Annual Report 2017
Annual Report 2017
Contents
Image: OK Media
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4
Snapshot of 2017
6
Director’s Report
10
Chairperson’s Report
14
Artistic Program
43
PICA Press
42
Creative Development
50
Events and Public Programs
56
Donor Events
58
PICA Edition
60
Learning
64
Financial Report
98
Board and Staff
102
Thank You
104
Partners
Cover Image: Remedial Works, Opening Night. Photo: Zal Kanga Parabia
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Purpose PICA’s purpose is to foster the development of, and engagement with, contemporary arts and ideas.
Image: Jess Tan, recurring dream (silent reading time), 2017. Mixed media. Photo: Dan Bourke
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Mission PICA’s mission is to create career-defining moments for artists, life changing experiences for audiences of all ages and critical turning points in the advancement of art forms.
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A Snapshot of 2017 PICA IS GROWING AUDIENCES FOR THE ARTS IN PERTH
298,702 3,983
people experienced PICA’s programs in 2017, compared with 284,347 in 2016
students visited PICA with their school for workshops and free educational tours
95%
of PICA’s visitors said they would recommend PICA
75%
of visitors said that PICA’s programs were different to what they had experienced before
PICA PROVIDES ARTS EXPERIENCES YEAR ROUND
PICA was open for
232
days of the year and presented
106
exhibitions, performances, events,
activities, workshops and tours
PICA’s exhibitions were
FREE
to enter
PICA ENCOURAGES ARTISTIC INNOVATION
93%
of artists that presented or created work at PICA felt they were able to take risks
PICA supported
6
264
artists in 2017 and presented
West Australian premieres
13
World premieres and
5
Our visitors in 2017
over 50%
of PICA’s visitors were new
15%
come more than 5 times a year!
20%
were artists
22%
identified as being from culturally and linguistically diverse backgrounds
4%
identified as living with a disability
34% OF PICA’S VISITORS ARE CULTURAL TOURISTS
15%
were from overseas
6%
from regional WA
13%
were from interstate
66%
from Perth metro area
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Director’s Report
7
Director’s Report
In 2017, PICA delivered one of its most dynamic programs yet with over 106 exhibitions, performances, interdisciplinary projects, creative developments, studio residencies, major events, public and education programs and tours being presented across 232 days of the year.
The successes of PICA’s contributions to the Perth Festival, Jacobus Capone’s moving video and sound installation Forgiving Night for Day and Lynette Walworth’s virtual reality sensation Collisions, certainly set the standard for the remainder of the year’s exhibition program.
Our program saw over 298,000 people engage with artists and art works that pushed the boundaries of their form, employed new technologies, connected art with science, came from diverse cultures, referenced key historical moments and their impact on today’s world and introduced new ways to interact with art.
The Hatched National Graduate Show 2017, was described as the “best yet” and saw the Schenberg Art Fellowship, which increased to a career catapulting $40,000 cash award, handed to a very deserving Kai Wasikowski from the University of Sydney.
In receipt of Australia Council multi-arts funding for the first time, PICA was able to fully implement the new performance model it embarked upon a year earlier with the support of Theatre Works funding from the WA Government’s Department of Culture and the Arts. Multi-arts funding allowed PICA to apply its new performance programming model to all areas of its performance program in 2017. This resulted in ambitious new dance, theatre, music, live art and interdisciplinary works being financially, technically and creatively supported in either their creative development or presentation stages, and in some cases both. Highlights included the unforgettable Ecosexual Bathhouse by Pony Express, the percussive theatrics of Louise Devenish, Leah Scholes and Vanessa Tomlinson’s Never Tilt Your Chair Back on Two Legs, the extraordinary new work by Side Pony Productions and The Last Great Hunt The Irresistible, and the haunting sonic and movement experience that was Lz Dunn and Collaborators’ Aeon, presented in the parklands of Perry Lakes reserve.
