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REVIEWTHE AdElAIdE
Issue 409 March 2014 adelaIderevIew.com.au
State electionJohn Spoehr writes that the State Election
has the makings of a close contest
VitalStatiStixThe arts company turns 30 this year and will mark the anniversary with a series of events
adelaide HaS BallSDuncan Welgemoed on Adelaide’s
gastronomic resurgence
08 30 41
30 YearS
Celebrating three decades of The Adelaide Review
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SEASON 2014
coming in april & may
“Dazzling dexterity balanced with supreme delicacy.”ThE AdvErTiSEr
2 & 3 MAYSPACE THEATRE
By arrangement with Arts Projects Australia with support from Creative New Zealand’s Touring Australia Initiative.
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22-27 April 2014Dunstan Playhouse
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AdelAide FestivAl Centre And dAvid M HAwkins present
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“reddy grabbed her lA audience at the very top and held them spellbound throughout” Broadwayworld.com 2013
“reddy grabbed her lA audience at the very A audience at the very top and held them spellbound throughout” top and held them spellbound throughout”
Tuesday 15 april FestivAl tHeAtre
A legendAry grAMMy® AwArd–winning superstAr returns to AustrAliA
sunday 18 may 2014festival theatre
in recital with terence dennis, Piano
IN CONCERTIN CONCERT
Music’s greatest ‘hits’ re-iMagined by one of australia’s foreMost vibraphone players and his Mallets of steel
WELCOME ISSUE 409
REVIEWTHE ADELAIDE CONTRIBUTORS. Leanne Amodeo, Annabelle Baker, D.M. Bradley, John Bridgland, Michael Browne, William Charles, Derek Crozier, John Dexter, Alexander Downer,
Robert Dunstan, Stephen Forbes, Andrea Frost, Charles Gent, Roger Hainsworth, Jane Howard, Andrew Hunter, Stephanie Johnston, Jane Llewellyn, Kris Lloyd, John Neylon, Nigel Randall, Avni Sali, Christopher Sanders, Simon Sheikh, Margaret Simons, John Spoehr, Shirley Stott Despoja, David Sornig, Graham Strahle, Duncan Welgemoed, Paul Wood. PHOTOGRAPHER. Jonathan van der Knaap
INSIDE
Features 05Politics 14Business 15Columnists 16Books 19Fashion 21Performing Arts 23Visual Arts 34Food. Wine. Coffee 40Travel 48FORM 49
42 24 SHIFTING GROUND Ilan Volkov discusses his ambitious Adelaide
Festival new music program, Tectonics
FOOD FOR THOUGHT Chef columnist Annabelle Baker
on the joys of honey
50 DESIGN CONVERSATIONS
Leanne Amodeo interviews past South Australian Architecture Award winners Max Pritchard, John Adam and Dimitty Anderson
COVER CREDIT: Ankles, photo Andre Castellucci
GENERAL MANAGERMEDIA & PUBLISHING Luke [email protected]
SENIOR STAFF WRITERDavid [email protected]
DIGITAL MANAGERJess [email protected]
ART DIRECTORSabas [email protected]
ADMINISTRATIONKate [email protected]
PRODUCTION & [email protected]
NATIONAL SALES AND MARKETING MANAGERTamrah [email protected]
ADVERTISING EXECUTIVESTiffany VenningMichelle [email protected]
MANAGING DIRECTORManuel Ortigosa
PublisherThe Adelaide Review Pty Ltd, Level 8, Franklin House33 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: 28,648 (April 12 – March 13) 0815-5992 Print Post. Approved PPNo. 531610/007
This publication is printed on 100% Australian made Norstar, containing 20% recycled � bre. All wood � bre used in this paper originates from sustainably managed forest resources or waste resources.
DisclaimerOpinions published in this paper are not necessarily those of the editor nor the publisher. All material subject to copyright.
TheAdelaideReview AdelaideReview
FEATURE
PO Box 225 Fullarton SA 5063
7 Mulberry Road Glenside SA 5065 [via Gate 1, 226 Fullarton Road]
T 08 8299 7300 [email protected] www.acsa.sa.edu.au
“Creativity is contagious, pass it on” Albert Einstein
Image Rhiannon Jones, Paperclip Work #2 (detail), 2013 - 2014, paperclips and wire, dimensions variable
In the Gallery
visceral eye 25 February - 21 March 2014
Stephanie Bromley, Anna Gore, Rhiannon Jones and Jenna Pippett
Free entry, all welcome | 9am - 5pm
Associate Degree of Visual Art | Bachelor of Visual Art | Bachelor of Visual Art (Hons)
Roy Ananda, Daryl Austin, Melanie Brown, Nona Burden, Deidre But-Husaim, Jack Cross, Johnnie Dady, Dr Andrew Dearman, James Dodd, Trena Everuss, Nicholas Folland, Zoe Freney, Geoff Gibbons, Sasha Grbich,
Rob Gutteridge, Jessica Mara, John Neylon, Renate Nisi, Christopher Orchard, Mary-Jean Richardson, Julia Robinson, Yve Thompson, Sera Waters and Sara White.
The School offers undergraduate degrees, specialist short courses, workshops and masterclasses. All lecturers are leading practitioners in the field in which they teach. In our studio based teaching program we emphasise structured sequential learning developing practical skills in parallel with rigorous intellectual inquiry.
Lecturers teaching in the School’s 2014 award course program include:
The School welcomes three new lecturers this year:Dr Sue Kneebone, Monte Masi and Luke Thurgate.
T his month, The Adelaide Review
celebrates 30 years of delivering
the finest free political, social,
cultural, design, architecture,
planning, arts and food and wine writing to
the streets of Adelaide. Our having survived
three decades during a time of great upheaval
in the media industry is testament to the
quality of our contributors, staff and clients
and, of course, our loyal readers. We have
always been, and continue to be, fiercely
proud of our independence and our intimate
engagement at so many levels with the city
of Adelaide and the broader state of South
Australia.
The first issue dropped on the streets in
March, 1984. Then edited by Mark Jamieson,
the redoubtable Christopher Pearson took
over the editorial reins soon after. We’ve
undergone many changes in those three
decades but still deliver on the principal
values of the very first issue – to provide an
alternative voice within the Adelaide media
landscape, a voice which values quality of
writing and independence of thought above
all other considerations.
by The AdelAide Review
Three DecaDes of The aDelaiDe review
Looking back, The Adelaide Review
has hosted in its pages a litany of leading
figures from Australia’s cultural and
political landscapes of the past 30 years.
From Les Murray to Tony Abbott, from Guy Rundle to Shirley Stott Despoja, from
Peter Goldsworthy to daughter Anna, from
Frank Moorhouse to Margaret Simons, Don
Dunstan to Alex Buzo, Angela Carter to
Michael Duffy, Geoffrey Lehmann to Valmai
Hankel, Alexander Downer to Mike Ladd,
Cheong Liew to Howard Twelftree – the list is
endless, and makes for an impressive archive
bearing witness not only to the cultural life
of Adelaide, but of independent publishing
and its champions.
For the last two-and-a-half years, our
media group has also expanded into the
competitive Melbourne market with the establishment of The Melbourne Review,
a publication that, like its Adelaide elder
sister, seeks to champion the best of
thought, innovation and creativity while still
celebrating the lifestyle for which both cities
are justifiably famous. We seek to combine
intelligence with style, and believe both are
vital to any quality publication. We are also in the process of considerably enhancing
our online platforms to bring this content
more directly and regularly to readers here,
interstate and overseas.
To mark this occasion, we enlisted street
artist Ankles to design the anniversary cover.
Using our very first issue in March 1984 as
a rough guide, Ankles painted a mural on a
brick wall using icons to represent Adelaide.
The anniversary cover honours our past
while representing the lesser-known icons of
contemporary Adelaide.
Thanks to all of you for reading, wherever
you are and whatever device you may be using.
Here’s to the next 30 years.
Ankles designing the cover. Photo Andre Castellucci The first Adelaide Review cover, March 1984.
6 THE ADELAIDE REVIEW MARCH 2014
FEATURE
Genteel Shambles Thrity years of The Adelaide Review.
BY JOHN NEYLON
I don’t think I had much idea of what I was
down for, climbing the stairs to the Paringa
Building upper fl oor offi ce of The Adelaide Review in mid 1984. Stints as art critic for
The News and The Advertiser had given me a
glimpse of what it was like behind the scenes,
grinding out text to fi ll the holes between ads. Hitting deadlines and working in all kinds
of places; trains, buses, front bars and park
benches, I learnt the art of writing under
wet cement. Later in life I came across E.M.
Forster’s observation “How do I know what I
think until I’ve seen what I say?” appears to
sum up the lot of art journalist/reviewer.
The scene which greeted me on entry to The Review’s offi ce was one of genteel shambles.
There were a few faces I knew; certainly Howard
Twelftree (AKA John McGrath) who had been
a fellow ‘journalist’ with me on the originating
issues of the Blackfriars College OPtimist magazine. Howard had mentioned something
about a new review starting up around town
and that it had no art reviewers. I was curious.
On the strength of a handshake with the editor,
Murdoch press affi liations melted away and my name was entered in the royal list of esteemed
contributors for The Adelaide Review. Well that
is a stretch. What happened is that each month,
I and several other contributors, wandered with
our handwritten copies into the offi ce, found a
desk with some clear space and just ‘dropped
it off’. Occasionally you might get a breathless
phone call from Christopher (‘Lord’) Pearson
concerning some obscure point of grammar, or,
if the content came anywhere close to referencing
High Anglicanism or Popish tendencies it
was a case of buckle up and prepare for an
inquisition. The ‘drop-off’ ritual eventually took
on a kind of system as Michael Vanstone assumed
a proprietorial role towards contributors. As he
also conspired to hold back some sponsorship
wine from the clutches of Pearson and others,
to ‘pay’ the contributors, his desk and what lay
beneath became the go-to point in the offi ce.
I mentioned genteel shambles. I still have a
visual memory of that fi rst encounter with the
Review as stepping into an early 19th century
engraving by either Thomas Rowlandson or
James Gillray – take your pick. Rowlandson’s
The Brilliants with its rowdy group of gents
intent upon getting drunk seemed close to the
mark but Gillray’s The Union-Club, with chamber
pots fl ying through the air and general mood of
stylish uproar, now looks closer in spirit to the
event. Deep down I sensed that The Review
wanted to be a naughty gadfl y and that moment
in time with a lot of manly chaps sitting on stacks
of TARs, perched on the few desks available or
huddled in conversation in the corners, and all
drinking big reds, looked to be the closest I’d get to
a literary café society. The art scene offered none
of this. The revolutionary 1970s may have had
big political agendas but the routine gatherings of
political point scoring and polemics in cold, dimly
lit halls and the growing dread that the anarchic
spirit of the decade was about to be hijacked by
careerists and academics, settled like a damp,
gray cloud. But The Adelaide Review with its
gang of wits and an emerging demographic of
literati was far more interesting. It confi rmed
something I’d learnt by meeting and reading
the likes of Robert Hughes - that writing about
art was fi rst and foremost about writing. I may
also have ingested The Review’s avowed aims in
1984 of being a ‘tabloid for intelligent newspaper
readers… not catering to gossip or sensationalism’
nor wishing to bore with ‘esoteric intellectualism’.
Looking at the fi rst year (1984) it is possible
to see the beginnings of an alternative visual
arts voice. The inimitable Ian Were covered the
visual arts with me in that fi rst year but award
for fi rst art review might go to Christopher
Pearson for his ‘Sculptures of the dead’ article,
covering assorted cemetery statuary around
Adelaide (TAR March 1984). In contrast to
the turbulent 70s, the art scene began settling
back into the routines of putting on shows,
which despite their quality couldn’t match
the counter-culture fervour of the previous
decade. The artist reviews for 1984 established
an important role the journal would consolidate
over the next three decades in documenting
individual artist (particularly Adelaide-based)
emergence and development. The reviewed
‘class of 1984’, for example, included Annabelle
Collette, Lynn Collins, Rita Hall, Noela Hjorth,
Dianne Longley, and Barbara Zerbini. It’s a
snap shot in time repeated each month over
the next 30 years that will prove its value when
or if ever Adelaide gets the courage or appetite
to tell its own contemporary art story.
The Adelaide Review with its gang of wits and an emerging demographic of literati was far more
interesting. It con� rmed something I’d learnt by
meeting and reading the likes of Robert Hughes -
that writing about art was � rst and foremost about
writing.”
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8 The AdelAide Review March 2014
FEATURE
This month’s State election has all the makings of a close contest.
by John Spoehr
Having dislodged Mike Rann and Kevin
Foley, Jay Weatherill promised a new
era of political civility. The decide and
consult days of the past were over, he
declared. A more inclusive and less aggressive style
of government would be ushered in.
To break with the divisions of the past, the
Liberal Party offered its own new fresh face, a
relative newcomer to the Liberal machine, Steven
Marshall. Marshall had the advantage of being
untainted by past divisions within his adopted
Party. He has been able to unite warring tribes
for the task of winning the State Election.
Much more is known about Weatherill than
Marshall. The electorate seems to have warmed
to him, winning back some of the support lost to
Labor at the end of the Rann/Foley era. Steven
Marshall, on the other hand, comes to the role
of Opposition Leader with little form, untainted
by the longstanding wet/dry tribal divisions
that have destabilised the Liberal Party.
Labor has had its own tribal problems.
After imploding at a national level, the recent
Farrell/O’Brien pre-selection deal threatened
to wreak havoc on Labor just as it prepared to
go to election. The Premier’s only real choice
was to demand Farrell stand down. He did,
going much further than anyone expected by
threatening to resign if Farrell persisted. All of
this was ugly political theatre, playing out as it
did on primetime ABC radio. Decisive action
resolved it in Weatherill’s favor.
Amidst all of this has been an unfolding
calamity – the collapse of the Australian
automotive industry. Closure announcements
by Ford, GMH and then Toyota would affect
tens of thousands of jobs and hundreds of
businesses around the nation. With the Federal
Government’s automotive policy decision-making
processes paralysed by its commitment to waiting
for the results of a Productivity Commission
inquiry into the industry, the industry made its
own decisions. They proved to be political fuel
for Labor. Weatherill was bold in his criticism
of the Federal Government’s apparent failure
to do enough to keep the industry alive. He
hammered what he viewed as the inadequacy
of its GMH closure assistance package. With
his Federal counterparts insisting they could not
have done anything to save the industry, Steven
Marshall has been seen at times to be defending
the indefensible and not offering hope.
The Premier’s jobs package in response to
the collapse of Holden set the bar high for the
State Liberal Opposition. Labor announced that
it would invest $60m to tackle the crisis and
sought $333m from the Federal Government.
To regain some lost ground in responding to the
crisis Steven Marshall needs to broker a deal with
the Abbott Government to deliver a substantial
assistance package over the coming weeks.
While long-term governments face an uphill
battle to be re-elected, oppositions are unlikely
to be elected in a landslide if they don’t capture the imaginations of the public with sound and
forward looking policy. The Jay4SA campaign got
off to a flying start with the release of a 200-page
policy manifesto, placing pressure on the Liberal
Party to release policy detail earlier rather than
later in the campaign. Steven Marshall’s most
significant policy announcement to date, from
a political point of view, has been the Liberal
Party’s public sector workforce reduction target.
Jay4Sa and tHe MarSHall Plan
» Associate Professor John Spoehr is the
executive director of the Australian workplace
innovation and workplace Centre at the
University of Adelaide.
Fixed-term Parliamentshow South Australia got its fixed-term parliaments, or how we know exactly when the next election will be held.
by Jenny Stock
One by one most of the Australian
states and territories have
fixed quite precisely the
dates on which elections are
held at the end of the three or four-year
parliamentary terms. This has happened
not because premiers and chief ministers
wanted to give up the power to call
elections when they are most likely to
retain office, but rather because other,
minor players have used their periodic
moments of political leverage to institute
reform.
NSW was the first, largely because
Liberal Premier Nick Greiner’s calling of
an opportunistically early election in May
1991 left him lacking a majority in the
Legislative Assembly. He first cut a deal
with Independent Tony Windsor, and
then also with the three other, unaligned,
Independents (John Hatton, Clover
Moore and Peter Macdonald), accepting
their ‘Charter of Reform’ on September 1.
Minister Metherell’s sudden resignation a
month later forced Greiner to sign up to
a more formal and very comprehensive
Memorandum of Understanding that
included the constitutional entrenching
of four-year parliamentary terms. At a referendum, held in conjunction with the
next election in March 1995, three in four
voters gave approval, despite the major
parties’ lack of enthusiasm, and NSW
elections have been held on the fourth
Saturday of March in every subsequent fourth year.
SA was next, but the process was more
protracted and low-key. The stability and
regularity of Tom Playford’s nine election
wins every third March/April from 1938
to 1962 ended with Labor’s victory in
1965. Liberal Premier Steele Hall called
elections in 1968 and 1970, and Labor’s
Don Dunstan had three further elections
in 1973, 1975 and 1977. When his successor
Des Corcoran announced in 1979 yet
another premature poll, so annoyed were
so many people that Liberal leader David
Tonkin’s televised policy speech included
a promise to legislate to prevent ‘this
abuse of the parliamentary system’. When
he unexpectedly won, despite mention in
the Governor’s Address, Tonkin did not
pursue the matter.
To overcome fears that the Liberals would cut in
excess of 10,000 jobs from the state public sector,
Marshall set a cap of 5170 (around 1000 more
than Labor planned to cut). While this has taken
some of the heat out of the public sector job cuts
debate, Labor is arguing that voters can expect
more widespread cuts in practice, particularly
as a consequence of a Liberal Government
appointing the Productivity Commission to
advise it on how to achieve savings. The problem
for the Opposition in advocating this is that the
Productivity Commission has a clear preference
for privatisation and outsourcing, policies that
are deeply unpopular these days.
Steven Marshall and the Liberals are likely to win the State Election. They have the
benefit of campaigning against a long-term
government that only in the most extraordinary
circumstances is likely to be re-elected. Only
major blunders by the Liberal Party can change
the outcome along with an exceptionally
well-run campaign by Jay Weatherill and
his party machine. One other factor might also be influential over weeks to come. The
Federal Government has received its 900-
page report from the Commission of Audit. A
softening up process is already underway by
the Coalition in the lead up to its release. If the
report concludes, as many expect it will, that
a substantial amount of our remaining public
sector assets should be privatised and core
elements of universal health care removed,
the South Australian Liberals will very likely
be damaged by association.
Steven Marshall must be hoping that the
Federal Government delay release of the
Commission of Audit until after the State
Election campaign. Jay Weatherill will have a
field day if it is released before the election. It
is shaping up to be a fascinating election, one
that may well be closer than the polls suggest.
The AdelAide Review March 2014 9AdelAideReview.com.Au
FEATURE
» Jenny Tilby Stock, visiting Research Fellow,
School of history & Politics
University of adelaide
When John Bannon returned Labor to
office in 1982, landmark amendments to
the Electoral Act in 1984-85 extended to four years the maximum term, with elections
possible any time in the final year. During
debate, the fixed terms idea was raised
by Ian Gilfillan, one of the two Australian
Democrats who held the balance of power in
the Legislative Council, but his amendment
to this end failed, as Attorney-General Chris
Sumner did not wish to push a reluctant
Opposition any further.
Late in 1991, Martyn Evans, Independent
Labor member for Elizabeth and long a believer
in proportional representation and fixed
terms, took the opportunity, while helping
to keep the minority Bannon government in
office, to introduce his own Constitutional
(Parliamentary Terms) Amendment Bill. It
would advance ‘electoral honesty’ and ‘abolish
political expediency’, but attracted little serious
discussion. Opposition deputy leader Stephen
Baker stated that ‘Liberal policy is not to have
fixed terms’, and that it was more important ‘to
get rid of incompetent governments’. Accepting
defeat, Evans had the bill read and discharged
on May 6, 1992.
Another attempt was made the following year
in the Legislative Council with Ian Gilfillan’s
private member’s bill principally designed
to add to existing legislation ‘a predictable
election date that falls four years ahead’. But,
debate was adjourned within minutes, and
never resumed. The State Bank disaster was
dominating politics, and Labor was reduced
to 10 seats in the December 1993 Dean Brown
landslide.
After Labor surged into contention in
the next September 1997 election against
the Liberals, led by then by an increasingly
unpopular John Olsen, one of its new
members, Kris Hanna, picked up the baton.
A lawyer with a reforming bent, he nurtured
his marginal Mitchell electorate and took up
various environmental and accountability
issues, including in late 1999 a Private
Member’s Bill that would enshrine a set date
for each four-yearly election. He favoured the
third Saturday in October, when the worst
of winter was over, and voters not distracted
by football finals and examinations. Ralph
Clarke, already displaying the independence
that had seen him take his own party to
court over branch-stacking, made a cogent
supporting speech, and on July 13, 2000, the
bill passed its second reading 22:20 with the
help of Independent Liberals Rory McEwen
and Peter Lewis and the National Party’s
Karlene Maywald. She urged the Liberal
government to heed the needs of the business
community and others for certainty.
By April the following year, the minority
Liberal government of John Olson was
acknowledging the mood for parliamentary
reform. After talks with McEwen and Maywald,
and party room discussion, Deputy Leader Rob
Kerin, stated, ‘There is now certainly a level
of support for four-year terms with a fixed
election date’. When debate resumed on May
3, the main sticking point was when the change
should come into force, given that Olsen’s
current term was due to expire in October.
Opinion now favoured March as a better time
of year, although some Labour MPs voiced
objections to effectively granting the Liberals a
four-and-a-half year term during the transition
period. During a lengthy debate, tributes to
Hanna were paid by John Hill and also by
future Liberal leader Martin Hamilton-Smith,
who acknowledged his ‘genuine commitment
to parliamentary reform’.
A relieved Hanna noted the turn-around in
Liberal attitude within the past year, grateful for Maywald and McEwen’s ‘extraordinary
influence with the government’. Finally, his
amended bill fixing March 2006 as the date
of the next but one election passed its third
reading in the Assembly on May 3, 2001 on
the voices. After the Winter break, passage
through the Legislative Council was assured,
with the support of the Democrats and
independents Terry Cameron , Ralph Clark and
Nick Xenophon. On July 4, Attorney-General
Trevor Griffin announced that the principle
of the bill had Government support, and
three weeks later, the second reading passed
without division. In early October, Griffin’s
clarifying amendments were accepted, the bill
passed its third reading on the voices and was
immediately accepted by the Assembly. On
October 11, the Constitution (Parliamentary Terms) Amendment Act 2001 received Vice-
regal assent and was gazetted, coming into
operation on March 5, 2002.
Thus was this quite significant reform to
the way SA conducts its elections achieved,
with a minimum of dissension or fanfare.
The state’s only daily newspaper mentioned
the fact briefly on an inner page under the
heading ‘Terms fixed for four years’. A besieged
Liberal minority government had been forced
to cooperate with a resurgent Labor Party to
allow through the bill of a persistent Opposition
backbencher, assisted in both chambers by
independents and Democrats. Elections were
held, as required, on the third Saturday in
March 2006, 2010 and are due again on March
15, 2014.
10 THE ADELAIDE REVIEW MARCH 2014
FEATURE
The idea of a garden is continually
changing. The ability of gardens
to adapt to rapid changes in
society is evident in the erosion
of the quality of greenspace in both public
and private realms over the course of the
20th (and 21st) centuries. The evidence
suggests our garden of ideas hasn’t kept
pace with the revolutions in the nature of
cities, transportation and building materials
BY STEPHEN FORBES
CULTIVATING MODERNISM Stephen Forbes and Stephanie Johnston on the exciting book and twin exhibition that is Cultivating Modernism.
or the revolutionary changes to people’s
lives. Such changes have accelerated since
the industrial revolution; the information
revolution and globalisation describe even
more rapid changes to people’s lives in train.
While the built environment and its attendant
infrastructure generally illustrate adaptive
responses to change, the response in our city
greenspace has been rather dismal. The reasons
for this are likely complex: perhaps we’ve
chosen to trade public good for private goods,
perhaps the fl oral displays that characterised
public and private landscapes have been lost to changes in fashion and a perception that
while resources spent on buildings and roads,
pipes and wires and telecommunications
represent an essential investment, resources
spent in greenspace provide little value. Indeed,
greenspace in the public realm is largely
viewed in terms of cost and risk with limited
consideration of opportunity and benefi t. The
health and wellbeing, social, environmental
and economic benefi ts for people’s lives and
livelihoods are rarely taken beyond rhetoric
to action (although exemplars such as Bogota,
Paris and Singapore illustrate possibilities).
