Point #4 by Performance Space

Published by Performance Space, Sydney, Australia performancespace.com.au ISSN 1837-7084 Cover artwork by Hana Shimada Design: Blood & Thunder

POINT is Performance Space’s biannual publication. Sitting somewhere between a season brochure and a zine, POINT lets you know what’s coming up and has contributions from artists that we're bananas about exchanging with. Want to exchange with us? Join our monthly e-news – it’s the best way to ﬁnd out about everything that’s happening and to snap up some spots in our free events. You can follow us on Twitter, like us on Facebook or have this lovely printed matter arrive in your letterbox twice a year. Keep it, pass it on—we hope to continue this exchange.

Calendar

Director’s Note

Bargain Garden Theatre Kantanka with Ensemble Offspring

Posts in the Paddock My Darling Patricia in association with Moogahlin Performing Arts 8 Return to Sender

The Body is a Big Place Peta Clancy and Helen Pynor 12 HokusPokus Michele Barker and Anna Munster

WALK K

In Residence

ClubHouse

Two Sketches Oslo Davis 26 Learning About the World at the Grocery Store Harrell Fletcher 30 The Experts Project Lara Thoms

A quantitative theory of intimacy: on thresholds, ﬂesh and sacred mathematics. Sarah-Jane Norman 38 Artist’s Credits

Book Tickets

Find Us

Program Credits

Supporters

Supporting Indigenous Artists

Support Us

NightTime

Become A Member

Our name—Performance Space—was, for many years, synonymous with our home on Cleveland Street, Redfern. Performance Space was a place. A place to meet, to hangout with like-minded artists and audiences, and a site for artistic experimentation and risk. Today Performance Space is a resident company at CarriageWorks. We have access to great spaces and equipment and are part of a vibrant arts centre but ‘our space’, the physical space we occupy, is no longer as apparent. Since we moved we’ve been asking ourselves if our name still describes who we are and what we do. We’ve begun to think about ‘Performance Space’ not as a place and venue but as a creative space. The challenge we now face is seeking out and articulating what is unique, vital and signiﬁcant about this creative space. This season—Exchange—suggests a core element of the creative territory we want to explore. Artistic exchange and cultural exchange are central to each of the works we’re presenting in Exchange and the season encourages us to think about the ways art is often formed through dialogue and collaboration—between artists but also between artists and audiences.

Central to Posts in the Paddock k is a dialogue between Indigenous and non-Indigenous artists, which finds a voice in a story of reconciliation between two families. Bargain Garden has been formed through a rich collaborative approach of the artists including teams from across theatre, music and visual arts. Return to Senderr seeks to encourage new forms of creative exchange between artists living and working in different parts of the world. And both The Body is a Big Placee and HokusPokuss are informed by the crossfertilisation of art and scientific research. These projects form the main body of Exchange but our work is much more diverse than the projects we put before audiences. We also encourage exchange through activities such as residencies and workshops. In particular, over the next few months we will run IndigeLab b and IndigeSpace; two initiatives offering significant opportunities for Indigenous Australians to extend their artistic practice through collaboration. We also welcome UK artist Joshua Sofaer as Thinker in Residencee and play host to artists from Field Theory working as part of a cultural leadership initiative. Performance Space’s program has long been a rich mix of artistic development and presentation. While we may have changed the location where we present work, offering a creative spacee has always been and will always be at our heart. This season—as we celebrate artistic and cultural exchange—is a good time to remind ourselves of the creative space, which is the core of Performance Space.

Theatre Kantanka, creators of the acclaimed Missing the Bus to David Jones, and award-winning contemporary music collective Ensemble Offspring premiere a new collaboration as part of Exchange. Bargain Garden is a toxic nightmare, in all the pretty colours of the rainbow. An immersive, multi-sensory performance installation, inspired by the thousands of bargain stores and two-dollar shops that multiply across our cities. Bargain Garden takes the temperature of the fever of mass consumerism that drives our society. Fusing performance, live music, kinetic sculptures and multimedia installation, Bargain Garden invites us to experience both the rush and aftermath of our bargaincrazy, shopping-mad culture and lifestyle. Artists: Claire Edwards, Carlos Gomes, Heidrun Löhr, Katia Molino, Rodney Nash, Jason Noble, Teik-Kim Pok, Damien Ricketson, Kym Vercoe, Nick Wishart and Mirabelle Wouters. Dates

