films – they have nothing to do with each other except they are all about Detroit. The story that you can extract from these five films is actually very uplifting. It’s about resilience, it’s about creativity, it’s about what people do when their livelihood is at stake and in this case they come up with fantastically

creative ideas... basically they use their space creatively because they see an opportunity that they can’t have anywhere else.” Also of note is the emerging filmmakers competition, the Asia Pacific New Documentary Program, an expansion of the F4 competition, which was only open to Australian filmmakers. “We still at the heart of it have four Australian films. Gracie Otto’s film is one of them, and Clare Young’s From the Bottom of the Lake which is about Jane Campion’s creative process and how she encountered making Top of the Lake [her recent mini-series]. Then we have Blush of Fruit, which was in the Adelaide Film Festival and won the documentary prize for the Adelaide Film Festival. I was on the jury and I was really blown away by that film. It was shown twice at the festival – once there were 15 people in the audience and the other time there were 12 or so, so I thought only 27 people in Adelaide have seen this film, I’m just going to give it another run. It’s a very important film and it needs to be seen. The fourth Australian film is Valley Kicks. It’s about a suburb in Brisbane and the Youth Services Department there. We have added films from New Caledonia, Vanuatu, New Zealand, India, Cambodia, Malaysia and China and all the filmmakers will come to Adelaide.”

» DocWeek’s full program will be released in 2014 DocWeek runs from March 4 to 9 docweek.org.au

THE ADELAIDE REVIEW JANUARY 2014 27

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PERFORMING ARTS

Ruben Alves

I thought that maybe the time was right and that it could be a homage to my parents. It’s not autobiographical, but it is inspired by my parents’ lives.” Alves’ directorial début is very ambitious, with lots of characters and shifts in tone. “I took three years to make the movie, as the writing took a long time. And yes, so many characters! I was directing the scene where the big Portuguese family is having lunch, and there are all those characters, and I was thinking to myself, ‘Why did I write it like this?’ Eleven people, all talking, all acting! But I do like it like that, and I never allowed myself to think that anything would be too hard. I also wanted there to be comedy in the ﬁlm, as life is like a drama, and you need to have humour to get through it.”

BY D.M. BRADLEY

peaking by phone from Hong Kong where his film The Gilded Cage is screening at festivals, Ruben Alves is surprised at how his film crosses cultural borders: “Here in Macau they are loving it, which is cool! Travelling around the world with the movie has really been unbelievable. The film is about émigrés, a Portuguese family in Paris, but I have been surprised that it seems to appeal to people everywhere. It is dedicated to people who leave any country, who emigrate from any country, to try to find something better.”

Having worked as an actor in France for over a decade, what was it that made Ruben take the leap into becoming a director? “I suppose you could say that I’ve always been a director as I like to create. My best friend is a producer, so we would always be taking a camera with us

Ruben Alves

And what about Alves’ own small role in the ﬁlm (as Miguel)? “It’s very small! Some people say that it’s me doing a Hitchcock!”

everywhere, and then making a movie every year just for our friends and us in the summer. I suppose that that means that being a director has always been something I wanted to do. “When I was 20 I was an actor and I was making shorts, but when I was 30 my producer

IN CINEMAS BOXING DAY

said, ‘Ruben, why don’t you write about your family and your Portuguese community?’ I had written a script about a French family in Portugal, and he thought that it was cool, but he said, ‘Why don’t you write instead about Portuguese people in France?’ At ﬁrst I thought that might be too personal, but then

Preparing to act in a forthcoming French biopic, Yves Saint Laurent, Alves is looking forward to his second feature ﬁlm as director. “I do want to direct again, but I don’t know when I will. I hope that I can make another movie like this, which seems to unite audiences around the world.”

IN CINEMAS JANUARY 9

28 THE ADELAIDE REVIEW JANUARY 2014

PERFORMING ARTS

The Railway Man BY D.M. BRADLEY

D THE SECRET LIFE OF WALTER MITTY BY D.M. BRADLEY

This longtime-coming effort from producer/director/star Ben Stiller hasn’t got much to do with the 1947 film of the same name toplining Danny Kaye (which itself wasn’t at all like James Thurber’s original short story from 1939), and instead

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of offering a comedic tale of the power of dreams, tries for something deeper and more yearning. Ben’s Walter works in the lower photographic departments of Life magazine in New York. His everyday life is so dull that he often daydreams or ‘vagues out’, and we see many of his early heroic fantasies in wryly amusing detail. When the mag prepares for its final ever issue before everything goes online, meek Walter falls for sweet colleague Cheryl (Kristen Wiig), makes a powerful enemy in a dickhead downsizer (Adam Scott) and misplaces an old-fashioned slide intended for the front cover sent by legendary photographer Sean O’Connell (Sean Penn) and all of these factors combine to force Walter to take a chance and jet off to Greenland, Iceland and beyond to track Sean down. While this should theoretically become goofier (and maybe grosser) with each plot twist, Stiller’s pic proves unusually thoughtful and even melancholic at times, with Walter supplied a whole sad backstory about why he gave up his dreams (of travelling the world and having fabulous adventures) which he didn’t really need, as we know all too well why he squashed them in favour of a boring job: fate and the wicked world got in his way. With the star actually in exotic spots (rather than superimposed in via CGI, or with Alaska ﬁlling in for Iceland), nice use of music (with David Bowie’s Space Oddity used as a song about courage and daring rather than one about drugs and death), appealing playing (even Shirley MacLaine underacts as Walter’s Mom) and Stiller himself using his curious charisma to winning effect, this is surprisingly nowhere near the Hollywood nightmare you might be thinking (or fearing).

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» Rated PG. Opens December 26

irector Jonathan Teplitzky’s The Railway Man, his filming of Eric Lomax’s autobiography, has been his passion project for a while. When Teplitzky and Patti Lomax (played by Nicole Kidman onscreen) recently discussed the film, he explained how he had the production readyto-go when he visited Adelaide in late 2011 to promote his previous effort, Burning Man. “Yes, it was getting pretty close. We’d spent months doing prep, and we were about to start.” Lomax then describes how she felt when contacted about filming Eric’s book: “It wasn’t Jonathan who first called me: it was Anand Tucker [of And When Did You Last See Your Father?]... Eric had written his bestselling autobiography, and Anand and his producers developed it for about 12 years.” “That’s right,” Teplitzky interjects, “before I came on board”, and Lomax continues, “and Anand, who was a friend of Jonathan’s, had to do another movie. And so Jonathan became involved.” She also says that although “you can’t guarantee any film will be a success”, she’s very happy with how The Railway Man has turned out: “We trusted the team and we liked the actors [Colin Firth and Kidman].” Teplitzky agrees: “I think

that that was because the process took so long that strong relationships were built, and real trust. Patti and Eric [who died in 2012] had read drafts of the script. It was a very close thing between Patti and Eric and me and the writers and the cast and crew: we all wanted to be involved, and we were all astounded by Patti and Eric’s story.” “Absolutely!” Patti concurs, “Eric and I weren’t filmmakers, so we had to trust the experts!” Did Lomax approve of the casting of Kidman? “She was better than I hoped! I’m well-acquainted with her and call her a friend. She did exceedingly well. We met her when Colin bought her to our home in Northumberland, and we ended up in our garden discussing the lack of bees and how late the roses were that season. We have a great rapport.” “Yes, you’re good friends,” states Teplitzky, “and I think people do forget what a great actress Nicole is. She’s warm, giving and very intelligent, and brings a lot to our film.” Teplitzky says that there was intensity on the set: “Particularly for Colin. In some ways he didn’t have to do some of the hard stuff, as an actor, as Jeremy [Irvine, in flashbacks] does

THE BOOK THIEF BY CHRISTOPHER SANDERS

Narration can be a brilliant device when used in innovative ways – think Ray Liotta’s crazed voice-over in Martin Scorsese’s Goodfellas – or an essential element (Terrence Malick’s ﬁlms especially) but often narration screams of a ﬁlm that lacks some imagination. Based on a bestseller by Australian author Markus Suzak, the novel is voiced by Death, but Death doesn’t translate well from the page to the screen. In fact, this is one of the few times where the device is truly disruptive instead of informative. Which is a shame because The Book Thief is almost the ideal family holiday tearjerker. With a wonderful cast – Geoffrey Rush and Emily Watson especially – it is beautiful to look but it doesn’t reach the heights of another recent war drama – Steven Spielberg’s perfect family-aimed tear-inducer War Horse. In the hands of a holiday big-screen genius like Spielberg, The Book Thief might have translated into something special. Spielberg knows how to

THE ADELAIDE REVIEW JANUARY 2014 29

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PERFORMING ARTS PHILOMENA BY ANNA SNOEKSTRA

The highlight of Stephen Frear’s new feature Philomena is its reframing of the odd-couple dynamic. This British ﬁlm is an adaptation of Martin Sixsmith’s 2009 investigative book The Lost Child of Philomena Lee and perhaps the fact that it is based on real life is a big reason why this unlikely duo works so well.

that [in the World War II sequences], but Colin still brings psychological complexity to the role. But there was that camaraderie between us all too, as we knew that we were bringing to life something substantial.” Finally, Teplitzky and Lomax agree that The Railway Man, with its themes of posttraumatic stress and whether one can forgive, comes at an important moment in history (almost 70 years since the end of World War II and almost 100 since Gallipoli). Teplitzky: “The victors and the defeated in wars both need to re-find their humanity, and to remember what it was they were fighting for.” Lomax: “This film isn’t about us: it’s about everyone who fought, and those who tried to love and care for them when they returned.”

» Rated M. Opens December 26

balance sentimentality with grit, and big screen wonder with human drama. Directed by Brian Percival, The Book Thief stars Sophie Nelisse as Liesel, an orphan who moves in with foster parents Hans and Rosa (Rush and Watson) in Nazi Germany just before the war. Liesel can’t read but Hans soon changes that, with the upand-coming reader even managing to save a novel at a Nazi book burning. The book theme continues when the family hides a young Jewish man Max (Ben Schnetzer) who connects with Liesel over their love of books, with Liesel’s newfound appreciation of the written word even allowing her to befriend the wife of a SS heavy.

