Published by Performance Space, Sydney, Australiaperformancespace.com.au

ISSN 1837-7084

Cover artwork by Hana ShimadaDesign: Blood & Thunder

POINT is Performance Space’s biannual publication.Sitting somewhere between a season brochure and azine, POINT lets you know what’s coming up and hascontributions from artists that we're bananas aboutexchanging with.

Want to exchange with us? Join our monthly e-news – it’sthe best way to fi nd out about everything that’s happeningand to snap up some spots in our free events. You canfollow us on Twitter, like us on Facebook or have thislovely printed matter arrive in your letterbox twice a year.

Keep it, pass it on—we hope to continue this exchange.

Calendar 24

Director’s Note 4

Bargain Garden Theatre Kantanka withEnsemble Offspring 6

Posts in the Paddock My Darling Patricia inassociation with Moogahlin Performing Arts 8

Return to Sender 10

The Body is a Big Place Peta Clancy andHelen Pynor 12

HokusPokusMichele Barker and Anna Munster 14

WALK 16K

In Residence 18

ClubHouse 20

Supporting Indigenous Artists 22

NightTime 23

Two Sketches Oslo Davis 26

Learning About the World at the Grocery StoreHarrell Fletcher 30

The Experts Project Lara Thoms 34

A quantitative theory of intimacy: on thresholds,fl esh and sacred mathematics.Sarah-Jane Norman 38

Artist’s Credits 40

Book Tickets 42

Find Us 43

Program Credits 44

Supporters 46

Support Us 47

Become A Member 48

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Our name—Performance Space—was, for many years,synonymous with our home on Cleveland Street, Redfern.Performance Space was a place. A place to meet, to hang-out with like-minded artists and audiences, and a site for artistic experimentation and risk.

Today Performance Space is a resident company atCarriageWorks. We have access to great spaces and equipmentand are part of a vibrant arts centre but ‘our space’, thephysical space we occupy, is no longer as apparent.

Since we moved we’ve been asking ourselves if our namestill describes who we are and what we do. We’ve begunto think about ‘Performance Space’ not as a place andvenue but as a creative space. The challenge we now faceis seeking out and articulating what is unique, vital andsignifi cant about this creative space.

This season—Exchange—suggests a core element of thecreative territory we want to explore. Artistic exchange andcultural exchange are central to each of the works we’representing in Exchange and the season encourages us tothink about the ways art is often formed through dialogueand collaboration—between artists but also between artistsand audiences.

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Central to Posts in the Paddock is a dialogue between kIndigenous and non-Indigenous artists, which fi nds a voice in a story of reconciliation between two families. BargainGarden has been formed through a rich collaborativeapproach of the artists including teams from across theatre,music and visual arts. Return to Sender seeks to encourage rnew forms of creative exchange between artists living andworking in different parts of the world. And both The Body is a Big Place ande HokusPokus are informed by the cross-sfertilisation of art and scientifi c research.

These projects form the main body of Exchange but our work is much more diverse than the projects we put beforeaudiences. We also encourage exchange through activitiessuch as residencies and workshops. In particular, over thenext few months we will run IndigeLab and b IndigeSpace; two initiatives offering signifi cant opportunities for Indigenous Australians to extend their artistic practicethrough collaboration. We also welcome UK artist JoshuaSofaer as Thinker in Residence and play host to artists fromeField Theory working as part of a cultural leadership initiative.

Performance Space’s program has long been a rich mix of artistic development and presentation. While we may havechanged the location where we present work, offering acreative space has always been and will always be at our eheart. This season—as we celebrate artistic and culturalexchange—is a good time to remind ourselves of the creative space, which is the core of Performance Space.

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Theatre Kantanka, creators of the acclaimed Missing the Bus to David Jones, and award-winning contemporary music collective Ensemble Offspring premiere a new collaboration as part of Exchange.

Bargain Garden is a toxic nightmare, in all the pretty colours of the rainbow. An immersive, multi-sensory performance installation, inspired by the thousands of bargain stores and two-dollar shops that multiply across our cities. Bargain Garden takes the temperature of the fever of mass consumerism that drives our society.

Fusing performance, live music, kinetic sculptures and multimedia installation, Bargain Garden invites us to experience both the rush and aftermath of our bargain-crazy, shopping-mad culture and lifestyle.