The turmoil of the 20th century has driven a
rich exploration of our ideas of gardens. While the
conversion of these ideas into resilient, sustainable
and enriching landscapes remains largely
unrealised, the exploration of these responses
remains a necessary journey in transforming city
landscapes and transforming our lives.
In this context Richard Aitken’s Cultivating Modernism: reading the modern garden 1917-1971 presented as in a recent book
and in a current exhibition provide a wonderful introduction to the fi eld. Aitken’s
meticulous research and scholarship is
presented in a beautifully designed book and
complementary that integrates accessible and
engaging prose with a curator’s eye for over a
hundred representative and radical images.
Aitken manages to explore the meaning of
modernism while managing to avoid either
making assumptions of, or perhaps worse,
patronising readers and with a generosity
and focus in analysis rather than opinionated
critique. Perhaps most importantly, while
Aitken acknowledges the significance of
industrialisation, the fascination with new materials, increasing urbanisation and changes
to lifestyles, his focus is clearly on reconciling
design and this new environment for living.
The period chosen by Aitken illustrates a rich
vein of sources for contemporary endeavours
to bring living, working and leisure into a space
“… previously occupied by perhaps only one of
these.” While Cultivating Modernism explores
important territory, the prose, material and
images include marvellous morsels that
generally escape academic publications.
The potential opportunities and benefi ts
to be derived from green infrastructure are
given their context in the Modernist period
- in 1948 Australian landscape architect
Frank Heath observed the basis for planning:
“… whereby economic, social, physical and
aesthetic values are simultaneously recognised
and proportionately emphasised according
to the requirements of the problem for the
Architecture Museum, The University of South Australia.
Earn your wings... become an
www.huttstcentre.org.au/angel
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The AdelAide Review March 2014 11AdelAideReview.com.Au
FEATURE
Reading the Modern Garden
by Stephanie JohnSton
For bibliophiles like me who love
20th century modernism in all
its manifestations there could
be no better festival offering.
Garden lovers might however be a little disappointed by twin exhibits on display at
the Architecture Museum and Kerry Packer
Civic Gallery until the end of March.
Cultivating Modernism: reading the modern garden 1917–71 charts modern
Australian garden design through rarely
seen books, journals, prints, brochures,
pamphlets and postcards. Curator and
author of the accompanying book Richard
Aitken augmented his substantial personal
collection with books and ephemera from
Australian libraries and archival collections
– including the Architecture Museum’s
own repository – to illustrate how the
transfer of knowledge from Europe, (and
later America) was “rapid, immediate, and
palpable”. However there is little evidence
of modernist influences on actual Australian
gardens in the exhibits.
“That’s because quite often it’s the only
printed evidence which remains,” explains
Julie Collins, collections manager at the
museum. “Gardens grow and change and
get built on, so the printed material is often
all the record we have left.”
Also art, costume, graphics and the
decorative arts could easily reflect overseas
trends in a matter of days or months, whereas
gardens required a timespan of years, as
well as a receptive frame of mind. Aitken’s
twin exhibition Cultivating Modernism: French garden style of the 1920s and 1930s
explores early 20th century responses to
garden design during the interwar years,
when a succession of exhibitions mounted
in Paris promoted a more decorative form
of modernism, which became known as art
deco. A series of extraordinary photographs
from the Exposition Internationales de 1937
depict extravagant deco birdbaths and illustrate
the prevailing mode of bringing art into the
garden. Once again, despite the legacy of ideas
that made it to Australia, direct emulation
in Australian gardens appears to have been
minimal.
Aitken goes on to offer some tantalising
glimpses of the Australian garden as backdrop
to European functionalist architecture, “as
a functional outdoor room, as a canvas in
its own right, as living sculpture, and as the
key link between interior and exterior.” The
European artistic avant-garde inspired local
architects, planners, landscape architects,
horticulturists and illustrators to dream up
purpose of delivering maximum use and human
enjoyment”. Contemporary preoccupations
such as green walls and roof gardens are also
given context in the Modernist period.
That most plants are reluctant to follow
the specifications resident in built materials
appears to have been unpalatable through much of Modernist design. Perhaps our failure
is nowhere more evident than with Australian
native plants. In 1930 “The wildflower garden ... is
steadily gaining favour”; in 1949 South Australian
architects Andrew Benko & Rex Lloyd lamented
‘Native flowers, shrubs and trees have been
ignored for too long’ and in 1956 Robin Boyd was
still concerned that the native plant movement
was asleep: “In an odd sort of way any move to
waken interest in native plants has practical value
for the protection and value of our native growth
and the development of our contemporary houses
are part of the same movement”.
Our inability to work effectively with
plants continues to see the twin substitutions
of functionalism and featurism. Aitken’s
commentary on Robin Boyd’s 1963 The Australian Ugliness’ now half a century old
remains relevant today: “Boyd saw an irritating
skin-deep affliction with featurism that could
only be ameliorated by a return to the beauty of
form, truth to materials, and appropriateness
of spaces to their uses”.
Our future will depend on the way we utilise
plants to determine food, water and climate
security and our own health and well-being.
Cultivating Modernism provides an invaluable
and engaging survey of our progress in this
arena since the Industrial Revolution.
» Stephen Forbes, director,
Botanic Gardens of Adelaide
futuristic designs, graphics and landscapes.
These found their way into popular journals
that encouraged suburban householders to
experiment with the new aesthetic in their
own gardens.
Reconciling modernist functionalism with
gardens was, however no easy task. “Plants
had the unruly habit of growing,” says Aitken,
pointing out that Australian experimentation
with the new forms of architecture often
occurred in the casual environs of a weekender
or resort dwelling. Here Australian flora
enjoyed an increasing appreciation, along
with a growing national movement to conserve
scenic “primitive” areas. In frontier locations
like Melbourne’s Mornington Peninsula,
Sydney’s North Shore and the Adelaide Hills,
the natural bush often formed a ready made
garden for modernist designs that linked the
indoors with outdoor garden spaces and living
areas.
In the postwar period the spotlight shifted from Europe to the Americas. A relaxed
beachside Californian style suited Australian
taste-makers, while Brazilian experimentation
with bold sculptural foliage, fluid ‘amoebic’
planting patterns, variegated leaves and strong
vibrant colours gave birth to a new tropical
modernism coined ‘tropicalia’, which found
its way into the gardens of Brisbane, Sydney
and Adelaide.
• Richard Aitken, Cultivating Modernism: reading the modern garden 1917-71, The Miegunyah Press in association with The University of Melbourne Library, 2013
Two exhibitions at the university of South Australia will run until march 28 - for further information see cultmod.org
• Cultivating Modernism: reading the modern garden 1917-71 Kerry Packer Civic Gallery, level 3, hawke building, city west campus university of South Australia open 9am to 5pm, monday to Friday
• Cultivating Modernism: French garden style of the 1920s and 1930s Architecture Museum Room 2-21, level 2, Kaurna building, city west campus university of South Australia open 10am to 4pm, monday to wednesday
Graphic from cultivating modernism by Richard Aitken, The miegunyah Press.
F o u r R o o m s25 February – 6 April 2014
Curator troy-anthony Baylis
Room 1: Zane Saunders (QLD)Room 2: Jenny Fraser (QLD) and James Luna (USA)
Room 3: Gordon Hookey (QLD)Room 4: Tess Allas (NSW), Charlie Schneider (USA)
and Vernon Ah-Kee (QLD)
Tandanya - National Aboriginal Cultural Institute 253 Grenfell Street, Adelaide
Credit: Tess Allas, Charlie Schneider and Vernon Ah-Kee Andy Warhol on Aboriginal Art, photographic performance
12 THE ADELAIDE REVIEW MARCH 2014
FEATURE
Three Decades of Imprints In 1984, a bookshop opened its doors on Hindley St, joining what Jason Lake remembers as a diverse retail precinct.
BY ILONA WALLACE
Lake, who began working at the
shop in 1993, never believed that
20 years on he would still be behind
the counter. Now owner of the shop,
Lake takes time between chatting with familiar
customers and speaking to The Adelaide Review about the 30-year anniversary the
store and the magazine share.
Cozy Imprints, with its rich dark shelves
and deep turquoise walls, is a respite from
imprints.com.au
the bustle and surge on the street outside.
Despite their “little gem among the detritus”
being welcomed with delighted surprise by
locals and tourists alike, Lake explains that
a bookshop on Hindley St shouldn’t be too
much of a shock.
“Every time we talk about Hindley St, it’s like
talking about the Wild West, and it’s just not,”
he says. “What is not promoted enough about
this end of town is that, on Hindley St, we have
Arts SA – we have a major arts funding body
on this street – and we have the symphony
orchestra on this street.
“There are a lot of positives about this
end of town,” Lake continues. “I’d love to
see people talk differently about Hindley St,
talk up its past; it has an amazing history,
this street, but they only think about the last
person who got punched. It’s a nighttime
street! But that negates the validity of its
daytime trade as well.”
Imprints also faces the small challenge of a sedentary population that sometimes struggles
to venture beyond its familiar pockets in the
Square Mile we call home.
“As an example,” Lake says with a bemused,
resigned look, “fi fteen years ago, we moved
80 metres down the road. Last Christmas, a
customer came in, saying, ‘I haven’t been down
here since you moved!’”
The doom and gloom that stalks tales of
Hindley St are beginning to loom over the book
industry, too. With e-publishing and internet
“monsters” Amazon and The Book Depository
chewing into their business, Lake admits that
these last fi ve years have been the hardest.
Having a “curated” selection of books that he
and fellow employees know extremely well
gives them the edge to survive.
But from his fi rst days at Imprints – reading
Patrick Suskind’s Perfume – to today – fi nally
cracking the pages of Margaret Atwood’s Oryx & Crake – the diffi culty of the business side
of things has done nothing to dull his passion
for words.
Lake recalls his fi rst encounter with the work
of Paul Auster, when he was working at Third
World Bookshop, a once-upon-a-time 24-hour
bookstore.
“It was a couple of doors up [from Imprints]
– it’s a massage parlour now – but when
I worked there, I did the 6pm to midnight
shift. I had a friend bring me a cup of coffee,
a piece of dope cake and this Paul Auster
novel, and – I don’t condone doing drugs
on the job, but – it was one of my formative
literary experiences.”
Since then, Lake has encountered the elusive
Donna Tartt, snaring a signed copy of The Secret History in one of her rare public outings.
He had a “weak at the knees” “fanboy” moment
in the presence of Ron Rash, and he met the
famed Paul Auster.
As for the future, Lake is out of predictions.
“I wish I could throw those runes or a crystal ball to see what’s going to go on, but I don’t
know what the publishing world will look like,”
he says. “I don’t think the book will ever die.
It’ll be here until the end of time.”
Jason Lake at Imprints.
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The AdelAide Review March 2014 13AdelAideReview.com.Au
OPINION
Ethical Saving
by SiMon Sheikh
When we put money into our bank
accounts and our superannuation
funds, we think we’re acting
responsibly – saving that money for a rainy
day or for our retirement.
Many banks and superannuation funds
don’t want you to think too deeply about where
they’re investing your money.
But the reality is that right now, much of
Australia’s superannuation and savings are
funding an unprecedented expansion of the
fossil fuel industry here and around the world.
It’s the plain and simple truth: most of us are
inadvertently funding the climate crisis. It’s ironic
– the very savings that are meant to provide for
our futures, could be harming our future.
Scientists have repeatedly told us that two
degrees of warming is the absolute maximum
increase in temperature our planet can sustain
before our climate passes dangerous tipping points.
Two degrees is the reddest of red lines. After
two degrees, warns the scientific community,
comes catastrophic climate change. More than
two degrees is more than likely to be the point
of no return for our climate.
The Earth has already experienced a global
average temperature rise of one degree Celsius
since the industrial revolution – and already
we’ve increased extreme weather events like
droughts, fires, floods and storms. We are
already experiencing the effects of climate
change, and to continue on a business as usual
path would be irresponsible in the extreme.
» Simon Sheikh is former National director of
GetUp! and Founder of fossilfree.com.au, where
you can sign up to switch your savings and
investments to match your values.
» Skeikh is one of WoMaDelaide’s Planet Talk
speakers. WoMaDelaide runs from Friday,
march 7 to monday, march 10.
The numbers are straightforward: to stay
below two degrees, we have a maximum carbon
budget of 565 Gigatons. Currently, the fossil
fuel industry holds 2765 Gigatons in reserve –
almost five times the safe amount. This means
that 80 percent of the fossil fuel assets on the
ledgers of fossil fuel companies cannot be
burned if we are to have any hope of staying
below the two-degree target.
So what does all this mean for our
investments, our superannuation and our
bank accounts?
Some experts are already predicting future volatility in Australia’s coal prices, driven by the
rapid growth of renewable energy worldwide
combined with possible reductions in Chinese
demand.
Fossil fuels are becoming increasingly risky
– not just from a climate change perspective.
HSBC has warned companies such as BP and
Shell that they could lose up to 60 percent of
their value if they don’t change the way they
do things.
Investment analysts are encouraging fossil
fuel asset owners to re-evaluate the economic
viability of coal projects that are on the books.
This increases the risk that investments in coal
and other fossil fuels could become what the
industry calls “stranded assets” – assets that
no longer have the same value they once had.
To protect our planet and to manage their
own financial risks, many people are making
the choice to divest from unethical investments.
Already, thousands of Australians are joining
the divestment movement – switching their
superannuation, banking and energy products
so that their money is part of the solution, not
the problem. Even World Bank President, Jim
Yong Kim, has publicly backed divestment.
While each of our investments alone may not
add up to much, together we have the power
to disrupt the status quo. We can harness our
power as consumers to drive investment in
clean energy, make sure our money is invested
responsibly and send a message to the big
end of town that they must take climate risks
seriously when they’re managing our money.
After all, it’s our future at stake.
Simon Sheikh
rh.com.au/eastern
For all your city and eastern suburb property requirements, please contact Sandy Mount, Raine & Horne Eastern0418 804 423 [email protected]
0331
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14 The AdelAide Review March 2014
Politics
Y ukio Mishima rose to prominence in
the late 1940s. Mystical nationalism,
the virtues of the Imperial Japanese
Army and the idealisation of the samurai
spirit were themes that connected Mishima’s
novels, plays and short stories. Although
the prodigiously gifted Mishima was thrice
nominated for a Nobel Prize for literature, his
political views were widely ridiculed during his
lifetime. In 1970, Mishima committed ritual
suicide after a failed coup d’état. He was 45.
Mishima was not the only Japanese novelist
to use his art form in defence of an ideology
that was discredited following the Pacific
War. Shintaro Ishihara, a close friend and
contemporary of Mishima’s, started his career
as a novelist but subsequently entered politics.
Ishihara, now the leader of the second largest
political party in the National Diet, continues
to write prolifically. His most recent offering
is entitled The Poison of Peace.
It is deeply troubling that Mishima is today promoted as a national literary hero. New
editions of his works feature prominently
in every bookstore in Japan. The novel is
not, however, the only popular expression
of revisionist or xenophobic nationalism. Many serials of wildly popular manga comics
focussed on Japan’s role in the Pacific War,
which take extraordinary liberties with the
facts, have also become wildly popular. The
thinking conveyed through these popular
artistic forms echoes a disquieting reality:
ultra-nationalists have returned to a position
of influence in modern Japan.
Reports of violence targeted at ethnic
minorities in Japan increased dramatically
last year. The Zaitokukai, a far-right
organisation, have become increasingly
active, staging protests in front of schools
attended by ethnic-Korean students. During
this period, the government has adopted a
more confrontational foreign policy vis-à-
vis China and the Koreas. Last December,
Prime Minister Shinzo Abe further inflamed
tensions in the region when he visited the
Yasukuni Shrine, where convicted war
criminals are buried among the 2.5 million
Japanese soldiers.
Over thirty million people died in the second
Sino-Japanese War alone. Nationalism should
have been long since interred by its actions.
Although thoroughly rejected following Pacific
War and subsequent American-led Allied
occupation, its dull pulse was kept constant
in dark corners of Japanese society. Shadowy,
financed and well-connected ultranationalist
Art and evolution
BY andrew hunter
Modern TiMes
organisations remained active throughout
the post-war period. The novel provided an
avenue for nationalism as a philosophical
or ideological expression.
The art of the novel is an exploration of the potential of man - both good and bad. In
literature, as in politics, words are important
because they endure. But if the novel can
play a role returning ultra-nationalism into
a viable political expression in Japan, it can
also provide a path to resistance, helping
to turn the tide of insularity and fear. With
a rich potential to influence comes great
responsibility.
Haruki Murakami is Japan’s best-selling
novelist. Although frequently criticised by
the literary establishment in Japan, he
has received international acclaim and a
number of awards for his literary work.
Murakami has also been an outspoken
critic of the insidious creep of nationalism.
In late 2012, he warned politicians of the
dangers of drinking the ‘’cheap liquor’’
of nationalism.
Unfortunately, Murakami has yet to
use his novels to explore the potential
for a positive, inclusive future for Japan
and for its role in the region. Murakami
seems intent on escaping the Japanese
condition, rather than shaping it. Now,
more than ever, progressive artists need to
have the courage to use their considerable
influence to propose an alternative to the
narrow conservatism to which the world
increasingly appears captive. Writers and
other artists need to commit anew to the
exploration of humanity’s potential for
good.
This is as relevant to Australia as it is to
Japan. Artists have a powerful role to play if we are to help avoid the resurrection of
a politics that proved devastating in the
past. Former Australian Prime Minister,
Paul Keating, recently reflected: “I always
thought the arts were central to a country,
central to a society, holding up a mirror to
itself, celebrating itself.” The arts can also
help shape the future.
In Australia, music perhaps provides
the most potent avenue through which to
encourage a change in cultural attitudes.
Which Australian musician will have the
courage today to stand up and offer an
alternative voice to the diet of dehumanising
language and half-truths the Australian
people are fed in respect to the detention
of asylum seekers?
Popular cultural expressions such as
literature, film, animation, music, even
sport, have the potential to reverse the
recent restoration of intolerance, insularity
and fear. The arts have a profound potential
for positive intercultural exchange and
evolutionary progress, if only those who
value peace and harmony grasp the potential
of brush, pen and voice.
HoT 100 sponsor evenT
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Stop the Navel Gazing
BY MICHAEL BROWNE
Each year PwC surveys more than 1300
company leaders in 60 countries to
better understand the issues their
businesses are facing. While the CEOs surveyed
represent the largest companies, it’s fair to
say concerns are the same across the board,
irrespective of size.
So what are those concerns? In the most
recent edition, PwC’s 17th Annual Global CEO
Survey, there is a positive outlook among global
CEOs that now is a time for growth. Their
positivity also carries over into their views
about the global economy and both the short
and long term prospects for their businesses.
Closer to home, Australian CEOs expressed
a cautious optimism despite a relatively sound
domestic economy. The subdued positivity
was refl ected in both the short and the longer-
term outlook and had declined from 48 percent
in 2013 to 34 percent this year. It is also
noticeably less than their global peers in Asia
Pacifi c (46 percent) and US (51 percent). The
lower confi dence appears to be largely due to
domestic concerns.
The mismatch of confi dence in Australia
highlights the need for a stronger, long-term
vision for business and economic growth. We
need a bold plan to cure our short termism
and secure our future. Reforms in the areas
of tax and infrastructure, as well as a bigger
focus on Asia as an investment partner, are
vital components of that plan.
While CEO optimism varied, they did all agree
that over-regulation was the number one concern
facing business. Australian CEOs were the most
concerned about regulation (85 percent) as the
biggest threat to future business as compared
to their global and regional peers (72 percent).
Making up the top fi ve concerns keeping
Australian CEOs awake at night, were the
government’s response to debt, weak growth
in developing economies, availability of key
skills, a slowdown in high growth markets and
exchange rate volatility.
While Asia’s growth is all the talk, Australian
CEOs have been more internally focussed on
getting their houses in order than seeking to
capitalise on opportunities. Overwhelmingly, they say any planned joint ventures and strategic
alliances will be focussed on Australasia and
not beyond. The downside of this approach
may well see growth opportunities lost.
Australian CEOs are also more vocal
than those elsewhere calling for the need to
reform the tax system. They see reform of
the tax system as a much bigger issue than
their international peers and take the view
that government should make infrastructure
improvement its number one priority.
On the digital front, nearly every Australian
CEO surveyed (91 percent) believes technology
will be the biggest transforming trend for their
business. Their belief is not entirely refl ected
in their actions with less than half (45 percent)
starting or completing a technology change
program that would enable them to adapt and
thrive in the digital age.
Looking at the future concerns and how
Australian CEOs view it as compared to their
global counterparts, it’s obvious we need a
clear vision for the future. It’s time to ‘lift our
eyes’ and consider the risks and opportunities
domestically and internationally over both the
short and longer-term.
Opportunity is on our doorstep with Asia
as our neighbour; however it is important to
» Michael Browne is a Partner at PwC
pwc.com.au
remember that Asia is not one county but many
with a diverse cultural mix. Now is the time to
understand the opportunities and impact the
Asian economies will provide.
It’s important too that business develop an
overall business plan for the digital age, not just a
digital strategy that looks singularly at technology,
systems and processes. Innovation will also be a
key to ensuring business is best placed to meet the
needs of a new generation of consumers.
Customers are becoming accustomed to the
choice that the digital age has brought. As a result
they want more accessible, portable, fl exible,
customised services, products and experiences.
In return for being able to move seamlessly
between the virtual and real world, they are
prepared to share a lot about themselves. Shared
data across multiple channels will mean a better
understanding of customers and in turn grow
brand value and market share.
Now is the time for action. No more
navel gazing, look outward and seize the
opportunities.
16 The AdelAide Review March 2014
COLUMNISTS
Former army special services commander,
James Brown, has said that Anzac Day
has become a military Halloween,
a lavish festival of the dead. That for me
is a description not only of the centenary
commemorations starting this year, but of every Anzac Day for quite a long time, with
the exception of some rural and street corner
services. Third Agers are among those who
detest this.
Little kids sobbing in the streets saying “They
died for us”; teenagers, with pious fervour,
placing wreaths and scripted to say, “They died
for freedom”; inflated prose, macabre tourism...
That’s what Anzac Day has become.
And all the time we know that the
Anzacs, those who survived, had devised for
themselves the perfect commemoration...
the dawn service and a simple march, and
maybe a picnic after.
We have forgotten that, and their taste for
simplicity and contemplation on the day. We
have not shown them respect by ignoring
that.
By the time the centenary festivities are
done, the day will become like Olympic
Games opening ceremonies, each successive
Anzac Day outdoing the ones before. The
funeral games.
Stop: who are we commemorating here?
Mostly, a bunch of kids. Kids who grew up
horribly fast when they found that there was
no glory in war, only suffering, horror and loss.
Aussie and NZ kids, some with horses they
loved, wanting to get away from home for a
bit, see the world, have some adventures, serve
the Mother Country. They became brave and
sometimes heroic and damaged and dead. They
called for their mothers as they died.
Survivors came home to a life forever
changed by what they had seen and endured.
And, try not to forget this (it so often is):
their families suffered from their anger and
sadness, particularly their anger.
I knew these men, some of them, and one
of them was my father. They would hate what
is planned for this year. They felt the absence
of the young dead as we cannot and we should
not try to stage it. Their families watched them
booze away their pain, many of them. Watched
them die young after the peace. Or live on with
lingering illnesses and neuroses.
That kind of pain must not be belittled
by being commemorated by a circus, and
worst of all, the patronising speakers who
have worked the thesaurus for variants of
blood sacrifice, spirit, legacy, pride, ethos;
hoping reflected glory will come to them
as they pull a long face and sing hymns out
of tune. And by manipulated children with
designer tears.
If I had ever thought of going to Gallipoli for
the festival of the dead, my father’s voice in my
head would have scared me off. That voice is
authenticated by his war diary.
War politicised him. It didn’t ennoble or
soften him. The speech he might have made
on this April 25 would scare the pants off the
Prime Minister and other worshipping bigwigs.
Reserved as most returned WW1 personnel
were, I believe they would have found their
voice to condemn the military Halloween.
Let them rest in peace. Look after the
present survivors or war, as James Brown
insists. Teach kids to detest and resist war, to
get on with our neighbours, and to seek glory,
if they need it, in life-affirming work. That’s it.
***
One of the useful things I did in my earlier life
was to challenge the extraordinary powers of
the Australian Bureau of (Census and) Statistics
when they insisted I take part in a nine-month
household survey that included invasive
questions such as “do you have wheezes in
your chest?” But it was on grounds of security
I refused to answer, even though the ABS has
always claimed that its information was secure
and their questioners entrusted with private
information above reproach. I was prosecuted,
I defended – and won. It seems I was the only
successful refusenik, but that might have
changed since this occurred in the 80s.