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Steve Coogan trades his usual cringe comedy for a much more understated dramatic role. He plays Maxwell Sixsmith, an agnostic Oxfordeducated Labour Party advisor who has recently lost his job in highly publicised disgrace. He is the kind of man who is always sure he is the smartest person in the room, which doesn’t sit well with unemployment. Philomena Lee, on the hand, lives a simple life as a retired Catholic nurse. She could have been portrayed as a foolish old lady, however Judi Dench, to her credit, brings both vitality and dignity to Philomena’s naivety. This unlikely duo come together to find the answers to what happened to Philomena’s son, who was taken from her almost 50 years ago. Flashbacks to the 1950s inform us that a pregnant teenage Philomena was forced into virtual slavery at a convent after being rejected by her Catholic family. After three years, Philomena’s beloved son is sold by the church to an American couple for adoption. She is consistently stonewalled by the nuns as to his whereabouts until Martin gets involved. Looking for some direction, he takes on her quest, selling it as a ‘human interest’ story to a newspaper. Having no intention of letting manners get in his way, Martin pushes until he begins to get answers which eventually lead them to travel to America together to find the truth. Philomena borrows from many genres. A melodrama, as we are transported back to a 1950s convent of evil nuns and stolen children, a buddycop adventure, as Martin and Philomena hunt down clues to the whereabouts of her son and a road-trip film, as they drive around the Irish and American countryside, attempting to understand each other’s widely different world views. Watching these vastly different characters, and actors, together is ultimately moving and often hilarious.

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» Rated M. Opens December 26

Despite its ﬂaws, ultimately this is worth the admission price to view the acting chops of Rush and Watson and especially Sophie Nelisse. She is a star and is impossible to ignore with her big eyes and tremendous talent. What could have been if Death had been left on the cutting room ﬂoor...

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» Rated PG. Opens January 9

30 The Adelaide Review January 2014

VISUAL ARTS

The Collections Project by Jane Llewellyn

“It’s all in flux because until I get in there and start the research. I don’t really know what I am going to do. But at this point in time I would really like to work with the space – the

entire collection as a museum space,” explains But-Husaim. “I am really interested in not just the collection but how people interact in the collection and how they spend time.” But-Husaim’s early work revolved around a fascination with the body and transformation. She was painting images of people who had body modifications and then experimented with painting people and putting her own motifs on them. Then tattooing became mainstream and it began to lose its appeal. “I saw it in an advertisement and thought `I’m not interested in that anymore’. It has become too much like a currency.” This was around the time when there was a

Sophia Phillips, Ovum, ceramic

Elodie Barker, Cathy Brooks, Susanna Brown, Lianne Gould, Erin Harrald, Claire Ishino, Leo Neuhofer, Stephanie James-Manttan, Sophia Phillips, Di Radomski, Paul Tait, Yvonne Twining, John Ullinger, Erika Walter

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he Collections Project, a collaboration between Guildhouse (formerly Craftsouth), the Art Gallery of South Australia (AGSA) and the South Australian Museum, is an exciting opportunity for artists to work with these collections and develop new work. The artists chosen to undertake research in 2014 are Robin Tatlow-Lord and Deborah Prior at the South Australian Museum and Deidre But-Husaim and Dan Withey at AGSA. But-Husaim will begin her research at AGSA in February.

Studio (collection desk), oil on linen 2012. 1220 x 1360mm

lot happening in the world like the Australian floods and fires and the tsunami in Japan, which had a profound effect on But-Husaim. “I used to love making paintings of people I didn’t know. I felt if I didn’t know them then I could change them. They were more malleable to me.” These tragic events caused But-Husaim to look inward and start painting her immediate world – she began painting portraits of people she knew and still lifes of her studio space. “I guess you could call them still lifes but I feel they are more of a self portrait because they are all the things that are in my space.” While it’s difficult for But-Husaim to know what work will come out of the four months’ research she will undertake as part of the Collections Project she is planning to build on

the painting The Lesson. The work is based on a photograph she took several years earlier at the State Hermitage Museum in Saint Petersburg. “I just came across this group of guys and thought, ‘Wow you never see that’. I was intrigued: who are they, what are they doing?” She kept going back to the image and then decided to paint the scene along with more detailed sections of it for an exhibition at the Adelaide Central School of Art last year. “I was thinking about starting a new body of work and then this opportunity came up with Guildhouse and I thought maybe this is meant to be. I am meant to carry on this line.”

but-husaim.id.au

The Adelaide Review January 2014 31

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VISUAL ARTS

Profile: Jessie Lumb Photo: Rosie Hastie

by Jane Llewellyn

ubble gum stains painted on Hindley Street and embarking on a nation-wide tour with a tarpaulin are just some of the projects that have kept sculptor and installation artist Jessie Lumb busy in 2013. The bubble gum stains were part of Arte Magra at the Australian Experimental Art Foundation (AEAF) and Lumb has been on the road since May with the mobile Artist Run Initiative (ARI), Tarpspace.

One of the most important elements of Lumb’s work is the site itself whether in a gallery or a public space. “I spend a lot of time in the space trying to find an element of it that I find interesting or that has been overlooked. So things like shadows, the textures of the walls and cracks in the ground,” explains Lumb. She then intervenes in the space with colour or pattern and highlights these little details that might otherwise be missed.

Constance ARI, Hobart. Glitter glue filling floor craters.

them while others walked around the stains but carried on with their day. Then there were those who actually stopped and engaged with the work. Photo : Jessie Lumb

All this hard work hasn’t gone unnoticed with Lumb recently named as the recipient of the Visual Arts Critics Circle award for 2013. The Visual Arts Critics Circle (part of the greater Adelaide Critics Circle) has been running since 2000 and each year they present an award to an outstanding emerging visual artist.

With bright and shiny stars in my eyes’ (detail), 2013,

‘Albany’, 2013, end of a found branch painted with Posca paint pens.

While the site itself helps dictate the direction Lumb’s work might take, there are also external forces that influence her choice of materials. “It generally depends on what materials I can find where I am. The colours I use within that material is whatever is available at the time – when I have used plasticine for instance, or paper, my colours are limited to whatever comes in the pack that I have bought,” she explains. It’s the moment of discovery that is most important to Lumb. “My ultimate thinking

when I am making the work is to make somebody smile with colour and pretty things in a very subtle way. The most important thing for me is the moment when you encounter the work.” Lumb says her interventions into our everyday world are quite often subtle, so the viewer might have to search for them a bit. Take the work she presented for Arte Magra, for example, When the flavour was gone, I pondered my mortality – the bubble gum stains painted on Hindley Street – some people walked right by and didn’t even notice

The ARI project Tarpspace is a further extension of Lumb’s fascination with space and how we interact with it. The Tarpspace team, which also includes fellow UniSA graduates Henry Jock Walker and Brad Lay, has been on the road since May, travelling around the country. The mobile ARI revolves around a giant tarpaulin, which artists incorporate into their artwork. “We are trying to get contemporary art out into different areas and challenge the model of what an artist-run space can be. Rather than having an actual space that people have to fit the work into, we take the space to them and they fit the space to the work they want to make with it.”

tarpspace.com plasticineandthumbtacks.wordpress.com

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PO Box 225 Fullarton SA 5063 7 Mulberry Road Glenside SA 5065 [via Gate 1, 226 Fullarton Road] T 08 8299 7300 info@acsa.sa.edu.au www.acsa.sa.edu.au

32 THE ADELAIDE REVIEW JANUARY 2014

VISUAL ARTS

Just Can’t Get Enough (Sculpture)

participation in sculpture so high. This is no accident and there are many contributing factors and forces at play. Foremost among these is the combined message ﬂowing from the Art Gallery of South Australia’s Biennial of Australian Art series, recent Adelaide Internationals, exhibition programs by presented by The Australian Experimental Art Foundation, Contemporary Art Centre of SA, SA School of Art Gallery and other funded, independent and commercial spaces, that occupying floor, wall and air space with objects or installations of various aesthetic/conceptual persuasions has ‘now’ written all over it. Add to this the emergence and popularity of local outdoor sculpture events, particularly The Heysen Sculpture Biennial, The Palmer Sculpture Biennial and the Adelaide Airport Brighton Jetty Classic Sculptures. Signiﬁcantly all have grass roots origins. They exist because some people had visions and others (artists and supporters) have worked hard to see them realised.

A seismic shift in attitude has seen ‘sculpture’, in any number of forms, stage a remarkable comeback from a position of near annihilation in the 1970s.

BY JOHN NEYLON

Photo: Courtesy the artist

o understand why requires letting go of ideas that sculpture is essentially of, or about, itself and taking onboard concepts about art making as deﬁning points of reference, contact and difference between artist, audience and place. This explains, in particular, the emergence of

Helen Printer, Woman struggling with herself, 2013 ( 2014 Heysen Sculpture Biennial)

public art as a highly visible (and sometimes divisible) phenomena within contemporary life. This is often because the work occupies known ground and has to persuade a local community that has some good reason for being there and deserves to ‘belong’. Thus the controversies. People who regard bronze porkers poking their snouts into rubbish bins in a shopping mall as crass are happy to see them go. Others can’t get enough of the joke and want them restored. But it’s more complicated than that. What happens when an entire urban complex or architectural item is conceived in sculptural terms? This is happening right now in Adelaide.