Artists: Claire Edwards, Carlos Gomes, Heidrun Löhr, Katia Molino, Rodney Nash, Jason Noble, Teik-Kim Pok, Damien Ricketson, Kym Vercoe, Nick Wishart and Mirabelle Wouters.

Dates 1–5 Nov

Times

Previews: Tue 1 Nov, 8pm & Wed 2 Nov, 7pm

Matinee: Sat 5 Nov, 2pm

Student Rush: Fri 4 Nov from 7pm

Thu–Sat, 8pm

Artist Talk Fri 4 Nov post show

Venue Track 8 at CarriageWorks

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One hundred and eleven years ago, relatives of My DarlingPatricia’s Clare Britton were murdered by an AboriginalBushranger, Jimmy Governor, on a property in the Hunter Valley. Taking its name from the ruins of the house,Posts in the Paddock combines sculpture, animation, kpuppetry, performance and oral histories exploring this moment in history from multiple perspectives. My Darling Patricia collaborate with actor LeRoy Parsons, Jimmy’s great great Grandson and Elder Aunty Rhonda Grovenor who also shares a family connection. You are invited to share this intimate and ultimately very personal work of reconciliation.

Artists: Bryony Anderson, Jenn Blake, Michelle Blakeney, clare Britton, Nadeena Dixon, Aunty Rhonda DixonGrovenor, Phil Downing, Fiona Foley, Samuel James, Halcyon Macleod, LeRoy Parsons, Sam Routledge, Lily Shearer and Chris Twyman.

Dates 9–19 Nov

Times

Preview: Wed 9 Nov, 8pm

Matinee: Sat 19 Nov, 2pm

Student Rush: Fri 18 Nov from 7pm

Tue–Sat, 8pm

Artist Talk Fri 18 Nov, post show

Venue Bay 20 at CarriageWorks

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Return to Sender is a collection of eight short dance rworks exploring the infl uence of international creative relationships on the practice of Australian dance artists.

For Return to Sender, curators Paul Gazzola and rrJeff Khan have invited eight Australian dance-makers to devise new works that recreate the choreography, scores, or essence of an international peer’s work. The resulting works range from reconstructed solos, to collaborative texts, to performed instructions. Together, they provide an insight into the creative collaborations that infl uence Australian artists’ work, but which take place overseas and are often out-of-sight to their audiences due to distance, geography and expense.

Artists: Alison Currie, Nadia Cusimano, Matthew Day,Atlanta Eke, Jane McKernan, Latai Taumoepeau,Tony Yap and Yumi Umiumare.

Dates 23–26 Nov

TimesWed–Sat, 8pm

Student Rush: Fri 25 Nov from 7pm

Venue Bay 20 at CarriageWorks

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The Body is a Big Place explores the fl uidity of boundariesebetween bodies, specifi cally questions arising from theprocesses and practices of organ transplantation surgery,and the phenomenological responses reported by organtransplant recipients. This work investigates the perplexingnotion of cellular memory and questions of blurredsubjectivity that are prompted by organ transplantation.

The Body is a Big Place invites audiences into the eethics surrounding organ transplantation, asking theviewer to refl ect on the entanglement of mind and body and the capacity of the biological to cross-infect, respondand improvise under novel conditions.

This installation, commissioned by Performance Space,is a collaboration between artists Helen Pynor and PetaClancy with sound by Gail Priest.

Dates 4–26 Nov

Times Mon–Sat, 10–5pm*

Opening Thu 3 Nov, 6–8pm

Artist + Curator Talk Sat 5 Nov, 1pm

Venue Bay 19 at CarriageWorks

* See Calendar for opening times. Open until 8pm pre shows.

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HokusPokus visually references 19th Century magic, searly cinema and travelling science shows, alluding to the proximity between the history of magic and the genesis of both optical time-based media and the brain sciences. This new interactive artwork examines illusionistic and performative aspects of magic to explore human perception, senses and movement.

A magician appears on three separate screens, performing tricks that use sleight-of-hand and deception. How the tricks unfold over time and across the screens depends on the participant’s movements and reactions in the space.

The installation continues Michele Barker and Anna Munster’s artistic research into perception, neuroscience and the histories of visual culture and media. It takes inspiration from recent neuroscientifi c interest in magic as a way of unravelling the relations between vision and movement in human perception.