1–5 Nov

Times

Previews: Tue 1 Nov, 8pm & Wed 2 Nov, 7pm Matinee: Sat 5 Nov, 2pm Student Rush: Fri 4 Nov from 7pm Thu–Sat, 8pm

Artist Talk

Fri 4 Nov post show

Venue

Track 8 at CarriageWorks

Image: Heidrun Lรถhr

One hundred and eleven years ago, relatives of My Darling Patricia’s Clare Britton were murdered by an Aboriginal Bushranger, Jimmy Governor, on a property in the Hunter Valley. Taking its name from the ruins of the house, Posts in the Paddock k combines sculpture, animation, puppetry, performance and oral histories exploring this moment in history from multiple perspectives. My Darling Patricia collaborate with actor LeRoy Parsons, Jimmy’s great great Grandson and Elder Aunty Rhonda Grovenor who also shares a family connection. You are invited to share this intimate and ultimately very personal work of reconciliation. Artists: Bryony Anderson, Jenn Blake, Michelle Blakeney, clare Britton, Nadeena Dixon, Aunty Rhonda Dixon Grovenor, Phil Downing, Fiona Foley, Samuel James, Halcyon Macleod, LeRoy Parsons, Sam Routledge, Lily Shearer and Chris Twyman. Dates

9–19 Nov

Times

Preview: Wed 9 Nov, 8pm Matinee: Sat 19 Nov, 2pm Student Rush: Fri 18 Nov from 7pm Tue–Sat, 8pm

Artist Talk

Fri 18 Nov, post show

Venue

Bay 20 at CarriageWorks

Image: Helen King, Box Brownie photo 1961.

Return to Senderr is a collection of eight short dance works exploring the inﬂuence of international creative relationships on the practice of Australian dance artists. For Return to Sender, r curators Paul Gazzola and Jeff Khan have invited eight Australian dance-makers to devise new works that recreate the choreography, scores, or essence of an international peer’s work. The resulting works range from reconstructed solos, to collaborative texts, to performed instructions. Together, they provide an insight into the creative collaborations that inﬂuence Australian artists’ work, but which take place overseas and are often out-of-sight to their audiences due to distance, geography and expense. Artists: Alison Currie, Nadia Cusimano, Matthew Day, Atlanta Eke, Jane McKernan, Latai Taumoepeau, Tony Yap and Yumi Umiumare.

Dates

23–26 Nov

Times

Wed–Sat, 8pm Student Rush: Fri 25 Nov from 7pm

Venue

Bay 20 at CarriageWorks

Image: Anthony Calvert

The Body is a Big Placee explores the fluidity of boundaries between bodies, specifically questions arising from the processes and practices of organ transplantation surgery, and the phenomenological responses reported by organ transplant recipients. This work investigates the perplexing notion of cellular memory and questions of blurred subjectivity that are prompted by organ transplantation. The Body is a Big Placee invites audiences into the ethics surrounding organ transplantation, asking the viewer to reflect on the entanglement of mind and body and the capacity of the biological to cross-infect, respond and improvise under novel conditions. This installation, commissioned by Performance Space, is a collaboration between artists Helen Pynor and Peta Clancy with sound by Gail Priest.

Dates

4–26 Nov

Times

Mon–Sat, 10–5pm*

Opening

Thu 3 Nov, 6–8pm

Artist + Curator Talk Venue

Sat 5 Nov, 1pm

Bay 19 at CarriageWorks

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

Image: Peta Clancy & Helen Pynor, video production still, The Body is a Big Place, 2011, Photo: Chris Hamilton

HokusPokuss visually references 19th Century magic, early cinema and travelling science shows, alluding to the proximity between the history of magic and the genesis of both optical time-based media and the brain sciences. This new interactive artwork examines illusionistic and performative aspects of magic to explore human perception, senses and movement. A magician appears on three separate screens, performing tricks that use sleight-of-hand and deception. How the tricks unfold over time and across the screens depends on the participant’s movements and reactions in the space. The installation continues Michele Barker and Anna Munster’s artistic research into perception, neuroscience and the histories of visual culture and media. It takes inspiration from recent neuroscientiﬁc interest in magic as a way of unravelling the relations between vision and movement in human perception.