The bold forms of the new Royal Adelaide Hospital, particularly the go-to motif of the ‘cheese-grater’ offer sculptural statements and (possibly healing) experiences on a grand scale. Sculpture, or thinking sculpturally, is now seen as a game-changer. The intriguing thing is that this kind of transformation is occurring on a more modest but no less public scale in the form of outdoor site sculpture events. A prominent example is Bondi Sculpture by the Sea. McClelland Gallery in Victoria conducts a major Sculpture Survey program with all sculptures sited in the grounds outside the Gallery. There are many others. Locally, I can’t recall levels of interest, initiatives and

The Heysen SB began in 2000 with the work of 12 artists. Fifty-six artists presented in 2012. Thirty-eight artists will exhibit in the 2014 Heysen SB. This downsizing is deliberate. It marks a transition from an opendoor approach to a process involving artists submitting expressions of interest, along with proposals to a selection committee. In this way the organisers consider that discretion can be exercised in quality and siting. Whether this quashes the exuberant spirit of previous shows remains to be seen. What can be said is that the peculiar affection previous Heysens had to the thematic ‘Homage to Nature’ has been abandoned. Thank God. Leave such naffness to royal societies, ﬁbre collectives and the like. Overlapping the 2014 Heysen SB will be the 2014 Adelaide Hills International Sculpture Symposium, which sounds very formal, but for those who can remember the previous one, promises more creative rock bothering on a very dramatic scale. This project’s very schmick website will explain all. The ﬁrst Palmer Sculpture Biennial was launched in conjunction with the 2004 Adelaide Festival. Its origins lay in Adelaide

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Rosetta Santucci, Seaside Sky (detail), limited edition archival print, 110cm x 155cm, $950

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THE ADELAIDE REVIEW JANUARY 2014 33

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VISUAL ARTS artist Greg Johns’ plans to own and develop a site where he could ‘freely’ place his own sculptures. In 2001 he purchased a donedown sheep grazing property in rain shadow country at Palmer, 70kms east of Adelaide. A concept emerged from the interaction of Johns and some artists, Ken Orchard, Ian Hamilton and Gavin Malone. The result was the Palmer Sculpture Biennial, which as a concept and ongoing program has continued to evolve. Not a sculpture park or a completely ‘drop-in’ event (some sculptures remain permanently or for extended periods) Palmer is more an open laboratory for ideas about art and land. It has become a kind of sculptural eminence grise, haunting the fringes of settlement with holistic visions.

Sculpture. Right now it looks like we just can’t get enough.

» Heysen Sculpture Biennial: February 23 to April 27 Adelaide Airport Brighton Jetty Classic Sculptures: January 22 to February 2 Palmer Sculpture Biennial: March 8 to 23

Creative Warehouse BY JANE LLEWELLYN

he Forge: Creative Warehouse is the latest project to launch as part of Renew Adelaide’s revival of Port Adelaide. The face of St Vincent Street is changing thanks to Renew Adelaide ﬁlling a number of empty buildings with creative enterprises. The addition of The Forge looks set to add to the landscape and help Port Adelaide on its way to becoming a centre for arts and culture. Occupying the first floor of an art deco building the huge warehouse, which was vacant for a few years, has been transformed by Phil Brown, John Goodridge, Christopher Morrison and Steve O’Conner. As a photographer himself, Brown says he was frustrated with not getting a lot of work he wanted to exhibit into galleries. “We wanted to make it easy for anyone to put together an exhibition and get their work out there,” Brown says. “We already have a few

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Rules of Colour by Julie Frahm

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TWENTY Artworks in various media by members of the Red House Group Inc 2014 - celebrating 20 years

(left) mixed media by Jennie Goh (right) fine art photography by Leonid Olijnyk

people who have expressed interest in having exhibitions. Hopefully it will be continually evolving with all sorts of new stuff.”

a backdrop and an area for hair and make up, and the other one set up at the back of the building is a natural light studio.

The gallery area occupies the front of the warehouse and is set up with moveable partitions that can be reconﬁgured depending on the exhibition with each exhibition running for approximately two weeks.

While the Forge has a focus on photography, everyone is welcome to come in and enjoy the space. With nowhere else like it in the Port, it will be exciting to see what creative ideas come out of the hub.

“Some people may want shorter and some people may want longer [than two weeks]. The whole idea is we want it to be a community space. We don’t want to tell you, `You must have a week long exhibition in a gallery that looks like this’.” The middle section is set up as a communal workspace with a variety of desks, communal workbenches and lounges – something to suit everyone’s needs. There are three different levels of membership with basic (which includes Wi-Fi access and all the tea and coffee you can drink) while the top two levels have the additional perk of 24-hour access to the building, so if you do your best work at night then this is the membership for you. Artists such as Rebecca Prince, Donovan Christie and FLEtCH CUtS have adorned the walls of the workspace with murals. The space also includes two photo studio areas, one with

10 January - 2 February 2014

TWO EXHIBITIONS MASKED OR UNMASKED

UNCEN

forgewarehouse.com

Twenty-one artists share stories and connections to seven eastern metropolitan Councils.

17 January - 7 February 2014 Irena Dadej, Early Morning, wool and silk felting

The Brighton Jetty sculpture event may be the smallest in scale but has the longest title: Adelaide Airport Brighton Jetty Classic Sculptures. Maybe the Classic will fall off the jetty sometime. It’s been running since 2008. Brighton Surf Life Saving Club members were inspired by a Cottesloe Sculpture by the Sea (WA) and saw no reason why their club couldn’t get into the act. The ﬁrst clutch of Brighton Jetty’s had a feel-good bounce to them but looked unlikely to attract more experienced sculptors. By 2013 there were signs that the Brighton JCS was on the radar and conﬁdent in strutting its stuff along the Esplanade. Demarcating between visually bold and riskier works and populist community participation is a decision all such projects have to face, at some time or another, if they want to grow. That kind of decision doesn’t look far away.

Community Launch Event: Friday 17 January at 6 pm Launch Guest: David Parkin, Mayor of Burnside Printmaking demonstration by Jorji Gardener Painting demonstration by Claire Foord Live music by members of Burnside Symphony Orchestra Free caricatures by Cartoon Guy, Allan Addams

Free Artist Talks throughout the exhibition: Saturdays 18, 25 January and 1 February 2 pm – 4 pm

Free entry - all welcome!

SORED

photography by Julia Thomas Centering around empowering women and shedding light on domestic violence

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

Pepper Street Arts Centre Exhibitions, Gift Shop, Art Classes, Coffee Shop. 558 Magill Road, Magill PH: 8364 6154 Hours: Tuesday to Saturday 12 noon - 5 pm An arts and cultural initiative funded by the City of Burnside

www.pepperstreetartscentre.com.au

34 THE ADELAIDE REVIEW JANUARY 2014

TRAVEL Moroccan and a ‘Rollin’ BY DAVID SLY

he palms of my outstretched arms lay ﬂat against 1200-year-old mud brick walls, defining the width of cobblestone laneways through Fes’ ancient Medina – but here comes a donkey caravan, laden with plastic water drums and bolts of cloth, and it’s my obligation to scuttle into a doorway and allow them free passage. This is the only means of transporting heavy goods through the labyrinth 9000 alleys of Fes el Bali, the ancient walled city of Fes teeming with 156,000 inhabitants. This UNESCO World Heritage Site is the largest car-free urban area in the world, making it a rare place where the truly ancient is preserved and instilled into the fabric of modern daily life. Lavish restaurants presenting luxurious lamb and date tagines are ﬂanked by street vendors selling wedges of hot pastille, the popular baked pigeon pie. In the heaving markets, exotic carpets are sold beside a craggy old carpenter shaping wooden jewellery from a diminutive foot-powered lathe. An unusual mix of devout tradition also exists beside cosmopolitan chic in Fes. Contemporary apartments set an elegant urban tone in the Ville Nouvelle district, in striking contrast to the adjacent Medina’s

ancient charm, exemplified in the University of Al-Karaouine, founded in 859AD, the oldest continuously functioning university in the world. As visitors invariably lose their way within the maze of narrow alleyways, they mix among a community that devoutly responds to the muezzins’ calls to prayer five times each day, echoing from the green-tiled minarets of 365 mosques within the walled city and melding with a chorus of braying donkey traffic. Modern forms of transportation in Morocco are no less intimidating. To venture beyond the expansive Djemaa el Fna square in Marrakesh, away from heaving crowds and into the vast expanse of wild Morocco, we commissioned Youssou, a grinning young 4WD driver, to take us over the nearby Atlas Mountains. It resulted in a daunting five hours negotiating the mad and narrow Tizi N’tichka pass. This is the solitary road that crosses the snow-capped Atlas peaks, winding through 99 tight switchbacks over a 1900m summit. Frequent accidents slow the traffic: six trucks were involved in crashes the day we travelled, including a dodgy old oil tanker flipped on its side, surrounded by local Berber villagers shoveling sand over spilled oil so that impatient banked-up traffic could pass. Clinging to the roadway crash barriers on hairpin bends are daredevil villagers selling a multitude of fossils, including trilobites – a reminder that 600 million years ago this landscape was below the sea. However, never assume that blackened artifacts are genuine antiques; although attractive, most are fake. From this high pass, the road winds its way down through an arid red and grey landscape

to the Ziz River – a startling thin line of plush greenery piercing the deep valley ﬂoor in an otherwise barren countryside. The rewards for having endured such a trek are great. Kashbah Telouet is an abandoned palace off the main highway that attracts only a smattering of visitors, yet boasts incredible Arabic architecture to rival the famed al Alhambra palace in Granada, Spain. This was part of the old caravan route from the Sahara over the Atlas Mountains to Marrakech – home to the corrupt pasha T’hami El Glaoui, who ruled over southern Morocco on behalf of the French in the early 1900s. He resided here in splendor, with 1000 people in the compound that overlooks a mud-brick Berber village. Now, storks build their nests high on the weathered remains of the old castle’s tallest towers. While the mud walls of this abandoned palace are fast eroding due to harsh winter weather, the lavish interior mosaic tiles, ironwork and ornate plasterwork remain intact. While this monument is crumbling, the mighty Kashbah Ait Benhaddou remains as imposing as the brilliant orange mountains that surround it. This remote mud-brick mountainside palace and walled city has been used often as a location for blockbuster movies, including Gladiator and Lawrence of Arabia. If the cinematic process interests you more than the actual site, The Atlas Corporation ﬁlm studios in the nearby township of Ouarzazate offers a $5 tour, showing off sets from Gladiator and Cleopatra, and, paradoxically, a tatty F16 plane from The Jewel of the Nile. My preference was to instead sit atop the great pile of ancient dirt and just watch the sun sink, transforming the desert colours from dazzling ochre muds into the darkest, most foreboding purple shadows.