Dates 4–26 Nov

Times Mon-Sat, 10–5pm*

Opening Thu 3 Nov, 6–8pm

Artist + Curator Talk Sat 5 Nov, 2pm

Venue Bay 19 at CarriageWorks

* See Calendar for opening times. Open until 8pm pre shows.

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WALK is our year-long season of walks, promenades, marches and strolls in and around Sydney and beyond. So far this year, artists have led us in search of a hero, through the streets of Waterloo, walking in the rain, exploring the sites and sounds of Manila, on a journey from Melbourne to Sydney, and through the activist history of Woolloomooloo.

Put on your walking boots and step out with us on thefi nal walks.

Coming up...

Get your dog kitted-out with a system that photographs their favourite locations based on sniff and interest time. Each dog’s snaps are returned to their human companion as a record of the walk. Sign up to walk with your dog and join us for Best in Show BBQ when we share happy-snaps Qand trails of discovery.

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The latest incarnation of Lily Hibberd’s Benevolent Asylumproject continues to expose the role of waterways in institutional confi nement in Australia. Located at Luna Park in Lavender Bay, Hibberd’s performance will engage with the irreconcilable coalescence of lunacy, exile, sacrifi ce and joy in a playful revelation of the site’s historical and contemporary signifi cance.

House Work takes audiences on a walking tour through thekprivate spaces of artist’s homes in the inner city suburbs of Redfern and Waterloo. Through a series of performative exchanges, the domestic sphere of the ‘home’ will become a site for artistic practice and dialogue, blurring the boundaries between art and life.

To book your WALK go to performancespace.com.au

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Georgie Read teased out relationshipsdbetween action and body.David Lawrey andy Jaki Middleton created a diorama for Awfully Wonderful.Branch Nebula rehearsed Sweat for presentation tat Dance Massive.Vicki Van Hout prepared for Briwyant, which Keith Gallasch of RealTime described as “brilliant”.Applespiel worked on Applespiel Make A Band and Take On The Recording Industry. The name says it all.Martin del Amo and Anton explored relationships between text and choreography.Latai Taumoepeau investigated her perspective of climate change.Justin Shoulder took a look at the creation and dissemination of urban mythologies.Sarah-Jane Norman developed her performance cycleUnsettling Suite using body, material, and history to lookeat legacies of colonialism.Peta Clancy and y Helen Pynor put the fi nishing touches on The Body is a Big Place, an installation in Exchange.

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Team Mess are back again to work on Never Say Never.rrTheatre Kantanka get ready for Bargain Garden.My Darling Patricia prepare for the premiere of Posts inthe Paddock.Andrea James develops To Soothe the Dying Pillow, witha focus on colonial notions of Aboriginal ‘protectionism’.Whale Chorus search for a theatrical language based onthe essential qualities of music.Toby Knyvett wraps us up in a feedback loop.

HOMELAND: For Exchange Performance Space ispleased to support HOMELAND an independently produced residency by a team of artists led by Belgiandirector Hans van den Broeck.BankART LIFE 3: Performance Space will take Sarah Goffman’s Trashcan Dreams to Yokohama for BankARTsLIFE 3, an exhibition, residency and exchange.

For full details of all our residencies go toperformancespace.com.au.

Thanks to our partners Critical Path, The University of New South Wales and The University of Sydney for hosting residencies.

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ClubHouse is Performance Space’s home for critical dialogue, creative exchange, conversation and revelation about interdisciplinary arts. ClubHouse projects are often artist-led and range from small residencies, through workshops, to one-off forums discussion, screenings and performance events. All the details for upcoming ClubHouse events are announced in our monthly e-news. Sign up at performancespace.com.au if you are interested in fi nding out more.

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We welcome British artist Joshua Sofaer as PerformanceSpace’s fi rst Thinker-in-Residence. Sofaer is an artistwho is concerned with modes of collaboration andparticipation. Often with an irreverent use of humour, he plays with established forms of production, appropriatingand reconfi guring the chat show, competition, lecture, or museum display. He acts as curator, producer or director on a broad range of projects, including large-scale events,intimate performances and publications. As Thinker-in-Residence, Sofaer will act as a catalyst for discussionaround exchange.

A collective of artists working in Live Art who foundedField Theory will undertake back-to-back ‘meetings over coffee’ around Sydney to discuss ways to support the LiveArt sector. Follow Field Theory at lalaishere.net as they mix durational performance with research to explorethe shape of Live Art in Australia as part of this culturalleadership initiative.

