Clew Magazine - Issue 2 by Clew Magazine

pg 1

issue 1 2012

Turning the Page with Ryan Hanrahan • The East Art Express • The long Arm of the law • Travel books & Train stations • It’s Magic • Sydney eyes, London skies • Pip Cosgrove • Vintage Plays Dress Ups • The Bear Pack • The Youth Food Movement

pg 2

issue 1 2012

pg 3

issue 1 2012

pg 4

issue 1 2012

Turning the Page with Ryan Hanrahan Page:08-11

The East Page: 12-17

Art Express Page: 18-19

Tights, prints, textures, and… plastic jelly shoes? Mixing mystery with playfulness as we explore Chinatown on a chilly evening.

“The artist is HOW OLD?” We’re amazed and wowed by the incredible talent displayed by high school students every year. Art Express nurtures and supports the creative development for school leavers.

Sydney eyes, London skies Page:40-43

Pip Cosgrove Page:44-47

Vintage Plays Dress Ups Page:48-57

When it comes to theatre, arts, creative industries in general – which city comes out on top, and what can one learn from the other?

An Aussie living in Milan studying design – we put our jealousy aside (temporarily) to chat with the talented Pip Cosgrove.

Dresses, skirts, stockings, hats and prams – See what happens when one runs amok in a giant vintage dress up box.

The Sydney-based designer, illustrator and artist is as cool as the things he creates for people’s homes, walls and creative campaigns.

pg 5

The long Arm of the law Page: 20-25

Travel books & Train stations It’s Magic Page: 38-39 Page:28-37

Customised artwork is finally returning to the forefront of advertising, branding and other creative campaigns, and the Drawing Arm is one agency leading the charge.

Grab your coat and get your hat – and books, suitcases, and your best pair of walking boots. An autumn adventure is a-callin’.

The Bear Pack Page: 58-61

The Youth Food Movement Page: 62-65

Comedy duo Steen Raskopoulos and Carlo Richie let us in on their bromance, and give us some insights into their improvisation methods and knowledge of bear species.

Put down that apple, carrot, or piece of steak, and read this first. The Youth Food Movement Australia tells us why we need to be mindful about the stuff we’re putting in our mouths every single day.

issue 1 2012

06 Our interview with the wonderfully talented Jarrah McCleary of Sydney band Panama, who’ve been taking the airwaves (and our iPods) by storm.

pg 6

issue 1 2012

Letter from the editor. “Even when I lived in London for five years, I was still making paintings about Sydney” -Ken Done

Words by Jess Leonard.

In Australia, it seems like it has become a rite of passage to get the hell out of here. The brain drain the country experiences when Australians in their twenties head to Europe and the U.S. to work has extended increasingly into the creative industries. If you’re in adver tising, you’ve got to get to New York. If you’re in star tups you head to San Francisco, if you are an ar tist get your ass to Berlin, actors better make a beeline for London, and so on and so for th. It’s cer tainly not in the best interest of the country OR local creative communities for this to happen. But is it even in the best interest of these individuals to place all their hopes for aspiration and inspiration in a foreign city, rather than cultivating their own communities and inspiring environments where they are? “ Great cities have always been melting pots of races and cultures. Out of the vivid and subtle interactions of which they have been the centres, there have come the newer breeds and the newer social types.” - Park, Burgess, and McKenzie (1925) Sydney is a great city – and a relatively new city, when you consider the historical past of its counterpar ts such as Rome, London, Paris, Berlin, New York and Tokyo. But

it is a city that has so evolved it well and truly holds its own on the global scale. If we continue to encourage our young creative minds to cross the ocean, do we forfeit our progress as global placeholders in terms of innovation and cutting edge creativity? That is not to say that there is no merit in travel or cultural and creative exploration. In fact there is great merit in expanding our creative consciousness and seeking new inspiration. However, bringing those lessons back home to enrich our own creative industries needs to be encouraged. It’s something of a “chicken or the egg” scenario – Without the suppor t of business and community we can’t expect young creatives not to go in search of that next level of awareness and success. But without those same people returning to the country, we can’t expect to replenish our creative storehouse with your inspiration and experience. So come on and join the throngs – where the bloody hell are ya?

pg 7

issue 1 2012

pg 8

issue 1 2012

“I think of all the pursuits in life career wise, anything creative offers the most ongoing challenges. This is what has always enticed me.”

Turning the Page with Ryan Hanrahan Words by Marina Pliatsikas. Artist, designer, Ninja Turtles enthusiast and one half of the kickass duo behind Sydney-based design studio Page thirty Three, Ryan Hanrahan is as laidback and cool as he is all sorts of talented (actually... make that bucketloads of talented). Since finishing art school, Ryan has been thoroughly immersed the Sydney and international creative arts scenes, undertaking a number of personal projects, as well as creating art for street fashion labels such as Arvust, Hurley, Insight, O’Neill and Neon Hart. In fact you could be wearing one of his designs on your t-shirt RIGHT NOW, and you didn’t even know it. In 2010, Ryan and his partner in crime Bianca Riggio founded the object design label Page Thirty Three. Sociable, stylish and totally charming, Ryan and Bianca are exactly the kind of folks you’d love to hang out with while they design cool shit for your space. It’s easy to see why they’re already taking over the globe with their designs – the label has already gained worldwide exposure and recognition for its slightly eccentric yet completely functional pieces that are unique and a little bit tongue in cheek. In light of Ryan recently being invited to be a part of the new illustration collective, The Drawing Arm, Marina Pliatsikas chatted to him about this furore into the world of industrial design, his personal journey with his own art, and why for a brief period of time, he wanted to be Michael Jordan... How long have you known that you wanted to be an artist/ illustrator/designer? Since I was in primary school I have always loved art. Back then it was cartoons, like Ninja Turtles. My buddy and I would also be drawing fake wars on the backs of our school worksheets – we would cover endless pages with small battleships and tanks and soldiers, shooting streams of bullets and grenades. We would also draw GI Joes with huge poorly stitched scars, and gigantic guns that no one could ever carry. Not even Rambo. When I was 12 I had a whole year off school, and went

travelling through Europe in small campervan with my parents. We visited all the classic galleries and museums, and that had a profound effect in terms of opening up my eyes to the world of art and history. However, at that time all I wanted was to be Michael Jordan. Have you always displayed these creative talents? I think of all the pursuits in life career wise, anything creative offers the most ongoing challenges. This has what always enticed me. I have always been fairly creative, but I had a strange mix, as I was also very mathematical. People think of maths as being very left brained, but when you start getting right into more complex maths (something I did only slightly) it really is a creative pursuit. Nevertheless, I always thought unless I was Einstein (which I am not) maths based work/study would become fairly mundane, whereas creative pursuits always allow for reinvention. How have your illustrations evolved and changed over the years that you’ve been creating? They have evolved a huge amount over the past five years as my computer skills have improved. I studied fine arts at university, and I didn’t even touch a computer for anything besides writing essays until after I left, so almost all my work was hand drawn or painted, while all my research was completed at the library. Now it’s internet and computers all day. However, having that original training really does help to foster a wide mix of skill sets. How did the industrial and object design side of things come about, and when did you realise it was something you were interested in? I have always loved design, even before I knew what it really was. When I was a child I would spend a huge amount of time arranging my figurines and drawings and shelves so they were balanced visually and also depicted my life. It’s a bit weird now