Dates

4–26 Nov

Times

Mon-Sat, 10–5pm*

Opening

Thu 3 Nov, 6–8pm

Artist + Curator Talk Venue

Sat 5 Nov, 2pm

Bay 19 at CarriageWorks

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

Image: Michele Barker & Anna Munster

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

Get your dog kitted-out with a system that photographs their favourite locations based on sniff and interest time. Each dogâ&#x20AC;&#x2122;s snaps are returned to their human companion as a record of the walk. Sign up to walk with your dog and join us for Best in Show BBQ Q when we share happy-snaps and trails of discovery.

The latest incarnation of Lily Hibberd’s Benevolent Asylum project continues to expose the role of waterways in institutional confinement in Australia. Located at Luna Park in Lavender Bay, Hibberd’s performance will engage with the irreconcilable coalescence of lunacy, exile, sacrifice and joy in a playful revelation of the site’s historical and contemporary significance.

House Work k takes audiences on a walking tour through the private spaces of artist’s homes in the inner city suburbs of Redfern and Waterloo. Through a series of performative exchanges, the domestic sphere of the ‘home’ will become a site for artistic practice and dialogue, blurring the boundaries between art and life. To book your WALK go to performancespace.com.au

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

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

HOMELAND: For Exchange Performance Space is pleased to support HOMELAND an independently produced residency by a team of artists led by Belgian director Hans van den Broeck. BankART LIFE 3: Performance Space will take Sarah Goffman’s Trashcan Dreamss to Yokohama for BankART LIFE 3, an exhibition, residency and exchange. For full details of all our residencies go to performancespace.com.au. Thanks to our partners Critical Path, The University of New South Wales and The University of Sydney for hosting residencies.

ClubHouse is Performance Spaceâ&#x20AC;&#x2122;s home for critical dialogue, creative exchange, conversation and revelation about interdisciplinary arts. ClubHouse projects are often artist-led and range from small residencies, through workshops, to one-off forums discussion, screenings and performance events. All the details for upcoming ClubHouse events are announced in our monthly e-news. Sign up at performancespace.com.au if you are interested in ďŹ nding out more.

We welcome British artist Joshua Sofaer as Performance Space’s ﬁrst Thinker-in-Residence. Sofaer is an artist who is concerned with modes of collaboration and participation. Often with an irreverent use of humour, he plays with established forms of production, appropriating and reconﬁguring the chat show, competition, lecture, or museum display. He acts as curator, producer or director on a broad range of projects, including large-scale events, intimate performances and publications. As Thinkerin-Residence, Sofaer will act as a catalyst for discussion around exchange.

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

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

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

Our new residency initiative for Indigenous artists kicks off this year as we play host to Sarah-Jane Norman, Andrea James and their collaborators.

We’re proud Performance Space is one of four national organisations selected by the Australia Council to host a mentorship for an emerging Indigenous producer. Working with us and our partners, Alison Murphy-Oates, our Emerging Indigenous Producer, will play an important role helping us deliver our Indigenous arts projects.

Image: Alex Davies Performance Space’s open-call platform for new, short works across disciplines enters its ﬁfth year in 2011. Curated by independent artists and assisted by Performance Space, NightTimee continues to push at the edges of art informed by performance to deliver nights of playful, critical and confronting work from across Australia. T curated by Georgie In September NightTime#12:FIGHT Meagher and Nat Randall crash-tackled CarriageWorks’ Track 8. Coming up, NightTime#13:Genuine Facts, curated by Jess Olivieri and Lara Thoms, will bring the year to a close. Artists will present a series of demonstrations, presentations and subversive workshops that are set to be both perplexing and practical. Presenters from various disciplines will deliver performances ranging from the faux and sensational to the matter-of-fact. Check out performancespace.com.au for updates or sign up to our e-news to get the real scoop.

until 8pm

Artist & Curator Talks 1pm + 2pm * Open late until 8pm

Opening 6â&#x20AC;&#x201C;8pm

Matinee 2pm

Preview 7pm

*Open late until 8pm

Preview

Post Show Artist Talk

*Open late until 8pm

Preview

*Open late until 8pm

Launch 6â&#x20AC;&#x201C;8pm

1 10 9 8 7 6 5 4 2

3 1

*Open late until 8pm

Matinee 2pm

*Open late until 8pm

*Open late

*Open late until 8pm

Post Show Artist Talk

20 17

19 16

18 15 14 13 12

I was asked by a non-proﬁt art center in Indianapolis, Indiana, called Big Car to come up with a project that would happen in conjunction with a city-wide festival which was focusing on food systems. The director of Big Car, Jim Walker, took me around to various neighborhoods that he thought might be good spots for a potential project. The last stop was an older somewhat vacant shopping center that contained in it a thriving international grocery store called Saraga. I was immediately excited by the Saraga environment. Indianapolis is not a place that you normally associate with ethnic diversity, but Saraga was an unexpected exception or maybe just an example of the incorrect assumption that the midwest is only white and homogenous. The grocery store is set up so that most of the aisles are identiﬁed by geographical areas—India, Mexico, Venezuela, Iraq, etc., and contain food products