How happy were my supporters (and there were many), who objected to these inquisitions
to which one must reply or pay (then) $100
per day per unanswered question for as long
as the question remained unanswered. There
is now a healthy internet rebellion about such
compulsory surveys. My case gets honourable
mention.
And now the ABS has popped up again
at my door. I was sick with a killer virus for
their first call and the questioner went away.
I responded shortly after to a note in the
letterbox by phoning, as required, telling them
the virus still had me in its grip. I asked them
ever so politely to stay away. But will they?
After nearly 30 years, they are after me again,
readers. Will the questions this time include
really awful ones like “Are you incontinent?”,
“Do you have an opinion of smokers?” as they
did in the past? How this old woman longs to
tell them to bugger off.
“A daniel come to judgment! yea, a daniel!” Merchant of venice
BY Shirley Stott DeSpoja
Let them Rest In Peace
I walked out in to the garden this morning
in order to recover from some news. I had
heard that a friend of mine had died. I had
known she was ill. I had intended to visit. I
left it too late.
She had one of those cruel, wasting diseases
that leave the mind intact while the body
gradually ceases to work. She knew she was
dying. Her husband Peter told me that in the
last few days there was a sense of peace, and
of permission having been given for her to
leave this life. Her children were grown and
well. Her husband was resigned to losing her.
Peter recalled his mother’s death. Apparently,
her last words were “I never knew it could be
so wonderful.” She meant death. Peter’s wife
didn’t say these words, but the feeling, he said,
was similar. The leaving of life was as it should
be – except too soon.
The news, and my long conversation with
Peter, carried me back to an earlier time in
my life. This couple were crucial to me. It was
largely through my friendship with them that I
first dared to call myself a writer. I had already
published one book when I met them, but I was
not a writer. I had merely written.
It takes readers to make a writer, and their
great talent was reading. Peter and Libby
were the best, most instinctive, perceptive
and careful readers I have ever met. They saw
your intention, and they saw the things you
didn’t know you were trying to achieve. They
told you what you were doing in such a way
that you could see it for yourself. They could
fulfill that profound imperative of E.M Forster’s
– only connect.
Of Readers and writers
BY Margaret SiMonS
sIx squaRe metRes
“Only connect the prose and the passion,
and both will be exalted, and human love
will be seen at its height. Live in fragments
no longer.”
It takes great readers to achieve that kind
of connection. No writer can do it on their
own, or at all. Sometimes I think the talent
of reading is rarer than the ability to write.
And so I walked into the garden to reflect
on this loss. It is about three years since I
last saw Peter and Libby. While they are
frequently in my thoughts, I hadn’t rung,
I hadn’t written. I had made plans to visit,
but I left it all too late.
And in the garden the lettuce has all
run to seed, the leaves on the purple king
beans have the mottled look that comes with
stress, and the passionfruit vine is putting
out small, wrinkled fruit. It seems incapable
of getting sufficient water to its extremities
to combat the effects of forty degree heat.
Midsummer is, in the pagan tradition,
the time of full fruit. It is the tipping point
of the year, when one prepares for harvest
and the preservation of bounty.
I wish. Instead, my garden is ragged and
the weekends have been so hot that I have
not had the will to get out there and repair,
replant and recoup.
Someone once wrote a poem about Libby.
I remember it being shared with the small
group of writers that, at that time in my
life, gathered around the Varuna Writers’
Centre in the Blue Mountains. It was an
observation of her in the garden, travelling
back and forth to the garden beds on a crisp,
cold day with her wheelbarrow. It was an
observation of her beauty.
And so, too late, I have booked my air
fares and will go back to that place and visit
my remaining friend, and we will reflect on
the past, the present and the future.
margaretsimons
THE ADELAIDE REVIEW MARCH 2014 17ADELAIDEREVIEW.COM.AU
HEALTH
In Search of Sunshine Vitamin D is a potential antidote to the current epidemic of autoimmune diseases and a key strategy for public health. Taken consistently, it can provide a foundation for good health throughout the entire lifecycle.
BY PROFESSOR AVNI SALI
Are you constantly fatigued? Do
you experience muscle pain and
weakness, or are you finding it diffi cult to lose weight? Have you
been suffering from insomnia or experiencing
difficulties with concentrating? Have you
recently been diagnosed with bone disease or
musculoskeletal weakness? Feeling depressed?
Recent research shows that one-third of
Australians are currently defi cient in vitamin D.
A vitamin D defi ciency in the human body can
result in all of these symptoms, and many other
chronic health problems, so it’s possible low
vitamin D levels could be your real issue. The
good news is treatment and further prevention
through supplementation, diet and prudent sun
exposure is one of the easiest and healthiest
health reforms we can make.
Australia’s long-held reputation as a nation
of sun lovers has been challenged in past
decades by the important need to protect
the skin from harmful rays and the dangers
of skin cancer. Public health researchers,
in light of recent research into the dangers
of low vitamin D levels, are now calling for
a revisit of sensible sun exposure, fearing
that deficiency has the potential to become
a major public health issue.
A Deakin University Study in 2012 found that
42 percent of Australian women are vitamin
D defi cient in the summer, while for men, the
rate was 27 percent. The same study found the
prevalence of vitamin D defi ciency increases
with age, especially for women, and that obese
or inactive people were twice as likely to be
defi cient.
Recommendations for vitamin D
therapy include:
PRUDENT SUN EXPOSURE
To restore or maintain vitamin D in the body we need more than just casual exposure – daily
sessions for timed periods are necessary to
keep our bodies in a steady and supported
state of vitamin D production. The ideal time
periods will depend on personal circumstance
but the following protocols and conditions will
be helpful in determining what is most suitable
for you. An Integrative Medicine practitioner
is also able to ‘prescribe’ the right combination
of vitamin D therapy needed for your situation.
Here are some recommendations:
• Take time out in the sun every day (for fair
people six minutes in summer, 15 minutes in
winter) until skin is slightly pink. Build up to
ideal exposure times slowly. • Expose at least 15 percent of your body,
especially large limbs including the torso, and
parts of the body not normally exposed.
• Account for time of day and the season. The
optimal vitamin D times are midday in winter,
and mid-morning or mid-afternoon in summer.
• Apply sunscreen immediately after your
timed exposure session if you plan to be outside
longer.
• Remember UVB, the vitamin D rays cannot
penetrate glass/windows • Where you live will also affect optimal sun
exposure dependant on how close you are to
the equator
• Vitamin D therapy is appropriate for every
age, and particularly relevant in older age
groups. Ensuring adequate vitamin D levels
in young children is a terrifi c proactive measure
that can bring about long-term health benefi ts.
ADD VITAMIN D-RICH
FOODS TO YOUR DIET
In an Integrative Medicine-based approach
to health, diet is one of the most vital ways
in which we can achieve optimal health and
prevent disease. Fruits and vegetables, quality
grains and a regular intake of good proteins
including oily fi sh and other omega 3 rich foods
will help us achieve our health goals. Some
foods are a rich source of vitamin D (and other
essential nutrients) so it is useful to plan your
menus so that each meal includes something
from the following list:
Eggs (including the yoke), vitamin
fortifi ed cereals, full fat cheeses and fortifi ed
dairy products, plain yoghurt, oily fish
such as salmon, tuna, mackerel, sardines,
oysters and black caviar – especially if raw.
Mushrooms especially shitakes (but also button
mushrooms) are good sources of vitamin D if
grown in sunlight. Last year, a study showed
that mushrooms grown indoors could be
put in sunlight for about two hours and this
produced a very high vitamin D content in the
mushrooms. Keep an eye out for other vitamin
D fortifi ed foods that appeal as long as they are
not overly processed.
9 POPULATION GROWTH Aggressively implement strategies designed to increase the population of South Australia including foreign students. Seek a differential migration status for South Australia.
CCF SA“Civil Contractors have been the backbone
of South Australia’s economy since European settlement. Let’s get the handbrake off so this important sector can continue
to build the South Australia our citizens deserve.”Phil Sutherland, Chief Executive Officer, Civil Contractors Federation – South Australia
9 INFRASTRUCTURE RIGHT TIME – RIGHT PLACE Establish an
independent body able to objectively and transparently assess and prioritise
infrastructure projects. Prime Minister Abbott says he is the Infrastructure PM.
Leverage this! Generate public/private partnerships in infrastructure. Create incentives
for private sector funding. Consider alternative and non-traditional funding strategies.
9 REDUCING BUSINESS COSTS Reduce the cost burden of doing business in South Australia. This includes taxes, power, water and WorkCover, and government fees and charges. Embark on major tax reform. Replace the current system which is based on an old economy. Focus on an incentive based tax regime.
9 DEREGULATE AND PROSPER Address the growing, costly, repressive
regulatory regime that is putting a hand brake on business including compliance
requirements, paperwork and red tape. Don’t just trim. Cut and deregulate! All
approval processes to be subject to strict time limits. Actively support business
start-ups. Establish regulatory one stop shops or on-line processes.
9 SIZE SHOULDN’T MATTER Contractors, regardless of size, to have access to government work on a fair, reasonable and equitable basis.
9 WHAT’S GETTING IN THE WAY? Establish a Productivity Commission of Audit to examine every facet of the relationship between government and business and eliminate impediments to productivity.
9 GOVERNMENT THE ENABLER Adopt a small government model. Government should be an enabler and not a deliverer unless there is a market failure. Government should not compete with the private sector for work. Public sector needs renewal. Discard public policy settings that have more to do with the past than the future. Encourage greater interaction between government and business.
9 A SMART WORKFORCE Formulate a cross sectorial work force education and training strategy so South Australia has the right skills at the right time. Promote science and technology in our schools.
9 REGIONAL DEVELOPMENT Encourage private, including foreign,
investment in regional economic development, and implement strategies
designed to differentiate SA from the other states, e.g. introduce special
economic zones so that SA is an attractive destination for investment dollars.
Increase public investment in regional SA.
9 A STRONG ECONOMY Work to the strengths of our broad based economy – focus on fishing, agriculture, mining, defence, education, wine, tourism, lifestyle. Take a global view. Focus on country, region, and brand. Collaborate with Austrade offices throughout the world. Maximise economic opportunities by moving up the value chain. Leverage our geography including climate, clean air, great beaches and open space. Promote collaboration. SA should be a state characterized by partnerships, joint ventures and alliances so as to provide the capacity and balance sheet to compete globally.
9 INFRASTRUCTURE RIGHT TIME – RIGHT PLACE Establish an
9 PROSPERITY THROUGH INFRASTRUCTURE Develop a long term infrastructure plan (pipeline) of shovel ready projects of differing sizes accompanied by a budget, time frame and schedule of works, designed and prioritised to stimulate the economy and give the tax payer and the community the best return on this investment.
start-ups. Establish regulatory one stop shops or on-line processes.
9 SIZE SHOULDN’T MATTER Contractors, regardless of size, to have
9 SUPPORT LOCAL BUSINESS Preference local firms for government work and procurement. Build local capacity.
9 WE ALL HAVE SOMETHING TO OFFER Unlock the power of our older citizens who have much to offer in expertise and experience. Facilitate their involvement in the paid or unpaid workforce. Encourage volunteerism, part time and casual work opportunities for this demographic.
“Civil Contractors have been the backbone
– Your recipe for success – Your recipe for successPoliticians
18 THE ADELAIDE REVIEW MARCH 2014
EDUCATION
“Everybody writes, but there are few
writers. Everybody photographs, but
there are few photographers.” Today, 20th Century art historian Beaumont Newhall’s
(paraphrased) words seem ahead of their time.
Photography surrounds us and cameras are
always at hand. The number of photographs made
and circulated has never been greater. But don’t let
this dishearten or annoy you — take control of the
medium. Understand it and learn to use it for good.
The Centre for Creative Photography (CCP)
is the only private photographic school in
Adelaide with accredited courses. It offers a
Certifi cate IV and Diploma of Photoimaging as
well as one-day workshops and private tuition.
There is a strong ethos to deliver fl exible
study options. Students can complete the
qualifications at their own pace, full-time
or part-time. But it is also possible to select
individual subjects from the program. With
rolling admissions, students can begin in any
of the four school terms.
Gavin Blake had such a system in mind
when he founded the CCP in 1997. He was the
sole lecturer, teaching only six students. Now,
hundreds of students pass through each year and
the school’s facilities have expanded accordingly.
The dynamic training program encompasses
all aspects of photographic practice. There is a
foundation of solid theoretical education married
with rigorous practical work. All CCP lecturers
are professionals practicing and teaching in their
areas of expertise. There is a range of views from
the spectrum between commercial and artistic.
Gavin Blake insists that the success of the CCP
lies in their expertise and dedication.
The school is also a resource centre for
photographers, with facilities for hire to
professionals. A symbiotic relationship with the
photographic industry is valuable to both students
and practitioners. In this spirit The CCP also houses
The Light Gallery, run by Curator Mike Lim. It is
the only dedicated photographic gallery in Adelaide
and exhibition proposals are always welcome.
The Light Gallery is showing the exhibition Swingabilly until Saturday, March 15. The
work by Chris Oaten, former CCP student, is
an enthralling view of colourful characters from
Adelaide’s rockabilly scene.
Term 2 commences Monday, April 28
and enrolments are open. The CCP Autumn
Workshop program runs from April 5-13.
For more information about your chance
to work in this challenging fi eld as an artist,
commercial photographer or for personal
interest please contact the CCP: 8354 0839 .
DEVELOPING YOUR LATENT PASSION EDUCATION
FEATUREThe Adelaide Review’s
Education Feature focuses on creative education in the arts
First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massage
Over 300 short courses. Apply now.www.tafesa.edu.au/shortcourses
First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising
Art of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massageProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massage
First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic Design
First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesForklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massageArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massage
First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic Design
Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic Design
The AdelAide Review March 2014 19AdelAideReview.com.Au
ADVERTISING FEATURE
The Adelaide Central School of Art
prides itself on the industry success
of its lecturing staff and graduates.
The School employs leading contemporary
artists to develop and deliver a studio-based
teaching program that cultivates sophisticated
practical skills, underpinned by intensive
conceptual investigation. The School’s recent
move to the Glenside Cultural Precinct has
expanded its operational capacity, providing
a solid platform for continuing to nurture the
success of its staff and students.
In 2013, Annalise Rees, artist and former Head of Drawing at the Adelaide Central
School of Art, was included in the exhibition
HEARTLAND at the Art Gallery of South
Australia. Rees’s work was an interactive
collision of sculpture and drawing that
invited participants to respond to her ongoing
obsession with architectural space.
Artist and lecturer Julia Robinson is presenting
The Studio as part of the 2014 Adelaide Biennial of
Australian Art: Dark Heart, currently on display
at the Art Gallery of South Australia. Robinson,
the first artist to present The Studio, has designed
an interactive installation imbued with playful
references to superstition.
Artist and Head of Sculpture at the School, Roy
Ananda, has been commissioned to produce a
work for the Samstag Museum of Art. Ananda’s
sculpture, Slow crawl into infinity, will cascade
through the Gallery in a work referencing
cinematic conventions and popular culture. His
work will be on display from early June.
The School’s lecturing staff and graduates
have been awarded international studio
residences to help support the development of
their art practices. In 2013 artist and painting
lecturer Mary Jean Richardson was awarded
the Australian Experimental Art Foundation,
Cibo Espresso Studio Residency at the British
School in Rome. For Richardson the residency
was an opportunity to immerse herself in the
European gothic narratives which inform her
painting practice. In 2014, artist Nic Brown,
a former student of Richardson’s, will follow
in her footsteps having been awarded the
same residency.
The School’s Head of Contemporary Studies, Nicholas Folland, is the subject of the 2014 South
Australian Living Artists publication. Folland is
a nationally recognised sculptor and installation
artist, known for his poetic activation of materials
such as cut glass, crystal and ice.
Folland’s dedication to both his art
making practice and his role as an educator
is consistent with the School’s commitment to
connecting students with leading exponents
of contemporary Australian art.
CulTivaTing SuCCeSS
When most people think of a TAFE course,
they think of fulltime commitment of six
months or more, but that’s not always
the case. As South Australia’s largest and most
experienced vocational training provider, TAFE
SA offers a wide variety of short courses - over
300 in fact. Short courses are a great way to learn
something new, expand on existing knowledge or
even get a taste of a different career.
With course areas ranging from language,
creative arts and hospitality and business,
through to building, construction, health and
agriculture, there is something for everyone.
Courses are held at different times, many
outside working hours, and with 55 TAFE SA
campuses and learning centres across the state,
as well as many courses being online, it’s easy
to study at a time and place that suits you.
All TAFE SA short courses offer small classes,
meaning individual attention and the opportunity
to learn at your own pace. You will also get
“hands-on” in courses that can provide pathways
to nationally accredited qualifications.
Professional Writing student, Margot Albrecht,
commenced her training at TAFE SA by enrolling
in the Creative Writing short course in 2011.
“I’ve always had a keen interest in writing
and was looking for a career change but was
too scared to take the plunge. I decided to give
» For more information about short courses
visit tafesa.edu.au/shortcourses
or call 1800 882 661.
TaFe Sa ShorT CourSeS Provide The TaSTe oF a neW Career
the Creative Writing short course a go to see
if I had the writing skills I needed to make
a career out of my passion. By taking on the
short course I was able to get a good feel for
the work required and of the teaching style of
the lecturers. They encouraged me to take my
learning further,” Ms Albrecht said.
Inspired by her experiences in the Creative Writing short course, in 2012 Ms Albrecht
successfully applied for the Advanced Diploma
of Arts (Professional Writing).
“During the course I have written and performed
poetry and short stories and had the chance to
work collaboratively with fellow students. I have
just commenced the third year of my Diploma and
I’m studying scriptwriting for film and television. I
am very excited to have been given the opportunity
to work with award-winning South Australian
novelist Vikki Wakefield, who will be mentoring
me as I write my first novel,” she said.
With many short courses set to commence
in the coming weeks, now is the time to study something you’ve always wanted to, but never
had the time.
acsa.sa.edu.au
20 THE ADELAIDE REVIEW MARCH 2014
BOOKS
THE RAVEN’S EYE Barry Maitland / Allen & Unwin
BY WILLIAM CHARLES
Former architecture professor Barry Maitland
continues his entertaining series featuring DCI
Brock and DI Kathy Kolla, this time amid the
mazy canals and private clinics of the UK. When
Vicky Hawke is found dead on a London canal
houseboat, the fi rst anomaly is that this is not her
real name. She was in fact Gudrun Kite, daughter
of a grieving Cambridge professor of Scandinavian
mythology whose other daughter, Freyja, had also
died in mysterious circumstances not long before.
Both daughters had been working in the fi elds of
hi-tech encryption and surveillance technology
and, following their noses, Kolla and Brock are
soon sniffi ng around a private medical clinic where
secret operations on animals and humans are
taking place; Kolla also falls into the perilous web of
Jack Bragg, cleaver-wielding gangster and butcher
– and unwilling patient at said clinic. Throw in a
group of houseboat-dwelling anarcho-greenies
and, within the police ranks, new brass enforcing
management-speak and organisational rationalism
upon the spontaneous Brock and Kolla, and the
fuse is lit. Smart characterisation and beautifully
paced the whole way through, this is once again
high quality crime fi ction from Maitland.
THE GREAT UNKNOWN Angela Meyer (ed.) / Spineless Wonders
BY DAVID SORNIG
In Krissy Kneen’s ‘Sleepwalk’, the opening story
in this anthology of the strange and unsettled,
a woman wanders the house every night in her
slumber taking photographs that reveal a haunted
other world in the midst of the mundane and the
domestic. It’s a truly creepy signature piece that
reveals the premise of the rest of the collection
as its writers show how the normal can be so
easily disturbed. Chris Somerville develops the
collection’s implicit political colour in ‘The Rift’,
a simultaneously very real and surreal story of
disconnection and violence in the wake of modern
war. Carmel Bird’s coolly-told ‘Hare’ delivers all
and none of the answers to a whodunit murder
mystery. While there are a few less-polished stories
that hint that this is also a testing ground for less-
experienced writers, the collection is dominated
by strong work from some of Australia’s best
contemporary fi ction writers: Ryan O’Neil, Ali
Alizadeh, P.M. Newton, Paddy O’Reilly. Even
philosopher Damon Young expertly turns his hand
to fi ction. Editor Angela Meyer has assembled an
entertaining, disturbing and thought-provoking
collection that continues small publisher Spineless
Wonders’ commitment to the short form.
SAINTS OF THE SHADOW BIBLE Ian Rankin / Orion Books
BY ROGER HAINSWORTH
At last Rebus is really back! He has re-
joined the Edinburgh cops under a new
scheme to recruit experienced detectives.
This reinforces my long held suspicion that
Rebus is Michael Connolly’s Harry Bosch
with a Scottish accent. Hugely popular
Californian writer Connolly found he had
to pull his famous detective out of retirement
a few years ago, and posted him to a cold
case unit. In Rankin’s gripping last novel,
Standing in Another Man’s Grave, Rebus is
attached to an Edinburgh cold case unit as a
civilian consultant before re-joining the force.
Of course what really matters is that Rebus
and Bosch are great detectives. They might
be hopeless team-players, seen as dangerous
mavericks by their superiors, and at their best
playing loan hands. However, both combine
the single-minded persistence of sniffer dogs
with a capacity for lateral thinking and spotting
connections others miss.
Rankin’s new story has the bite of an
anaconda and even more coils. Rebus is in
an odd situation even for him: he is a suspect
- albeit only a minor one. Elinor Macari,
Solicitor General for Scotland, has got the
double-jeopardy law changed: you can now
be tried twice for a very serious offence if
the original investigation was bungled or if
new evidence has come to light. Macari is
determined to retry a criminal, Saunders,
who got away with bashing a man to death
30 years earlier because the team from the
local nick, Summerhall, blundered badly.
The leader of the team, Stefan Gilmour, fell
on his sword and resigned. He is now a self-
made millionaire. A late and very junior team
member was John Rebus. There are strong
suspicions that a lot of irregular goings-on,
some of them criminal, had characterised
the Summerhall team and that the ‘blunders’
were deliberate. Saunders was a very useful
informer and Gilmour (it is claimed) wished
to protect him. Rebus, the member the
team did not trust because he had become a
copper too recently, had always felt there was
something else behind the Saunders fiasco.
Inspector Fox of The Complaints, the body
that investigates cops, is Macari’s choice to
delve into Summerhall’s murky past.
Fox had earlier opposed Rebus’s application
to re-join because he had wrongly believed he
was ‘bent’. Now he has to work with Rebus
because he is the man with inside knowledge of
Summerhall but was too junior to be seriously
involved. The surviving members of the team
(all retired) want Rebus to be their mole. Fox
wants Rebus to betray their secrets when he
discovers what they were.
In the background is the continuing
campaign for Scottish independence. In
addition to his work for Fox, Rebus has to help his old junior, now his immediate
boss, Siobhan Clarke, on a strange case
that seems simple enough but gradually
assumes a labyrinthine complexity. A Scottish government minister prominent in
the campaign is killed. It proves a challenging
test of Rebus’s investigative skills and (as
we expect from Rankin) is superbly plotted.
Then in the middle of it Saunders, the key
to the Solicitor General’s investigation,
disappears…
Artist Demonstrations Thursday March 20 & Sunday April 6
GROUND FLOOR GALLERY 7 March – 21 April 2014
BAY DISCOVERY CENTRE Glenelg Town Hall, 1 Moseley Square Glenelg Open 10am to 5pm Daily Ph: 81799508
An exhibition of tactile stories told through exquisite fine art embroidery.
holdfast.sa.gov.au
It’s all about the Journey Cheryl Bridgart
AMCHAM IINET BUSINESS LUNCHEON
T: 8212 4688 E: [email protected]
FRIDAY 28 MARCHInterContinental Adelaide 11.45 – 2PM
THE FUTURE OF DEFENCE IN SA
REVIEWTHE ADELAIDE
Warren KingChief Executive Officer, Defence Materiel Organisation
David AllottChief Executive Officer, BAE Systems Australia
Dean RosenfieldManaging Director, Saab Systems
THE ADELAIDE REVIEW MARCH 2014 21ADELAIDEREVIEW.COM.AU
FASHION
FASHION RENDEZVOUS
GILLES STREET MARKET
Sunday, March 2 and Sunday, March 16,
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.
The store, simply called BNKR, a
simplifi cation of their FSHN BNKR
online outlet, will be housed at the
old Commonwealth Bank site on the
corner of Rundle Mall and Pulteney Street.