In this durational, 10 hour performance installation,Douglas converges the aesthetics of 70s sci-fi and imagery of the Australian landscape with the daily reality of hisown life-support processes.

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IndigeLab is Performance Space’s residential laboratory for Indigenous artists and thinkers. This October, artistsAndrea James and Marilyn Miller lead participants inexchange, experimentation and play at the Yvonne andArthur Boyd Education Centre in Riversdale, BundanonTrust’s artist’s retreat on the Shoalhaven River.

Our new residency initiative for Indigenous artists kicksoff this year as we play host to Sarah-Jane Norman, AndreaJames and their collaborators.

We’re proud Performance Space is one of four nationalorganisations selected by the Australia Council to host amentorship for an emerging Indigenous producer. Workingwith us and our partners, Alison Murphy-Oates, our Emerging Indigenous Producer, will play an important rolehelping us deliver our Indigenous arts projects.

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Image: Alex Davies

Performance Space’s open-call platform for new, short works across disciplines enters its fi fth year in 2011. Curated by independent artists and assisted by Performance Space, NightTime continues to push at the edges of art informedeby performance to deliver nights of playful, critical and confronting work from across Australia.

In September NightTime#12:FIGHT curated by Georgie TMeagher and Nat Randall crash-tackled CarriageWorks’ Track 8. Coming up, NightTime#13:Genuine Facts, curated by Jess Olivieri and Lara Thoms, will bring the year to a close. Artists will present a series of demonstrations, presentations and subversive workshops that are set to be both perplexing and practical. Presenters from various disciplines will deliver performances ranging from the faux and sensational to the matter-of-fact. Check out performancespace.com.au for updates or sign up to our e-news to get the real scoop.

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I was asked by a non-profi t art center in Indianapolis,Indiana, called Big Car to come up with a project thatwould happen in conjunction with a city-wide festivalwhich was focusing on food systems. The director of BigCar, Jim Walker, took me around to various neighborhoodsthat he thought might be good spots for a potential project.The last stop was an older somewhat vacant shoppingcenter that contained in it a thriving international grocery store called Saraga. I was immediately excited by theSaraga environment. Indianapolis is not a place that younormally associate with ethnic diversity, but Saraga wasan unexpected exception or maybe just an example of the incorrect assumption that the midwest is only whiteand homogenous. The grocery store is set up so that mostof the aisles are identifi ed by geographical areas—India,Mexico, Venezuela, Iraq, etc., and contain food products

Senegal- Moustapha Bodian, Abib Ba,assisted by Laura Small

South Korea- Song Keum Lee, Hae-Young Song, Amy Lee,assisted by Anne Laker

from those places. As I walked around the store I observedvarious shoppers who appeared to connect with thegeographical locations named on the aisles. I couldn'thelp but think how interesting it would be to hear fromthem directly talking about various topics related to their countries origin—politics, histories, personal stories, andof course cuisine. Over the years I've created a number of projects that allow me to tap into local knowledge inthe places where I have been commissioned to do work.I choose to do that primarily to satisfy my own desire tolearn about new things, and then I try also to extend thatexperience to larger publics as well through exhibitions,events, publications, etc.. Reading and watching fi lmsoffers an important but mediated form of knowledgeacquisition, so I really enjoy the opportunity for fi rsthandexperience and learning from primary sources. In the caseof the Saraga project the way that I set things up was thatI worked remotely with the people at Big Car–Jim, Shauta,and Tom–and they found local volunteers to go to Saragaand approach customers and workers to see if they would

Venezuela- Maryori Duarte-Sheffi eld assisted by Jessica Bowman

be willing to make presentations at the store about their country of origin. The volunteers then worked with the participants to create display boards depicting aspects of their countries of origin. We then held an event at Saraga called Learning About the World at the Grocery Store. It took place for several hours on a Saturday afternoon. The participants set up their display boards in a row at the front of the aisles in relationship to the geographical areas that they were representing. The event was advertised, so some people came specifi cally for it, others were just there shopping and experienced the presentations spontaneously. Many of the participants did cooking demonstrations or had sample foods that they had prepared in advance. After people mulled around and talked casually for about an hour we went down the row and each participant took a turn talking to the crowd about their country of origin. It is amazing how well people do when given the opportunity to present something that they know and care about, and how much can be learned from the people that are all around us.