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

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

Venezuela- Maryori Duarte-Sheffield assisted by Jessica Bowman from those places. As I walked around the store I observed various shoppers who appeared to connect with the geographical locations named on the aisles. I couldn't help but think how interesting it would be to hear from them directly talking about various topics related to their countries origin—politics, histories, personal stories, and of course cuisine. Over the years I've created a number of projects that allow me to tap into local knowledge in the places where I have been commissioned to do work. I choose to do that primarily to satisfy my own desire to learn about new things, and then I try also to extend that experience to larger publics as well through exhibitions, events, publications, etc.. Reading and watching films offers an important but mediated form of knowledge acquisition, so I really enjoy the opportunity for firsthand experience and learning from primary sources. In the case of the Saraga project the way that I set things up was that I worked remotely with the people at Big Car–Jim, Shauta, and Tom–and they found local volunteers to go to Saraga and approach customers and workers to see if they would

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

The minutiae of our lives are comprised of interrelating parts: key into lock, button into buttonhole, thread into needle, money for goods, tongue into groove. The psychic construct relies on the same endless interplay of dualities. One particle vibrates against the next and there we have the principle of matter. Labour is exchanged for payment which is exchanged for goods and there we have the basis for the grand schema we call Capitalism. But I’m not a physicist or an economist (not by a long, long shot). My first concern is the emotional content. So instead, let me put it this way: our days pass in a series of hellos and goodbyes. Openings and closings. Give and take. Love and theft. We exchange currency, glances, blows, pleasantries. We are forever making and unmaking feedback loops between self and other, and projecting ourselves into that entropic zone between bodies. History, it might be said, behaves in the same way. If duality delineates the boundaries of exchange, then it’s from the tensions of the threshold that it gathers momentum. That charged emptiness, called liminality, of which much has been said. We understand the rule of twos. It is as integral as in-breath and out-breath. If the principle of human order is defined in twos, then divine order is defined in threes. After that, the pattern jumps, inexplicably, to the number seven. Seven

sisters, seven pillars, seven sins, seven precepts etc. It has been said that we need to be touched, for our skin to collide with that of another, no less than seven times in a day in order to maintain optimal psychological health. Whether being punched in the face or groped on a crowded train carriage count in this equation, I’m not sure. It’s also said, in some schools of energetic medicine, that once you’ve had sex with someone it takes seven years for their imprint to fade from your body’s etheric memory. Every seven days, the skin completely renews itself, while seven years is the time needed for total regeneration of the skeletal system. The numeric, that universal system by which we ascribe value (the basis of all exchange) also provides the greatest challenge to the assumption that There is Nothing Outside of Language, aside of course from the majestic silence of the body itself. Not the body affected and afﬂicted and overwritten and tiremarked by discourse, because that is not the body at all, but a theory and a ghost (as all theories are). I mean the body in its irreducible viscerality, the body which spits and swallows and shits and breathes and endures and in the end is evacuated, split open and harvested for organs. That body which craves exchange as a remedy for death. There are two types of artist who truly understand the poetics of mortality: dancers and mathematicians. The mystical traditions of the Qabbalah suggest that the true name of God cannot be transcribed in language, but in a sacred combination of numbers. Perhaps the same can be said of the formula for human longing. Binary code, the bricks and mortar of the information superstructure, is comprised entirely of combinations of one and zero. something/nothing. here/there. you/I. The phrase “I miss you”, written in code, looks like this: 0110100101101101011010001110011011100110111100101101 11101110101 If one is the loneliest number, then who or what resides at zero?

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

Harrell Fletcher has produced a variety of socially engaged, collaborative and interdisciplinary projects since the early 1990â&#x20AC;&#x2122;s. He was a participant in the 2004 Whitney Bienniall and received the Alpert Award in Visual Arts in 2005. Fletcher created a site speciďŹ c project for the NGV in Melbourne in 2010. His work is in the collections of Museum of Modern Art, New York; The Whitney Museum of American Art; The New Museum; and San Francisco Museum of Modern Art, among others. Fletcher is an Associate Professor of Art and Social Practice at Portland State University in Portland, Oregon.