APRES VROOMVROOM BY DAVID SLY

t Anton boasts that it invented aprèsski. The intensity of late afternoon drink parties on the snow certainly reaches fever pitch in this picturesque winter village at the heart of Austria’s Tyrol ski area. But

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TRAVEL (the ‘hot widow’, being warm plum liqueur and cream), flugel (red berry vodka with Red Bull) and the bracing Jäger cow (Jägermeister schnapps with milk). Incredibly, after this mad afternoon indulgence, everyone puts on their skis to descend to the village below. There are many falls, often accidents and even fatalities. However, the new face of St Anton’s plush accommodation presents a much more urbane picture. The Mooser Hotel is one of five new luxury hotels in the resort – along with The Tannenhof, m3, Anthony’s and the lavishly overhauled 74-year-old Valluga – signifying a relaxation of the village’s notoriously tight planning regulations. It also signals a new level of elite comforts evident throughout the village. Plangger Delikatessen is a gourmet food store that boasts an extraordinarily large range of wine, cheese and hand-made smallgoods, while also pouring espresso and conducting tutored wine tastings. It’s a far cry from The Funky Chicken, an infamous nightclub that has been bulldozed to make way for the Happy Valley American-style steakhouse and pizzeria within the Anthony’s hotel development. Indeed, Murrmel is more likely to be defined as the new face of St Anton – a stylish lounge bar with deep mood lighting, plush furnishings, an upmarket drinks list and trend-conscious DJ soundtrack. Uber-cool in apres land.

the most outlandish après bar of all – Mooserwirt, where shot-sculling afternoon crowds dance on wood tables in their ski boots to pounding Euro-disco music – is now also the site of St Anton’s newest and most exclusive four-star accommodation. The Mooser Hotel, built up-mountain from the village on the edge of the main ski slope at a cost of €12 million, has only 17 bedrooms dotted across four levels, promoting the calm aura of intimacy and exclusivity. Luxuriously appointed bedrooms look out over the pistes or the beautiful wooded Mühltobel Gorge. The hotel even has its own discreet entrance, at the extreme opposite end of the building to the big boozy terrace bar and its booming speakers. The hotel rooms have incredibly strong soundproofing, to shield its guests from the revelling Mooserwirt hoards pounding the dance floor next door. Still, if that’s where guests would rather be, they just descend in the lift, swipe their magnetic key and pass through a heavy security door to arrive amid Mooserwirt’s rugged log-lined walls. By contrast, the hotel is all minimalist boutique chic. White walls and vibrant, colourful pop art, sheepskin rugs and high-thread count sheets, designer lighting by Moroso and Foscarini. Brands are important; so are the hi-tech twists. Motion sensors detect when you move about the bedroom at night, switching on dim lights to illuminate a path to the bathroom. ZirbenKlimaboxes, St Anton’s own type of humidifier, uses pine shavings to purify the air. Within the common hotel facilities, a groundfloor spa area has the plush vibe of an elite nightclub lounge. Beyond the entrance relaxation area where guests recline to play backgammon while sipping fresh fruit smoothies, move through the array of steam rooms and saunas to an extravagant plunge pool that moves from indoors to outdoors, where you can hear the

Mühltobelbach stream rushing below. All this luxury is a far cry from when Eugen Scalet’s father died in 1987, and the young cattle farmer decided that the only way to eradicate his family’s debt was to join the après-ski moguls and transform the farm. He had seen the mayhem begin 13 years earlier, when young Swede Gunnar Munthe opened the Krazy Kanguruh and created bacchanalia at 3.30pm each afternoon: waitresses pouring shots of spirits straight into skiers’ mouths, women goaded to strip to their bras for a free bottle of champagne. Scalet converted the barn beside his family’s chalet into a beer hall and booked some live bands. It became an instant hit, becoming an

even bigger party powerhouse than its near neighbor. It now employs 65 staff, including 63-year-old DJ Gerhard who has played a nearidentical party playlist at Mooserwirt since 1994. Still, it gets everyone singing, from The Final Countdown right through to added ribald chants during Living Next Door To Alice. Above the Mooserwirt mayhem, in a lavishly refurbished area that was once the Scalet family apartment, is a sleek glass-walled restaurant and bar, with gently piped mod jazz as a discreet soundtrack. House guests and diners remain blissfully oblivious to what’s going on down below, where 37km of plastic tubing beneath the complex feeds 5000 litres of beer each day to the thirsty après throng. And this is on top of endless trays of cocktails and shots: heisse witwe

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36 THE ADELAIDE REVIEW JANUARY 2014

FOOD.WINE.COFFEE

LOFTY AMBITIONS BY CHARLES GENT

rian Gilbert is a throwback to a grand old Australian tradition that stretches back to the mid-19th century – think Penfold, Lindeman, Angove and Kelly – of the vigneron-doctor. But rather than growing wine as a tonic for his tubercular patients, he cultivates a modest crop of pinot noir and chardonnay on the slopes of a vertiginous vineyard near Summertown, behind Mount Lofty, simply because he enjoys it. Having taken top spot in the latest Adelaide Review Hot 100 South Australian Wines with his 2012 Lofty Valley Single Vineyard Pinot Noir, there is also mounting evidence that he’s pretty good at it, even though his pinot vines only went in in 2007. The big accolade for what is effectively his second bottling of pinot – the 2011 crop was abandoned as a bad job – ﬁnds Dr Gilbert chuffed and bemused in equal parts. “I’m not sure what I’ll do next year, “he says. “I think I’ve set the bar a bit high.” It was yet another doctor, Sydney surgeon

Max Lake, who is credited with getting the whole miniature winemaking movement started when, in the 1960s, he commuted to the Hunter to grow a patch of cabernet, against all advice. Gilbert’s vineyard too is suitably small, with his pinot occupying only two acres of hillside. “No-one’s got a smaller vineyard than me that’s got a label – that I know of,” Gilbert says. But whereas the two-hour trip to the Hunter made Lake a weekend winemaker, Gilbert can drive to his day job in less than half-an-hour: “That’s how it all started – it was my desire to have a wine label, and to be able to get to work.” The steepness of the site is no piece of cutesy copy-writing – the slope ratchets up from 25 to 45 degrees, and it isn’t at all unusual for Gilbert to lose his footing and take a tumble while working on the vines. “I should have killed myself several times, but I haven’t,” he says. He prunes the pinot on his own in the winter, a row per day before driving down to the Plains to work. His approach to pruning borders on

Hot 100 Wines

THE ADELAIDE REVIEW

SOUTH AUSTRALIAN

the savage, since he has found that low yield, as little as a tonne per acre, repays him in flavour. Gilbert thinks the angles may have something to do with it too; the slope catches the sun late in the morning and the afternoon rays depart early, meaning the vines see as much as three hours less sunshine than a more exposed site. At the bottom of the vineyard where the creek runs, the temperature on a hot night can be 10 degrees cooler than on the Plains. While thrilled to be put on the map by the Hot 100 for the drinkability of his pinot, Gilbert was also pleased to see it win bronze medals at the Adelaide Hills and Melbourne wine shows. “They’re looking for different things, and to do so well is a very good sign for five-year-old pinot vines.” For those who track down some of the winning wine, Gilbert proffers some tasting advice straight from the three bears: “If it’s too warm, it’s not as good, and if it’s too cold it’s not as good. It really does change a remarkable amount with three or four degrees.” With his 2013 crop vinified by winemaker Brendon Keys and in the barrel, Gilbert says the wine is remarkably similar to its predecessor, “but maybe a bit better.” It seems that having the luxury of making wine

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without economic s as a driver is paying off. “It’s all about trying to make good wine; I ‘m not thinking about the price-point or the budget. I don’t need to be a success – I just want good wine,” Gilbert says. But there’s no earthly reason you can’t do both at once.

THE ADELAIDE REVIEW JANUARY 2014 37

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FOOD.WINE.COFFEE

CHEESE MATTERS

spoke to Will that he had a swag of wonderful cheese stories to tell.

BY KRIS LLOYD

ver the years, so many people have shared interesting, funny or favourite cheese stories with me and I will be sharing a few of these with you in the coming months. I thought it would be entirely appropriate to begin with a great cheese mate and one of Australia’s best cheese experts, Will Studd. Will has worked with artisan cheese makers since establishing specialist food stores in central London in the 1970s. In 1981 he migrated to Melbourne where he has consistently strived to promote a greater understanding of what good cheese is about, as well as championing the cause for cheese made from raw milk – an issue I am also passionate about. Will’s ﬁrst book, Chalk and Cheese, was published in 1999 and its follow-up title, Cheese Slices, was published in 2007. Will has been the executive producer and presenter of Cheese Slices, a television program conceived in 2002 that explores the world’s traditionally made cheeses. It comes as no surprise that when I

He recalls being on the Island of Sardinia, Italy, where he met shepherds for the filming of Cheese Slices (season four, episode two). The Sardinians are extraordinarily generous with their hospitality, and were completely oblivious to the fact that the film crew were there to do a job. They offered wine to all at some ungodly hour of the morning – apparently a perfectly normal Sardinian gesture. After a very long day with the shepherds, the crew and Will hiked up into the mountains. They settled in a rustic barn, and were offered pane carasau, a traditional flatbread from Sardinia. This flatbread recipe is very ancient and was developed for shepherds, who would stay far from home for months at a time. Much to Will’s despair, cauldrons of goat meat simmered away in the corner, he explained: “As a vego, you can imagine what I was thinking about that: I‘ll be here for hours watching everyone eating cooked goat and all I’ve got is this bit of flatbread!” Will’s gaze then meandered to the ceiling of the barn, where clusters of odd-looking bags were hanging. The bags were stuffed fit to burst, the casing stretched to the point of transparency. On closer inspection he realised the bags are indeed goat stomachs, full of semi-dried curd cheese. One of the shepherds offered to take a bag down, to place it in front of Will. Resembling

a chrysalis for the pupae of butterflies more than something one would consider eating, the shepherd split the stiff outer casing, exposing the creamy, gooey innards for Will to eat. The shepherd explained they simply take the kid’s stomach, fill it with milk and leave it to mature. Will chuckles as he tells me, “All the shepherds were dancing around quite excited, saying it is good for your love life! You know, if ever cheese tastes a bit iffy it is always good for something. Remember Kris, if you need to sell cheese just get out there and offer it as an aphrodisiac!” The shepherd gestured for Will to use his fingers to scoop up the gooey cheese. Somewhat reluctantly Will proceeded to dip his hand into the fermented goat stomach and produced a scoop of glistening curds. With each taste of pungent cheese, he took large gulps of wine to wash it down and remembered that this was his dinner that night.