Mexico- Lucia Inojosa and his daughter,assisted by Kristin Hess

The minutiae of our lives are comprised of interrelatingparts: key into lock, button into buttonhole, thread intoneedle, money for goods, tongue into groove. The psychicconstruct relies on the same endless interplay of dualities.One particle vibrates against the next and there we havethe principle of matter. Labour is exchanged for paymentwhich is exchanged for goods and there we have the basisfor the grand schema we call Capitalism. But I’m not aphysicist or an economist (not by a long, long shot). My fi rstconcern is the emotional content. So instead, let me put itthis way: our days pass in a series of hellos and goodbyes.Openings and closings. Give and take. Love and theft. Weexchange currency, glances, blows, pleasantries. We areforever making and unmaking feedback loops betweenself and other, and projecting ourselves into that entropiczone between bodies. History, it might be said, behavesin the same way. If duality delineates the boundaries of exchange, then it’s from the tensions of the threshold thatit gathers momentum. That charged emptiness, calledliminality, of which much has been said.

We understand the rule of twos. It is as integral as in-breathand out-breath. If the principle of human order is defi nedin twos, then divine order is defi ned in threes. After that,the pattern jumps, inexplicably, to the number seven. Seven

sisters, seven pillars, seven sins, seven precepts etc. It has been said that we need to be touched, for our skin to collide with that of another, no less than seven times in a day in order to maintain optimal psychological health. Whether being punched in the face or groped on a crowded train carriage count in this equation, I’m not sure. It’s also said, in some schools of energetic medicine, that once you’ve had sex with someone it takes seven years for their imprint to fade from your body’s etheric memory. Every seven days, the skin completely renews itself, while seven years is the time needed for total regeneration of the skeletal system.

The numeric, that universal system by which we ascribe value (the basis of all exchange) also provides the greatest challenge to the assumption that There is Nothing Outside of Language, aside of course from the majestic silence of the body itself. Not the body affected and affl icted and overwritten and tiremarked by discourse, because that is not the body at all, but a theory and a ghost (as all theories are). I mean the body in its irreducible viscerality, the body which spits and swallows and shits and breathes and endures and in the end is evacuated, split open and harvested for organs. That body which craves exchange as a remedy for death. There are two types of artist who truly understand the poetics of mortality: dancers and mathematicians.

The mystical traditions of the Qabbalah suggest that the true name of God cannot be transcribed in language, but in a sacred combination of numbers. Perhaps the same can be said of the formula for human longing. Binary code, the bricks and mortar of the information superstructure, is comprised entirely of combinations of one and zero. something/nothing. here/there. you/I. The phrase “I miss you”, written in code, looks like this:

011010010110110101101000111001101110011011110010110111101110101

If one is the loneliest number, then who or whatresides at zero?

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Oslo Davis is a Melbourne-based cartoonist and illustrator. His work has appeared in The New York Times, Business Week, The Big Issue, The Sleepers Almanacs, Tango, Going Down Swinging andg Torpedo. Davis has lived and workedoverseas for many years, most notably Hanoi and Tokyo,where his contribution to POINT was conceived. Travelfor Davis often involves drawing people and places, andamassing visual diaries and sketchbooks.

Harrell Fletcher has produced a variety of socially engaged,collaborative and interdisciplinary projects since theearly 1990’s. He was a participant in the 2004 Whitney Biennial and received the Alpert Award in Visual Arts in l2005. Fletcher created a site specifi c project for the NGV in Melbourne in 2010. His work is in the collections of Museum of Modern Art, New York; The Whitney Museumof American Art; The New Museum; and San FranciscoMuseum of Modern Art, among others. Fletcher is anAssociate Professor of Art and Social Practice at PortlandState University in Portland, Oregon.

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Lara Thoms is a Melbourne-based artist who enjoys collaborating with other artists, and often asks the public to complete her work. The Experts Project was developed tthrough conversations with strangers in public libraries. The resulting 50 ‘lessons’ and photographs, taken by each expert, were recently presented as part of the Tiny Stadiums Festival.

Sarah-Jane Norman is a cross-disciplinary artist and writer. She is primarily known in Australia and abroad for her intimate and durational performance work, though she is also respected as poet and writer of fi ction and non-fi ction, having placed a number times in the Judith Wright/Overland Prize for poetry and the DJ (Dinny) O'Hearn Award for prose.