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

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

$30 Full $20 Performance Space members and concessions $15 Student Rush and previews FREE entry to exhibitions ONLINE performancespace.com.au or ticketmaster.com.au CALL UP Ticketmaster 1300 723 038 IN PERSON At all Ticketmaster outlets AT THE BOX OFFICE CarriageWorks Box OfďŹ ce is open one hour before all performances. *Concession tickets are available for full-time students, pensioners, senior cardholders, unemployed and children under 14. *Student Rush tickets are available 1 hour prior to the show at the box ofďŹ ce. *When booking through Ticketmaster, a booking fee of $4.30 will apply online and on the phone. * Nearly all of the events in the ClubHouse and WALK programs are FREE. Reserve your spot at performancespace.com.au

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Performance Space is supported by the Australian Government through the Australia Council, its art funding and advisory body; the New South Wales Government through Arts NSW; and The Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

Performance Space is the anchor tenant at CarriageWorks, Sydneyâ&#x20AC;&#x2122;s home for contemporary arts. Performance Space is a member of Contemporary Art Organisations of Australia (CAOs) and Mobile States, Touring Contemporary Performance Australia.

BARGAIN GARDEN

POSTS IN THE PADDOCK The development of Posts in the Paddock k has been supported by Urban Theatre Projects and the Bundanon Trust. My Darling Patricia is managed and produced by Marguerite Pepper Productions.

RETURN TO SENDER

THE BODY IS A BIG PLACE Peta Clancy is a lecturer in Fine Art, Monash Art & Design.

HOKUSPOKUS

WALK Laika’s Dérivee is supported by a private donation from Emma Dean.

IN RESIDENCE

CLUBHOUSE

SUPPORTING INDIGENOUS ARTISTS

We Thank Our Current Supporters

Stephen Cummins Bequest

City of Sydney The Besen Family Foundation Sidney Myer Fund

The Nest

Kate Barnet, Amy Barrett-Lennard, Meredith Brooks, Martin Calvey, Barbara Campbell, Julieanne Campbell, Andrew Carriline, Debra Jensen & Geoff Cohen, Daniel Brine & Jonathan Cooper, Emma Dean, Bec Dean, Susan Donnelly, Rosalind Richards & Duffy, Paul Gazzola, Clare Grant, Lucy Guerin, Henry David York Lawyers, Clark Butler & Louise Herron, Henry Kember & Julia Holderness, Sam James, Talya Rubin & Nick James, Jeff Khan, Andrew Lorien & Cathy Kirkpatrick, Jann Kohlman, Derek Kreckler, Sandy Saxon & John Kron, Meaghan & Will Lewis, Rebecca Burdon & Jason Maling, Sarah Miller, Rebecca Chan & Nahum McLean, Annemaree Dalziel & Djon Mundine, Ian Enright & Linda Quatermass, Nat Randall, Chris Ryan, The Sherman Foundation, Mark Stapleton, Ben & Suzy Strout, Yana Taylor, Leon Fink & Jennifer Turpin, Sarah Waterson, Dr. David Williams, Paul & Jennifer Winch, Fiona Winning and Angharad Wynne-Jones. Many individual supporters prefer to remain anonymous. Performance Space thanks you for your generosity.

Individual contributions greatly assist Performance Space. Your donation small or large will help us extend our support for artists. We also have three donor categories to give you an idea of how larger donations will be invested. $250 equips an artist with a fee. $1,000 enables us to host an artist in residence to develop a new work. $5,000 supports a major project from inception to realisation. Visit performancespace.com.au for all the information you need to make a donation. The Performance Space Development Fund is a tax-deductible fund listed on the Australian Government’s Register of Cultural Organisations maintained under Subdivision 30-B of the Income Tax Assessment Act 1997. Donations over $2 to Performance Space are tax deductible.

Performance Space wants you to be a member. We started as a member-based organisation and we’re committed to retaining this sense of community at our core. To ﬁnd out about membership at Performance Space please email us at admin@performancespace.com.au . If you’re a member don’t forget to always show your member's card at Box Ofﬁce to receive your member discount.

Image: Megan Garrett-Jones