pg 9

issue 1 2012

pg 10

that I think back about it. Now I do that for a living, but all those years ago I did it totally subconsciously. I couldn’t relax in my space (my little kids bedroom) until everything was organised and styled and balanced. I used to watch movies like ET, and The Goonies, and The Boy Who Could Fly, and I used to always take note of how awesome their rooms were. Now I realise these rooms were styled by professionals to give the perception of the ‘perfect’ gadget driven dream room for kids. But back then, I just used to love those scenes, so I would try and make my room look like the kids rooms in the movies. I used to try and make pulleys so you could turn off your light switch from your bed, though I always failed at it. And now that is what I spend all my time trying to do. Do you think there’s something makes Australian designers just that little bit different or special - Is there a unique kind of flair that Aussie artists have? I am not sure about that actually. Sometimes I would say yes and sometimes I would say no. I think with the internet all corners of the globe are so accessible now, so points of reference are from everywhere, which quickly dilutes and/ or expands niches very quickly. In terms of design, as a manufacturing nation there is not really much we can do at all in terms of production, which is very frustrating when you are trying to produce objects. However, because of this, I think it makes Australian design a bit simpler, in a good way, and it also encourages the use of more accessible and renewable

issue 1 2012

materials. So, I think that the lack of manufacturing expertise has informed our Australian style of design quite a lot. What’s next for you in terms of your illustrating and designing? Any big projects or collaborations coming up? The last two years has been a wild ride with Page Thirty three, [so] this year we are looking at having a lot more tea breaks and afternoon naps. We will be working in particular on some unique limited edition furniture pieces, as well as some large scale creative projects. In terms of illustration, I am really excited about exploring some new graphic avenues aside from fashion. I would love to do some book illustration. I’ve also just signed with the National Grid Illustration Agency, so I am really looking forward to working with them on some creative projects. Visit the Page Thirty Three website to check out some of Ryan and Bianca’s ridiculously excellent creations. We suggest having a LARGE piece of paper at the ready to write your wish list on – you’re going to want everything. www.pagethirtythree.com.au

pg 11

issue 1 2012

pg 12

issue 1 2012

pg 13

issue 1 2012

pg 14

Alexis Dawn skirt, Jorge drape front top , Andie Meredith vest Stylists own shoes

issue 1 2012

pg 15

Junk Cape Coat, Junk tie dye tights Stylists own shoes.

issue 1 2012

pg 16

Andie Meredith Dress, Jessica Martino Hooded top

issue 1 2012

pg 17

issue 1 2012

pg 18

issue 1 2012

Art Express March in Sydney is Art Month, a celebration of imagination and creativity in contemporary art. Hundreds of artists and even more of the general viewing public choose to get involved and celebrate the achievements and vision of those in the art world. In light of this, we are bringing to you a little synopsis of one little spectre of this industry: Surprise! It’s ArtExpress. Words by Amanda Sutcliffe.

And now a casual introduction: ArtExpress is an opportunity for New South Wales HSC Visual Arts students to showcase their artwork created for the final HSC Examinations. Final Year students, possessing much more talent and vision than most of us ever could fathom (except myself of course), present their major works, a cumulative effort of months of thought, stress and trial and error. Personally, it’s fair to say that I didn’t use my time in arts class at high school wisely. We spent most of our time teasing our substitute teacher Mr Mortimer, as he had the same name as one of characters in The Sims (It WAS at its peak then, give us a break, we were fourteen). But in passing through the white walls of the Temporary Exhibitions Gallery at the Art Gallery of New South Wales, the works of many of these students adorn the walls, a visual, interpretive and in many ways deeply personal snapshot of their teen-dom, a view into the creative mind of teen angst, innocence and youth. Just one floor below is a large scale exhibition dedicated to the works of Pablo Picasso, arguably the most recognised and celebrated artist in all of our history. This juxtaposition between the old and the new, the established and the not-soestablished is really quite something. It grew from its humble beginnings in the 1950’s; works from final year students were selected to be displayed by the New South Wales Supervisor of Art in locations such as Sydney University and the University of NSW common rooms and the Commonwealth Bank of Australia. These works of art (mostly in the painting medium) were transported to and fro on the back of the Sydney Morning Herald trucks to country schools in order to be displayed. Fancy that, a slice of artwork with your morning paper. As time passed the bodies of work grew to be displayed at such venues such as the Seymour Centre, The Sydney Town Hall, The David Jones Sydney store windows, Centrepoint Tower until the Art Gallery of New South Wales became the principal venue for the works of art in 1989. In 1982 the event was named forevermore as ‘ArtExpress’ – that’s one word, no spaces. Gives it a lot of punch. Each year more than 9000 students enter, with around 500 of that 9000 being selected for the short-list, with roughly only 200 from that short-list being selected for exhibition and over

one million people have approximately visited the exhibitions since 1997 - that’s some pretty fair numbers. Now who does one become of part of such an event you ask? During the HSC examinations, works are sent to the marking centre in order to be critiqued, but this does not mean that only the ‘Sally Band-Sixers’ are the ones that are chosen. The markers aim to get a thorough cross-section of works, utilising the mediums of Drawing, Graphic Design, Painting, Photo-media, Printmaking, Sculpture, Textiles and Ceramics (I was once known to make some pretty fetching pots in year eight art, maybe I could have had a chance). If you would like to take a squiz, the 2011 ArtExpress venues and dates are: Hazelhurst Regional Gallery & Arts 11 February – 18 March 2012 Art Gallery of New South Wales 22 February – 22 April 2012 Sydney Olympic Park Authority 6 March – 29 April 2012 Australian Catholic University Gallery Visual Arts Building 20 April – 26 May 2012 Newcastle Art Gallery 5 May – 1 July 2012 Wollongong City Gallery 15 June – 19 August 2012 University of Western Sydney - Female Orphan School Gallery 28 June – 28 July 2012 Griffith Regional Art Gallery 5 July – 5 August 2012 Dubbo Regional Gallery – Western Plains Cultural Centre 17 August – 22 September 2012 Moree Plains Gallery 12 October – 16 November 2012

pg 19

issue 1 2012

pg 20

issue 1 2012

pg 21

issue 1 2012

The Long Arm of the law The Drawing Arm flexes its creative muscles In a world where branding and design projects still all-too-often tend to fall into the overly brash, gaudy, in-your-face categories, there’s one group that’s been muscling their way onto the design scene in attempt to change it all. Words by Marina Pliatsikas.