Astor tribes that originally inhabited the island. When a kid is butchered, its fourth stomach is emptied and cleaned thoroughly. It is then ﬁlled with raw milk and hung up to mature on stands in a cool place. The cheese is then aged, a process that lasts until the stomach stiffens to almost board-like hard, for around four months. During aging it can be smoked, where the fumes from the outside and the natural enzymes in the milk combine to encourage coagulation producing a creamier cheese with a tangy taste and a pungent smell. Will described the callu de cabreddu experience as fascinating, challenging and one saved by extremely alcoholic red wine. Another four amazing cheese stories immediately followed: maggots in Corsica, moose in Sweden, yaks in Bhutan and shooting cheese in England, all of which I will save for another day. All of this conﬁrms the wonderful tapestry of cheese all over the world. Finally, I asked Will about his favourite cheese. He doesn’t have one – his favourite changes with the season and the country he is visiting at the time.

The cheese is called callu de cabreddu, a strong cheese with an exceptionally pronounced bucky ﬂavour. “Because of the way it was made, it had that great primeval feeling, that this was the way the cheese was invented and this was the way cheese should be,” Will said. “[It was] deﬁnitely one of those moments where I had to question whether I really should be putting it in my mouth. The cheese itself was fascinating – the experience a little scary.”

» Kris Lloyd is the Head Cheese Maker of Woodside Cheese Wrights

Callu de cabreddu is still made according to traditional methods once used by the prehistoric

woodsidecheese.com.au cheeseslices.com

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38 THE ADELAIDE REVIEW JANUARY 2014

FOOD.WINE.COFFEE

FOOD FOR THOUGHT

Lamb and Cumin Sausage Rolls This recipe works with regular lamb mince but it is great with minced shoulder; your butcher will do this for you.

Lamb

Ingredients • 1 green apple • 1 red onion • 1 garlic clove • 500g lamb mince • 1 teaspoon chilli flakes • 2 teaspoons toasted cumin powder • 1 egg • Sea salt and black pepper • 2 sheets of puff pastry or sour cream short crust • 1 egg, beaten

BY ANNABELLE BAKER

remember learning about the Macarthur family dynasty at school and how important the wool and lamb industries were to the newly colonised Australia. Today we are the largest wool-producing country in the world and our production of lamb is not far behind. Meat and Livestock Australia estimates around 74.7 million sheep make up the national flock count, more than three times the amount of people. With lamb farming so steeped in Australian history I wanted to find out what lamb farming will mean for future generations. The next generation is most evident at the Savannah Lamb Farm in the Clare Valley. A truly sustainable, or even regenerative, farming model is in practice and the stress-free sheep are producing some of the country’s best lamb. Phil and Michele hand-raise around 60 lambs every year creating an unbreakable bond between them. The use of dogs, motorbikes and other herding techniques are all made redundant, as the 60 ‘children’ who have returned to the flock share their trust for Phil and Michele with the others. Although micro farms like Savannah Lamb have their limitations and possibly some practicality issues for larger-scale farming, the ideology is something all farming should strive for.

practices of these farms that will need to change and meet the standards of a more educated and aware society. The best way to show support for ethical, clean and sustainable farming practices is to support it with consumer demand.

than on Australia Day. Whether it is a lamb chop on the BBQ or a lamb sausage roll, support ethical farming practices by buying the best lamb you can ﬁnd and you will help shape the future of farming for generations to come.

Whilst large-scale farming will always need and have a place in society, it will be the

Lamb is one of the most patriotic meats around and what better day to celebrate lamb

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Method 1. Preheat the oven to 200 degrees. 2. Quarter the apple and remove the core. 3. Peel and halve the red onion. 4. Grate both the onion and apple on the coarse side of a hand held grater. 5. Peel and grate the garlic clove on the fine side of the grater. 6. Place the grated apple, onion and garlic with the lamb mince, chilli flakes, cumin and egg into a large bowl. 7. With clean hands, mix until well-combined. 8. Season with salt and pepper (heat a frying pan and test a small amount of the mixture and adjust the seasoning and required). 9. Trim the pastry into approximately 13cm strips and place onto a baking tray lined with baking paper. 10. Divide the mixture into four portions and pipe or spoon down the centre of each pastry rectangle. 11. Brush the beaten egg down either side of the mince. 12. Bring the sides of the pastry over the mince, one of top of the other. Gently press down to create a seal, roll them seal side down. 13. Place the tray into the freezer for 10 minutes for the pastry to chill down. 14. Cut each roll into your desired length and place evenly on a baking tray. 15. Brush with egg wash and bake for 20 minutes or until golden brown and the pastry is cooked through.

THE ADELAIDE REVIEW JANUARY 2014 39

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FOOD.WINE.COFFEE

Ciao Bello

Discover the surprises inside

With Jamie’s Italian confirmed to open in Adelaide by the end of 2014, a once-dead corner in the CBD will be re-energised.

BY LEANNE AMODEO

umours that Jamie Oliver would be opening another restaurant in Australia were ﬁnally conﬁrmed late last year and foodies all across the State rejoiced. Adelaide will become the fourth Australian city to have its very own Jamie’s Italian, which is scheduled to open by the end of 2014. If the success of the Sydney, Perth and Canberra restaurants is anything to go by, we can expect long queues and packed houses every night of the week. Something else we can expect from the popular brand is high-end interior design. The new restaurant will be located in the previously vacant historic Westpac Bank site at 2 King William Street. It’s a building with ‘good bones’ – high ceilings, generous floor space and robust materiality – and this ensures an exciting fit out that will be a pleasure to experience.

brings a sense of theatre to the overall ﬁt out. In both the Sydney and Perth restaurants this station can be seen from the street (through the queue of people) and it does its job in attracting casual passers-by. In each of the other three restaurants a different local street artist was invited to paint a mural on one of the interior walls. Although nothing is conﬁrmed as yet, it seems likely that peckvonhartel will follow suit in the Adelaide restaurant. The involvement of a local artist strengthens ties with the community as well as enlivening the space with extra colour and movement.

The choice of 2 King William Street as the location for Adelaide’s new Jamie’s Italian restaurant is a refreshing one. It re-activates and energises an otherwise dead corner of the CBD and provides people with yet another destination culinary experience. Get prepared for the queues and always remember to enter on an empty stomach.

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Australian design practice peckvonhartel are the interior designers working in collaboration with London-based Martin Brudnizki Design Studio to bring the Jamie’s Italian brand to Adelaide. Their successful partnership realised the Sydney, Perth and Canberra restaurants and the Adelaide one will follow in the same vain.

The pasta-making station is also a key feature and the decision to have it front-of-house

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Although layout is still under wraps there are key signature design features that will most certainly be included in the new ﬁt out. These contribute to the eclectic aesthetic of Jamie’s Italian, which is a dynamic mix of industrial grittiness, opulent luxury and contemporary cool. It finds its expression in the strong material palette that includes reclaimed timber, steel, tile, glass and concrete. A design feature that instantly springs to mind is the over-sized chandelier. In Perth and Canberra it hangs in the middle of the space, while in Sydney it hangs above the pastamaking station at the front of the restaurant. It remains to be seen where it will be placed in the Adelaide ﬁt out, but it will be sure to attract attention wherever it is installed.

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40 THE ADELAIDE REVIEW JANUARY 2014

FOOD.WINE.COFFEE

Hills Crush

that’s the link to the local artists. Most of the current wines in the range were done in really small batches and hands-on, with minimal ﬁltration,” Downer explains. “As well as the Landau Syrah, over the weekend we’ll have tastings of a slightly unﬁltered Chardonnay and a Pinot Meunier, which is a grape variety usually used in sparkling white that I guess you could say is a relative of pinot noir. That one’s just tasting beautiful.”

The Adelaide Hills’ annual Crush Festival will return in early 2014 with an abundance of cellar door parties in celebration of the region’s latest wine releases.

BY MIRANDA FREEMAN

his year more than 40 wineries will participate in the festival, which will fall on Sunday, January 19, with a huge variety of free and ticketed events to set the Hills alight ranging from a Caribbean-inspired carnival to high-end degustation dinners. Young guns Andrew and Michael Downer, the brothers behind Murdoch Hill, will host a

Another winery embracing local artwork is Longview, which has long run street art competition Krush Klinic as part of the festival.

boutique arts market in their storage shed. This is their third year in a row taking part in Crush. “We don’t have a cellar door, but we have this huge shed (which is normally used for storing wine) so we’re going to clear that out with an outdoor area for an arts market. We’ve got about six or seven artists involved,” Andrew Downer explains. The artists include Oakbank resident Rene Strohmayer, who will be wheeling in her very own art caravan, alongside Kitty Came Home,

metal artists Anna Small and Warren Pickering, Collecte Jewellery, hand-made and recycled toys by One Little Sparrow as well as wooden objects from Delilah Devine. The arts market will be accompanied by Argentinian street eats via a food truck, which will be parked at the vineyard throughout the festival. The idea for the arts market came from a direct reference to Murdoch Hill’s latest wine release: the `Artisan’ range. “We called it the `Artisan’ range, so I guess

This year, to avoid confusion, they’ve renamed the event The Piece Project, which will feature four leading street artists – Orbs, CWR, Heesco and Mike Maka – in a battle to win the label artwork of the next `The Piece’ 2012 Reserve Shiraz. Each artist will set up at the winery early in the day and have ﬁve hours to complete an aerosol work on a four-metre wide by three-metre high canvas. “We put them on big metal easels and strap them to tractors and things like that, anything that’ll support them!” laughs Longview winemaker Mark Saturno. “We provide all the paint and a loose brief – we essentially tell them to avoid obvious things like grapes and grapevines – and each artist has ﬁve hours to complete their painting.” Alongside the artwork, this year’s The Piece Project will also see the release of Longview’s hotly anticipated 2010 Shiraz, live tunes from DJ James Curd (Greenskeepers) and a USinspired BBQ.