$30 Full$20 Performance Space members and concessions

$15 Student Rush and previewsFREE entry to exhibitions

ONLINEperformancespace.com.au or ticketmaster.com.au

CALL UPTicketmaster 1300 723 038

IN PERSONAt all Ticketmaster outlets

AT THE BOX OFFICECarriageWorks Box Offi ce is open one hour before allperformances.

*Concession tickets are available for full-time students, pensioners, senior

cardholders, unemployed and children under 14.

*Student Rush tickets are available 1 hour prior to the show at the box offi ce.

*When booking through Ticketmaster, a booking fee of $4.30 will apply

online and on the phone.

* Nearly all of the events in the ClubHouse and WALK programs are FREE.

Reserve your spot at performancespace.com.au

43

245 Wilson StreetEveleigh NSW 2015

PO Box 461Newtown NSW 2042

02 8571 9111admin@performancespace.com.au

performancespace.com.au

like us on Facebook, follow us @pspace on Twitter, and watch us atvimeo.com/performancespace

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Performance Space is supported by the AustralianGovernment through the Australia Council, its art fundingand advisory body; the New South Wales Governmentthrough Arts NSW; and The Visual Arts and CraftStrategy, an initiative of the Australian, State and Territory Governments.

Performance Space is the anchor tenant at CarriageWorks,Sydney’s home for contemporary arts. PerformanceSpace is a member of Contemporary Art Organisations of Australia (CAOs) and Mobile States, Touring Contemporary Performance Australia.

BARGAIN GARDEN

POSTS IN THE PADDOCK

The development of Posts in the Paddock has been supported by Urbank

Theatre Projects and the Bundanon Trust. My Darling Patricia is managed and

produced by Marguerite Pepper Productions.

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RETURN TO SENDER

THE BODY IS A BIG PLACE

Peta Clancy is a lecturer in Fine Art, Monash Art & Design.

HOKUSPOKUS

WALK

Laika’s Dérive is supported by a private donation from Emma Dean.e

IN RESIDENCE

CLUBHOUSE

SUPPORTING INDIGENOUS ARTISTS

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We Thank Our Current Supporters

Stephen Cummins Bequest

City of SydneyThe Besen Family FoundationSidney Myer Fund

The Nest

Kate Barnet, Amy Barrett-Lennard, Meredith Brooks,Martin Calvey, Barbara Campbell, Julieanne Campbell,Andrew Carriline, Debra Jensen & Geoff Cohen, DanielBrine & Jonathan Cooper, Emma Dean, Bec Dean, SusanDonnelly, Rosalind Richards & Duffy, Paul Gazzola, ClareGrant, Lucy Guerin, Henry David York Lawyers, ClarkButler & Louise Herron, Henry Kember & Julia Holderness,Sam James, Talya Rubin & Nick James, Jeff Khan, Andrew Lorien & Cathy Kirkpatrick, Jann Kohlman, Derek Kreckler,Sandy Saxon & John Kron, Meaghan & Will Lewis, RebeccaBurdon & Jason Maling, Sarah Miller, Rebecca Chan &Nahum McLean, Annemaree Dalziel & Djon Mundine, IanEnright & Linda Quatermass, Nat Randall, Chris Ryan, TheSherman Foundation, Mark Stapleton, Ben & Suzy Strout,Yana Taylor, Leon Fink & Jennifer Turpin, Sarah Waterson,Dr. David Williams, Paul & Jennifer Winch, Fiona Winningand Angharad Wynne-Jones.

Many individual supporters prefer to remain anonymous.Performance Space thanks you for your generosity.

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Individual contributions greatly assist Performance Space. Your donation small or large will help us extend our support for artists. We also have three donor categories to give you an idea of how larger donations will be invested.

$250 equips an artist with a fee.

$1,000 enables us to host an artist in residence to develop a new work.

$5,000 supports a major project from inception to realisation.

Visit performancespace.com.au for all the information you need to make a donation.

The Performance Space Development Fund is a tax-deductible fund listed on the Australian Government’s Register of Cultural Organisations maintained under Subdivision 30-B of the Income Tax Assessment Act 1997. Donations over $2 to Performance Space are tax deductible.

Performance Space wants you to be a member. We started as a member-based organisation and we’re committed to retaining this sense of community at our core. To fi nd out about membership at Performance Space please email us at admin@performancespace.com.au .

If you’re a member don’t forget to always show your member's card at Box Offi ce to receive your member discount.

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