Launched just a few short months ago, The Drawing Arm is a new illustration agency which represents a collective of “hand-picked, top-notch, super-impressive” contemporary designers, artists, and illustrators from Australia and beyond. The aim? To connect these talented folks with clients who are passionate about the beauty and power of customised, individual visual work. The stellar lineup of The Drawing Arm includes the likes of Ben Brown, Edwina Buckley, Ryan Hanrahan, Brandon Els, previous Clew feature artist Georgia Hill, and many more – All of whom can boast impressive portfolios, having worked on commercial clients as mammoth as Apple, Intel, Panasonic, Red Bull, Westpac, Samsung, and LG, as well as a bunch of music and fashion labels, festivals and record companies. The initiative is the brainchild of Sydney-based design agency and gallery space, The National Grid, which founders Simon Barrett and Lara Allport have spent the last decade developing into what they call a multidisciplinary “design distillery”. To find out more about the driving force and ethos behind The Drawing Arm, Marina Pliatsikas spoke to the delightful manager Rachel Wells to pick her brain on how and why she thinks the arts and world domination can go hand in hand. How would you describe your career up to this point? I can only describe my career as swings and

roundabouts. All leading me where I am today! I studied fine art at COFA, graduated in 2004 and realised I had little in the way of employable practical skills. Excellent. So, I took a job as the girl Friday at Mokum Textiles, learning everything from admin, marketing and sales support. I left there to go and get myself some more creative, employable, practical skills and studied graphic design at Shillington College in Sydney. From 2007 I have worked as a freelance graphic designer for various studios including The National Grid, Sydney Business Chamber and a host of my own clients. Fast forward to 2010 and I realised I was more interested in arts marketing and gallery management than designing and took a job managing NG Art Gallery in Chippendale. I left that job after a perfectly timed phone call from The National Grid boss lady, Lara Allport, late last year with an offer to manage their newest enterprise, The Drawing Arm. How could I say no?! Where and how did the inspiration for The Drawing Arm come about? Was there a moment where you guys suddenly realised – “Yes! We need something like this immediately!” It wasn’t a memorable moment that anyone can remember but more an idea that grew out of hosting 40 or so exhibitions at The National Grid Gallery and through this, meeting so many talented artists and illustrators. For two or so years, Lara and Simon have been wanting to make it happen, so it was all just a matter of timing!

pg 22

issue 1 2012

“I’ll be a happy lady when the news not only has sport and weather but also an art news segment. They have it in printed news but never on TV?”

Do you feel some talented artists and illustrators struggle to get the exposure they need to successfully make a career out of their work? Yes - There are some incredibly talented people out there who are excellent at creating, [but] not so good at self promotion or getting in the doors for commercial work. That’s where we come in and help them out. We get them in the doors. What do you think the role of an agency like The Drawing Arm is in representing and supporting these artists, apart from just helping them to gain more exposure? We represent, support, encourage and promote the illustrators we believe in and make sure that the best outcome possible occurs for the illustrators and the clients alike. It can be intimidating working in the commercial spheres. We try and make it less so.

Using original art also has an element of ‘cool’ that people buy into. There’s a story behind the creation which sparks curiosity and personalises the product. Beastman [a Sydney-based street artist] for Smirnoff Vodka is a perfect example of this. In terms of the arts and creative scene in Australia, do you think it’s easy for artists to find spaces in which to work and make their art? Not really. To survive today as an artist you need to be commercially creative. That’s why illustration agencies are important. We provide another platform and ‘space’ for artists to work within. Three great things about the arts and creative industries in Australia?

Do you think companies and brands are starting to appreciate design and custom-made work more and more?

1) The many beautiful, nutty, creative people and communities and the incredible art they produce 2) Larger corporations are more inclined to spend money supporting and sponsoring the arts 3) The emergence of pop-up spaces and exhibitions

Yes, definitely. People are always looking for something new. New ways of expression and clever creative takes on concepts.

And three not-so great things?

There is definitely a rise in the number of people commissioning specialised artists for commercial jobs. Designers and advertisers are veering away from stock images and illustrations as they run the risk of other people using the same ones. I also believe consumers are attracted to and appreciate design and advertising that is set apart and above the rest. As Australians appreciate art and illustration more and more, there is also more of a place and demand for it in a commercial sphere.

1) No matter what way you look at it – fine art sales are slow. 2) Art appreciation... there needs to be more of it. We are such a sport based society. I’ll be a happy lady when the news not only has sport and weather but also an art news segment. They have it in printed news but never on TV? And more art in schools... to instill an appreciation for beautiful things and the time and creativity that goes into making them. 3) The government could offer more for artists in the way of funding, grants, awards and prizes.

pg 23

issue 1 2012

pg 24

What’s next for The Drawing Arm? What are the long and short term goals of the company? Short term goals for The Drawing Arm are to keep putting quality illustration out into the world and generally get rid of horrible, shouty, tasteless, garish design. And long term, we plan to take over the world. -Head to www.thedrawingarm.com.au to find out more about The Drawing Arm’s artists, and how you can get their nifty little fingers all over your design, advertising or branding projects. You could blame it on my irresponsible inner five year old who believes, despite reoccurring stage fright and a lack of talent, that acting may still be an achievable profession. Or you could blame the even more irresponsible belief (the one that drew me to this city with its penchant for history, culture and general brilliance), that London is the happiest place on earth nice try Disney, but you lose this one. Either way, I now believe that London’s theatre scene knows how to put on a show. And unfortunately it’s the type of show that many believe Sydney isn’t quite able to match. Tube posters, Time Out covers, the stapled walls of scone-smelling teashops - it seems, in flawlessly fanciful moments, this city breathes theatre. It is made up of names, both knee-bucklingly big and endearingly small, theatres older than my home town, scripts written in eras gone by or at the heights of the GFC. Contortionists, troubadours, travelling poets, gravity defying dancers, collaborative burlesque artists, comics with more sass than sarsaparilla and visitors from far off cities (both real and not quite so). London Theatreland is vast to say the least. When you compare it to Sydney’s arts scene – which don’t get me wrong, has buckets of charm – there’s an obvious discrepancy. Which leads me to ask, why is theatre so big here? How do over 30 West End musicals sell out on a daily basis? Why do over 13

issue 1 2012

million people put a London show at the top of their tourist wish list every year? Can you actually count all London’s theatre venues? But at the heart of it all, why is theatre oh so loved? Perhaps tourists and locals alike fall for theatre simply because it’s such a constant factor in London life. While a flop may disappear in less than a month, musicals that pack an emotional punch, defy expectation and put on a spectacle quickly become part of the scenery. And so we form attachments to them, purely because they are there. Constantly. We Will Rock You has brought down a bland, popsaturated dystopia with the power of Queen for a decade. Wicked has revamped Oz for over six years and The Phantom of the Opera, with its how-is-thateven-possible high notes and Parisian melodrama is going on 26 years. Alternatively, the Sydney season of Jersey Boys (which has an open ended run in the Motherland) lasted a little over a year. Not quite enough time to form any significant attachment if you ask me. Still, perhaps we can blame London’s love of theatre on the fact that venues like The National are State funded. (Actually, let’s add the RSC, Royal Opera House, Old and Young Vic and Royal Court Theatre to the noncommercial list while we’re here.) The impact funding has on ticket prices is almost laughable. If you’re under 25 The National offers tickets for £5 – cheap seats go up to £12 if you don’t make the age cut. Even standing in The Globe watching Stephen Fry and Johnny Flynn invoke the spirit of the Bard will only cost you £5 regardless of age and The Barbican will let you in for less than £20 almost every time – provided you smile sweetly. In fact, most venues will let you in for less than the price of high tea, regardless of time, date or year of birth. I know finding a cheap ticket in Sydney is doable, but the idea of grabbing a cheap seat, at any theatre, to see any show, seems to be uniquely London. And when something is cheap, you can guarantee demand.

pg 25

issue 1 2012

pg 26

issue 1 2012

gallery review. “Art shouldn’t be something that you go quietly into an art gallery and dip your forelock and say ‘I have to be very quiet, I’m in here amongst the art.’ It’s here, art’s everywhere. It’s how you use your eyes. It’s about the enjoyment of visual things. And it’s certainly not for any one group of people.” - Ken Done Words by Jessica Leonard

The new shiny, glossy and lovely wing of Sydney’s MCA opened last month and while the lush green lawns are yet to be unveiled, the new addition to the long established Museum of Contemporary Art is a welcome breath of fresh air. When I first saw the proposed renovations to one of my nearest and dearest gallery friends, I was skeptical to say the least. It looked like a white box unthinkingly tacked on to the end of the traditionally designed 60 year old building. However, after setting my skeptical and cynical opinions aside, I decided to check it out. Lo and behold, on entering the new foyer I did not find the stark concrete walls at all uninviting or cold. On the contrary, they welcome you in to the main floor of the gallery. No longer a rabbit warren of long narrow rooms, the space now seems to flow and reveals the art work in a whole new light. There is a lightness and freedom that now accompanies those same long rooms, perhaps brought about by the addition of the wide staircase, which you can use to travel between all 4 floors and to the rooftop garden café. The large cinema space, which takes over much of the new wings first floor, is enviable on a global scale.