Dean explains their intentions.
“It’s a flagship store, so it’s showcasing
everything we do in one location. It’s about
selling the lifestyle and building the brand’s
awareness. The fi rst one will be in Adelaide,
obviously because we’re in Adelaide, and then
once we get the concept right we’ll roll them
out – one in Sydney, LA, New York, London,
Berlin, Hong Kong, Tokyo, Auckland and
Johannesburg, as we have distribution points
in all of those cities already.”
BNKR will consist of concept concessions
based around their labels; each will have its
own identity and aesthetic. This ensures that all
the thought and effort that goes into designing
the collections will be on display to the public
for the fi rst time.
“The vision that the designer has and the
vision behind it is what you’ll see,” Dean
explains. “You’ll see it in the window displays
with the editorials. We put a lot of effort into
photography for editorial and lookbooks just
for wholesalers to see, but now the customer
that buys it will also get to see it.”
The aim is that the stores will be practically identical no matter what location you visit,
featuring the same collections, editorials and
designs that are all created at their Currie St
headquarters. The designers have already
become accustomed to designing monthly
collections that are diverse enough for both
southern and northern hemispheres – a key to
ensuring the brand’s success internationally,
with Finders Keepers stocked in Harrods,
Cameo in Bloomingdales and Keepsake in
Urban Outfi tters. The strength of their brands
are only set to continue from here, with high
street wear label Jaggar reaching stores in
May and newest label, aptly titled The Fifth,
scheduled for June.
While the Flintofts have been discussing a
retail store for several years, the opportunity to
land the perfect Adelaide location kick started
the endeavour. Besides the practicality of
opening their fi rst store in the city that they’re
based in, Melanie has been impressed by the
wealth of talent, determination and passion
that Adelaide creatives have for the fashion
industry, attributing their hard work and
enthusiasm to the business’s success.
“We’ve got such great talented people – so self-driven and motivated. They’re coming
up with their own ideas and making them
happen. When you see your own idea come to
fruition and get the amazing feedback it really
just drives you and makes everyone excited,
which then makes the whole team excited. It’s
a really young team of people that are doing
really clever stuff, and they’re getting a global
reaction from it. There’s no better feeling then
that, is there?”
This faith in their team and the speed in which they work has seen Australian Fashion
Labels swell, employing an extra 27 people
in the last 12 months and still needing more
to staff in their design, production and
marketing teams – in addition to staffing
the retail store and the infrastructure behind
it. Their close relationship with TAFE SA –
located next door to the fashion school – has
meant that they have been able to select and
nurture many of Adelaide’s most talented
young designers before they look interstate
or overseas for opportunities that without
Australian Fashion Labels may not have been
available to them.
Other additions to the business for 2014
include a line of shoes that will correspond with
the collections for each label, which is expected
to be implemented by mid-year. Melanie is
confi dent about the company’s growth, and
is glad that these new endeavours for their
business will take place in Adelaide, as not
only can they have a hands on approach, but
help reinforce what they’ve always believed
– that Adelaide can produce work worthy of
international acclaim.
“They say if it works here, it works anywhere,
right?”
In the last few years, Melanie and Dean Flintoft have grown their fashion house – Australian Fashion Labels – from a local institution to a global phenomenon. The brand has thrived based on a wholesale and online
business model; although in April they will open their very � rst � agship store in Adelaide’s Rundle Mall, showcasing all their brands in the one place.
fashionbunker.com
australianfashionlabels.com.au
INTRODUCING BNKR
BY LACHLAN AIRD
AUTUMN EDITION A
TTITUDEMAGAZINE.COM.AU
OUT MARCH 20TH
A T T I T U D E
AUTUMN EDITION AUTUMN EDITION
22 The AdelAide Review March 2014
WIN / OPINION
Mr Morgan’s Last Love preview screening
Trak cinema, 375 Greenhill road,
Toorak Gardens
Monday, March 3, 7pm
A look at the life-changing connection
between a retired and widowed American
philosophy professor and a young Parisian
woman. directed and written by Sandra
Nettelbeck. Stars Michael Caine, Michelle
Goddet and Jane Alexander.
thank You for the Music
capri Theatre, 141 Goodwood road
Sunday, March 9, 2pm
The Theatre Organ Society presents ‘Thank
you for the Music’ – a celebration of movies,
musicals and all things cabaret featuring
pianist, vocalist and theatre organist Mathew
loeser.
win!FOR YOUR ChANCe TO wiN, eNTeR YOUR deTAilS AT aDELaIDErEVIEW.cOM.aU
wadjda
Palace Nova East End cinemas,
cinema Place
From Thursday, March 20
An enterprising Saudi girl signs on
for her school’s Koran recitation
competition as a way to raise the
remaining funds she needs in order
to buy the green bicycle that has
captured her interest. directed and
written by haifaa Al-Mansour. Stars
waad Mohammed, Reem Abdullah and
Abdullrahman Al Gohani.
aLLiance francaise french fiLM festivaL
Palace Nova East End cinemas,
cinema Place
Thursday, March 20 to Saturday, april 8
Returning in spectacular form for its
25th birthday, the Alliance Francaise
French Film Festival will transport
audiences to a nation awash with
colour and romance through an
evocative program of keenly anticipated
new features and documentaries.
Maestro series 1- new worLd
Elder hall, North Terrace
Sunday, March 30, 6.30pm
welcome Adelaide Youth Orchestra as
they launch into their ‘New world Order’
for 2014 with three stunning and
diverse works: Copland’s homage to
all men serving in world war ii, Saint-
Saëns’ virtuosic third violin concerto
and dvorák’s much loved American
composition, Symphony No 9.
“Sometimes in government people write
in convoluted ways using language which
hides or confuses the real message they
want to convey.”
Thus begins an introduction to plain English,
penned in 2007 by a youthful new minister,
keen open-space aficionado by the name of Jay
Weatherill, then minister assisting the Premier
in Cabinet.
Regular visitors to Adelaide now know that Jay has since ascended to the summit and
has been South Australia’s Premier for three
challenging years. This month his Labor team
faces its fourth state election in a row.
“Writing in plain English sends clear
messages about what the government is
doing...” Jay told readers way back in 2007.
This came as a surprise to Monty. More often
in his experience it is about governments
explaining why they have not been able to do
what they claimed they keenly wanted to do,
in the days leading up to the previous election.
Jay’s preface, in a booklet titled Plain English, Good Practice Guide, was published
by a body called the Government Reform
Commission. Reforming the government or
reforming the readers? It didn’t say.
Jay’s Guide gave several examples, which were
described as gobbledygook. Here’s one. “With
only a year remaining to July 2008 there is a
risk that the state government may not deliver
on its committed targets.” Plain English proposed
replacement: “With only a year remaining to
July 2008 we may run out of time to achieve the
target.” Ah, clarity! Blame time. Why not? The
Opposition shouldn’t accept all of the blame, all
of the time. The cat o’ nine tails for Father Time!
Much time has passed since then, and the excuse
is just as useful six years later.
Monty scoured the document for the Eight
Most Preferred Government Words, but found
no reference to Boost, Bolster, Buoyant, Robust,
Full’n’Frank, Finesse, Leverage and Vibrant.
Each appears to have slipped out of the room
while the document was being prepared,
illustrating that timing is everything. The word
Time is revealing in itself. Early in SA Labor’s
second consecutive term, a 2006 survey by
the publishers of the Concise Oxford English Dictionary revealed that Time appears in the
top-25 list of commonly used words. So did the
words Government and Problem. Can you see
a pattern there?
The state election in a few days prompts Sir Monty to pen a tribute to the political career of labor’s top man for the benefit of the visitors
flooding our fair city.
BY SIr MONTEFIOrE ScUTTLEbUTT
Montefiore Similar patterns can be seen among the adjectives
littering the floor around the government shredder
on the green, deep-pile Axminster of the South
Australian House of Assembly. These words sound
rather like a collection of military gentlemen,
loitering in a corner, ready to be trotted out on
important occasions. They include the lower-
caste Corporal Punishment; the more officer-
like Major Development; and the higher ranked
General Reform. These old boys strut about the
news releases, but it’s hard to find any reference to
Lance Corporal Cock-up or Brigadier Bluster, the
officer usually brought in to bail out the said Lance
Corporal at door-stop interviews late on Friday
nights when TV crews have all gone to the pub.
“My eighty-one year old grandmother still rides
her Harley motorbike her toy poodle balances in a
basket between the handlebars.” Wait for it. That
sentence really did appear in Jay’s Guide. It’s in a
section committed to teach the uninitiated about coordinating conjunctions. Add a comma, plus
the word ‘and’ after motorbike, and the sentence
will make more sense, Guide readers are advised.
But it does leave a legacy of questions about
our still-youthful Premier. Why is his 81-year-
old grandmother riding a motorbike? Can’t the
poodle run alongside the Harley? If our Police
Commissioner Ken Burns sees the said poodle in
the basket between the handlebars, should he write
Jay an expiation ticket? If not, why not? Everyone
else is getting one, for one transgression or another.
Should the Director of Public Prosecutions know in
advance? Although Jay was only a junior minister
in 2007 when this is alleged to have occurred, he’s
now Top Dog. And Monty doesn’t mean the poodle.
On the subject of the inexorable passing of time,
Jay’s Guide advised that readers should “avoid or
minimise the following” - At the end of the day;
On a weekly basis; At this moment in time; and
Going Forward. Monty anticipates the day that a
Government of South Australia letter advises him:
Dear Sir - At the start of the day, or at least on a daily
basis, the matter is Going Backwards. Ah, Brutal
Honesty: I knew him well! That might win a plain
English award were it ever to escape the confines of
the Cabinet office, the only place you might find it.
Jay’s Guide concludes by quoting shamelessly a
fellow named Eric Blair, a poverty stricken British
writer with a toothbrush moustache and a habit for
cheap tobacco in the 1940s who used the pen name
George Orwell. “Good writing is like a window
pane,” Jay quotes. Perhaps Jay was being cryptic?
Wasn’t his advice supposed to be about plain
English and clear communication? On checking the
Orwell quote, Monty found another, elsewhere, by
the same writer. Jay should have used that. It was
more transparent. “Political language is designed to
make lies sound truthful and murder respectable,
and give an appearance of solidity to pure wind.”
(Politics and the English language, Horizon, no 13,
1946.) Since Jay’s the top dog and also treasurer,
he might find a few dollars for a revised reprint of
Plain English, Good Practice Guide for the next
administration. Besides, the grandmother would
now be 88 and we’re keen to know whether - in
an election year - the poodle still does motorcycle
tricks. Given what’s happened in recent weeks,
it could be a useful diversionary stunt for a party
pedalling up a very steep hill.
www.facebook.com/BuySouthAustralianEnter at:
South Australian PrizeGIVEAWAY
Buy South Australian and The Adelaide Review have teamed
up to offer a monthly all South Australian giveaway.
WIN
This month’s prize is two tickets into ‘FIVEaa Locker
Room’ at the ‘Balfours Showdown’ on Saturday 29
March, valued at $480!
The AdelAide Review March 2014 23AdelAideReview.com.Au
PERFORMING ARTS
Watson Miller is Luminous’ director.
She is a top-class body painter,
having competed in the World
Bodypainting Festival and was crowned Australian champion of the art in 2011. Her
work is internationally recognised and Luminous
is billed as “the only show of its kind in the world”.
Standing out in the Fringe – where dozens of shows compete to do just that – can be a struggle
but when you are a champion body painter, have
a swag of UV lights, and circus performers on
your side, that task gets easier. When asked
what drew Watson Miller to body painting over
another creative practice she explains that the
impermanence of the art is what fascinates her.
“You can’t put your artwork away and come
back tomorrow with body painting, because
your canvas will go and take a shower.”
Luminous is a way to combine things she
loves; circus and UV body paint. Like any good
Fringe show, Luminous draws on the skills
of the cast to be more than just performers.
Everyone has something to contribute, be it
ideas for new contortion positions, juggling
routines, disappearing acts or electricity and
lighting expertise. That said, creating a show
of such complexity is no cakewalk. Since light and objects create shadows, full coverage of
the arena is important to maintain the illusion
of glowing specimens onstage. Watson Miller
explains that one solution to this was to
construct umbrellas with their own UV lighting.
Unfortunately, these were lost in a taxi on
the opening night of the Fringe. Attempts to
recover them, including a pleading Channel
10 Tweet and Luminous’ producer putting her
number on a huge blackboard in the middle of
town, have been unsuccessful.
Black light, body paint and circus are three things that are rarely combined but Jessica watson miller says combining these different elements is the point of her show luminous.
By John Dexter
Luminous
» Luminous
Gluttony (la Petite Grande)
continues until Sunday, march 2
gluttony.net.au
Performed at La Petite Grande in Gluttony,
Luminous shares its space with a few other acts.
Since the other acts don’t rely on the tent being
completely blacked out, along with UV lights
and circus equipment, there is an almighty
bump in and out each night. Aside from the
sets, there is the paint to clean up inside the
venue, as well as off the performers.
“By the end of the show there is body paint
everywhere: on the bottom of peoples’ feet,
inside suitcases. Our producer even got some
on her the other day and she’s not in the
show.”
Constructing and taking down the Luminous set, plus cleaning the paint off
performers and props, speaks to the same
temporary nature of the show that Watson
Miller is so enthralled by.
With shows selling out, the chance to see
this one-of-a-kind performance might soon
disappear as quickly as paint in the shower.
30 March to 6 April 2014
Adelaide, South Australia
Artistic Director Janis Laurs
Telephone +61 417 889 996
Email [email protected]
www.adelaidecellofestival.com.au
Featuring performances and Master Classes by
Lynn Harrell USA
Li-Wei Singapore/Australia
Marko Ylönen Finland
Leonard Elschenbroich Germany
Pei-Jee NgUK/Australia
Pei-Sian NgSingapore/Australia
Eugene FriesenUSA
Rushad EgglestonUSA
Howard Penny Australia
Georg Pedersen Australia
Louise McKayAustralia
Janis Laurs Australia
Giovanni Sollima Italy
Concerts, recitals, lectures, Master Classes and the Cello Building Project
Winner of the Ruby Award
for “Best Event” in 2011
Featuring the
Adelaide Symphony Orchestra
conducted by Arvo Volmer
24 The AdelAide Review March 2014
PERFORMING ARTS
The London Sinfonietta came out
in 2010 to play two concerts of
Glass, Nancarrow, Bryars and
Brett Dean, and before that the
Adelaide Symphony Orchestra was tasked
with the job of programming new music
– Absolute Ensemble in 2004 and John
Adams’ Dharma at Big Sur in 2008. But
since then, the festival has rather dropped
the ball, favouring more mainstream and
eclectic forms of contemporary music over
new classical music, which because of its
perceived listener challenges sadly often
sits in the too-hard basket.
With the promise of changing all that,
along comes one of today’s originals
of the conducting scene, Ilan Volkov,
to help curate the 2014 Festival. This
young Israeli-born conductor is an
uncompromising experimentalist,
liberalist and reformist all rolled into
one, with an intriguing train of successes
behind him centering on his Tectonics
Festival, which began in Iceland’s
Reykjavik in 2012. Named after the
geographic point in that country where
the European and North American
tectonic plates meet, Tectonics has also
shown in Glasgow and Tel Aviv. This
year it debuts in Adelaide and New York.
Volkov’s Tectonics concerts so far have
seen avant-garde era works by Christian
Wolff and Morton Feldman jam up
against pioneering ‘process music’ by
Alvin Lucier (‘I Am Sitting in a Room’,
1969) and up-to-the-minute, grungy DIY
electro-acoustic improvisations.
Tectonics Adelaide will be a
compressed version of the original
event – it runs on consecutive days in
two concerts, four hours 30 minutes
and seven hours 30 minutes each, at the
Grainger Studio and Queen’s Theatre.
But the aim is the same: to create a
meeting ground for different styles of
music that otherwise rarely intersects.
Experimental electronic composers,
improvisers and sound installation
artists will combine with their orchestral,
chamber and solo classical counterparts.
Trust, he says, is an important thing
from the audience’s perspective. “If
you look at art galleries and how many
people visit them, there’s a huge interest
in the art world in new work. Music is
a different thing. It is very immersive;
you have to trust the composers and
performers to be able to give your time
to them.”
» Tectonics adelaide
adelaide Festival
Program One: Grainger Studio, Sunday,
March 9 (2.30pm to 7pm)
Program Two: Queen’s Theatre, Monday,
March 10 (2.30pm to 11pm)
adelaidefestival.com.au
ilan volkov
Shifting GroundNot for the last three Adelaide Festivals have we seen a serious commitment given to new orchestral music.
by GrahaM STrahle
Volkov contends this does not mean
popular taste has to then arbitrate on
artistic decision-making. He prefers,
he says, hard-edged experimentalism
and styles of more popular appeal being
able to co-exist but to do so within a
single creative environment. “It is good
to have both, but what I’m ultimately
interested in is not something that’s
‘audience friendly’. I don’t believe in that.
I’m not here to serve people, because if
people have the mentality that they are
paying for something like they’re going
to supermarket, they should go there or see a film. I have a responsibility to trust
that audiences will be interested, and if I
reach down, I don’t feel I’m fulfilling my
responsibility as an artist. I have to get
into a dialogue with that understanding,
not sit down and eat something.”
Tectonics Adelaide looks set to
resemble no other concert experience
witnessed in this city. Quite apart from
the concerts’ extraordinary duration,
audiences will be free to walk in and out
any time they wish. Says Volkov: “These
concerts are people inspired. You can
come and go out whenever you please.
You can go out and get a beer. People
can choose what they do. But what I’ve
done in my head is assemble, I believe,
some really amazing performances that
people will be curious to hear.
“In Australia,” he says, “one of the
most important things is working with
local musicians. It’s the same with
Iceland; the idea is not about trying to
bring stars from all over the world. I’m
interested in that.”
There will be orchestral works by
Australian composers David Ahern
(who studied in Adelaide with Richard
Meale, and in Europe with Karlheinz
Stockhausen and Cornelius Cardew),
Adelaide-born Matthew Shlomowitz and
guitarist-percussionist Oren Ambarchi
from Sydney. A new work by Elena Kats-
Chernin and experimental violinist Jon
Rose, Elastic Band, will be unveiled.
These plus two orchestral scores by
Xenakis, Aurora and Akrata, will be
presented by the Adelaide Symphony
Orchestra with Volkov directing.
Adelaide’s Soundstream and Japanese
pianist Aki Takahashi will contribute
piano works by Xenakis.
Adelaide Symphony Orchestra
Excite your senses.Book your tickets now. 131 246 bass.net.au
Jahja Ling ConductorAlina Pogostkina Violin
Adelaide Symphony Orchestra raises the curtain to their 2014 Master Series with Strauss’ fiery orchestral tone poem Don Juan. Alina Pogostkina will perform one of the best-loved violin concertos of all time and the concert finishes with Dvořák’s Bohemian folk music inspired Eighth Symphony.
Friday 21 & Saturday 22 MarchAdelaide Town Hall
“Pogostkina switched on the power for an electrifying finish.”
MENDELSSOHN’S VIOLIN CONCERTO
The Journal
THE ADELAIDE REVIEW MARCH 2014 25ADELAIDEREVIEW.COM.AU
PERFORMING ARTS
Elder Hall 2014 Season
BY ROBERT DUNSTAN
North Terrace’s historic Elder Hall,
considered to be one of the fi nest concert
venues in the country since opening in
1900, has just announced its season for 2014,
which commences on Friday, February 28 with
a lunchtime concert featuring Ensemble Galante
with guest soprano Tessa Miller.
“The lunchtime concerts – and there are
more to be announced for the second half of
the year – have something for everyone because
they are a real mix,” Claire Oremland, a former
member of Adelaide Symphony Orchestra and
now Elder Hall’s Concert Manager, says.
“If you are not fond of jazz, the following
week will be a string quartet with an oboe recital
the week after. And, as a concert series, they
have a high profi le and we are able to attract
musicians from interstate and even overseas.”
Thus, classical accordion player James
Crabb, from Scotland, will team up with well-
Elizabeth Layton and Aleksandr Tsiboulski
music.adelaide.edu.au/elderhall
known Australian recorder player Genevieve
Lacy for a lunchtime concert on Friday, March
7 as well as presenting the world premiere of
their Shadow Box collaboration, which features
a multi-media component, the following
evening.
The lunchtime concerts, which have been
an Elder Hall favourite since the 1950s, have
actually seen increased attendances since
having a $10 door charge.
“I think that’s because people seem to value a
concert more that has a price on it,” Oremland
muses. “And our lunchtime subscriptions – a
transferable, full season Gold Pass – have also
become incredibly popular.”
Elder Hall, which is utilised by Adelaide
Fringe and Adelaide Festival during those
annual events, also hosts many Masterclasses
as well as having Elder Perspectives, a series
of intimate evening concerts.
“For Elder Perspectives we’ve commissioned
some six-foot high wooden screens which can
be set up to turn Elder Hall into a much more
intimate venue,” Oremland says. ‘It turns the hall from a 600-seater venue to an intimate
space for 250 people. And the wonderful
acoustics are still retained.”
Evenings At Elder Hall, hosted by The Elder
Conservatorium of Music and which commence
in April and continue once a month until
October (with some concerts having a Supper
Club component with wine and canapés), also
boasts a strong line-up with artists such as
jazz musician James Morrison and renowned
soprano Rosamund Illing taking part.
“As part of that evening series, Elder Hall
will also be presenting its very fi rst opera,
Englelbert Humperdinck’s folk opera Hansel and Gretel,” Oremland points out. “That will
be over four consecutive nights in October.
“There’s actually something happening at
Elder Hall all year round,” she concludes. “As
well as what we program, there are also other
events such as Adelaide International Cello
Festival, which happens in late March. Elder
Hall is really a lovely treasure for the people
of Adelaide who love music.”
Book at BASS OutletsPhone: 131 246 or Online: bass.net.au
World's premier classical Chinese dance company
ALL-NEW 2014 SHOWWITH LIVE ORCHESTRA
26 THE ADELAIDE REVIEW MARCH 2014
PERFORMING ARTS
“If you’re making art, there are things
that happen to you your whole life that
sort of resonate off you, and this is how
you start to create. It’s great if you can
get this connection with people that turns
into something bigger than you ever thought
possible. I never in a million years imagined I’d
be making a living off music – it was completely
accidental. I feel very fortunate. I wanted to
be a professional tennis player when I was
a kid,” admits Adam Wiltzie, on Skype from
Belgium where he has lived for the past 15
years. Although speaking the local language,
he fi nds being a non-native in Belgium allows
him to escape into the necessary silences of
his mind, while at the same time enjoying
the more equitable northern European social
system that contrasts with the ongoing ravages
of contemporary American collapse. “It’s
the most uncool place on earth,” he says of
Brussels. “I love it here.” Berlin, he says by way
of comparison, as a mecca for so many aspiring
artists from around the world, “has turned into
New York City. It’s horrible.”
Wiltzie and long-time collaborator Brian
» Stars of the Lid
Adelaide Festival
Adelaide Town Hall
Thursday, March 6 (8pm)
adelaidefestival.com.au/2014/music/
unsound_adelaide
Stars of the Lid
Adelaide to In� nity For two decades Stars of the Lid have been pioneers of vast, minimalist, slowly unfolding soundscapes. Performing in Australia for the � rst time, and exclusive to the Adelaide Festival, they are the outstanding attraction of Unsound 2014.
BY WILLIAM CHARLES
McBride form Stars of the Lid, the enigmatic
US pairing whose shimmering, elongated
drone experiments have produced some of
the most beautiful recorded music of the past
20 years. Their following – small yet fi ercely
loyal, as is common to niche artists – has
nevertheless grown substantially since the
release of 2001’s The Tired Sounds of Stars of the Lid and 2007’s And Their Refi nement of the Decline, both double CDs from US label
Kranky that spend over two hours stretching
the conventional sonic possibilities of classical
instruments – violin, piano, horns and cello
– layering harmonies, building sheet upon
sheet of immersive drone ambience. Both
artists have also worked side projects of an
experimental nature – McBride both solo and
as Bell Gardens; Wiltzie as The Dead Texan, or
with Labradford and Aix Em Klemm, among
others.
The music speaks for itself; the Stars of the
Lid sound seemed to be there from their very
fi rst release, Music for Nitrous Oxide, back in
1993. It was clear this was a new template for listening, quite unlike anything else, though
Wiltzie would never claim, he asserts strongly
and humbly, to be doing anything special. The
often comic nature of their song titles attests to
a pairing not quite prepared to take themselves
too seriously, despite the evidence of their
music.