Join us for

CRUSH 2014

Senses and Sensibilities

SUNDAY 19TH JANUARY, 9AM – 5PM Celebrate Crush 2014 with a feast for all senses and sustainability at its core. Breakfast from 9am and lunch from 12noon inspired by our Paddock Plate cellar door menu. Featuring summer-season fare – a gourmet expression of ethically sourced wine and food – estate-grown or local, biodynamic and organic. Live jazz. Exhibition by emerging artist Pete Grove. Limited capacity . Please book in advance.

Open Friday - Sunday 11am - 5pm European-inspired, biodynamic wines

“We don’t do face painting or bouncy castles or anything like that. Watching the artists paint is the entertainment. Instead of encouraging people to get boozed, we want them to come for the day and experience watching something really unique,” Saturno says. On the other side of the spectrum, a number of themed degustations will kick off around the region. Nepenthe in Balhannah will host a Parisian picnic; while Barrister’s Block in Woodside will embrace African food ﬂavours complete with Burundian drummers and trade stalls. Then of course, there’s the post-tasting entertainment. Howard Vineyard in Nairne will lure costumed-up wine drinkers with a Madhatter’s Theme, while Maximillian’s in Verdun will be conducting a golf challenge - not to mention dishing up giant paella. Perhaps the most ambitious cellar door party idea yet, however, goes to Mt Lofty Ranges Vineyard, who will go all out with a Caribbean carnivale.

Estate-grown seasonal Paddock Plate Monthly Pizza Sundays, next firing up 26th January

119 Williams Rd, Mt Barker Summit, Adelaide Hills T: +61 8 8398 2867 wine@ngeringa.com

» Crush Festival Adelaide Hills Sunday, January 19 crushfestival.com.au

The Adelaide Review January 2014 41

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FOOD.WINE.COFFEE “It is positive to see that we are starting to gain the recognition we deserve as a vibrant region that’s home to some of the country’s most distinctive premium wines,” Neyle explains. “That said, the mood is somewhat tempered by the fact that we’re not quite out of the downturn yet, there’s still something of a wine glut and the Aussie dollar remains high.” Lobethal Road entered six wines in the wine show, winning six medals and two trophies. Neyle says the Bacchant Chardonnay 2012 is a wine that “elegantly delivers a sophisticated nose with a complex palate of citrus, white peach and biscuit cream tones and is ready for drinking.” Neyle and his wife Inga Lidums established the boutique winery in 1998 and are joined by winemaker Michael Sykes. Their wines require minimal intervention, as their philosophy is that wine is all about the vineyard.

Vineyard of Dreams Lobethal Road’s Bacchant Chardonnay 2012 trumped the recent Adelaide Hills Wine Show winning the Best Wine in Show and Best Chardonnay gongs.

by David Knight

ith the Adelaide Hills currently riding high as a vibrant wine region, Lobethal Road owner Dave

Neyle says the win is pleasing as the awards are a “vote of approval for our approach to winemaking, which has at its heart a desire to allow the distinctive fruit flavours to express themselves in a sustainable and pure way”. Adelaide Hills’ wines have won the last two Adelaide Review Hot 100 South Australian Wines shows and featured prominently in James Halliday’s recent top 100 list. Neyle believes there is enormous promise for the region. “The Hills have always had a reputation in the industry for producing high-end fruit. But we’re still a young and emerging region, with some way to go before we reach our full potential. As with all regions, we have a few poor sites that should never have been planted so our challenge is to address this in future and to keep on improving.

“That’s where it starts, that’s where most of the activity takes place and you therefore need to choose the right site if you’re to succeed. We’re fortunate in this regard, with our five-hectare vineyard nestling on a northeasterly slope at the foot of Mt Torrens, in rich soils that produce wines with an abundance of cool climate characteristics. After that, clonal selection, pruning, irrigation, canopy management, yield, harvest timing and balanced use of oak are all equally important.” Lobethal has always used an environmentally sustainable approach to vineyard management and lifestyle. “We are not on the electricity grid so rely on solar power and generator backup, something we’ve been doing almost since inception back in 1998. In the vineyard, we use copper and sulphur only in a good season.” Lobethal

Road will be taking part in the Hills’ annual celebration – Crush. “Crush is all about great wine, great food and great music… and that’s what’s on the Lobethal Road menu for Crush 2014. We’ll be showcasing our award-winning white and red wines, we’ll have renowned Adelaide Hills chef Ali Seedsman attending to all things culinary, and those great musos, Nikko and Snooks (Nik Karidis and Snooks La Vie) will provide the sound.”

lobethalroad.com

42 The Adelaide Review January 2014

FOOD.WINE.COFFEE

A New Public

was a very different experience – it was great and just got me fired up again.” On MasterChef Professionals, Southwood cooked under the guidance of Marco Pierre White, the talented and fiery chef who turned British dining on its head in the 80s when he was the youngest chef to ever be award three Michelin Stars. Southwood said White was an absolute gentleman.

After a decade in Byron Bay, new Public CBD Head Chef Luke Southwood says Adelaide’s food scene has matured in the time he’s been away and he’s looking forward to contributing to it.

“Marco was a very genuine guy and took a lot of time to make sure that he spoke to all of the contestants and gave us tips every day. If we asked him a question on anything like a technique or something then he’d be very happy to share his wealth of experience. Rubbing shoulders in the kitchen with the great Marco Pierre White was really a magnificent thing and something I’ll never forget.” Southwood’s new menu for Public will be available from early January after the Franklin St cafe returns from its Christmas break. The menu will reflect his Spanish background and training.

by David Knight

outhwood was Head Chef at Byron Bay’s award-winning Dish before moving to The Sanctuary, the ‘world’s most exclusive rehab’ as its Catering Manager. While the Spanish-trained chef was at Dish, the restaurant was awarded a Chef’s Hat from the Sydney Morning Herald (2004-06) and one star from Gourmet Traveller (2005-06). Southwood’s career suffered a set back after a car accident in 2010 but a call to compete in MasterChef Professionals, under the mentorship of Marco Pierre White, reignited the fire in his belly. After the MasterChef experience (where Southwood finished eighth in the competition featuring professional chefs), Southwood returned to South Australia, the state where he worked at institutions such as d’arry’s Verandah and Port Elliot’s Flying Fish Cafe and alongside local icons such as Maggie Beer. As Public CBD’s new Head Chef, Southwood replaces the Restaurant & Catering Awards 2013 Chef of the Year, Stewart Wesson, who will open his own restaurant in 2014.

reasons. Adelaide’s food scene has grown up a lot in the last 10 years. I came back without a clear plan of what I was going to do. The car accident I had a few years ago put a bit of a stop on my career but then this [Public] came along, which is a Monday to Friday breakfast and lunch gig, which is unheard of in this industry. It’s something that with my postaccident physical capabilities I wanted to give a shot. It’s an amazing venue with fantastic owners and I really love the philosophy they’ve got here. It just spoke volumes for me.

“I moved back in July for a number of reasons,” Southwood explains. “I spent the last 10 years living in Byron Bay and my eldest daughter lives here. So, I came back for family

“It is a very exciting time to come back and with the new Adelaide Oval, I think the North Terrace precinct is really going to bloom in the next couple of years. There are lots of funky

Luke Southwood

Majestic Luxury.Roof gaRden hotel

In the heart of the city.

little bars and pop-up restaurants happening and there are a lot of good chefs in Adelaide doing really good food. It’s nice to be part of that scene again and I’m just looking forward to bringing my own personal style and putting my own stamp on Adelaide.” Southwood said the MasterChef experience was a once in a lifetime opportunity. “I ummed and ahhed about it for a little while. My logic and reasoning was that if I didn’t do it then I’d probably regret it because it isn’t the opportunity you get every day. It helped me regain my confidence... well, not necessarily confidence but just the passion, the spark and that love of food. MasterChef

In Southwood’s words his menu will be: “Simple, elegant, delicious and fast with a lot of love, which is the main thing.” “Even when I was running Dish in Byron, which was a Hatted restaurant, [the food was] very simple in essence – it’s not 14 components per plate, foams and molecular gastronomy. I tend to harp back to the training I received, which was from classic Spanish chefs, and real old school traditional food done with a modern twist. I think the style of food that they do here is very much up the alley of what I do anyway, so it’s just going to be a matter of tweaking it a little bit to suit the venue really. I think what we’re aiming to do is quite casual, simple food in essence but quite elegant as well.”

publiccbd.com.au

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View from Majestic Roof Garden Hotel

“My background is very much in Mediterranean food and it will obviously tap into Spanish food because that’s what I love to do, especially Catalan and Basque. Northern Spain is where my main influences are from, so you’ll definitely be seeing some Spanish stuff on the menu.”

THE ADELAIDE REVIEW JANUARY 2014 43

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COFFEE

Pure Satisfaction BY DEREK CROZIER

ure Boutique Coffee Bar is the go to place in Glenelg for coffee at almost any time of the day or night. They boast a bar and restaurant to give the customer a complete boutique experience in the one great location. Open until late, this means you can have a high quality coffee experience before enjoying a late caffeinated night out.

The Crème de la Crème

methods on offer. He suggested I try the fully washed Nicaraguan from the Matagalpa region. It was handed to me straight from the machine to enjoy, and the honey notes in the aroma were buzzing up my nose with the first sip. The pleasant acidic undertones were more predominant towards the end, which finished it nicely. The latte was made with the current house blend called St Mary’s made of Brazilian, Colombian and Indian beans. It featured the latte art of a six-leaf tulip and the first taste was soft and woody. As I knocked it back the sweet notes came through with an almost sesame seed-like flavour in the after taste.