Expect to see a lot more in the way of video art. Currently playing is ‘the clock’ (2010) by renowned artist Christian Marclay, which I highly suggest everyone goes to see. Good contemporary art in Sydney has always had its pick of spaces, but what this new wing brings is a freshness and strong sense of rejuvenation and revitalisation to a city that was on the verge of letting it seemingly slip away. It’s great to see that fighting spirit rear its head in Sydney’s art scene once more. Open hours: MON-WED : 10am-5pm THUR : 10am-9pm FRI-SUN : 10am-5pm 140 George Street The Rocks Sydney, Australia T +61 2 9245 2400

pg 27

issue 1 2012

Carmen wears Sosume Button up vest, Minty Meets Munt Toggle Cape, Mavi Cargos, Nat-Sui heel boots, Emu Shearling hat. Alex wears Sosume Batwing Shirt, Mr. Simple Coat , Limedrop chino, Airwalk Everest boot.

pg 28

issue 1 2012

pg 29

issue 1 2012

pg 30

Sosume Button up Vest, Fur Elise She of the Racoon Jacket, Jolet Short, Diana Ferrari Ankle Boots.

issue 1 2012

pg 31

Kylie Hawkes Knit Scarf, Francis Leon Plague Jacket and Jorge sleevless knit dress

issue 1 2012

pg 32

issue 1 2012

pg 33

issue 1 2012

Mr. Simple shirt and cardi, Orri Henrisson Trousers, Airwalk Everest boot

pg 34

Levis Denim Shirt

issue 1 2012

pg 35

Kylie Hawkes Shielded Jumper, Linda Tahija Goddess of the Sun necklace

issue 1 2012

pg 36

Jolet short, Jorge Long Oversiszed Knit and Happy Cow Suede Hip Belt.

issue 1 2012

pg 37

Sosume Batwing shirt, Orri Henrisson Cardi, Limedrop chino

issue 1 2012

pg 38

issue 1 2012

“lightning bolts happen every day when you’re making music”

It’s Magic by Jessica Leonard and Marina Pliatsikas.

It was just six months ago that the Sydney five-piece Panama officially came together to start making music. In that short time, the band have already become the darlings of the Australian cultural media, with Triple J placing their debut single ‘Magic’ straight onto high rotation, and a slew of publications touting their upbeat instantly likeable and feelgood nature of their tunes.

Click me to play.

In our interview, songwriter and front man Jarrah McCleary told us about the uniqueness of Australian music, the beauty of working in the creative industries, and how after years of making music, he finally found his own unique musical voice – and how this has translated into huge success already for the band as a whole. wearepanamatheband.com

pg 39

issue 1 2012

pg 40

issue 1 2012

Sydney eyes, London skies In today’s environmental landscape, everyone seems to be scrambling to find the next source of supposedly “clean energy”. But are these methods of powering our future really safe, and if not, why are we being told they are? Words by Elizabeth Schaffer.

Tube posters, Time Out covers, the stapled walls of sconesmelling teashops - it seems, in flawlessly fanciful moments, this city breathes theatre. It is made up of names, both knee-bucklingly big and endearingly small, theatres older than my home town, scripts written in eras gone by or at the heights of the GFC. Contortionists, troubadours, travelling poets, gravity defying dancers, collaborative burlesque artists, comics with more sass than sarsaparilla and visitors from far off cities (both real and not quite so). London Theatreland is vast to say the least. When you compare it to Sydney’s arts scene – which don’t get me wrong, has buckets of charm – there’s an obvious discrepancy. Which leads me to ask, why is theatre so big here? How do over 30 West End musicals sell out on a daily basis? Why do over 13 million people put a London show at the top of their tourist wish list every year? Can you actually count all London’s theatre venues? But at the heart of it all, why is theatre oh so loved? Perhaps tourists and locals alike fall for theatre simply because it’s such a constant factor in London life. While a flop may disappear in less than a month, musicals that pack an emotional punch, defy expectation and put

on a spectacle quickly become part of the scenery. And so we form attachments to them, purely because they are there. Constantly. We Will Rock You has brought down a bland, popsaturated dystopia with the power of Queen for a decade. Wicked has revamped Oz for over six years and The Phantom of the Opera, with its how-is-that-even-possible high notes and Parisian melodrama is going on 26 years. Alternatively, the Sydney season of Jersey Boys (which has an open ended run in the Motherland) lasted a little over a year. Not quite enough time to form any significant attachment if you ask me. Still, perhaps we can blame London’s love of theatre on the fact that venues like The National are State funded. (Actually, let’s add the RSC, Royal Opera House, Old and Young Vic and Royal Court Theatre to the noncommercial list while we’re here.) The impact funding has on ticket prices is almost laughable. If you’re under 25 The National offers tickets for £5 – cheap seats go up to £12 if you don’t make the age cut. Even standing in The Globe watching Stephen Fry and Johnny Flynn invoke the spirit of the Bard will only cost you £5 regardless of age and The Barbican will let you in

pg 41

issue 1 2012

pg 42

issue 1 2012

for less than £20 almost every time – provided you smile sweetly. In fact, most venues will let you in for less than the price of high tea, regardless of time, date or year of birth. I know finding a cheap ticket in Sydney is doable, but the idea of grabbing a cheap seat, at any theatre, to see any show, seems to be uniquely London. And when something is cheap, you can guarantee demand.

to know, brings the much loved world of Roald Dahl to life in a musical that’s funny, family-friendly and flawlessly uplifting (in London, crying in a musical about a super intelligent five year old is far from uncommon). Kevin Spacey, whose talent eludes words, has dedicated himself to the revival of a theatre and the fostering of young British talent.

But funding, even if it’s unreliable and subject to the constant threat of cuts, cannot be the only justification a theatre addition. So perhaps history adds to theatre’s appeal.

Ultimately though, what London has is a love of performance. It actually wants those who make art to succeed. There’s a feeling that whatever the project, be it fringe-worthy or capable of filling the Apollo, there might just be a place for it in London’s busy schedule. The number of performers believing they couldn’t be happier, the number of students who travel the globe to study in this environment, the number of singers given their first break, the number of creative projects that spring to life inspired by the iconic grey is astounding.