Stars of the Lid are not about the sugar hit.
Film maker Andrei Tarkovsky once commented
that while in cinema a long shot can be boring,
an extremely long shot becomes fascinating as
the complexities of what is in range are slowly
revealed – the expansion of time allows for a
better study of the essence of things. Stars of
the Lid’s music sometimes operates on the
same principle of lengthened and slowed
concentration. Its depths are revealed over
long stretches of subtly changing sound such
as treated guitar, cello or piano, lit up with odd
tweaks and shimmers, twists and scraps of
dialogue, reverb and organic decay. The music
plays out as gravitational, archaeological, even
glacial, while verging on the psychedelic in its
regular homage to David Lynch; it somehow
manages to be simultaneously meditative,
melancholy and unashamedly romantic.
As a music that gives a sense of not being
intimidated by the vastness of things – in fact of
wanting to explore that vastness that surrounds
us – Stars of the Lid have been likened to a
contemporary secular form of religious music
and experience, though Wiltzie would never
claim that as an intention.
A commitment in New York directly after
Unsound means Stars of the Lid will play
exclusively in Adelaide. And, Wiltzie suggests,
they’ll be playing a combination of new music
(it’s six years since their last CD) and “the hits”.
How would the group decide which of their
long, stately pieces are the hits? Given Wiltzie
and McBride live so far apart, and don’t have
opportunities to practice together, it tends to be
the pieces they know best. “Whatever’s easiest
to play,” Wiltzie fi nishes off laconically.
by daniel keene
state theatre companyin association with Adelaide Festival Centre presents the
Sydney Theatre Company and the Australian Defence Force production
The Long Way Home
Dunstan Playhouse / BASS 131 24601 april — 05 april
ELDER CONSERVATORIUM OF MUSIC PRESENTS
ELDER HALL, NORTH TERRACE
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2014
S E R I E S
For FREE BROCHURE, enquiries and bookings call 8313 5925 or email [email protected] Online bookings www.elderhall.adelaide.edu.au
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ELDER CONSERVATORIUM OF MUSIC PRESENTS
2014 CONCERT
SEASON ONE
Genevieve Lacey recorders | James Crabb accordion
Shadow Box Alongside classics by Bach, Sammartini and Ortiz is the world premiere of Shadow Box – mesmerising music and interactive imagery by Damian Barbeler and Tim Gruchy.
Tickets: $25/$18 | Enquiries & bookings 8313 5925 Online booking www.elderhall.adelaide.edu.au
CONCERT 1 | SATURDAY 8 MARCH | 7.30PM
ELDER CONSERVATORIUM OF MUSIC PRESENTS
2014 SERIES OF INTIMATE CONCERTS AT ELDER HALL
28 THE ADELAIDE REVIEW MARCH 2014
PERFORMING ARTS
Ready to Rumble Belgium’s Ontroerend Goed (OG) returns to the Adelaide Festival to present the Australian premiere of Fight Night, a collaboration with award-winning local experimental troupe The Border Project.
BY DAVID KNIGHT
Last in Adelaide to present their trilogy
of immersive theatre (Internal, The Smile Off Your Face and A Game of You) as part of the 2013 Adelaide
Festival, OG’s collaboration with The Border
Project (Trouble on Planet Earth, I am not an Animal) was more than two years in the
making. Presented like a boxing bout, Fight Night introduces fi ve political candidates who
must win over the audience over fi ve rounds.
» Fight Night
Adelaide Festival
Queen’s Theatre
Thursday, March 13 to Sunday, March 16
theborderproject.com
It’s a political play minus the politics – a
popularity contest, as the audience votes for
their favourite candidate throughout the show.
The Border Project’s David Heinrich (actor,
composer and sound designer) said they were
conscious when they began this project to not
make the show political, even though it’s about
fi ve political candidates battling it out for votes.
“We didn’t want to all of a sudden start having
political debates about issues and so on,” Heinrich
explains. “It gets too specifi c to different countries
and the show doesn’t need to do that – if you want
to have a political debate, politics already exists
to facilitate that exchange of ideas.”
Heinrich, whose character is an old fashioned
conservative, explains that Fight Night is more
about how the audience, as voters, engage in
the political process: “How they make their
choices and what it is that infl uences them to
the extent that they think they have control
over the choices they are making.”
Created by OG’s Alexander Devriendt after Belgium was left without a government for 500
days, it will travel to Sydney after its Australian
premiere in Adelaide. Fight Night had seasons
in Belgium and the UK last year. Even though it
was created and devised by Devriendt, Heinrich
says Fight Night was a complete collaboration
between the two companies.
“He [Deviriendt] came in with a basic
structure for the overall show and this idea of
where he wanted to go with it – simply what he
wanted the show to be about. But the rehearsal
process was very open – we worked together.
All of us wrote different parts of the script
together and separately. Often we would work
on something and then we would get homework
tasks to write a speech about a particular thing
and we would bring that in the next day.
“We spent three months making this show,
which is a crazy unheard of amount of time in
Australia for rehearsals. It was a real slow burn.
When you see the show it will seem very simple
from the beginning, and on the surface it is, but
there are layers hidden if you want to go deeper.”
Heinrich, who composed the score for State
Theatre and Bell Shakespeare’s Comedy of Errors last year, as well as Fight Night’s score with Border
Project’s Cameron Goodall, says the rehearsal
process was quite relaxed in the beginning, as
the Belgian company didn’t follow the Australian
theatre tradition of 10am-6pm rehearsal days.
“There were some days early on where at two or
three in the afternoon Alexander would go, ‘Yeah,
you know, I think I just need to go home and think about it now. That’s all for today. Come in tomorrow
and we’ll talk about this then.’ Initially, we were
like, ‘What’s going on?’ But it’s nice to have that
refl ective space built into a process where you can
actually think about an idea properly rather than
go, ‘Well, this is all the money we could get. We’ve
got four weeks to make the thing – let’s go for it.’
“They [OG] spend a long time making a show
but then they will tour it for years. Here you
might spend six weeks making a show but then
you’ll do it at the Playhouse once and go to Mt
Gambier and that’s it – done. Their model is to
build shows that have longevity and can tour
internationally and they build that into them.”
Fight Night will travel to Sydney before
returning to Belgium in May when the country
is in the midst of elections. Nothing is confi rmed
after that but Heinrich says The Border Project
will be developing their follow-up to the award
winning I am not an Animal this year, which
will be a “weird funeral” show.
“It’s basically about imagining what your
own funeral would be like. That’s the starting
point for it.”
Fight Night
Season 2 O 1 4
New World Order
Maestro Series 1
Sunday 30 March 2014 6.30pmElder Hall
www.adyo.com.au
Book at BaSS 131 246 www.bass.net.au
keith crellin oaM Conductor tianyou Ma Violin
copland Fanfare for the Common ManSaint-Saëns Violin Concerto No 3dvořák Symphony No 9 From the New World
a d e l a i d e y o u t h o r c h e S t r a
MUSICDANCEFILMWORKSHOPS
Tandanya acknowledges and pays respect to the Kaurna people - the traditional owners of the country on which we celebrate.
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SAT 15 MARCH SUN 16 MARCH
TARNTANYANGGA (VICTORIA SQUARE)
NATIONAL ABORIGINAL CULTURAL INSTITUTE TANDANYA & [ GIVE UP SMOKES FOR GOOD ]
The AdelAide Review March 2014 29AdelAideReview.com.Au
PERFORMING ARTS
What makes the cello so important that
it deserves its own festival? Why
not other classical instruments, like
the piano or flute? Because, the founder and
Artistic Director of the Adelaide International
Cello Festival, Janis Laurs says, the cello is
dynamic. It has a huge range that sounds great
on its own or in concert and, crucially, cellos
draw a devoted crowd.
“There’s a wonderful sense of fraternity
between cellists,” he says.
When asked whether an event like this
is perceived as stuffy, Laurs says that this
perception might be inevitable with some
and that the backbone of the festival is a
more classically focussed Lunchtime Series.
Yet, Laurs also notes that the key to the
festival’s success is having a diverse range
of music on offer, like jazz, or improvised
performances.
“Curating the festival relies on listening to
artists and audiences as to what they want.
They don’t always want to hear the same thing.
In a festival, you have to offer choice.”
Laurs has been able to garner an attractive
swathe of popular cellists for the festival both from Australia and overseas. This year will see
the likes of Lynn Harrell, Eugene Friesen, Zoe
Knighton and the esteemed Ng twins, Pei-Jee
and Pei-Sian.
Collaboration is key to gathering such a
diverse set of artists. Laurs explains that he has
brought these players together by connections
with groups like the Sydney Symphony
Orchestra, the Australian Chamber Orchestra
and, of course, the Adelaide Symphony
Orchestra.
“It can’t be an international festival without
the ASO,” he comments. lynn harrell
Phot
o: c
hris
tian
Ste
iner
» The adelaide International cello Festival
Sunday, march 30 to Sunday, April 6
adelaidecellofestival.com.au
Adelaide International Cello Festival
by John DexTer
Aside from live performance, the festival
has craft and educational elements too. For
the duration of the 13-day festival, five luthiers
will work together to build a world-class cello,
as they have in previous years. Audiences are
welcome to go and observe the construction
of the cello. Laurs describes it as a heady
experience, “You go into that room and you
smell pine and cedar. It’s an intoxicating kind
of thing.”
Likewise, masterclasses will be run for cello
students with accomplished master cellists.
Since much of the festival will be hosted at
the University of Adelaide, students of the
university will be offered these classes for free.
“When you give younger players an
opportunity to participate, their parents will
come along. They might come along for a few
years, and participation just grows from there.
People grow an appetite for the future.”
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Friday March 14 at 6pm. Sunday March 16 at 3pm & 6pm
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30 THE ADELAIDE REVIEW MARCH 2014
PERFORMING ARTS
30 Vital Years
BY JANE HOWARD
In 1984, amidst a collection of community
focused groups being established, artists
Roxxy Bent, Ollie Black and Margaret Fisher
founded Vitalstatistix Theatre Company.
Looking back over the company’s 30-year
history, current Creative Producer Emma Webb
describes this time as having a real sense of
opportunity for feminist art. “The personal is
political, and what you do in your own life is
really important. Initiating organisations, and
women organising, was a really important part
of that feminist philosophy.”
For Bent, Black and Fisher, Webb explains
that there was a two-pronged approach in the early days of the company: creating a space
for the support of women artists in a cultural
environment where women and women’s voices
were often sidelined; and creating political
work to educate the community about sexism
and other important issues of the day.
As with any small arts organisation,
Vitalstatistix’s history has been rocky. They’ve
lost – but always regained – funding multiple
times over their history, and partially through
this, and through the changing tide of theatre,
politics, and feminism in Australia, it’s found
itself operating in many different guises.
“It was quite feasible that at any point
throughout its history that the company might
not have survived,” says Webb. “Small-to-
medium sized companies have a really hard
time surviving.
“Let alone anything else that might affect an
arts company’s ability to survive, but on top of
that a company that is a feminist organisation,
that’s based in a working class suburb like the
Port [Adelaide], and that has produced a lot
of political work.
“It’s kind of remarkable, in some ways,” she
says, “that it’s survived and thriving.”
Since the departure of the founding members
in the mid-90s, the company has been led by
Catherine Fitzgerald, Maude Davey, Jane Fuller
and, now, Webb. Talking to Webb, you get a real
sense she carries the history of the organisation
with her, and she speaks passionately about
their anniversary celebration series Her
Story, where each of the artistic directors will
take to Waterside Workers Hall for a Sunday
» Her Story: Sunday Sessions
Sunday, March 30 (3-5pm)
Waterside, 11 Nile St, Port Adelaide (entry: $5)
vitalstatistixtheatrecompany.blogspot.com.au
The Gay Divorcee, Margaret Fischer.
Afternoon, beginning with the founders on
Sunday, March 30.
Says Webb: “I’m really interested in hearing
personal perspectives and personal experiences
about what it was like to be the AD [artistic
director] at that time, and why them at
that time? What impact has it had on them
personally to work with this company?”
“It’s been really interesting to refl ect on the different eras of the company because they are
really distinct. There is a real line through in
terms of the support for women artists and the
place of the company of the local community,”
but she says, “they’ve all really put a big stamp
on the company.”
Under Webb, audiences at Waterside
Workers Hall might see a tour of a contemporary
Australian work developed interstate, a debut
work from an independent company created in
association with Vitalstatistix, or development
of a show at the beginning of its life. For Webb,
the common thread running through all of
these programs is a curatorial vision, and the
relationships the company has with the artist.
“We are a small company, and so those
relationships to us are quite intense, and they’re
quite sepcialised in a sense,” she says. “The artists
that we work with really have an impact on the
feel and culture of the company over time.”
WITH VERY SPECIAL GUESTS RUBY BOOTS SUNDAY 23RD MARCH
THE ELBOW ROOM MCLAREN VALE, SATICKETS FROM OZTIX - WWW.OZTIX.COM.AU
THE ADELAIDE REVIEW MARCH 2014 31ADELAIDEREVIEW.COM.AU
CINEMA
MR MORGAN’S LAST LOVE
BY CHRISTOPHER SANDERS
Sandra Nettelbeck’s Mr Morgan’s Last Love
is a strange little film punctuated by strong
performances in this tale of cross-generational
friendship. Michael Caine plays lonely widower
Matthew Morgan, a retired American professor
living in his departed wife’s hometown of Paris
even though he doesn’t speak a word of French,
and seems completely uninterested in learning
the language of his current home. A chance bus
encounter with young dance instructor Pauline (Clemence Poesy) leads to an unlikely friendship
between the two. But what are they looking for
in this friendship? Are they both just lonely
souls seeking family fi gures, or is there more?
An unfortunate event brings Matthew’s son and
daughter to Paris. His daughter, Karen (Gillian
Anderson), is more interested in shopping than
spending time with her dad but his son Miles
(Justin Kirk) is suspicious of the friendship
between the young dance instructor and his old
man. Caine is the reason to see this fi lm (despite
his wavering American accent, which can be a
little distracting) but the 80-year-old brings depth
and heart and is completely unforgettable. Caine
is ably supported by Poesy (127 Hours), as their
friendship convinces despite the far-fetched
circumstances. The fi lm is enhanced by the arrival
of the cautious Miles, who is basically estranged
from his dad, and the attempts by Pauline to
reconnect the two stubborn men brings much
needed drama. Mr Morgan’s Last Love is an
admirable fi lm, but one that needed more weight
to rock its gentle pace.
» Mr Morgan’s Last Love commences on
Thursday, March 6. Rated M
French Film Festival Highlights
BY CHRISTOPHER SANDERS
The Alliance Francaise French Film
Festival celebrates its 25th anniversary
from Thursday, March 20 to Tuesday,
April 8 with the opening night fi lm
(The Finishers) and the traditional closing classic
(Jacques Tati’s Mon Oncle from 1958) as well as
plenty of new French fi lms to check in-between.
The Adelaide Review selects four highlight fi lms
of this year’s AFFF.
MICHAEL KOHLHAASStarring man of the moment Mads Mikkelsen
(The Hunt, Hannibal), this joint French/German
production is a brilliant historical drama. Slow-
paced to the extreme, your patience as a viewer is
aptly rewarded by this fi ne fi lm about a man who
takes the law into his own hands when he feels
injustice has been done to him in 16th century
France. Pick of the festival.
MOBIUSAcademy Award winner Jean Dujardin (The Artist, The Wolf of Wolf Street) stars in this romantic
thriller with a brilliant international cast. Dujardin
is Russian secret agent Gregory Lioubov, whose
mission is to nab Russian oligarch Ivan Rostovsky
(Tim Roth – effortlessly brilliant, as always). Of
course Lioubov falls for the femme fatale trader he
enlists to rat on her Russian boss, but this tale of
double-crosses is spectacular with its exotic Monaco
setting and Hitchcock-like twists.
JUST A SIGHThe wonderful Emmanuelle Devos (Read My Lips, The Other Son) plays down-on-her
luck actress Alix who stumbles across English
professor Doug (Gabriel Byrne) while Doug is
in Paris for a funeral. The two have a passionate
affair, but was it meant to be? A lively comedy
drama that belongs to Devos, as the kooky
actress searching for meaning.
CAMILLE CLAUDEL 1915
Arguable the fi nest actress in the world, Juliette Binoche, stars as sculptor Camille Claudel in this
unforgiving and brutal true story. Locked away
from the outside world in a mental institution,
Claudel tries to make her case for sanity via a
heartbreaking performance by Binoche.
» Alliance Francaise French Film Festival
Thursday, March 20 to Tuesday, April 8
Palace Nova Eastend Cinemas
affrench� lmfestival.org
32 THE ADELAIDE REVIEW MARCH 2014
PERFORMING ARTS
TRACKS
BY NIGEL RANDALL
Other fi lms will come to mind whilst being
enthralled by Tracks, director John Curran’s
(Praise) mesmerising new feature based on
Robyn Davidson’s best selling account of her
solo trek across 3,200km of west Australian
dessert. The haunting mystique of the outback
landscape captured by Curran easily recalls,
and matches in effect, classics such as Nicolas
Roeg’s Walkabout, Ted Kotcheff’s Wake in Fright and Peter Weir’s Picnic at Hanging Rock. And of course David Lean’s Lawrence of Arabia simply in terms of the epic scale
of endeavor that a journey by foot across
uninhabitable terrain necessitates. Tracks is
just as majestic in it’s own right.
Beginning with Davidson (Mia Wasikowska)
arriving in Alice Springs in the late 70s
determined to learn how to break wild camels
needed to aid her trip, Curran and screen writer
Marion Nelson provide ample time and space
to set characters in place. Along with some
sparse voice over (“I’d always been drawn to
the purity of the desert, its hot wind and wide
open spaces”) and brief interactions with various
others along the way, we don’t so much gain
insight into Davidson’s motivation (other than
to be alone with her camels and beloved dog),
but do develop a sense of the woman. The closest
she comes to a sustained relationship is with
American National Geographic photographer
Rick Smolan (charmingly nerdish Adam
Driver), whose assignment and friendly nature
she resents. Another notable fi gure is Mr Eddy
(scene stealing Rolley Mintuma), an Aboriginal
elder who escorts Davidson through sacred land.
The real story here though, is that of interiors
– the vast, unknown within country and self.
Wasikowska is superb as the enigmatic sole
searcher undertaking the trip into those dual
spaces that most curious onlookers thought
impossible. This beautifully actualized story
transports the viewer along the way on what
becomes, and ends, a profoundly memorable
journey.
The GFC-haunted Margin Call and
the open-sea-set All is Lost couldn’t
be more different (the former has
lots of characters and dialogue,
while the latter has one unnamed character
and almost no dialogue), so did Chandor set
out to make All is Lost deliberately different?
“I didn’t set out for it to be like that at the time. I write and direct my own stuff, so when
the process starts – you’re just writing. I was
working on a bunch of things. This began
with the letter that starts the film, and when
it came to me I didn’t know what the movie
was going to become. I suppose that, in a way,
The Cruel Sea J.C. Chandor is driving home in New York City while talking on his mobile during the following interview (and yes, that does sound dangerous), and he winningly begins by explaining just how lucky he is: “You know, this [All is Lost] is only my second � lm as a writer/director [after Margin Call], although I’ve been in the business for 10, 15 years, and it’s been great, an amazing experience.”
BY D.M. BRADLEY
the two films actually share a lot in a weird
way, but after the six months that the film
came together, I looked back and realised that
I’d painted a completely different picture.
Although, when I think about it, the structure
of the two films is actually similar, as both
times you learn about a person through their
actions and reactions in a crisis and a limited
environment.”
Chandor’s star is Robert Redford. His casting
is intriguing as Redford’s age (78 this year)
gives it an edge that it would have lacked if,
say, Shia LaBeouf had toplined.
“The script was always written to be about an older man, and that’s what made the project
interesting. I was looking at actors who could
do the physical side of this role, which is very
important, but who were also getting to the
later chapters of their life. The list gets short
pretty quickly. Redford, for me, was a very cool
combination of having a very deep history with
the audience while also having a certain amount
of mystery. A rare combination.”
Is this the first movie in which Redford
clutches his chest several times as if fearing a
stress-induced heart attack?
“It is… it’s pretty courageous for a guy like
him at this point in his career. I mean, he
certainly has nothing left to prove. Or maybe
he wants to prove something to himself? It’s
a very creatively courageous move. And I was
very lucky,” he continues, “as I wrote the
letter that opens the film while I was editing
Margin Call in September 2010. I went to
Sundance in January 2011 with Margin Call
Robert Redford
Robert Redford and J.C. Chandor.
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INDIEWIRE
THE FIRST FILM EVER MADE IN SAUDI ARABIA COMES FROM
FEMALE DIRECTOR HAIFAA AL MANSOUR
THE ADELAIDE REVIEW MARCH 2014 33ADELAIDEREVIEW.COM.AU
CINEMA
» Tracks commences on Thursday, March 6.
Rated M.
A Landmark Film Haifaa Al Mansour explains the dif� culties involved with � lming her fantastic feature debut, Wadjda.
BY DAVID KNIGHT
Named as one of The Guardian’s 10
best films of 2013, the uplifting
story of a feisty 11-year-old
tomboy, Wadjda (Waad Mohammed),
is the first feature-length film to be shot
entirely in Saudi Arabia and the first Saudi
feature to be directed by a woman. But
these historical achievements are not
the reason to see Wadjda – you should
see it because it’s a damn fine piece of
filmmaking. But it is a landmark film, as Al
Mansour, who studied in Australia, made
a film in a kingdom basically has no film
industry and where cinemas are banned.
Also, because of restrictions to women, she
had to direct the street scenes via a walkie
talkie in a van, as she was not allowed to
interact with the male crew.
“It was really hard to shoot in Saudi
Arabia,” Al Mansour begins, “not because
of the country, we had permission to shoot
and everything, but that the society itself
is very conservative and doesn’t accept
film and is not very friendly when it
comes to films. We had problems with
access to locations, we lost locations really
quickly, we had to find another place
because of scheduling, we had a small
budget – all of that. But for me, it was
very important to make an authentic film,
a real representation of the culture. Also,
I thought that people don’t necessarily
know what it [Saudi Arabia] looks like.
It’s very important to open the country
for people to see how it is and how it feels
to be in Saudi.”
Al Mansour believes things are slowly
changing in regards to women’s rights, as
she thinks it would have been diffi cult to
shoot this fi lm 10 or 15 years ago.
“Saudi Arabia is opening up a little bit
more and new ideas are emerging, as the
new generation is more accepting and more
tolerant – they want to see fi lms and there
is a push for women, but it is very small
though, very gradual. Still Saudi Arabia is
a very conservative place and lots of things
are still to happen... the situation for women
is not perfect yet.”
A wonderfully shot simple story about the
titular character participating in a Qur’an
recital competition in order to buy a bike
» Wadjda commences on Thursday, March 20
after numerous schemes to raise the money.
Though it is a feminist fi lm, to Al Mansour the
story trumps ideology.
“For me, it is about a young person searching for herself, fi nding a voice and pursuing a dream.
For me that is the message. It’s true, I don’t make
fi lms for ideology, but this fi lm is, of course, a
feminist fi lm. It’s about empowering women and
giving them a voice. Next time, maybe, I’ll make
a fi lm about men, that is not just about women,
for me it’s also very important to tell an engaging
story, an emotional story rather than say, ‘I’m just
going to make a feminist fi lm only about women’
that is not my approach.”
» All is Lost commences at cinemas everywhere
on Thursday, March 6
to premiere it there, and Redford gave an
opening talk at that festival [Sundance is
his baby, of course]… I was about 80 percent
done with the script then and as he was giving
this rousing, funny speech I started thinking
about him in the role. A month after that we
offered it to him and, amazingly, about a week
after that, he accepted it, and less than a year
later we were shooting.”
Chandor is quick to point out that there is
very little FX in the movie: “Some layering and
compositing… everything – sort of – done to
Redford is real, as really we couldn’t afford
anything else. The majority of the fi lm was
shot in the ocean off Mexico, and a huge tank
facility where they also shot Titanic. Right on
the Pacifi c Ocean… And then we shot in the
ocean off Los Angeles and off the Bahamas and
in the Caribbean. A real jigsaw, a patchwork
of locations.”
Chandor is pleased with how the pre-
production of his current fi lm, A Most Violent Year, is progressing.
“It’s going to be shot here in New York. We’re
in the process of locking in our cast now.”
Is it true that Jessica Chastain and Javier
Bardem will be starring?