BY DEREK CROZIER

a Crema Coffee has been around Adelaide for quite some time and has recently moved to a new location with its boutique cafe now open for serious coffee lovers. It has a range of different brewing methods to choose from and high quality stock on their shelves to browse. La Crema is also offering the customer a unique experience of being able to buy the green beans and personally roast them onsite before taking them home to enjoy. As soon as I showed an interest in coffee, the barista’s eyes lit up and he dived straight into the range of coffee and different brewing

It was great to experience a friendly, welleducated barista behind the machine. He went through all the different beans, blends and brands they had on offer and recommend I try the Colombian Finca Tamana for my espresso. The aroma was sweet and the crema was golden brown. Normally Colombian coffee is sharp and full-bodied but the Finca Tamana produces a unique light taste that has a berry/sultana ﬂavor normally found in Ethiopian coffee. The latte was a blend called Harvest by Five Senses, which consisted of beans from Guatemala, Honduras and Costa Rica. It

was presented with a symmetrical Rosetta leaf as the latte art and the Costa Rican zing was prevalent with the ﬁrst sip. It had a zesty after taste that lingered in the mouth with the Tweedvale milk, which wasn’t too creamy for the blend. Pure Boutique Coffee Bar uses and rotates different coffee suppliers from all over Australia, which is a deﬁnite point of difference but they assure me that the consistency will always be there with every visit. It lives up to its pure and boutique title.

» Pure Boutique Coffee Bar 34 Jetty Rd Glenelg 8294 2410

Being a serious coffee lover, when I entered La Crema I felt like a child in an up-market candy store. With so much to choose from, La Crema Coffee is not just a boutique but also a coffee cellar door that earns its place in Adelaide’s coffee culture.

» La Crema Coffee 14 Denis Street, St Mary’s lacremacoffee.com.au

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44 THE ADELAIDE REVIEW JANUARY 2014

WINE

Young T Guns

he Young Guns of Wine Award was set up to “champion a new approach to wine for a new age”. First launched in 2007 by founder Rory Kent, the awards look to recognise and celebrate new and innovative winemaking styles, use of grape varieties, viticultural methods and wine regions. In other words, to find the wine zeitgeist. As well as the quality of the wine, the

BY ANDREA FROST

winners are judged on their approach to the whole product development; from the marketing, packaging, distribution, design, philosophy and “their overall contribution to the culture of wine” says wine judge and writer Nick Stock. “It is also about leadership and demonstrating an ability to play at the leading edge of all aspects of contemporary wine culture.” The ﬁnalists achieve this in spades. Says

fellow competition judge, writer, and owner of the Prince Wine Store, Philip Rich, “The thing I love about this competition is that every single year I taste something new,” Rich says referring to the breadth of winemaking styles and new brands in the line up. “What’s more, it’s a tough market out there yet all these guys are out there establishing new brands, trying new things, discovering new vineyards. It’s exciting.”

THE WINNERS OF THE 2013 YOUNG GUN OF WINE AWARDS, AS JUDGED BY WINE WRITERS AND WINE SHOW JUDGES MAX ALLEN, NICK STOCK AND PHILIP RICH ARE: • Young Gun of Wine, Taras Ochota (Ochota Barrels) • Best New Act, Josephine Perry (Dormilona) • People’s Choice, Alex Head (Head Wines) • Winemaker’s Choice, James Erskine (Jauma)

ARFION SMOKESTACK LIGHTNING SKIN CONTACT PINOT GRIGIO 2013

JAUMA WINES BLEWITT SPRINGS PET NAT CHENIN BLANC 2013

OCHOTA BARRELS THE FUGAZI VINEYARD GRENACHE 2013 RRP $40 ochotabarrels.com

RRP $28 jauma.com

RRP $33 arfion.com.au Arfion in Gaelic means “our wine” and is a throwback to Mackintosh’s ancestry. Made from Pinot Grigio grapes from the Yarra Valley, the grapes were fermented on skins for 12 days giving the wine a beautiful pink blush. The wine has a pretty but pronounced nose of musk, red apples and subtle floral characters. The palate is fresh with more floral notes, a hint of wild strawberry and a delicious crunchy texture. Gorgeous, delicious, refreshing and fun.

When I asked James Erskine why he makes wines like this (organic grapes, no additives, almost natural) he looks at me strangely. “Because it is seriously the only way that makes sense. Made like this, naturally and with love, you can actually taste the joy.” The nose is intriguing and smells of fresh grape juice and peeled apples. The palate is superdry, refreshing, with a slight fizz and a lovely creaminess. Totally gluggable making it a perfect aperitif or fresh summer wine.

FREE RICHARD HAMILTON

CENTURION

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Taras Ochota took out the main prize for his label Ochota Barrels label that he runs with his wife Amber. The Fugazi vineyard lies between the Onkaparinga River Gorge and Blewitt Springs McLaren Vale and comprises of old bush vines planted in 1947. This is a spectacular wine. An evocative, perfumed and elegant nose of crushed red berries and spicy complexity. As it breathes, the palate flourishes adding breadth and flesh – more spice, an abundance of juicy red fruits all wrapped together in beautifully medium-bodied wine. A worthy winner.

BOBAR YARRA VALLEY SYRAH 2012 RRP $28 facebook.com/bobar.syrah Winemakers Tom and Sally Belford always wanted to make a wine together. “As we travelled through France we were constantly on the look out for the right style of wine,” explains Sally. They settled on Beaujolais to influence their winemaking style – “the place is fun and so is the wine” – opting for Syrah, which was more readily available than the traditional Gamay. Like a lively cauldron, this wine spills with complex aromas of dark and red fruits, spice and brambles. These notes continue on the palate with vibrant red fruit flavours, more spice and supple tannins.

Here’s your chance to own a small piece of history. Just spend $100 with us and we will include a Richard Hamilton McLaren Vale ‘Centurion’ Shiraz 2012 worth $75 as a FREE GIFT*. This Shiraz is sourced from Richard Hamilton’s own, tiny patch of 120 year old shiraz vines - a brilliantly concentrated wine, full of layers of flavour, texture and concentration that will cellar for at least 20 years ...if you have that much restraint. *Visit winedirect.com.au/review for all the details.

THE ADELAIDE R EVIEW JANUARY 2014

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

Warradale Hotel – Identity, signage and environmental graphics by Enoki

THE LAMINEX GROUP DIA SA AWARDS 48

46 THE ADELAIDE REVIEW JANUARY 2014

FORM STREETS AHEAD Mash’s fit out for Jock Zonfrillo’s new Rundle Street restaurant is a dynamic addition to Adelaide’s east end.

he clever folk at Mash Design have done it again. Their most recent portfolio of branding, art direction and interiors has delivered some of the best design outcomes in the country – innovative work that is consistently dynamic and almost always overwhelmingly well received. What artistic directors and cofounders of the multi-disciplinary studio Dom Roberts and James Brown bring to the table is an energetic, fun and oh-so-cool aesthetic that is as intelligent as it is appealing. Their most recent interior ﬁt out is StreetADL, the highly anticipated new restaurant

Photos: Sam Roberts

BY LEANNE AMODEO

from ex-Magill Estate executive chef Jock Zonfrillo. Located on Rundle Street in the former Universal Wine Bar site, the two-level eatery and bar is a ﬁne addition to the city’s east end. Zonfrillo has loosely divided the space into two areas and serves more complex, formal dishes in the upstairs level, while downstairs at street level a variety of ‘snack’ foods are on offer in a relaxed and casual atmosphere.

silver at the DIA Awards

In designing the fit-out Roberts took into consideration the two diverse dining experiences, but decided to treat the interior as one cohesive space. It’s a wise approach; two different menus may work, but two different design aesthetics would have simply been confusing. Zonfrillo was involved with the interior’s design from the very beginning, having purchased the furniture and light ﬁttings before engaging Mash. So when Roberts came on board there were already strict design perimeters in place.

The Warradale Hotel branding, illustration, & environmental graphics

Design

Interior Product

www.enoki.com.au

Graphic

His actual brief from Zonfrillo was something both massaged until a shared vision was reached. “Jock wanted something that involved using street art on the walls and although I liked the idea I thought it had somewhat played itself out,” says Roberts. “So what I was looking to do was still bring a street art ‘essence’ to the interior, but to do something that was a little bit different.” The result is a compelling design expression that enlivens the walls; making them the ﬁt out’s most dynamic feature. Roberts installed a cluster of light-boxes on the wall behind the bar that acts as StreetADL’s menu. “The idea came from looking at old diners and street vendors,” he says. “And from the general chaos you see on the street; when you’ve got signs everywhere and they’re all screaming at you – I wanted to take that feeling as inspiration.” The effect is stunning

and the different colours and fonts achieve that sense of frenetic energy while still appearing elegantly composed against the interior’s earthcoloured furnishings and ﬁttings. To match this bold installation, the opposing wall had to carry an equally strong statement. Roberts searched nationally and internationally before he found an artist whom he felt could meet the brief. Jacopo Ceccarelli was that artist – a Milan-based Italian painter who goes by the moniker 2501. Coming to Australia to paint a mural was no stretch for 2501, who recently travelled to Sao Paolo and Miami to do the same. The resulting work features the artist’s characteristic Op art-inspired graphics and whimsical subject matter, which genuinely adds an unexpected element to the overall ﬁt-out. The inclusion of the mural also highlights the value both Roberts and Zonfrillo place on artisanal practice. This attention to detail and craftsmanship is notable and the ‘hand of the artist’ is evident throughout Street-ADL, whether across the food or design. It heightens the customer’s dining experience and makes this east end establishment a lively restaurant that resonates as a result of the strong synergy between chef and designer.

mashdesign.com.au streetadl.com

The Adelaide Review January 2014 47

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FORM

Milan Debut

This is the first time Tuppence will be exhibiting at the Milan Furniture Fair and he is understandably looking forward to it. Like all the participants in The Other Hemisphere he has to respond to the exhibition’s ‘Simplified’ theme and he is currently developing a new work (with the working title of Personal Tape) to be debuted at the Fair.

Graduate designer Timothy Tuppence is making his Milan Furniture Fair debut in curator Sarah K’s dynamic The Other Hemisphere exhibition.