Most of London’s West End venues, even the vast number that are privately owned, are Listed Buildings, built when dear old Victoria was at her art-loving greatest. So, not only is their preservation assured but people want to visit them, partly for the pleasure of experiencing a building that is architecturally unique, looks exactly like a theatre of yesteryear should and packs a character-filled punch. Then again, we could just put it down to the fact (remembering that I’m possibly the biggest London fan since Samuel Johnson) that London is London – a Mecca for creativity, self expression, individuality, art, history and, well, all that is good in the world (too much? I think not). London theatres have history. Most – and the Haymarket and Saddlers Wells spring to mind here – are older than settled Sydney. Then there’s the talent they attract. Yes I know Sydney has talent; even London stood still when we found out Cate Blanchett coming to the Barbican and yes I know Australian playwrights are bringing high art and subversive messages back into fashion, but bear with me on this one. In this last year, the skill on display in this city was ridiculous. To list but a few; Hofesh Shechter, a choreographer and composer who religiously creates pieces that consumes your whole body and connects an audience like nothing I’ve ever felt. Then there’s Mark Rylance, who gives his entire soul to a performance, apparently driven by nothing more than his wish to make a story seem real. Tim Minchen, the Australian we all long

London draws people in, those who want to create and those who wish to witness the created. It inspires, challenges, fosters and gives theatre, and all that goes with it, credit that is otherwise all too hard to come by. Yes Sydney is fabulous, a glistening waterfront Mecca that is never far from the mind of an expat. Yes Sydney is definitely getting there – fringe festivals are taking over, Clover Moore’s love of the arts is addictive, art is everything in the summer and the drama schools, well they’re just rad. But as a theatre city, it’s not quite there yet. But hopefully with continued enthusiasm and funding for the arts, and increasing interest and support for those who create art and theatre, Sydney will too become a thriving, bustling cultural hub. London just had a head start. It has the funding, the history, the talent, the respect, the drive, the creativity and the heart. London is London and theatre here is just part of its blood.

pg 43

issue 1 2012

pg 44

issue 1 2012

pg 45

issue 1 2012

“I have always been really interested in instillation artworks and the subconscious effect of spaces on people so it seemed like a good move.”

Pip Cosgrove

Words by Amanda Sutcliffe. regards to your experiences in ArtExpress, or in your final year of studies? I would not have changed a thing about my last year of studies. I chose to do pathways (where year 12 is spread over two years) as most of my subjects required a major work. I remember at the time thinking about how I would have to spend another year in school with a year group that I did not really know, but because I spent the extra time I got into ArtExpress and also Textile (the equivalent of ArtExpress for textiles and design). What opportunities (if any) do you think ArtExpress gave you? In light of our art-related stories this month, I ‘e-spoke’ with Pip Cosgrove, Australian expat, currently residing and studying Interior Architecture what could probably be considered THE art, fashion and design mecca: Milano, Italy. Bursting onto the artistic scene in 2007 when her artwork, ‘Birds of a Feather’ (a sculpture made of timber, representing her family tree) was selected to be part of the ArtExpress collection of outstanding work by graduating high school students. She spoke briefly about her early work, and what the past few years after this have been like. Namely, what it’s like to be a little Australian out there in the big bad international world of design. Was there a long thought process in deciding what you wanted to design? I remember the ideas behind the sculpture evolved as I got more involved in the production and technical aspects of building the tree. I started with the idea of IKEA slot together furniture as the base idea for the way anything can be constructed (including non tangible things such as the idea of ‘family’), and it just grew from there. Is there anything you would have done differently in

The opening at the Art Gallery of NSW was a good opportunity to drink free wine and talk with the other students… Being included was quite special and I have always been asked about it when applying to universities. What was your reasoning behind making the switch from sculpture to interior architecture? I first studied visual arts majoring in sculpture for a year in Brisbane, but became disheartened after discovering that the things I wanted to make were too ambitious in structure and I required more technical construction skills. I have always been really interested in instillation artworks and the subconscious effect of spaces on people so it seemed like a good move. What does interior architecture involve exactly? Imagine I am a complete knowledge-less twat in regards to this area (I SAY imagine, but you don’t have to imagine very hard) Interior architecture and interior design are pretty similar. Interior design works with the design of the space (walls, windows, stairs, etc) and interior architecture is just more technical in its approach. What if I decided one day that I wanted to become an Interior Architect? How does one even go about

pg 46

issue 1 2012

applying or finding out about scholarships in interior architecture overseas? I have been living in Milan and studying a Bachelor of Design (Interior) at the Politecnico di Milano for the last seven months. My university actually approached me about the scholarship as it had just been announced by the Australian Government (the Bilateral Exchange Scholarship) and my marks for uni were pretty good. Originally I applied for a position in Helsinki (as it was an English speaking university), but I was contacted by my university (Swinburne University) saying that Helsinki was full but that I should apply to Milan, which was not an option originally. The only hitch was that I would be studying in Italian. I said yes of course – who would pass up an opportunity to study in one of the most prestigious design schools in Italy!? Why do you think so many Australians choose to study abroad to pursue their creative talents? Are there greater opportunities presented, more credibility to be gained, more knowledge to be learned...?

pick up languages easily. I thought finding an apartment to rent would be a lot harder than it actually was, but I got lucky and met lots of nice people who helped me out.

Maybe all of the above, but from talking with lots of other exchange students, the majority feel that they would have had a better education had they stayed at their home institution. I think a lot of people do it for a different perspective and just to experience another country and culture. Plus I guess it looks good in your portfolio, that you had the initiative to purse your education from another perspective.

What do you miss most about Australia?

What are your main achievements to date: big or small. Sometimes the smallest achievements are those that make us most proud. Umm, I guess receiving the scholarship was a nice achievement, also moving to non-English speaking countries and surviving (I have also lived in Japan). Also, learning the Charleston. Any dance that involves that many arm swings, kicks and flicks is a very fine achievement indeed. What are your ultimate goals in regards to your career? Hopefully I will find a job, maybe in an architecture firm in Melbourne. I would love to be able to live and work in Japan at some stage, and maybe study furniture design (I currently work part time restoring industrial furniture). What has been your greatest challenge in regards to the move? Is it challenging, or not as challenging as you once may have thought? By far the greatest challenge was studying in another language. Alas, I am not one of those people who can

ASIAN GROCERY STORES!!!! It is hard to get non-Italian food here. You want laksa? Forget it. I don’t miss Melbourne’s wet, wet winters. It snows in Milan, but it’s generally pretty sunny. I am going to miss Milan’s aperitivo* scene. We need to get this started in Australia. (*An aperitivo is a pre-dinner drink that is meant to stimulate the appetite and prepare the palate for the main meal that is often accompanied by finger foods. This DOES need to get started in Australia. I’m all for stimulating-the-palate-drinking. Then eating. Then drinking again. Repeat).