“Nothing’s confi rmed now [or at least when
this interview was conducted]. You know, you
just have to wait and see how things work out
when you make a movie, but it’s a script we all
believe in and I have my great team working
with me again. So, it should be fi ne.”
MMLL ADE REV 60x158mm.indd 1 17/02/14 3:04 PM
TRAK CINEMA 375 GREENHILL RD, TOORAK GARDENS 8332 8020
REGAL THEATRE 275 KENSINGTON RD, KENSINGTON PARK 8431 5039
theregaltheatre.com.au
‘Trak Cinema & Regal Theatre belong to the Republic Theatre Group’
MOVIE EVENTS
The Regal Theatre or Trak Cinema can be booked any day or night
of the week for a social club/fundraiser/corporate movie night.
With a variety of films available, make the Trak or Regal your venue
for your next movie night.
For more information, email Tom Baxter [email protected]
NOW SHOWING
Nebraska (M)Le Weekend (M)
Dallas Buyers Club (MA15+)12 Years A Slave (MA15+)
COMING SOON
Tracks - March 6Mr Morgans Last Love - March 6The Monuments Men - March 13
Noah - March 27
34 The AdelAide Review March 2014
VISUAL ARTS
Set up to help artists make the transition
from university to professional life, the
Academy now plays an integral role in
nurturing and developing the arts in
South Australia. It’s a unique model and CEO
Amanda Pepe says: “It’s absolutely unheard of
in any other state or country, as far as I know,
that competing tertiary institutions come to a
collaborative table in an organisation such as
the Helpmann Academy to work together for
the greater good of arts training in the state.”
While initially the plan was that the Academy
This year marks the 20th anniversary of the helpmann Academy.
by Jane LLeweLLyn
Helpmann’S anniverSary ClaSS
would offer further training, it’s now the
attitude that the Academy picks up where
universities finish. The Academy has been running its graduate exhibition for 19 years
to showcase the visual artists of the future. It’s
become a much anticipated event on the visual
arts calendar and provides an opportunity
for artists to kickstart their career and for
audiences to discover the next big thing.
“This exhibition is a launching pad. It
gives the artists exposure, it’s professionally
presented and provides an opportunity to have
their work seen by key players both here and
interstate,” explains Pepe.
An independent panel of selectors (Lisa Slade
(Project Curator, Art Gallery of South Australia),
Brian Parkes (CEO, Jam Factory) and Hugo
Michell (Director, Hugo Michell Gallery)) chose
33 artists showcasing the breadth of emerging
local talent. “Generally we see this as our gift
to the artists, to have people as qualified as the
panel really critically consider their work and
give them some feedback,” says Pepe.
The exhibition often indicates trends emerging
within the visual arts. For instance this year
not a lot of photography was selected but the
installation component was strong. Pepe says,
“It’s partly to do with trends but you can also
see the personality of the panel in the selected
works. I think that’s nothing to be ashamed of.” Sophia Nuske, soft penCils, hand-built stoneware, acrylic paint
Tom borgas, Postdigital Artefacts, wood, plaster, concrete, cardboard, acrylic, spray paint, foam, glass, plastic vials,
florescent light, water, food colouring
F l inders Un ivers i ty C i ty Ga l ler y
S t at e L i b r a r y o f S o u t h Au s t r a l i a Nor th Ter ra c e , Ad e la id eTue - Fri 11 - 4pm, Sat & Sun 12 - 4pm
w w w . f l i n d e r s . e du . au / a r t mu s e u m
TESTING GROUND 22 February - 4 May 2014
A S a l a m a n c a A r t s C e n t r e e x h i b i t i o n t o u r e d b y Contemporary Art TasmaniaCurated by Ju l ie Goug h
Trickle Crunch RSASA Fringe/Autumn Exhibition till 16 March 2014RSASA Members’ artworks with a trickle and a crunch. A vibrant and creative bunch of artists with colourful contemporary and traditional artworks in paintings, printmaking, photographs, mixed media, sculpture, textiles, and so much more.
ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC.
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 [email protected] Mon- Fri 10.30-4.30pm Sat & Sun 1- 4pm Pub Hol. Closed.
Fore
st F
loor
(det
ail),
Text
ile b
y Vikk
i Wal
ler
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.
RSASA Characters of the Fleurieu Prize exhibition 24 May – 22 June. Open to all artists and mediums. Over $5,000 in prizes. Entry form from www.rsasarts.com.au Entries due 12 April 2014
1 Thomas Street (cnr Main North Road)
Nailsworth
Bruce Tolley, Red pods and green leaves, acrylic on canvas
The Intimate LandscapeBruce Tolley 1933-2013Curator Leo Neuhofer2 - 23 March 2014
The AdelAide Review March 2014 35AdelAideReview.com.Au
VISUAL ARTS
» helpmann academy Graduate Exhibition
Drill hall, Torrens Parade Ground
continues until Sunday, march 9
helpmannacademy.com.au
Standing out in an exhibition of this size can
be difficult but it’s something that Zoe Kirkwood
has no problem with. She picked up two prizes
(the Hill Smith Gallery/Helpmann Academy
Friends Award and the City of Adelaide Award)
for her large detailed installation work, The Neo-Baroque Spectacle. The work reflects
Bernini’s artistic theory bel composto, which
involved unifying the arts of painting, sculpture
and architecture. Using bright, bold colours the
work also shows immense attention to detail -
Kirkwood hand-turns the wood herself.
While the sheer size of Kirkwood’s work
immediately draws you in, other works like
Sophia Nuske’s have a more subtle charm.
Nuske (who received the Adelaide City
Council’s acquisitive award) uses ceramics to
recreate everyday objects - in this case pencils.
She wants the audience to look at these objects
more closely and reconsider their role. Called
soft penCiLs, Nuske creates the illusion that the
pencils are soft, they look as if they are made
of rubber, but on closer inspection you realise
the works are anything but soft.
Another artist whose work stood out was
Cassie Broad, particularly her works on
aluminium. Broad, who received the Peter
Walker Fine Art Encouragement Award,
reconstructs her childhood home through memories evoked from old photographs. She
explores notions of home and presents images
that the audience can easily identify with and
which evoke our own feelings of home.
Tom Borgas is another artist to watch. He has
featured in the last two Helpmann Graduate
exhibitions and is currently showing in the
project space at CACSA alongside the Adelaide
International, which is running in the main
space. Borgas creates minimalist sculptural
works, which are made of various materials
like concrete, wood, plaster, stone and plastic
exploring concepts around analogue and digital
systems.
Roger Myles took out the San Remo best
new talent award. An architect-cum-artist,
Myles presented two series, works on paper
and a large painting. Carrying as subtext the
architecture of a book, the works on paper
were particularly interesting. “I was looking
for something that was different to painting in
just about every respect you could think of, but
at the same time address all the underpinning
rationales behind geometric abstraction,” says
Myles.
In the works the book becomes the medium
in a sense, with Myles allowing it to determine
the proportion and scale, an outcome of the
work of art. “I’m interested in these sort of
slight, what I call ‘chance stimuli’. It’s these
little slippages that occur. There is nothing pre
determined about it, no preliminary sketch.
Here is a book, I deconstructed it,” explains
Myles.
As the Helpmann Academy celebrates 20
years helping artists fulfill their potential Pepe
says: “We would love more artists to engage
with us. That’s probably the biggest challenge
we have - getting people to avail themselves of
all the stuff we have on offer. We have more
than 20 different programs across all the
different art forms.”
Roger myles, uNTiTled No. 5 (architecture of a book),
acrylic, paper and mixed media on Arches paper
Zoe Kirkwood, The Neo—Baroque Spectacle (detail), mixed media installation
36 THE ADELAIDE REVIEW MARCH 2014
JUMP CUTS
Evening shadows: the gift that keeps on giving Contemporary takes on the Art Gallery of South Australia’s collections
BY JOHN NEYLON
A s shadows crept across the outfield
at Adelaide Oval, Australia v
England, 2nd Test, December
2013, how could fielders, batsmen
or the crowd know that the spirit of one of
Australia’s most popular paintings was
abroad? The painting in question is H.J.
Johnstone’s Evening shadows, backwater of the Murray, South Australia, 1880. It can
be found down along North Terrace at the Art
Gallery of South Australia where it has been
in residence since the 1880s (acquisition no.
1). The painting was a gift to the people of
South Australia by a remarkable individual,
Henry Yorke Sparkes, who in addition to
holding down various public offices, was
closely involved in the establishment of
sporting bodies and facilities, including Adelaide Oval.
In the contemporary era Evening shadows
has become a lightning rod for revised views
on colonial history and the dispossession of
Aboriginal people in particular. From this
perspective it is possible to understand why
the painting has attracted the attention of
contemporary artists. One of these is Ben
Quilty whose take on Evening shadows was
inspired in part by seeing a reproduction of the
work when a schoolboy. His painting, Evening shadows, Rorschach after Johnstone, 2011,
is a monstrously succulent take on the image
fashioned using a ‘Rorschach blot’ technique
on a grand scale. This work has now joined
Johnstone’s ‘original’ in the Art Gallery’s
collection. You don’t have to be Freud to
appreciate the artist’s agenda in asking the
viewer to re-view Evening shadows from a
contemporary and Indigenous perspective.
Remarkably, two other Australian artists,
Tom Nicholson and Nici Cumpston have
referenced this specific work. Nicholson
convened 38 copies of the work (Evening shadows is held to be Australia’s most copied
work of art) and in his 2012 Adelaide Biennial
installation, counterposed these copies with
a stack of take-away posters referencing an
historical event, a mass indigenous strike
in 1939 involving 200 Aboriginal men and
women who walked off the Cummeragunja
Mission in protest at their living conditions.
For Nicholson Evening shadows’ attraction is
its complicit relationship with a later colonial
era that conveniently thought of Aborigines
as a ‘dying race’.
Cumpston’s relationship with Evening shadows is derived from a series of works
made as a commission for the Commonwealth
Law Courts in Adelaide in 2005. The artist had
previously made photographic works, tracing
her Barkindji ancestry, which featured gum
trees, along the River Murray, many stressed by
a lack of water. Memories of a childhood spent
along the River spurred her on. Johnstone’s
mirror-like backwater is referenced in
Cumpston’s tree that was fortuitously fl ooded
as part of a restoration program to bring life
back to River Red Gum forests in the Katarapko
area near Loxton. Companion works (notably
the 2008 Attesting series of the Nookamka
Lake area) record a reversal in conditions with
drought and irrigation stripping trees to their
bones but in the process revealing ancient
markers such as campsites and scar-trees where
bark and timber were removed for shields,
coolamons and canoes.
Back to Adelaide Oval. Well before fl annelled
fools took to the pitch, the area now occupied
by the Oval was a site where Kaurna people
held public ceremonies, games and religious
observances. This tradition continued well into
the colonial era. From Adelaide Oval to Evening shadows via the prism of contemporary
practice – it’s a cultural cross-country event
which Henry Yorke Sparkes, a keen athlete,
would have enjoyed.
Ben Quilty, Evening shadows, Rorschach after Johnstone (detail), 2011. Art Gallery of South Australia
Gallery M, Marion Cultural Centre 287 Diagonal Rd, Oaklands Pk SAP:8377 2904 [email protected]
www.gallerym.net.au
7 - 30 March 2014
exhibitionsgalleryshop
(above) painting by Ros McDougall(right) painting by Valerie Lewis
Outback Mirage
TWO EXHIBITIONS
an exhibition of paintings byMaré Puksand
MEET THE ARTISTS2pm, Sunday 16 March
Layersartwork in various media by the‘Figs and Cheese’ group of artists
Jenny Dupont, Jo Gilbert, Lindi Harris, Valerie Lewis & Ros McDougall
A S
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how
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Ital
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359 Greenhill Road Toorak GardensPh: 8332 7900
Tues to Fri 11-5 | Sat to Sun 2-5www.david-sumner-gallery.com
DAVID SUMNER GALLERY
IVARS JANSONSMoments of Inspiration
March 2-29
An exhibition of the artist’s studies.
The AdelAide Review March 2014 37AdelAideReview.com.Au
VISUAL ARTS
Profile: Anna Gore
by Jane LLeweLLyn
Anna Gore’s paintings aren’t really
depicting anything in particular.
And it’s precisely this idea of
abstract or non-representational art
that she finds most fascinating, and that makes
her work so appealing. “It’s not really directing
people so much. It’s not really moulding their
minds to see what you want them to see. It
begins so much more with the viewer and so
much less with the artist.”
» Visceral eye
adelaide central School of art
continues until Friday, march 21
» renDeZVOODOO
Fontanelle
Sunday, march 2 to Sunday, march 30
» emerging artists group show
Greenaway art Gallery
wednesday, April 30 - Sunday, may 25
The paintings are generally static works where
Gore leaves it to the viewer to create the motion.
In this sense the works are like a starting off point
proposing or initiating a conversation rather
than suggesting an end point. Gore is particularly
interested in the audience’s emotional response
and how the work affects people. “I can only go
on my own tastes so it’s sort of what I think it’s
doing. What other people think it’s doing might
be different.”
The process of creating the artworks is an
important element in Gore’s practice as she
tries to work with the material allowing it to
be part of the composition. “It’s not necessarily
representing anything; it’s doing its own thing.”
That’s not to suggest that Gore’s compositions
aren’t carefully considered, concentrating on
the way the works look in terms of shapes and
colours. “I try to keep shapes really basic, keep
gesture really obvious and spontaneous.”
While Gore’s paintings are completely
abstract she believes that while you are dealing
with a pictorial space you are always drawing
upon reference. “It’s hard to make something
not look portrait-like or landscape-like. If you put a horizontal line all the way through it will
always read like a horizon. If you add a vertical
shape it is always going to look figurative. Those
sorts of things always happen.”
Gore’s installation work is an extension of
her painting and she approaches it in much
the same way. She doesn’t consider herself a
sculptor but instead looks at how she can extend
her painting into the three-dimensional space.
For the exhibition RENDEZVOODOO, Gore
has created works using papier-mâché and
says: “There is no casting or moulding. You are
building something and it is completely formed
in response to your gestures and imagination.
You can’t make the same one twice.”
Since graduating with Honours in 2012 from
Adelaide Central School of Art, Gore has spent
the last year consolidating her ideas, creating
works and honing her craft. “I had this really
long time off contemplating and thinking for
myself and then now, one year later I have all
these exhibitions up against each other.”
untitled, 2014. oil on linen, 50cm x 40cm
untitled, 2013. oil on linen, 120cm x 140cm
Hugo Shaw ReflectionsAn exhibition of paintings
28 February – 16 March 2014
Ceramics by Julie Shaw
Jewellery from The Mistress Von Berlow Collection
Susan Sideris at Hanrahan Studio By appointment, and open for the duration of this exhibition 2: 00 – 6: 30 pm Fri 28 February – Sun 2 March 2: 00 – 6: 30 pm Wed 5 – Sun 9 March 2: 00 – 6: 30 pm Wed 12 – Sun 16 March
48 Esmond Street, Hyde Park, South Australia T 0449 957 877 hanrahanstudio @ bigpond.com
Barbara Hanrahan and Jo Steele’s private residence and gallery are open for viewing during exhibition hours im
age
Hug
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irst
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, Por
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Pepper Street Arts CentreExhibitions, Gift Shop, Art Classes, Coffee Shop.
558 Magill Road, MagillPH: 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
Free entry - all welcome!
MARDENSENIOR COLLEGEyour pathway to success
Chris
Bow
den,
det
ail
BRUSHES AND THREADSAn exhibition by Graduates of Certificate IV Visual
Arts – Painting, Drawing and Textiles
28 March – 24 April 2014
Opens: Friday 28 March 6 pm - 8 pmLaunch Guest: Cathy Boniciolli
Visual Arts Educator/Artist
Free Artist Demonstrations throughout the exhibition:
Saturdays 29 March, 5 and 12 April 2 pm – 4 pmpeter
daverington into the never 20 February - 19 March 2014 www.hillsmithgallery.com.au
38 The AdelAide Review March 2014
A-Z ContemporAry Art
helpful hints on how to make your art say NOw. Plus ARTSPeAK
Bonus Pack
FBy John neylon
ARTSPEAK FunkFunk is the snake on the barbed wire fence of art’s catechism. it should not and will not die. A word derived from ‘lu-fuki’ (‘bad body odour’) will always have important work to do in describing the culturally indescribable or outregrunge. To be a true funkster be prepared to turn your back on polite society.
FetishisationThis goes far deeper than media obsession with stiletto-cam red carpet toenail pedicures. Apparently there is no accounting for fetishes so buckle up for some lofty thinking and overelaborated theorizing on the subject. The enlightenment for example held a concept of fetishism as a fixated chiasmus. have i lost you? A more contemporary take sees any object or situation as having fetish potential. it’s all a matter of reconciling fact with fantasy. Many people think shoes but Freud thought feet and any other part of the human anatomy capable of accommodating sexual anxieties. Fetishistic phallocentrism remains in the cross hairs of some art activists. you have been warned.
ForMSuch a beautiful term which miraculously has survived the predations of later 20th century ideologue word-burners. why even cricket commentators now refer to players keeping their form in the act of smiting or releasing balls. Formlessness (or ‘informe’) has been touted as the Goyder line of departure with classically enshrined notions of beautiful form. So ugliness has become the new (if not the you) beauty. Such simple segues continue to entertain us all.
FOODFood and art – the perfect combination to
nourish your art practice.
Never everHeed the advice of one unnamed gallery director
skilled in the verse of relieving eager art lovers of
surplus wedge; “In choosing items for still lifes,
avoid bananas. But do try to stick to a blue/white/
yellow colour scheme. It works everytime.”
My Kitchen Tools
Martha (”when the woman speaks she names her own oppression”) Rosler made a video
in 1975, featuring herself as TV cooking host
rattling through the alphabet with the aid of
various kitchen implements (B = bowl and so
on) plus dismissive gestures implying anger
and frustration at the role of happy housewife
thrust upon women. It’s now 2014 and in the
light of current celebrity chef mania it’s time to revisit the moment. So now it might be C
= Crispy Crust Pizza Maker, E = Electrolux
Lavazza Capsule Coffee Machine right on to
T = Thermomix, and finish with a Martha
Rosler Z for Zorro, as a who-gives-a-flying-
falafel gesture of ironic defiance. Might go viral.
Might not.
Food art
You have two choices; arrange or sculpt. The
internet’s arteries are clogged with food ‘artistes’
who continue to stupefy with bizarre ways to force
food into simulated sex with the world of illusion.
Trainer wheel options include using assorted snack
biscuits in a mosaic manner to create a landscape.
Tip: grissini work fine for tree trunks. Challenge
options include more liquid and organic items such
as custards, jellies and tripe to attempt sunsets
or breaking waves. Other tips: avoid working
under hot lights. If sculpting use pizza dough. It
has the added option of giving your exhibition
guests something to chew over.
Yes we can camThis used to work in the 1970s. Throw a dinner
party and film the event. But this time, instead
of trusting a half-cut fellow artist to lay it all
down with a Sony HMV-100CE camera before
disappearing for a few months to splice edit a tape,
equip all guests with a head mounted (‘Be a Hero’)
GoPro and go live on a big screen. Warning:
Expect tears and tantrums before go home time.
Recommendation: For this kind of project to
be taken very seriously (as an art work) suggest
filming the detritus (half-eaten wild rice pottage,
gutted bread roll, abandoned brie puddle) and
jump cut edit with slivers of conversation (“ I’m
in favour of public education but my child was
being bullied so we...”) to explore the semiotics
of food-mediated social congress.
Fast FoodClaes Oldenburg’s hamburgers and slices of pie
may be staring to look a bit stale but that’s no
reason why you shouldn’t get into the act. It’s fun,
everyone loves it and there’s always the chance
of a food company spinoff commission. You’re
dreaming: a cinema chain goes nuts for your
two story high bucket of popcorn. Tip: Choose
materials with care. Apparently Oldenburg’s use
of foam rubber and milk cartons to stuff his burger
has sponsored a shed load of art conservator PhDs.
The pickle by the way disappeared from the burger.
The artist got a replacement through customs by
disguising it as a travel pillow.
In good tasteThe artist Rirkrit Tiravanija created an
exhibition in New York in which he converted
the gallery into a kitchen. Visitors were served
(free) rice and Thai curry. Various claims were
made such as “the distance between artist and
viewer was blurred”. New friends, apparently,
were made along the way. If this seems like
too much hard work consider Allan (‘The
Happener’) Kaprow’s 1964 staged performance
(Household) which incorporated some women
licking strawberry jam off a Volkswagen. Fifty
years later and nearly everyone has forgotten.
Just change the car (Kia?) and condiment (lime
pickles?) and no one will notice. Apart from
the lickers.
Phot
o:
J. N
eylo
n
Bear-faced, Takayama, 2013
gregory ackland habitus 20 February - 19 March 2014 www.hillsmithgallery.com.au
Find Us On Facebook
www.tartscollective.com.au
Open Mon-Sat 10am-5pmPhone 8232 0265
Green Desert Window display from 3rd March to 29th March.
Jenn
y Kni
ght B
eade
d Br
ooch
es
T’Arts CollectiveGays Arcade (off Adelaide Arcade)
Exciting artist run contemporary gallery / shop in the heart of Adelaide.
The AdelAide Review March 2014 39AdelAideReview.com.Au
VISUAL ARTS
Sound of Silence
by Jane LLeweLLyn
Photographic artist Justine Varga is
particularly fascinated by the current
culture of digital images, the vast
number of them and the speed of them.
It’s a fascination which leads her to question why
she takes photographs in the first place.
“I have come to the conclusion that my work
is counteractive in a way because I empty the
images out and ask the viewer to spend time
with them and to look and to see. The images
create a space for that.”
The process of creating the images is just
as important as the end result. “My work can
be read in terms of photographic process and
what it means to take a photograph.” It’s a
slow process for Varga shooting on 4 x 5 sheet
film and hand printing everything. She asks
audiences to spend time with her work in the
same way she does while creating the works.
In her last exhibition at Hugo Michell
Gallery in 2012, titled Film Object, Varga began
using a camera-less technique - removing the
intermediary between the objects she was
photographing and the film’s surface. “I was
sort of coaxing the objects or subjects onto the
film’s surface and playing with different light
exposures. They became quite abstracted.”
In this latest body of work, Sounding Silence,
Varga breaks down the forms even further. “I am
quite interested in the shapes that you can’t quite
make out, that some remain nameless to us but
somehow resonate somewhere within the viewer.”
In this exhibition Varga returns to lens-based
work, except there are a couple of works, Morning and Evening, which are camera-less. She says: “I
use them as references to the outside because the
» Justine Varga: Sounding Silence
hugo Michell Gallery
Thursday, march 27 to Saturday, April 26
hugomichellgallery.com
other works that are lens-based are really based
within the studio and they are quite contained.”
However even these studio works contain a hint
of the outside. In some works Varga has used
sticky tape, which has caught the reflection from
the windows of the trees outside.
The exhibition also includes a video work
focusing on the drop sheet she used when she
repainted the studio, “I pinned it up against the
wall and the window was open and the wind
was blowing and catching the light. It became
like a breezing entity.”
It’s difficult for Varga to talk about her work
because much of it is based on a visual rather
than verbal dialogue. “I look at it as giving form
to an unarticulated language. It’s something
we can’t use words to necessarily describe, it’s
a visual thing.”
Varga also likes the idea that the audience doesn’t necessarily know what to expect
when she has an exhibition - this is as much
for herself as it is for the audience. “I want
to keep it interesting for me. I spend a lot of
time making work so I have to be excited, she
explains. “I don’t want to know what the next
work is going to be. I want to go along that
journey of discovery with the audience.”
Justine varga. morning.
Justine varga. evening.
Justine varga. Still life.
444 South Road, Marleston, SA 5033 | T +61 08 8297 2440 | M 0421 311 680 art @bmgart.com.au | www.bmgart.com.au
CO
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27 February - 22 March 2014Gallery hours during Adelaide Festival Tuesday to Friday 11am to 5pm Saturday & Sunday 2pm to 5pm
32 The Parade Norwood Mon-Fri 9-5.30 Sat 10-5 Sun 2-5t. 8363 0806 www.artimagesgallery.com.au
Betty
Car
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40 The AdelAide Review March 2014
FOOD.WINE.COFFEE
The Adelaide Food & Wine Festival
returns this April. Although the
program won’t be out until March
11, Creator and Director Amanda
James-Pritchard believes there will be between
40 and 50 events in 2014, including this year’s
signature event – the Town Picnic. James-
Pritchard says planning for this year’s festival
is travelling at the speed of a freight train.
“We’re so far ahead of ourselves,” she
explains, “if I think about where I was this
time last year, let alone two weeks before. It’s
fantastic. It’s all coming together really well.