Tuppence’s blank ‘tape measure’ has been rendered useless, however, the designer has produced something that intends to make everyday life simple. “Life is easier when you don’t have to remember measurements or convert these measurements from imperial to metric,” he says. So an object measured using this blank tape measure simply becomes “this big” or “that small” as the numbers are removed from the equation.

by Leanne Amodeo

t this time of year preparations are well and truly underway for the annual Milan Furniture Fair. The major event is a highlight on the international design calendar and it attracts both exhibitors and visitors from all over the globe. It will run from April 8 until April 13 across a number of different venues in the Lombardy capital and this year promises to be even more overwhelmingly frantic and excitedly hectic as the last. As has been the case for the past four years, Sydney-based curator Sarah K will be bringing her The Other Hemisphere exhibition to the

Fair. This year’s instalment features 14 artists and designers from Australia and New Zealand. It will be held in the Fair’s popular Ventura Lambrate design district; a satellite exhibition area curated by Dutch practice Organisation in Design. The Other Hemisphere is always wellreceived, due in large part to the outstanding quality of the work on display. But what it does most effectively is provide a snapshot of the newest and most exciting artists and designers currently working in Australia and New Zealand. One of these designers is recent

University of South Australia graduate Timothy Tuppence. The graphic and industrial designer is decidedly cross-disciplinary in his own practice, however, for the last three years he has been working as Khai Liew’s assistant. Currently based in The Netherlands, Tuppence is undertaking a Master of Contextual Design at the world-renowned Design Academy Eindhoven. “I chose to study there to gain new insights and experiences,” he says. “And I also felt the time was right to see what was happening in Europe with my own eyes.”

For those not fortunate enough to be visiting Milan in April there is still the chance to see The Other Hemisphere when it tours to Sydney in May for designEX. Although Tuppence won’t be travelling to Sydney for the annual Australian trade fair he would like to eventually return to Adelaide, where he hopes to one day establish his own studio. But for now, Tuppence is enjoying his European experience.

timothytuppence.com cosmit.it

48 The Adelaide Review January 2014

FORM

Exceptional Design Standard Adelaide’s ability to produce outstanding design that surprises and delights has been proven at The Laminex Group DIA SA Awards 2013.

by Brendon Harslett

rom highclass cocktail bars to the humble clothes peg, award recipients from the 2013 cohort have all delivered an exceptional standard.

BUILT ENVIRONMENT / SILVER Boris the Cuttery by MASH

MORE THAN BEAUTIFUL FLOORS

Woods Bagot and Aura Objects are to be commended for receiving several accolades for The Collins Bar, table and handles. Collaborating together on this project, they have mixed fine craftsmanship, high attention to detail and strong material choices, to present a venue that impresses far beyond the sum of its parts. That the businesses won awards across three categories tells me collaboration is an important part of the design process, and working together can create outstanding results.

FLOORS & FURNISHINGS

I was particularly impressed by Black Squid Design for its Delectaballs entry. Besides the amusing name, I love how the hand-drawn images, with a biro and watercolour-style paints, give a humble and fun sense of what the end product is about. Carrying these themes through the business cards, website and food truck gives Delectaballs a strong identity and speaks clearly about how food is being consumed in our streets. Overall, entries in this year’s awards program were of a high standard and I could not be prouder of the talent in this state. From the elegant simplicity of the Heggs Peg by Fingo, to the thrill of the 360-degree swing by Exhibition Studios, the high quality of South Australia’s design talent pool is to be commended. Many thanks goes to the award curators Mary Harben and Jodie Pitcher on their brilliant work in being at the helm of the awards program for the second year in a row.

OBJECT / GOLD Folded Tones by Enoch Liew

To our state platinum sponsor The Laminex Group, gold awards partner Isis, and state partners Workspace, Terrace Floors and Furnishings, and Billi, thank you for your support; none of this could be achieved without your help. I thank you, the reader, for your enthusiasm in this year’s People’s Choice Awards and congratulate Akkan Design for winning this year’s prize for its project Momo Sushi.

THE LAMINEX GROUP AWARD AND OBJECT / SILVER / THE Collins BAR by Woods Bagot

»»Brendon Harslett, DIA SA Branch President

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BUILT ENVIRONMENT / SILVER Smartsoft by Architects Ink

The Adelaide Review January 2014 49

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The Laminex Group DIA SA Awards

Akkan Design Director Eric Tam explains the concept behind Momo Sushi’s interior design, which won The Adelaide Review People’s Choice Award.

by Eric Tam COMMUNICATION / SILVER Warradale Hotel – identity, signage and environmental graphics by Enoki

PRESIDENTS AWARD Delectaballsby Black Squid Design

he award was certainly a big surprise. I grew up in Hong Kong and came here to study Interior Architecture and the differences between these cultural backgrounds are my strength. Since establishing Akkan Design in 2010, I have been questioned numerous times whether I had chosen the right path. Winning the People’s Choice Award means a lot to my team and me. This award reassures our belief. We like to create fresh and distinctive design using lots of natural materials. The spaces we

Photo: Peter E Barnes

People’s Choice Winner: Akkan Design design are not just there to look great, but to also be functional. It is always challenging when a project has a limited budget; it needs to meet its functionality within cost while adding the ‘wow’ factor. Momo Sushi had another challenge besides budget, which was the spatial area. We managed to offer a small demonstration area for sushi preparation; a functional kitchen with both dry and fresh food storage and a seating area as requested by our client within this 40-square metre shop. We tried to detach the phenomenon of using red and green images to indicate the freshness of sushi. A combination of black and vibrant yellow had been introduced to create a revival image for the young generation. In order to find the balance between old and new, traditional Japanese wooden menus and long benches were

placed against a contemporary graphical wall to represent the constantly changing sushi culture. We also put the sushi preparation area close to the centre’s main hallway, in order to create a stronger bond between the shopper and Momo Suhi by demonstrating the sushi making process. We believe Momo Sushi has demonstrated how a small scale interior can offer the most to help establish a brand from the beneficial of design. It is also a fresh looking shop to suit university students and young families living in the area.

»»Eric Tam is the Owner and Principal of Akkan Design. akkan.com.au

Congratulations to Colin Moglia for voting in the 2013 Adelaide Review People’s Choice awards, You have won an Eames Chair worth $800 thanks to Innerspace SA.

THE ADELAIDE REVIEW JANUARY 2014 49

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THE LAMINEX GROUP DIA SA AWARDS

Akkan Design Director Eric Tam explains the concept behind Momo Sushi’s interior design, which won The Adelaide Review People’s Choice Award.

BY ERIC TAM COMMUNICATION / SILVER WARRADALE HOTEL – IDENTITY, SIGNAGE AND ENVIRONMENTAL GRAPHICS BY ENOKI

PRESIDENTS AWARD DELECTABALLSBY BLACK SQUID DESIGN

Photo: Peter E Barnes

People’s Choice Winner: Akkan Design design are not just there to look great, but to also be functional. It is always challenging when a project has a limited budget; it needs to meet its functionality within cost while adding the ‘wow’ factor. Momo Sushi had another challenge besides budget, which was the spatial area. We managed to offer a small demonstration area for sushi preparation; a functional kitchen with both dry and fresh food storage and a seating area as requested by our client within this 40-square metre shop. We tried to detach the phenomenon of using red and green images to indicate the freshness of sushi. A combination of black and vibrant yellow had been introduced to create a revival image for the young generation. In order to ﬁnd the balance between old and new, traditional Japanese wooden menus and long benches were

placed against a contemporary graphical wall to represent the constantly changing sushi culture. We also put the sushi preparation area close to the centre’s main hallway, in order to create a stronger bond between the shopper and Momo Suhi by demonstrating the sushi making process. We believe Momo Sushi has demonstrated how a small scale interior can offer the most to help establish a brand from the beneﬁcial of design. It is also a fresh looking shop to suit university students and young families living in the area.

» Eric Tam is the Owner and Principal of Akkan Design. akkan.com.au

CONGRATULATIONS TO COLIN MOGLIA FOR VOTING IN THE 2013 ADELAIDE REVIEW PEOPLE’S CHOICE AWARDS, YOU HAVE WON AN EAMES CHAIR WORTH $800 THANKS TO INNERSPACE SA.

50 THE ADELAIDE REVIEW JANUARY 2014

THE LAMINEX GROUP DIA SA AWARDS

WINNERS BUILT ENVIRONMENT PANEL 1 Judges • Wayne Dixon (chair) • Felicity Hope • Andrew Wallace • Jane Lawrence • Donna Rafie GOLD • Hilditch Lawyers by Williams Burton • The Collins by WoodsBagot SILVER • Smartsoft by Architects Ink SPECIAL MENTION • Northern Community Mental Health Centre by Grieve Gillett.

BUILT ENVIRONMENT PANEL 1 - STUDENT GOLD • Flash Theatre by Alexis Bromilow (UniSA) • The Bowden Common by Alana Hanton

BUILT ENVIRONMENT PANEL 2 Judges • Ryan Genesin (chair) • Martin Ridge

• Wendy-Anne Press • Peter Dennis • Krystyan Mcleod SILVER • Boris the Cuttery by MASH

BUILT ENVIRONMENT PANEL 2– STUDENT SILVER • Bowden Urban Markets by Vivienne Beal (UniSA) COMMENDATION • The Digital Garden by Katherine Donaldson (UniSA).

COMMUNICATION Judges • Robert Miller-Smith (chair) • Sascha Frost • Jo West • Sharon Mackay • Susie Nicolai GOLD • Delectaballs by Black Squid Design SILVER • Brauer Natural Medicine by Black Squid Design • Warradale Hotel – identity, signage and environmental graphics by Enoki

DIA SA AWARDS NIGHT

OBJECT Judges • Sandy Walker (chair) • Jason Jurecky • Peter Schumacher • Marta Cherednik • Ron Langman

South Australia’s design elite came together to celebrate the 2013 winners at the Laminex DIA SA Awards at The Old Adelaide Gaol on Saturday, November 30.

GOLD • 360° Swing by Exhibition Studios • Folded Tones by Enoch Liew • Hegs Pegs by Fingo SILVER • Collins Bar table and handle by Aura Objects • Novel Computer Game Controller by Max Hughes

OBJECT – STUDENT SILVER • Luigi Colani iPod Dock by Andrew McIntyre (UniSA)

THE LAMINEX GROUP AWARD • The Collins Bar by Woods Bagot

PRESIDENT’S AWARD – BRENDON HARSLETT • Delectaballs by Black Squid Design.

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