Besides the pre-dinner drinking, are there other areas where Milan just wins hands-down, such as food, transport, the obvious attractiveness of the population... Italians make amazing food. They really care about it. The quality of produce in supermarkets is excellent. Good food is also generally inexpensive; you can pay 5 Euros for a life changing plate of handmade fresh pasta and glass of local wine. I cannot speak more highly of their food. BUT... Umm, Italy is not recognised as being a well-organised country. Systems that are very simple and straight forward in Australia are very confusing and poorly organised here. I look forward to dealing again with Australian banks and Australia Post. (But I’m assuming not Australian transport.)

pg 47

issue 1 2012

pg 48

Kylie Hawkes Trench, Colin Heaney scarf, Brooch courtesy of the Southern Antiques Centre.

issue 1 2012

pg 49

issue 1 2012

Jolet dress, Colin Heaney Scarf, Fire Hosiery Chantilly tights, Brooch courtesy of the Southern Antiques Centre.

pg 50

issue 1 2012

pg 51

Shirt from Cream on Crown, Dr. Denim trousers.

issue 1 2012

pg 52

Rebecca Thompson Sequin Dress, hat courtesy of Southern Antiques Centre

issue 1 2012

pg 53

issue 1 2012

pg 54

Amer wears Dawn dress, Fire Hosiery Deco Flora tights, Diana Ferrari wedges, Hat Courtesy of Chrisanthiâ&#x20AC;&#x2122;s Hatz. Alex Wears Stylists own shirt, Dr. Denim trousers.

issue 1 2012

pg 55

issue 1 2012

pg 56

Rebecca Thompson Sequin Top

issue 1 2012

pg 57

Jolet Dress, Chelsea de Luca Earrings.

issue 1 2012

pg 58

issue 1 2012

pg 59

issue 1 2012

The Bear Pack A comic improvisation partnership is much like being in an ‘intimate relationship’ according to Carlo Ritchie and Steen Raskopoulos, who form the stand-up duo The Bear Pack. Their bromance started a few years back when Steen was teaching Theatre Sports at The University of Sydney. Words by Eddie Hart.

“Carlo walked into the room, and I remember specifically, he was half an hour late. He was a very dapper looking boy. He did a scene about tripping on a wire and I remember thinking, ‘this kid’s got something’”. “Yeah, welcome to the ground,” Carlo adds, fondly remembering his line. They both laugh, and it’s easy to see the closeness of their working relationship. Even over a cup of coffee, they finish each other’s sentences and correct grammatical errors. Steen describes the “spontaneousness” of their shows; Carlo fastidiously corrects, “spontaneity”. Carlo and Steen need to click – a rapport is necessary when you’re on stage improvising for an hour in front of an audience at this year’s Sydney Comedy Festival. Steen describes it as “a weird psychic connection.” “I think that’s a huge trust thing,” he explains. “Trust is so important, as improv is just made up on the spot”. Carlo agrees. “It is surreal sometimes how much we get into each other’s head on stage. ‘Ah okay, Steen needs this.’You think from their perspective in the scene. It’s just instinctual”. Perhaps that has something to do with Carlo’s creepy declaration that he spends more time with Steen than his trusting comic partner is aware of. These guys have both been around the Sydney comedy traps, starting out in the world of comedy on campus with Theatre Sports and the Arts Revue. Steen taught Carlo improv for three years, and subsequently they started performing together in 2009. “It was kind of like a Star Wars thing when he became good enough to become a master himself”, says Steen. Carlo eagerly interjects to further the geeky metaphor.

“I had to kill my own father and then Steen accepted me into the Jedi world,” he says. Steen nods solemnly. “It was the only way”. Just like any other couple, they have adorable nicknames for each other. Little Bear (Carlo) and Big Bear (Steen) were affectionate names they adopted that eventually led them to brand their stand-up show as The Bear Pack.They believe themselves to be experts on bears, with Carlo claiming that ninety per cent of what he knows in the world is exclusively about bears. According to Carlo, the bear headpiece he wears is that of the ‘Canadian Razorback Grizzly’. However, later on my Google search of this species yields no results, thus leading me to the conclusion that this, like most of the interview, was indeed an amusingly imaginative fabrication (I am highly sceptical of the existence of Carlo’s beautiful detective girlfriend named Dex).They regularly switch between creative, amusing responses, to taking my questions seriously with insightful answers.This dichotomy between silly humour and the serious truth is somewhat at the heart of their comic style. The Bear Pack are excited about the Sydney Comedy Festival, with a line up that contains big international names such as Ross Noble, along with many other young Sydney Comedians to hit the stages around the city. As for The Bear Pack, they’ll be performing an hour-long improvisation for three nights at The Factory Theatre, a venue right in the centre of the hub of the Sydney Comedy Festival. Steen has performed at both Sydney and Melbourne Comedy Festivals already, and for Carlo it’s his SCF debut. In terms of their style, it could be described as slow and deliberate improv that is character based, narrative-heavy, and spontaneous. “You want the audience to leave with something completely original,” explains Steen. “It would be nice to theoretically have someone come to all three shows in the festival and see something completely different each night. We tell the truth, we’re not scared to get down and dirty, and we like messing with people emotions…messing with their brain”. His main talent lies in physicality. He loves creating and setting up a world for the audience’s imagination. “You can get a real sense of the world Steen has set up”, Carlo confirms. Steen’s knack for physicality might have come from his jock status of his school days, claiming that his friendship with the nerdy Carlo would have been a social impossibility all those years ago. In contrast, Carlo’s comic style revolves around his enjoyment in playing with words. His comedy utilises his expertise having studied Linguistics at university. “I love ridiculous specificity, I love getting people involved

pg 60

issue 1 2012

pg 61

with tiny little details,” he says. There’s no doubt that improvisation is a tricky beast. Most ordinary people would consider getting up on stage in front of a few hundred people without a script as their worst nightmare. Steen describes the risk of improv stand-up comedy as “a beautiful car-crash.” “Watching it can be the most cringe-worthy thing ever when it’s not done to a particular standard,” he says. “Or the driver comes, in fixes the brakes and creates these wings and it just flies”. Both of the boys have experienced stand-up’s potential for celebration and euphoria that comes with a standing ovation, yet they’ve also experienced its antithesis:The horrific, slow motion and soul-crushing car-crash. Steen grimaces over a recollection of a gig at a venue that seated 250 people. “Four people turned up and they did not laugh at one joke”, he cringes. Likewise, Carlo speaks of similar experience of a silent, displeased crowd that still haunts his dreams. According to them, the best way to avoid an improv disaster is to not think. “The less you are within yourself, the better things turn out,” Carlo says. “I remember being horrendously ill one show. I zoned out for 45 minutes, and it turned out to be my best show ever”. When people congratulated him afterwards, he couldn’t remember a thing he had done onstage. Steen agrees. He avoids talking to friends or family beforehand, and never warms up prior a show. “If you start thinking too much when you’re on stage it slows things down and lags the performance,” he explains. As for their hopes and dreams after the Sydney Festival, Carlo is decisive. “I could perform with Steen till the end of days…it’s just that connection,” he surmises.

issue 1 2012

Apart from that, they claim to want to live a peaceful life in the countryside. Carlo wants to own chooks and follow his own hops to make beer. Steen wants to make a villainous life for himself living next door, secretly destroy Carlos’ crops, then join the unsuspicious Carlo for a friendly beer in the afternoons. If you want to bear witness to more of their rambling, unscripted fun or hear Carlo’s racist rants against the Welsh, check ‘em out at the Sydney Comedy Festival this April and May.

pg 62

issue 1 2012

“The film festival provides the perfect outlet for any aspiring filmmaker to have their name and work reach a wide audience of prominent Australian and international filmmakers, scriptwriters, actors and actresses. It rewards creativity and raw talent, on a not necessarily earth shattering budget.”