There’s always a few red herrings in the mix,
but that’s what happens when you try and do
things that are a bit out of the ordinary.”
Some of these out of the ordinary events
include the return of the Don Dunstan Tribute
Dinner at Fino, regional celebrations at five
iconic South Australian food and wine regions
From social media post to eight-day, 30-plus event food and wine extravaganza four months later – the Adelaide Food & wine Festival came out of nowhere last year to deliver a festival this town was waiting for.
by DaviD Knight
From LiTTLe Things...
» adelaide Food & Wine Festival
Friday, April 4 to Sunday, April 13
» think. talk. Food>Wine
Tuesday, April 8 (9am-5.30pm)
national Wine centre
adelaidefoodandwinefestival.org
such as the Adelaide Hills, Barossa Valley and
McLaren Vale and Think. Talk. Food>Wine, a
forum featuring speakers such as Feast’s Richard
Gunner, winemaker James Erskine, Lord Mayor
Stephen Yarwood and wine journalist Mike
Bennie. Think. Talk. Food>Wine’s theme is
‘Collaborators or Competitors’ and is presented
by The Adelaide Review.
James-Pritchard, who moved to Adelaide
from Melbourne six years ago, previously was
a publicist for the Melbourne Food & Wine
Festival and runs Kooki PR. In late 2012, she
posted on Facebook about a plan to start a food
and wine festival. After support from food and
wine identities, James-Pritchard commenced
organising. Four months later the inaugural
Adelaide Food & Wine Festival was staged
with 30-plus events, as well as its big-ticket
dinner – Market Feast at the Central Market.
Punters and producers alike embraced the
festival, guaranteeing a return this year.
“It just snowballed. I thought maybe we’d
have 10 events and I was really planning it
around this after-hour feast at Central Market
that to me felt it would be the hinge of the
Adelaide Food and Wine Festival.”
Held on Tasting Australia’s off year and when
there was doubt as if the biennial event would
return (it is, from April 27-May 4 with Simon
Bryant and Paul Henry in charge with Maggie
Beer as its patron), James-Pritchard believes
this fresh air was part of its success.
“Who knew what was happening with Tasting
Australia and I just thought, ‘Well if I don’t do
it now, someone else will do it’. It was a now
or never thing, that’s why it came together so
quickly. I had been thinking about it for the six
years I’d been living in Adelaide – literally the first
minute I started working in Adelaide I had the
idea to have an Adelaide Food and Wine Festival.”
The Festival hit Adelaide at around the same
time that our gastronomic scene exploded with
exciting new bars and restaurants.
“That’s just a fluke,” James-Pritchard comments
on the timing. “Lachlan [Colwill] made his way to
Hentley Farm and with Duncan [Welgemoed] at
Bistro Dom and Jock [Zonfrillo] leaving Penfolds/
Magill Estate to start Orana, it is a very exciting time
in food. Since I’ve been here the wine’s always been
exciting with emerging varieties, but I think with
the more restaurant-side of things doing well it
gives people a chance to focus on the independent
winemakers, people like James Erskine [Jauma]
and Taras [Ochota Barrels].”
This year’s major event is the Town Picnic, which
is an old school themed picnic, held at Rymill Park
with guest Peter Russell-Clarke, as well as chefs
Salvatore Pepe (Cibo) and Jimmy Shu (Hanuman).
James-Pritchard is planning to attract thousands
of people to the retro picnic, which includes a dog-
friendly area for dogs and their owners.
“I’m trying to recreate my best ever family picnic
from when I was a kid because I think everyone has
fond memories of that. There will be four different
corners of cuisines with an old school slant and
North Adelaide Country Women’s Association are
doing a cake stool and picnic hampers.”
The grass-roots, not-for-profit and
community-driven festival has a team of about
30 volunteers including ambassadors Gill
Gordon-Smith (Fall From Grace) and Rebecca
Sullivan (Dirty Girl Kitchen).
“I said to them that they can be as hands off or
as hands on as they want. I’m not going to push
them to do anything really, except to be really
great ambassadors for the festival and they have
been. They’ve both done amazing things so far.”
Ultimately, James-Pritchard says she is like a
party planner – as the Festival is about people
enjoying themselves.
“It’s about connecting people to producers,
produce and places. It’s about exploration and
discovery but ultimately having a really, really
good time. ”
THE ADELAIDE REVIEW MARCH 2014 41ADELAIDEREVIEW.COM.AU
FOOD.WINE.COFFEE
We’ve Got Balls Bistro Dom Head Chef Duncan Welgemoed writes about Adelaide’s gastronomic resurgence, a locally nurtured movement that is about substance over style.
BY DUNCAN WELGEMOED
Adelaide has balls. Formerly known
as the city of churches, Adelaide is
now described as the new Portland;
however, as Samuel Johnson put it, “No
one ever became great by imitation”.
We can’t deny that we have been the butt of a few jokes until quite recently. Sometimes
it’s been utterly deserved. When I fi rst arrived
in Australia, I was always asked why the
hell would I want to live in this state. It was
believed that we didn’t have the populace or
demographic that could sustain interesting
restaurants and cool bars. We should have
been named the city of ‘shnitties’ (nothing
wrong with a great parmi) but the recurring
theme was that the people of Adelaide would
not be open to change, or able to warrant
something brave and different (unless
it was promoted on the next episode of
MasterChef).
Like every noteworthy movement, it
started from the earth, the terroir – and
in this case, from the primary producer.
In the last fi ve years, there has been a slow
and steady movement from producers who
have driven a more artisanal approach to
their growing, husbandry and the fi nishing
of their products. The sellers, whether
farmers’ markets or wholesale suppliers,
have ensured this quality product reaches
our chefs and you, as the consumer, taste
the point of difference. South Australian
produce (rather than another soon-
forgotten celebrity chef) is the heart of this
resurgence in our once-waning food scene.
With this all-permeating product
confi dence, our chefs have pretty much
given the fi nger to whatever the next fad
coming from Melbourne and Sydney is.
We are producer-focused, not personality
focused and having every producer engaged
in the process allows each player to bring
their A-game, whether they are running a
small bar or a restaurant, and even those
of you who cook and curate at home.
Why emulate trends from other cities when we can carve our own niche,
cultivate our own style and have so much
fun doing it that we don’t even look over
our shoulder to see what the big boys
from elsewhere are up to?
We are also very lucky to have close
relationships with incredible winemakers;
for me this is the heart and soul of my
operation. Every release of brilliant local
wine brings inspiration (without sounding
too sycophantic). These cats can change the
way you plan your next dish, the structure
of the menu, even convince you to call in
sick, open a bottle of wine and spend the
night heckling the next carbon-copy reality
TV cooking show.
We are becoming a state of doers. We
pride ourselves on substance over style and we have that in bucket-loads; the
style naturally follows.
For a while this state suffered from a
hospitality brain drain because we haven’t
been as dynamic as other places. What’s
fantastic about this ‘renaissance’ is that more
young people are deciding to stay, invest and
create. This has been a quick progression and,
if anything, I worry that it may soon start to
suffer from market saturation – this is where
we need you, the consumers, to support the
creative businesses. Tell your friends, have
a party, head out and fi nd the latest exciting
place, because there’s no shortage of them.
We are extremely lucky to have
grass-root food festivals such as The
Adelaide Food and Wine Festival, which
encapsulates the collaborative ethos
shared between producer, chef, winemaker
and customer. The festival has been an
exceptional platform to throw caution to
the wind and let everyone have a bit of fun.
Corporate sponsors do not dictate these
events, which means the narrative is pure.
I’ve been lucky enough to be given
the opportunity to curate the food and
beverage at Lola’s Pergola (The Adelaide
Festival’s club) in conjunction with Ross Ganf, Creative Director of the club and The
Happy Motel. Collaborations have emerged
between unbelievable chefs, winemakers,
producers, performers, party-boys, designers
and artists who have a deep connection with
this movement. We all have the same goal;
to bring love, passion and, occasionally, a
little weirdness and thrust it centre stage.
What we do in this state matters - people far
and wide are starting to look and get excited
about what we’re doing.
This Adelaide Festival club is
presenting everything that Adelaide’s
food and wine culture should represent
minus the spin and politics but with the
highest integrity. I’m extremely proud to
be cooking and living here and frankly
even from a tourist point of view, as
English satirist and columnist Charlie
Brooker wrote when describing South
Australia for The Guardian: “If the rest of
the country gets any better than this, it’s
quite frankly taking the piss as a nation.”
» Duncan Welgemoed is the Executive
Chef of Bistro Dom, The Happy Motel
and Lola’s Pergola
bistrodom.com.au
thehappymotel.com
adelaidefestival.com.au/2014/club/
lolas_pergola
The Happy Motel team Duncan Welgemoed and Ross Ganf.
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42 THE ADELAIDE REVIEW MARCH 2014
FOOD.WINE.COFFEE
I really love honey and until a couple of
years ago I didn’t realise that I wasn’t
eating the real thing! Under pressure
from consumers and retailers, a large portion
of the honey industry made a decision to give
us a smooth and runny honey, reminiscent
of liquid gold, but in fact, the value is as far
from gold as can be.
Honey is an example of natural perfection; it
is reported to have anti-viral, anti-bacterial and even anti-fungal properties. Honey is also full of
powerful enzymes, antioxidants, natural vitamins
and nutrients. Unfortunately, this is not what is
readily available to us on a consumer level. It is
often heated to refi ne the texture and increase
the shelf life but a consequence is the removal
of nearly all of the health benefi ts that were once
naturally present.
You have to wonder when and/or who made
the decision to sacrifi ce the health benefi ts so
Honey
BY ANNABELLE BAKER
FOOD FOR THOUGHT
twitter.com/annabelleats
Baked Honey CheesecakeBaked cheesecakes can be intimidating, as they have a tendency to crack when baked but the addition of a sour cream glaze hides all imperfections!
Ingredients• 200g Nice biscuits or equivalent• 30g butter – melted• 875g block cream cheese – room temperature• 150g sour cream• 4 eggs• 2 tablespoons plain fl our• 4 tablespoons raw honey• 250g sugar• 2 egg yolks• 100g (extra) sour cream• 2 (extra) tablespoons raw honey
Method1. Line a spring form base cake tin with baking paper and for extra security, lightly grease the base with some of the melted butter.2. Process the biscuits until the consistency of fi ne sand.3. Add the butter and pulse until combined.4. Press the mixture into the base of the lined tin.5. Bake the base at 180 degrees for 12 minutes and then leave to cool.6. Reduce the oven temperature to 160 degrees.7. In the bowl of an electric mixer, using the paddle attachment beat the cream cheese until smooth.8. Add the sour cream, eggs, plain fl our, honey and sugar, beat until well combined and a smooth consistency.9. Beat in the egg yolks, one at a time allowing the mixture to combine between each egg.10. Pour the mixture into the tin and tap gently to remove any air bubbles.11. Bake for 60 minutes or until just set and slightly golden brown in colour.12. Allow to cool completely at room temperature.13. Combine the extra sour cream and honey until a pouring texture.14. Pour over the cooled cake and leave to chill in the fridge overnight.15. Remove from the tin and garnish with seasonal fruit.
that we could spread it on our toast. Clever
advertising campaigns, such as runny honey
in a bear shaped squeeze bottle (now I think
about it, not so clever) kept us wanting more.
Lets face it, honey can be messy and sticky; the
ease of it almost spreading itself on our toast
is an extremely tempting ploy. But now we
know what we are giving up, it almost seems
unfathomable that such an option was even
considered.
Bees still pollinate one third of the world’s food supply and they have been successfully
thriving on Earth for around 50 million years.
There is even evidence that we have been
gathering honey for around 8,000 of these
years. It is safe to say that bees and honey is
an extremely natural and important part of our
evolution but the question is – what role will
it play in our future?
Look for raw and/or low-temperature
processed honey and be careful of the ‘organic’
label, it doesn’t always mean that the honey
hasn’t been heat-treated.
And, if you feel so inclined, plant bee-
friendly flowering plants. This will help
keep natural pollination of our food supply
going and also contribute to the creation of
one of earth’s most natural, nourishing and
delicious foods - honey.
The AdelAide Review March 2014 43AdelAideReview.com.Au
FOOD.WINE.COFFEE
» Kris Lloyd is the head cheese maker
of Woodside cheese Wrights
woodsidecheese.com.au
simonjohnson.com.a
S imon Johnson is obsessed with food
quality; his passion is uniqueness and
his primary objective around food is
flavour. He is also a self-confessed cheese
addict, but admits he is no cheese expert. He
now has eight Simon Johnson retail stores
across Australia offering a range of high-
end food products including the jewel in the
crown: cheese!
New Zealand born, Johnson began his
career in food as an apprentice chef and
spent a number of years cooking in Sydney
and Auckland restaurants before permanently
moving to Sydney in 1987. In 1992 he opened a
showroom for chefs in Pyrmont, Sydney, with
Australia’s first specialist in-store fromagerie
or cheese room. It wasn’t long before the
showroom transformed into a retail store
largely due to the increasing demand from
Sydney’s foodie public.
He explains part of his success was being
in the right place at the right time. It was
around 1989, when he was “looking for
something to do” when Western Australian
cheese maker Gabriella Kervalla (pioneer of
goat milk cheese making in Australia) called
him. She had no one to look after her product
in NSW and asked Johnson if he would be
cheese Beginnings
BY Kris LLoyd
CheeSe MatterS
interested in starting a small distribution
company. Johnson explains: “Within a week
of Gabriella’s call, cheese maker Richard
Thomas from Milawa Cheese Company in
Victoria and master cheese maker Frank
Marchand from Heidi Farm in Tasmania also
knocked on my door with the same request.
This was the birth of the business, which I
literally started on the smell of an oily rag –
with an unregistered Honda Civic and it was
fundamentally all about cheese! Here I was
with three amazing cheese makers we had in
Australia at the time. I was indeed fortunate
to be in that space at that time.”
Celebrated chef Serge Dansereau, a great
friend of Johnson’s and the Executive Chef
at the Regent Sydney in the late 1980s, was
looking for foods with a point of difference.
He didn’t want to be serving cheeses that were
available in supermarkets. Richard Thomas
at Milawa Cheese Company had just started
dabbling in washed rind cheese. These rather
smelly cheeses were quite new in Australia
at the time. Gabriella had her goat cheeses
and Frank had a Pandora’s box of pasteurised
and unpasteurised Swiss styles. Johnson: “In
order to get a specialty cheese industry here
in Australia off the ground, I asked Serge to
commit to taking at least 30 wheels of each
per week.”
Johnson assured him he would be getting
something different. “We had found a big
supporter who actually had the budget to
support this venture, otherwise it would never
have got off the ground. This was fundamental
to the introduction of specialty cheese in
Australia.”
Fringe cheese making came of age, as did
the introduction of goat and sheep milk cheese
and yoghurts in Australia. “Frank Marchand,
without a doubt, was making the best Comte
we could get our hands on,” Johnson explains.
He would mature his large wheels of Gruyere
on cedar slabs in a 40-foot shipping container;
it was a time that was like no other. I feel very
fortunate to have been part of that era – it was
a really special time.”
According to Johnson there was an amazing
camaraderie between chefs across Australia
in supporting the specialty cheese makers and
their understanding of just how important
it was to grow a specialty cheese industry in
Australia. Through the chefs’ demand, the
industry grew irrespective of the fact that
everyone was very green. He recalls cheese
maker Richard Thomas calling him. “Simon,
I’ve got these amazing blue cheeses, they
taste fantastic but I can’t call them a blue
because there is no blue and they’ve kind of
collapsed. I‘ve called them the Uglies – we
need the money so can you just go out and
sell them.”
Sure enough they did taste fantastic. There was not a trace of blue but when Johnson went
to the chefs they said they couldn’t use them.
Even discounting didn’t convince them. The
following week he reintroduced them as the
Richard Thomas Cheese Makers Selection and
sold them all for $30 a kilo. He would pull up at
the Regent loading dock with his unregistered
Honda Civic and do business. He described it
as an amazing time in Australian food, which
set the pace for things to come.
The introduction of his famous cheese rooms
did not come without controversy. Four days
before Christmas in 1989, a Victorian council
confiscated all the cheese from the Simon
Johnson cheese room in Toorak, claiming
that Johnson was storing hazardous material
above five degrees. This laughable conclusion is
typical of the regulation the food industry must
undergo at times. Many European towns have
stores which are entire cheese rooms; at times
the cheeses are outside the store in barrels or
on tables. This hazardous material has been in
existence for thousands of years stimulating
both the palate and the economy – what an
overreaction. Needless to say it all ended up
in court and it’s pleasing to write that Johnson
and his hazardous material won.
Simon Johnson
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44 The AdelAide Review March 2014
FOOD.WINE.COFFEE
Travel the Cosmos
by Derek crozier
Hey Jupiter is well known for its pork
belly sandwiches but some may not
know that it can be enjoyed with a
cup of boutique-level coffee. The decor is
warm and welcoming with hanging ferns
and a wall of antique looking mirrors with
some specials written on them. They use
Five Senses Coffee and the friendly barista
pours it through a La Marzocco espresso
machine.
The barista was very knowledgeable and
spent time going through the beans on offer.
He suggested the single origin from India
called Veer Attikan India for my espresso. It
was served with a thick layer of crema and had
a rich berry smell but a honey-like taste with
my first sip. It had a velvety body throughout
and finished on hints of spice.
For the latte I sampled the house blend
called Harvest, which is made up of beans
from Honduras, Costa Rica and Guatemala.
The milk (Tweedvale) was silky smooth and
creamy with a six leaf tulip on top as the
latte art. The first taste had a buttery mouth
feel with a pleasant acidity but towards the
end were citrus notes, which lingered in the
mouth.
If you’re in the city, you won’t have to travel
through the cosmos to get to Hey Jupiter. It’s
in an up and coming location and is a place
that has a marriage between good food and
boutique coffee that, with the friendly staff,
makes you feel at home.
» hey Jupiter
11 ebenezer Place, Adelaide
facebook.com/heyjupitercafe
A Simple Exchange
by Derek crozier
The first thing you see when you walk
into Exchange is a Synesso machine
and a brew bar that brags boutique.
The counters, the tables and the
brewing areas all seem to be designed for that
clean, clinical feel but the warm and inviting
colour scheme balances it out perfectly.
It is the only outlet in Adelaide that serves
Market Lane Coffee, a boutique coffee roaster that sources and chooses its green beans by
what’s in season to provide different tastes
regularly. This visit to Exchange gave me the
pleasure of trying beans from Bolivia that was
complemented with postcard photos of the
farmers themselves.
For my espresso I had a single origin called Familia Montano Espresso, which had walnut
notes on the nose and a berry taste on the back
of the tongue. A nice acidity came through at
first but it seemed to get sweeter as I sipped
on. It was refreshing that the barista served
my espresso with a glass of sparkling water,
which seemed to be a standard with any order.
I tried a blend called Seasonal Espresso for
my latte, which was composed of beans from
the Copacabana, Familia Montano and the
Juan Ticona region. The milk (Paris Creek)
was silky smooth and dense with a symmetrical
rosetta as the latte art. The toasted almond
notes came through with the first sip but it was
the hints of chocolate orange that stood out.
Exchange Specialty Coffee is a simple
boutique with fresh modern look that suits
the Rundle Street precinct. Even though they
are new in town, the different brewing methods
and design really shows that they mean serious
coffee business.
» exchange Specialty coffee
Shops 1 and 2, 12-18 vardon Avenue, Adelaide
exchangecoffee.com.au
55 Frome Street, Adelaide
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THE ADELAIDE REVIEW MARCH 2014 45ADELAIDEREVIEW.COM.AU
FOOD.WINE.COFFEEHotWines
THE ADELAIDE REVIEW
SOUTH AUSTRALIAN100
A Looming Talent in the Riesling Races
BY CHARLES GENT
Jess Hardy has been working for Loom
Wine for four years; she took charge of
the Riesling only last year. When the 2013
Long Yarn Riesling took third spot in The Adelaide Review’s Hot 100 South Australian Wines last year, it was the fi rst time I, and
I suspect many others, had heard either her
name or the winery’s.
The ignorance is not altogether surprising. The
Long Yarn label is the visible tip of Loomwine’s
oenological iceberg, with much of the company’s
efforts directed to making wine for export to
the UK and the US in formidable quantities.
Operating at McLaren Vale under the aegis of
Barossa-bred Steve Grimley, Loomwine draws
on vineyards in several regions.
Winemaking and management of the four
varieties in the “week-night” local brand, Long
Yarn, has been turned over to Jessica Hardy.
The surname of Hardy does have a certain familiarity, and it emerges that Jess, who is 28,
is indeed a sixth generation member of South
Australia’s celebrated winemaking dynasty.
She is, to wit, the great-great-great-great-
granddaughter of Thomas Hardy, proprietor
of extensive vineyards at Bankside (on the
Torrens below Adelaide) and McLaren Vale.
The emigrant Hardy became one of 19th
century Australia’s greatest winemaking
entrepreneurs, a success attributable to
his many personal qualities, among them shrewdness (he reportedly hoarded his ship-
board rations of cocoa all the way to Adelaide)
and also imagination (during the summer his
Grenfell Street wine bar sold iced claret to the
passing punters).
His McLaren Vale vineyard and winery,
purchased from another less buoyant visionary,
Dr Alexander Kelly, became the base for
a profitable export empire that rested on
supplying robust, “ferruginous” red wines for
the English market.
While McLaren Vale is also Jess’s base, the
grapes for the Long Yarn Riesling actually come
from 100 kilometres to the north-east. Playing
out the great South Australian Riesling rivalry,
earlier vintages of Long Yarn Riesling used fruit
from Clare, but last year Loomwine switched to a grower in the Eden Valley, and the wine was
made “just down the hill” at a site in the Barossa.
Some 30 tonnes of fruit came from the block,
but after selecting the best parcels, around 1500
cases of the wine were made. “We now wish
we’d done a bit more,” Hardy says, who tastes
the grapes, as well as testing the baume, to help
decide the right time for picking.
Last year’s growing season offered almost
perfect ripening. “On that particular block there
was a really nice, even drop in the acid and rise
in the baume – it was almost something you’d
see in a textbook graph,” she said.
Hardy admits that Riesling is not her long
suit – her vintage in Spain after graduating
from the Waite has left her with a fascination
for Tempranillo, which may soon surface in
the Long Yarn line-up – but it is a style she
loves. She says that most days at the winery
end with a bottle of either aged Riesling or
cool-climate Chardonnay.
Stylistically, the Long Yarn has around four
points of residual sugar to give it drinkability
on release and commercial appeal, but Hardy
said the wine also has the chemistry to last
the long haul.
“In a selfi sh way, we wanted to be able to
throw some in the cellar to age and drink
ourselves, so we were angling for it to go that
way.”
Hardy said the praise from the Hot 100
judges, who talked of the wine’s “layers of fruit
and vibrant minerality”, was very welcome.
“It was my fi rst real crack at making Riesling,
and while I was quite happy with it, it was a bit
of a confi dence booster to get the feedback.”
The recent extremes of weather will make the
next Long Yarn Riesling a tougher proposition
for winemaking, Hardy says, but the current
release offers some ready consolation: “It’s
good on a hot evening, that’s for sure.”
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46 THE ADELAIDE REVIEW MARCH 2014
WINE
DE BORTOLI LA BOHEME ACT TWO PINOT NOIR ROSÉ 2013
RRP: $20Yarra Valley debortoli.com.au
Leanne and Steve Webber of De Bortoli
Wines in the Yarra Valley are champions
of rosé. So much so, they started a
revolution – the Rosé Revolution – to
encourage the relishing, making and
consumption of pale, dry and textural
rosé. This all started, as it often does,
with the inspiration derived from a
bottle of French rosé while holidaying in
Provence. This wine, the De Bortoli La
Bohème Act Two, keeps their dream alive.
Made from 90 percent Pinot Noir with a
splash of a few other varieties, it offers
a gentle puff of strawberry, rosehip and a
red summer berry aromas. True to their
maxim the palate is savoury, dry and lovely
and well worth starting a revolution for.
BIRD IN HAND PINOT NOIR ROSÉ
RRP: $20Adelaide Hillsbirdinhand.com.au
For reasons known to viticulturalists,
winemakers and Mother Nature only,
the Adelaide Hills and Pinot Noir go
particularly well together. The higher
altitude and cooler climate help to
keep the famously wily variety happy
so it can produce all of the things that
Pinot Noir produces well; pretty and
beguiling aromas with great complexity
and spice… when it’s in the mood, of
course. So it’s no surprise that when
Adelaide Hills Pinot Noir is made into
rosé it is equally enticing, if only in
a less complex way. This wine has a
particularly pretty nose of strawberries,
watermelon, and bright red fruits while
the palate is crisp, lively, dry and very
moreish.