The Youth Food Movement Words by Marina Pliatsikas

Three things we all love and how they’re coming together in the Youth Food Movement Sydney - a dynamite new initiative set to change the way we all think about what we put in our mouths.

Then Jo and I met at university in 2010, and we were both studying nutrition. We kept talking about it, and I said “Hey I’m doing this thing, do you want to hop on board?” Then it just kind of went from there.

How much do you think about what you eat? Honestly? Some of us put a little bit of thought into what we’re eating on a day to day basis. But while some of us worry more about the nutritional content, and others worry about the cost, there often aren’t enough people who are thinking about where that food actually came from, what it took to produce it, and who was affected at every stage of the journey from source to plate.

Jo: So that was at the beginning of last 2011. Then in around June last year, Alex and I decided to really make a go of it. We’d had umpteen conversations about our vision for what it could possibly be, so we put the feelers out there through our own networks to see if anyone else had similar kinds of passions and interests in food. We had a long table dinner which 15 people along to, and some of them became the core team of today. It was one of the most incredible events I’ve been to. We had people from all walks of life who’d never met each other before, yet all had this really amazing interest in food, and quite amazingly similar ideas on what some of the solutions were, and how YFM could potentially address these issues. So we had our first official event in October 2011, and now we’ve kind of... Alex: Amassed a following!

But thankfully, there’s an international network of young farmers, cooks, artisans, activists and students who are actively working to change the future of food and farming – and this network has finally reached Australia on the backs of a very talented and dedicated team of young people in Sydney.

We chatted to Alex Girdwood and Jo Baker, founders of the Youth Movement Sydney, about how they got started, Jo: Yeah! There’s a leadership team of around about 20 of where the movement is heading, and why we should all us now – a group of incredibly passionate young people be chewing the fat over where our food’s coming from. who all just love food and want to share it with others. Where and how did the idea for Youth Movement come about? Alex:The Youth Food Movement (YFM) is an international movement - it’s part of the Slow Food Movement, which started in the 80’s in Italy. YFM began five or so years ago when the founder of Slow Food Movement realised that young people and an entire generation needed to be encouraged to make a change [about the future of food sustainability]. I was involved in various other advocacy work in Sydney and all these events that I’d go to, it was all people my parents’ age. I thought, “Look, I’m interested in this, and I know other people like my friends who are interested in this too. I might as well start something as a way for us to all talk about it, so I don’t feel like I’m going out with my parents!”

Alex: The thing about food is that you might be into it because of environmental reasons, for health reasons, agricultural reasons – whatever it is, you have many ways to all share this one love. And it’s really great to see how everyone does exert that passion. Jo: It’s a lovely common bond that we all have. What’s the essence of the company and what do you hope to achieve in the short and long term? Jo: Our ultimate vision is a secure and healthy food system that’s supported by a consumer base that’s motivated and empowered. So essentially we want to build a movement here in Australia of young people who are excited about food, have the capacity to make good food choices, and have that capacity and motivation to demand a secure food system. We believe our role is to focus our efforts on the consumer - consumer connectedness to food is just as an important part of our current food system

pg 63

issue 1 2012

pg 64

as the farmer that produces the food. There are a lot of amazing things happening out there in this space to build a more healthy and sustainable food system, but unless you’ve got a consumer base that has the passion to support it, it’s kind of superfluous. We really believe in the power of young people and I think they’re sometimes a really hard audience to reach. So we feel we have the capacity, being innovative, to talk to and reach young people in a way that really resonates with them. Is that one of your biggest challenges – getting people on board and involved? Jo: No, if anything, there is this amazing groundswell out there at the moment. There are people out there who want to know more about the food that they eat, and where it comes from and how they can make better choices and how their choices are impacting the environment and the community. So I think in a lot of ways, YFM is coming at that perfect time to jump on the back of that. Alex: YFM is a way to channel that energy – because there are so many people out there who want to do something but they don’t know what. So we provide that avenue. Jo: I think in essence, it’s really important that young people have a voice in those really important policy conversations – so ultimately, YFM would love to be that platform and that collective representative voice of young people. So that young people can feel that if they’ve got views, they’ve got a place they can express them and know that they’re going to be acted on.

issue 1 2012

Alex: We’re fighting for something that is going to be in our lives for the next however many years - much longer than it’s going to be for the people that are currently making all the decisions. So to not have a voice in the political conversation, or in any conversation because the voice of young people is maybe not respected or sought after – I just don’t think that’s an excuse! We’re here and we’re happy to talk, so come and talk to us! What are some of the biggest challenges that you’re facing so far? Jo: We’re a volunteer based organisation. All of us have full time work – some of us have full time work and study. We all spend probably from 8pm-11pm at night on the laptops, talking, or on our weekends we dedicate entire days. So resourcing is probably one of the key challenges we have at the moment. Alex: In Sydney, you can get a lot of money to run events and that’s really great. But it’s much harder to get money for operational costs like having an office, or paying someone one day a week or setting up a website. So I guess we’re just figuring out the best way to get funding. Jo: But so far the support we’ve received has been phenomenal. I mean, look at tonight (motioning around the room at the crowd of happy young people, chatting excitedly while sharing in the delicious, sustainably produced food laid out before them.) We’re here tonight in Twig Cafe, who have kindly donated this space to us and provided the food. And we’ve had strategy days in Digital Eskimo, who’ve donated their offices to us. Alex: People have been so generous.

pg 65

Jo: They’ve been phenomenal. The amount that we’ve been able to do with literally no money and just people’s belief in us as a movement has been incredible. So as much as it is a challenge, we are incredibly humbled and blown away by the amount of programs willing to help. Alex: I guess food means a lot of things to different people, and there’s a lot of terminology that a lot of people don’t know about. Like “food literacy” for example – what does that even mean? So I think a challenge is increasing the vocabulary of the average consumer – because there is so much information. And we’re all so precious about food as well. You can’t go out there and say “food means ‘this’”. Because people will be like, “well hang on, it doesn’t mean that to me”. What can everyday Australians do to support the sustainable food movement – In their everyday life, or through you guys. What’s the best way to go about it? Jo: I think by asking questions. Definitely. Alex: You can support organisations, and give your funds or your time or something. But I think the first thing that everyone should do is really think about the meal that they’re eating, and where it came from. That’s all you have to do. Then share that and think about it with someone else. It’s so easy, that doesn’t take any money. You’re already doing it. Jo: Just have a consciousness every time you make a food choice. Maybe you don’t know where your food’s coming from, but you can actually question it – maybe thinking “Oh, I wonder where these eggs came from. Wow, tomatoes – are they even in season at the moment?” And then if

issue 1 2012

you want to go on and actually find out where your food might have come from. Visiting a farmer’s market, visiting a farm or meeting a producer to see what it’s taken that person to produce that potato or raise that chicken. Do you think it’s difficult when the cost of certain foods may be at the top of people’s minds? Is it hard to keep hitting home to people that it’s important to think about where the food is coming from and how it’s affecting other people or the environment? Jo: Cheaply produced food isn’t sustainable. Farmers are producing food which sells for the same price as ten years ago, yet their costs are still going up. So in a way, it is a little bit short sighted, looking at the here and now and buying for the here and now . Because the point is, food won’t be able to be produced at the cost that it is forever. So it’s about finding more value in food than just cost and convenience. But that takes a lot of time and takes a lot of experience and consciousness around food. Find out more about YFM and how you can get involved by visiting their website. They have delicious events regularly throughout the year.

pg 66

issue 1 2012

Things We Love.

Book review:

Album Review:

Mad Women By Jane Maas

Loathing Lola By William Kostakis

The Only One Odjbox

MixTape Big Scary

We all love the TV show Mad Men. If you don’t go watch it now. You’ll love it. Anyway, we’re not talking about that now, we’re talking about this new book by Jane Maas, Mad Women. The concept behind Mad Women was essentially – of course we’re all curious if there was that much sex in advertising agencies in the 60’s. While the book seemed to be a big attempt to capitalise on the TV show’s huge success, it’s nevertheless an entertaining read. A tell-it-like-it-is style book comprised of a patchwork of anecdotal recounts of the author’s experiences in an advertising agency, the reader is left to do any kind of deeper critical analysis on their own, which is actually kind of refreshing.

Sydney based author William Kostakis has just signed a contract to release a new book this year! Curious, we took a look at his first novel, Loathing Lola, and we weren’t disappointed. Sarcastic, funny and painfully honest, Loathing Lola follows the story of teenager Courtney Marlowe as her life is documented and scrutinised on a reality TV program. We’re eagerly looking forward to the next piece of work by Kostakis – especially if it’s as full of as many clever, smartassed insults as his first book.

Electro swingy, trip hip hoppy and shitloads of fun, the biggest shame is that this is only a 4-track EP. We can’t get enough of the throbbing beats and funky instrumentals that just make us want to lace up our vintage dancing shoes and pour ourselves a Tom Collins. It’s dancey, jazzy electronic music with heaps of attitude – everything you want from a set of tunes for a Friday afternoon. Hoping to see more from this self-producing electronic artist Odjbox soon. (Hint: Download his stuff for free on his Bandcamp page)

“We’ve got our own shit to worry about too”. Damn right you do, Big Scary – like the fact that your music is almost way too good to be giving it away for free. The two-piece Melbourne band, in the midst of preparing for their first ever overseas tour, have released a sweet little mix tape that’s a bit of everything – hard ass rock and roll, a bit of fun indie pop, along with a few beautiful haunting instrumental tracks with soft vocals. The cherry on top? This 5-track jewel is available to download for free. Get it here.

pg 67

issue 1 2012

Blog Review:

Movie Review:

Bitch Media

The Talented Mr Nobody

Wish You Were Here

The Brothers Bloom

Intelligent, scathing, angry and wittily written, this blog will make you want to walk out your front door and punch a member of the patriarchy right in the back of the head. Articles, interviews, reviews, investigative features and opinion pieces on the Bitch Media blogs all analyse how sexism and douchebaggery so easily permeate into every layer of society – everything from politics to potato chip ads. Bitchin’

Interviews with up and coming fashion photographers, features on the latest editorials from around the globe, and a few tongue in cheek posts thrown in for humour and good measure – we like to call the Talented Mr Nobody a fashion and photography blog for the thinking man/woman. The blog keeps up to date with the latest trends and talents, yet also doesn’t take itself too seriously. Our favourite post is the cheeky video they posted of models falling over on the runway... Giggle.

Australian Film doing what it does best: creating a story that’s gripping, emotional, and terrifyingly real. A group of four friends take a paradise holiday in South East Asia, but their trip quickly turns into a nightmare as one of them goes missing. A stellar debut feature by Australian director Kieran DarcySmith, the film follows the heartbreaking and emotionally fraught fallout between those left behind. The characters are superbly portrayed by the cast, which features Joel Edgerton, Teresa Palmer, Felicity Price and Antony Starr.

Hilarious, confusing, and a little self-reflexive, The Brothers Bloom is one of those super cool kind of movies which has you giggling, shaking your head, and ogling the amazing wardrobe and set design at the same time. There seems to be a bit of disconnect between the characters, but that’s almost what makes it work so well – they mesh in a non-seamless way.

pg 68

issue 1 2012

12 MUST SEES

The best ways to wile away your days 1. Les Liaisons Dangereuses

2. The Archibald, Wynne and Sulman Prizes

3. Vivid Sydney

Some of our favourite things sex, politics, love and betrayal (well maybe not the last one) come together in this gripping play starring Hugo Weaving and Pamela Rabe. Adapted from the 1782 novel by French novelist Choderlos de Laclos, Les Liaisons Dangeruses is playing at Sydney Theatre Company from 10 April to 9 June.

While we all know about the Archibald prize, its two siblings, The Wynne Prize (best landscape painting of Aussie scenery, or figure sculpture) and the Sulman Prize (best subject painting, genre painting or mural project in oil, acrylic, watercolour or mixed media) are equally amazing. See them from 31 March to 3 June at the Art Gallery of NSW.

Lights, cameras, and action – everyone will be out and around snapping pictures of all the pretty colours and lights on display around Sydney from the 15 May to 11 June. Expect light art sculptures, interactive installations, illuminated skyscrapers and large scale projections – and more.

Website

7. Sydney Writer’s Festival 8. The Reef Zine Fair

9. Identity

Like we weren’t going to recommend a magazine-based event…. ‘Nuff said. Browse, buy, swap and sell mags on the 20 May at the MCA. Part of Sydney Writers’ Festival.

A beautiful contemporary dance work showcasing two interpretations of Australian identity. 29th June at the Bathurst Memorial Enter tainment Centre.

Website

Photography, surfing, video – and music from the Australian Chamber Orchestra. An amazing film project which explores the intersection of music and nature. Screening around Australia between 5-23 July. Website

Website

pg 69

issue 1 2012

4. Men in Pink Tights

5. Hunters Hill Art Exhibition

6. Darling Harbour Jazz and Blues Festival

Not to be confused with the tacky Robin Hood story film of (almost) the same name, Men in Pink Tights is a hilarious ballet comedy by the all-male ballet company Les Ballets Eloelle straight out of New York. They’ll be prancing their way around Australia between 11 March to 7 July, stopping at plenty of regional theatres as well, which is fantastic to see.

Take a break from the art galleries in the city and head to Hunter’s Hill Town Hall for a smaller, more intimate type of art exhibition. On from the 11-20 May, with cocktails and canapés on opening night. Very artsy.

One of our favourite ways to spend a chilled out weekend is listening to some local and international jazz, blues, roots and funk acts – while enjoying the crisp winter air down at the harbour. Have a boogie at one of the stages before ducking into a cosy restaurant for a hot drink and meal.

Website

10. Wintersun Nostalgia Festival

11. The Reclining Nude

12. Head on Photo Festival

If red lipstick, seamed stockings and old school rock’n’roll get your heart racing faster than then engine of a flashy vintage car, then the Wintersun Festival is where you need to be. 1st to11th June in Coffs Harbour.

Nudes. Reclining. And doing other things. Catch the latest exhibition from Melbourne-based artist Sanné Mestrom. At Chalk Horse Gallery from the 26th April – 26th May.

Prepare for some serious photoboners at Head on Photo Festival. A myriad of talks, workshops, seminars, exhibitions and more to get the little shutterbug in your heard racing.

Website

pg 70

Creative Thinking to Change the World

Clew Magazine is a creative quarterly publication. Art; Architecture; Design; Music; Fashion; Performing arts; Current Affairs. www.clewmagazine.com.au

issue 1 2012