It might well be nearing the end of summer but there’s still plenty of
heat to come. Rosé, that pink wine made from red grapes, is one of
the vinous world’s most thirst slaking and refreshing wines. See the
last weeks of summer off with a few of Australia’s most adorable pink
wines. Serve ice cold with a good view and even better company.
Everything’s coming up
RosésWINES BY ANDREA FROST
CHEESE PAIRED BY VALERIE HENBEST
FROM SMELLY CHEESE
The AdelAide Review March 2014 47AdelAideReview.com.Au
WINE & CHEESE
Bonne Bouche from VermontBonne Bouche is the flagship of
vermont creamery. introduced
in 2001, Bonne Bouche quickly
won acclaim. Reminiscent of the
loire valley cheeses of France,
Bonne Bouche means “good
mouthful” and is indeed a tasty
bite. made with fresh pasteurised
goat milk from family farms, the
curd is carefully hand ladled,
lightly sprinkled with ash, and
aged just long enough to develop
a rind. After about 10 days, the
cheese is packaged in individual
crates and sent to market where
they will continue to age up to 80
days. As a young cheese, the rind
has a pleasant yeast flavour and
creamy interior becoming softer
and more piquant as it ages.
tomme mi chèVre from france (mons)The mons family travel throughout
France to find artisan cheese
makers who work with the best
milk and offer the best expressions
of that milk in their cheese. hervé
mons learned his craft from his
father and has been recognised
by the French government with the
prestigious title of “meilleur ouvrier”
de France and provides his cheese
to the best tables in France. hervé
made this cheese made from half
cow and goat milk. it arrives here at
about two months of age and is a
delicious supple textured cheese at
that point. Some are aged a further
two to three months to develop
a firm natural rind and a smooth,
slightly sweet, yet full flavoured
interior with a creamy mouth-feel.
appenzeller from switzerlandProduced in the Appenzell
region of Northeast Switzerland
for more than 700 years, this
cow’s milk cheese has a cooked
curd which is then pressed.
herbal brine, quite unique
to this cheese, is applied to
the wheels of cheese while
they cure. This adds flavour
while also assisting in the
preservation of the cheese.
The result is the formation of a
golden coloured rind encasing
a straw coloured interior with
occasional pea-size holes. The
cheese has a strong aroma
and a nutty, fruity flavour with a
pleasingly smooth texture.
mahon from spainmahón is produced on menorca,
the outermost of the three
Spanish Balearic islands. curd
is piled in the centre of a cheese
cloth and the square corners are
knotted and twisted together.
The cheese is pressed and
twisted for a number of days
giving the cheese its typical
“cushion” shape. The hard rind,
which carries the imprint of the
cheesecloth, is rubbed with oil
and paprika creating a vibrant
orange colour. mahón is sold at
various stages of maturity. when
young, the texture is smooth and
supple and the aroma is sweet
and fruity. it can be matured for
up to 10 months when it will
exhibit a hard, slightly granular
texture with a sharp, salty tang.
La Linea TempraniLLo rosé 2013
rrP: $21adelaide hillslalinea.com.au
Since its first release in 2007, this wine
has steadily built a reputation as one
of Australia’s best rosés. Not surprising
when you have the cleverness and
credentials of the team made up of
Peter leske and david lemire mw, wine
industry professionals with a swagger of
vintages, qualifications and experience
with esteemed producers behind them.
every decision here has been scrupulous
but i’ll not complicate such a beautiful
thing with technical details. This wine
is delightful. lovely pale pink, it is dry,
savoury, crisp and delicious. Brimming
with dreamy wafts of red fruit, rosehip
a little spice the wine finishes bone dry
with lovely refreshing acidity. A perfect
wine for pretty much any moment.
porT phiLLip esTaTe saLasso rosé pinoT noir
rrP: $22Mornington Peninsulaportphillipestate.com.au
i remember, some time ago, hearing a
rock star accept a hall of Fame music
award by saying, “it takes a lot of effort
to look this casual”. This wine is a bit
like that; lots of care and attention
backstage to make a perfectly effortless
wine on stage. Behind the scenes
are super vineyards, careful varietal
selection and meticulous winemaking.
in the glass, the wine offers depth and
complexity all wrapped up in a lovely
salmon hue. The nose offers a hint of
spice and strawberry aromas, reminding
me of the lovely pink fuzz off newly made
jam. The palate is dry, savoury, textural
and delicious. which makes it sound a
lot simpler than it actually is, but this of
course, is what makes rosé special.
smellycheese.com.au TheSmellyCheeseShop @thesmellycheeseshop
PHONE: 8231 5867 TO BOOK
or visit smellycheeseclub.com.au
(all classes held at 25 Wright Street, Adelaide)
Fun for friends, perfect for corporates
and great as gifts!
“ T h e r e i sa n a t u r a la f f i n i t y
b e t w e e nc h e e s e a n d
w i n e . ”
BOOK A CHEESE MASTER CLASS WITH THE SMELLY CHEESE SHOP
CHEESE AND SPARKLING WINE PAIRING$80 inc GST ($72 members)
While Champagne and other sparkling wines are often enjoyed to toast a special celebration, they are also very food friendly and especially cheese friendly. Whether it is Champagne from France, Cava from Spain, Sparkling from Australia or Prosecco from Italy, pairing cheese with bubbles is one of life’s pleasures. This session will give you a chance to enjoy some of the best sparkling wine with some of the finest cheeses from all over the world!
CLASS DATESFriday 9th May 6.30pm-8.30pm
CHEESE AND BEER$80 inc GST ($72 for members)
Ever tried good Cheddar with pale ale? Some cheese experts contend that beer is more compatible with cheese than wine. Naturally beer connoisseurs agree and this two hour session will help you form your own opinion!
CLASS DATESFriday 28th March 6.30pm – 8.30pm
CHEESE AND WINE PAIRING$80 inc GST ($72 for members)
There is a natural affinity between cheese and wine. Just as every wine is unique, so is every cheese and matching them is a fascinating process. With the help of our wine expert, you will learn a few simple rules to help achieve the ultimate cheese and wine marriage.
CLASS DATESThursday 1st May 6.30pm – 8.30pm
48 The AdelAide Review March 2014
TRAVEL
Dubai never interested me as a travel
destination but the desert oasis of
building sites, mammoth towers,
mega malls and high-end fashion is
discovering (or more correctly discovering how to
promote) its culture through new arts precincts,
food tours and Emirati culture programs. The
regional port rapidly evolved into a city some 40
years ago and the cosmopolitan metropolis is one
of the world’s major flight stopovers. The most
populated city in the United Arab Emirates is of
more interest than just a brief overnight layover as it
is now a destination worth exploring and is growing
into its title as the centre of the arts in the UAE.
The key tourist attractions are still worth a
visit – the shopping (that includes the must-
visit world’s largest mall, The Dubai Mall
with its ice rink and aquarium) is brilliant,
as is the rapid 163-floor escalator ride up the
world’s tallest building, the Burj Khalifa for
breathtaking views of the city. (The best time to
visit is when evening breaks to view the Dubai
Fountain water display). Not everything worth
visiting in Dubai needs to come with a ‘world’s
biggest’ tag. Which brings us to the food.
Given that a lot of Middle East’s great food
destinations are located in war-torn or hard-to-visit
with its reputation as the las vegas of the Middle east minus the sin, it’s refreshing to discover there’s more to dubai than shopping and a quick escalator ride up the world’s tallest building.
by DaviD Knight
Discovering Dubai
countries and regions such as Iran, Palestine and
Lebanon, Frying Pan Adventures boss and guide
Arva believes the Old Town of Dubai is the easiest
way to experience authentic Middle Eastern food. An enthusiastic, charming and knowledgeable host,
Arva grew up in the Old Town and her five-hour
walking tour through her neighbourhood is more
than just a food fest – it is an all-senses degustation,
as the food blogger picks each destination’s (and
there are a heap of restaurants, corner shops and
cafes on this visit) highlight dish (or dishes) and
explains the history of each culinary choice as you
take in the colour and surrounds of Dubai’s most
authentic food district, which is off the tourist map.
Even if you’re in Dubai for just a night – book this in.
Along with traditional Arabic food, new restaurants
are popping up in recently completed hotels such
as the Conrad, which includes celebrity chef brands
such as the Marco Pierre White Grill and the brand
new Latin American themed supper club Izel.
Recently announced as the 2020 World
Expo’s host city, Dubai’s Modern Art Museum
and Opera House is scheduled to open five years
before Dubai hosts the expo and will be the hub
of the city’s art and culture with galleries and
design studios joining the opera house and art
museum. But you don’t have to wait until 2015
to explore exciting arts precincts in Dubai.
With a Los Angeles-like creative district feel,
Alserkal Avenue is a warehouse strip home to
more than 20 art galleries and design spaces.
Currently the foremost art district in Dubai,
Alserkal Avenue is home to brilliant modern
art galleries such as Grey Noise and Showcase
Gallery. With developments underway, the
district will become more impressive when
the expansion is completed later this year and
coupled with the Modern Art Museum and
Opera House precinct will make a powerful
arts double-header.
The ideal way to appreciate Emirati culture is by partaking in a traditional Emirati
brunch at the Sheikh Mohamed Centre for
Cultural Understanding. While you eat a
beautiful traditional brunch complete with Arabic coffee, your host pleasantly guides you
through Emirati and Islamic traditions with
grace and humour and is open to religious and
cultural questions (no matter how trivial or
uncomfortable) from her guests. Even if you
don’t agree with everything that the host says,
this is an eye-opening experience, which dispels
many visitors’ myths.
Phot
o: A
irsp
ectiv
Med
ia
» The writer was a guest of
emirates and dubai Tourism
definitelydubai.com
emirates.com/au
* emirates operates 84 flights per week to dubai
from Australia with economy Class fares starting
from $2,303. Passengers in all classes can enjoy
up to 1,600 channels on ice, emirates’ award-
winning inflight entertainment system, gourmet
food and wine and generous luggage allowances
including 30kg in economy and 40kg in business
Class. These fares are for travel between April
1 and June 23 2014. For flight information and
bookings contact emirates on 1300 303 777, visit
your local travel agent or go to emirates.com/au.
Arva (left) from Frying Pan Adventures.
RUNDLE PLACE, GRENFELL ST, CITY AND 123 KING WILLIAM RD, HYDE PARK
WWW.COLINANDCO.COM.AU
FORMERLY JONES THE GROCER BUT ONLY THE NAME HAS CHANGED
DESIGN CONVERSATIONS
Leanne Amodeo interviews past South Australian Architecture Awards winners:
John Adam, Max Pritchard and Dimitty Andersen.
FORMD E S I G N • P L A N N I N G • I N N OVAT I O N
THE ADELAIDE REVIEW MARCH 2014
Ros
e Pa
rk R
esid
ence
. Dim
itty
Ande
rsen
Arc
hite
cts
50 The AdelAide Review March 2014
FORM
Design Conversations
In what ways do you incorporate
environmentally sustainable design
features into your residential
projects?Using sensible passive design is key to achieving
sustainable design, so orientation is important
and I try to get as much sun into the living areas
as possible, as well as having as many rooms
facing north as possible. I also use ventilation
for cooling and the winter sun for heating.
What has been your biggest
residential design challenge to date?Stringybark House in the Adelaide Hills was a big
challenge because of its vulnerability to fire. It was
built before legislation on building compliance
in fire zones was passed and so we didn’t have
any strong guidelines or rules. I had to design
three completely different houses before one was
accepted, so it was a long process and probably
a frustrating one for my clients.
What do you consider your most
innovative project to date?
That’s a hard one because you always tend to
think your last project is the most innovative,
but I think probably one of my very first ones is. It’s my own house, which I built 30 years ago
and it amazes me in hindsight that I was bold
enough to do it. I designed it like a bridge with
big seven-metre cantilevers and 15-metre spans
between columns. It was genuinely innovative
for its time, certainly in its structural system.
How closely do you work with your
clients during the design process?Pretty closely, but it’s not just a case of me
going away and coming up with a design. The
process can go on for months or even longer;
the client might be really happy with the first
designs and we both think we’re nearly there, but we’re not. Clients sometimes ask, ‘What
happens if we don’t like what you’re coming
up with?’ and I’ll answer, ‘We keep going until
you’re happy.’ I’ve never had a situation where
clients have told me it’s not working – we just
keep on going until we get it right.
maxpritchardarchitect.com.au
Past winners of South Australian Architecture Awards John Adam, Max Pritchard and dimitty Andersen offer insight
into their outstanding residential design practice.
by Leanne aModeo
anticipation is high this time of year
as entrants shortlisted in the South
Australian Architecture Awards
prepare their jury presentations.
In celebration of awards season we
speak with three past winners of the South
Australian Architecture Awards, John Adam,
Max Pritchard and Dimitty Andersen, about
designing homes for clients and the processes
involved.
Max PrItcHardIs a multi-awarded architect who
last year won the John S Chappel Award for Residential Architecture and
Architecture Award for Sustainable Architecture for Barossa Valley
Glass House.
Jury presentations are open to the public:
9am–4pm, Saturday, March 22 Nexus 10 hub, University
of Adelaide (cnr North Terrace and Pulteney Street)
voice.architecture.com.au
Phot
os: S
am N
oona
n
THE ADELAIDE REVIEW MARCH 2014 51ADELAIDEREVIEW.COM.AU
FORM
DIMITTY ANDERSENIs principal of Dimitty Andersen Architects
and last year she won an Architecture Award for Rose Park Residence.
What do you consider your most
innovative project to date?
It would have to be Rose Park Residence
because I think it’s an exemplary family home
in an inner suburban context. The project
involved a ground-level extension to an
existing cottage and a second level addition.
It’s innovative in the sense that the client
pushed us to develop the site quite densely
and they weren’t afraid of the architecture,
which is fantastic.
What is the biggest challenge you
face when designing a residential
extension or addition?I think the biggest challenge for us is that most
of our clients are building for the fi rst time
and they are entering into a process that is
unfamiliar to them. So we try to teach clients
about how we make decisions and the context
in which we make those decisions.
What is the most common request you
receive from residential clients?
The most common request would be to build something beautiful at a budget. Clients are
a lot more educated about design nowadays
through programs like Grand Designs, so their
expectations are very high. The cost of building
is still out of reach for a lot of people, so the
challenge is to marry a client’s expectations with
their budget. We look at designing good quality
spaces not huge spaces. Managing a budget is
very much about managing overall fl oor area
and being sensible about requirements and
how to rigorously use a space. We work with
the client to try and maximize the use of their
internal and external space to get the best value
out of it.
How early on in the design process do
you consider a project’s materiality?
The client directs the overall character of a
project. Early on in the concept stage we think
about composition and this gives direction
regarding material palette. Even in the
planning stages we’re deciding what kind of
character a project has and we’re rigorous about
maintaining this character right through to the
onsite development. The initial idea almost
has to be protected, so that what comes out
the other end looks as fresh as how it started.
dimitty.com
An Adelaide Fringe 2014 exhibition of new works featuring:
Giles bettison, greg johns, waldemar kolbusz and milton moon.Ends 30th March 2014
A P T O S C R U Z G A L L E R I E S
147 Mt Barker Road, Stir l ing South Austra l ia 5152 08 8370 9011 [email protected] aptoscruz.com
Pictured below, left to right:After The Burning.. .Ceramic stil l l ife (folded vase forms), 2013. MILTON MOON.Lake Mungo Sculptures, 2006. GREG JOHNS. Red gum & jarrah. 240-2700H x 100W x 100mm D.Five Pm, 2013. WALDEMAR KOLDBUSZ. Oil on linen. 102 x 102cm.Vista 05 #2, 2005. GILES BET TISON. Glass, murrini technique. 265H x 175W x 65mm D.
52 THE ADELAIDE REVIEW MARCH 2014
FORM
What factors do you always consider
when devising a design concept?
The client and site are paramount, as is trying to keep within budget. I don’t have a philosophy
that our clients fi t into, rather I try to fi nd their
philosophy and then come up with something
that suits the way they want to live.
How early on in the design process do
you consider a project’s materiality?
Sometimes it’s really early on and other
times it takes a while, but the issue initially
is always based around lifestyle rather than
space. To begin with I get each client to fi ll
in a long questionnaire that covers practical
and aesthetic considerations so that we can
tailor a house that fi ts them. Then the fi rst few
designs following are really just explorations
to help get to know the client. I’m trying to
come up with an envelope for them to live in,
JOHN ADAM
Is a sole practitioner who won the Architecture Award for Small Project Architecture for Sticky Rice B&B last year.
rather than worrying about what the envelope
should be clad in.
Do you ever challenge the client’s
brief?Absolutely, all the time! It’s part of our
initial exploration phase. Not only do I learn
about the client, but clients also learn about
themselves, which allows me to present them
with alternatives to the way they think about
their space and life.
What do you consider your most
innovative project to date?Goolwa House is an interesting project
because the client came to us with one of
those old, 1980s beach houses. I proposed
keeping the outside of the building and
completely stripping the internals, creating
a ‘forest’ of existing poles with a huge hole
in the middle of the floor. An open plan with
Japanese-style dividers and a couple of little
extensions made it much more modern. The
clients got a very different house in the end
and they’re very happy with it. Creating
spaces that enrich people’s lives is what I
love more than anything.
johnadam.com.au
Love looking at houses?—Free Public Open
Here’s your chance to come and look inside SA’s best residential houses for 2014. Hear architects present their projects at the Jury Presentation Day and view an exhibition of all this year’s Awards entries.
Saturday 22 March 10:00am - 3:00pm Nexus 10 Hub, University of Adelaide Cnr North Terrace and Pulteney Street, AdelaideFor more information, go to voice.architecture.com.au
The exhibition will be open from Monday 17 March through to Friday 28 March 2014
THE ADELAIDE REVIEW MARCH 2014 53ADELAIDEREVIEW.COM.AU
FORM
Rustic Appeal Samantha Agostino’s emerging interior design practice is thriving thanks to a series of successful collaborations.
BY LEANNE AMODEO
When Samantha Agostino and
Gareth Brown established
Agostino and Brown four years
ago it was because they wanted
to have fun making furniture. The two designers
are doing just that and in the process their
designs have received quite a bit of attention.
The handcrafted timber pieces are stylishly
modern, with each collection characterised by
simple, clean lines. It’s an aesthetic that carries
over into Agostino’s own interior design practice,
which has been receiving just as much attention.
The Adelaide-based designer established
Samantha Agostino Interior Design at the same
time as Agostino and Brown, and like that
business her own practice is characterised by
strong collaboration. A list of past collaborators
reads like a who’s who of local design talent
and includes MASH Design, Folland Panozzo
Architects and Sarah Matthews. Agostino’s
most recent collaboration is with fellow
Adelaide-based interior designer Georgie
Shepherd on the Beerenberg Family Farm shop at Hahndorf.
Phot
os:
Dan
Sch
ultz
gollywow.com.au
This retail fi t out is Agostino’s biggest project
to date and she was happy to be collaborating
with someone she has worked with before.
“Georgie specialises in merchandising and
styling and I specialise in furniture, detailing
and joinery, so it played to our strengths,” says
Agostino. “We were able to balance every kind
of design challenge, which made it a much
quicker process.” The result is a polished
interior that has the visual appeal of a cosy,
warm country-style kitchen.
A decidedly rustic material palette is brought
to life with a mix of dark, light and blonde
timbers. These add a robust textural fl avour
to the overall fi t out and provide a strong yet
neutral backdrop for Beerenberg’s products.
Agostino and Shepherd have charmingly
furnished the space with a selection of items,
including an old wheelbarrow, glass bottles
fi lled with wild fl owers and raw wooden display
boxes. These add authenticity to the domestic-
scale setting and reinforce the brand’s high-
quality, ‘homemade’ identity.
Not only is the fi t out testament to Agostino and Shepherd’s successful collaboration it is
also a measure of their solid relationship with
the client. “I try to keep my connection with
clients really strong and bounce ideas off them
as much as possible,” says Agostino. “The best
outcome always comes about when you have
more people working together on a project.”
To this end she bought on board a trusted team
of builders and joiners who she has worked
with previously.
It should come as no surprise that Agostino’s
collaborative nature was nurtured at an early
stage. “When I studied interior architecture
at the University of South Australia I worked
for Khai Liew,” she explains. “I learned
about collaboration from him; he was always
working with different people who had a range
of different skills and talents.” Clearly the
experience left a strong impression on Agostino
and today her furniture business and interior
design practice each provide a resounding
argument for working collaboratively.
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54 The AdelAide Review March 2014
In what has been described by critics as a
blatant cash grab, the Weatherill Government has
proposed a $750 car park tax on all paying spaces
in the CBD from 2014-15. The tax is expected to
raise up to $30 million in its first year, will cost
more every year, and increase daily parking costs
by as much as 55 percent from day one.
That’s a tax on business, a tax on shoppers,
a tax on shift workers and city workers, a tax
on students and a tax on inner-city vibrancy.
Premier and Treasurer Jay Weatherill has
played the tax down suggesting that it will only
increase parking costs by 30 cents an hour. But
at $750 per space, a cost of 30 cents an hour
assumes that every bay in every car park is
occupied for more than six and a half hours
every day of the week.
With average weekday vacancy sitting at
about 13 percent and ballooning to 60 percent
at weekends, the actual cost to users will be
much higher. And this ignores the cost to
businesses, which will have their costs nearly
doubled by fringe benefits tax – a tax on a tax.
Adelaide’s restaurants, bars, markets, shops
and hotels offer visitors an experience that’s
unique to anything you can find in Melbourne
or Sydney – we don’t want parking prices to be
the point of comparison. Furthermore, there is
no evidence that car park taxes in other states
have achieved their stated aims. A similar tax in
Sydney was introduced at $200 per space and
Melbourne’s was introduced at $400 per space.
Not only does that make Adelaide’s $750 tax
look hefty by comparison, but it underlines the
fallacy that taxes like these reduce congestion.
Independent research tells us that central city
car park taxes do not reduce congestion, but do
raise quick and easy revenue for the Government.
Indeed, the razor gang set up by former Treasurer
Kevin Foley recommended this same car park
tax when it reported – as “a revenue measure”.
And it is an attractive revenue measure as it costs
virtually nothing in terms of infrastructure and
has little or no administrative burden.
The cost of the Adelaide car park tax, like
Melbourne and like Sydney, will be borne by those
who choose to shop, work and enjoy the activities in
our CBD. Furthermore, there is no assurance that
the tax won’t spread to the city fringes. Since 1992
Sydney’s car park tax has increased eight times and
has extended to the city’s suburbs.
Adelaide is not Sydney. Commuting by car is still the preferred option – for some it’s non-
negotiable. Our nurses, hospitality workers,
parents and elderly would be hard-pressed
to make do on public transport – particularly
when temperatures soar well above 30C.
The reality is – sometimes you need to take
the car. Taxing people parking in the CBD on the rationale that higher prices will change
commuter patterns is only relevant when there
is a viable alternative.
Until our public transport is efficient, extensive
and offering better services and timetables, many
South Australians have no option but to drive.
The Government has done much to increase
city vibrancy. Its revitalisation of the Riverbank
Precinct, its investment in the Adelaide Oval and
its support for laneway culture have all boosted
city activity. But what’s the point in a Fringe
ticket, a movie or a meal out if you can’t afford the
parking to enjoy it? What is the incentive for small
business to set up in the city if its employees and
clients are forced to battle high parking prices?
The arguments justifying the tax just don’t
stack up. If you oppose higher parking prices
you can like ‘Scrap The Tax’ on Facebook, or to
offer further support see Twitter @scrapthetax
and ‘Stop the introduction of the Adelaide Car
Parking Tax’ at change.org
FORM / OPINION
Scrap the TaxAdelaide is more than a city for special occasions.
by richard angove
When I talk to family and friends
visiting Adelaide during the Fringe
and Clipsal 500 they ask me if the
city is like this all year round.
Rather than lament the fact that Adelaide only outdoes itself in ‘Mad March’ I’m actually buoyed by
our city’s ability to not only draw a crowd but feed,
entertain and accommodate one with such vigour.
That’s why taxing people coming in to the
CBD to see a show, shop in our stores and eat
at our restaurants really frustrates me.
The Government’s proposed car park tax
is exactly the kind of thing the Festival State
can do without.
» richard angove is executive director,
Property council of australia (Sa division)
propertyoz.com.au
Contact Steve Lockwood [email protected]
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