Image: Hatched, Opening Night. Photo: OK Media
When the Sky Fell: Legacies of the 1967 Referendum, deftly curated by Clothilde Bullen and presented in partnership with the Aboriginal Art Centre Hub of WA was a triumph and a testament to the magic that can happen when a contemporary art space and artists from regional and remote communities get to work together on a project of historical significance. Energies: Haines & Hinterding had our audiences mesmerised with their playful and interactive explorations into acoustic and electromagnetic phenomena, hallucinatory video and video game worlds and aroma-based compositions. The year concluded with two thoughtful exhibitions of international significance. I don’t want to be there when it happens, presented the work of both Indian and Pakistani artists in the 70th year since the Indian Partition and Remedial Works successfully captured a current zeitgeist by examining how materials in contemporary global societies have both the capacity to repair or pollute our bodies and environments. Derek Kreckler: Accident & Process continued to tour throughout Australia. The exhibition travelled to Contemporary Art Tasmania, Maitland Regional Gallery and Wollongong Art Gallery.
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In 2017 PICA supported 17 studio residencies and creative developments which saw a swathe of artists working across a range of different art forms and at various stages of their careers test new ideas and artistic approaches all within an environment that encouraged risk-taking and an open-ness to critical feedback. PICA’s learning program provided invaluable curriculum and extra-curriculum support and unique learning experiences across diverse subject areas to 3,983 students from over 50 primary and secondary schools. This year PICA capitalised on the science links within its program by teaming up with EdFutures to provide a professional learning program for teachers based on the principals of STEAM. PICA’s extensive range of events and public programs were designed to create special social occasions for our audiences while de-mystifying certain aspects of contemporary art. They successfully supported our year-round artistic offering and boosted our ability to drive cultural tourism as our surveys revealed that 34% of PICA’s visitors in 2017 came from overseas, interstate or regional WA. It is strong collaborative partnerships that make most impossible things possible and this was also certainly the case for PICA in 2017. We were thrilled to have this year partnered with Fringe World, Perth Festival, TURA New Music, Strut Dance, UWA Cultural Precinct, pvi collective, Aboriginal Art Centre Hub of WA, Playwriting Australia, the Museum of Contemporary Art, Town of Cambridge, illUMEnate, Next Wave Festival, 4A Centre for Contemporary Asian Art, the Portuguese Honorary Consul, Pakistanis in Australia, 22 of Australia’s leading art schools and our Cultural Centre neighbours the Art Gallery of WA, WA Museum, State Library of WA, The Blue Room Theatre and State Theatre Centre of WA.
Director’s Report
Renae Coles for fresh adventures in Sydney and the commencement in February of our new Business Manager Caris Harper, new Communications Manager Kira Rikkers and new Senior Curator Eugenio Viola. Each of these outstanding individuals have brought a fresh energy and an impressive collection of experience, skills and perspectives to the organisation. Mindful of a need to employ our limited resources in the most effective way for future sustainability, we undertook an organisational restructure towards the end of 2017 that saw a discontinuation of two positions and the re-assignment of a number of roles and tasks. This was a necessary but difficult undertaking which meant that we sadly farewelled two staff members Andrew Beck and Minaxi May, both of whom had contributed significantly to the culture and successes of PICA over a collective 12 year period. In December of 2017 we farewelled our powerhouse of an Exhibitions Manager, Nadia Johnson as she took on an exciting role at ACMI in Melbourne. Nadia’s keen eye and gun administrative skills had enabled PICA over recent years to present ever more ambitious exhibitions and embark on extensive touring programs. Significant changes also occurred at the Board level, the most notable of these being the departure of our long-serving Chair Tony Chong in February. Tony’s quiet persistence and steady hand had guided PICA through one of the most significant periods of renewal and growth in its history. Existing board member, Robyn Glindemann enthusiastically stepped into the role of PICA Chair and has over the course of the year applied her considerable energy, wits and good humour to ensuring that PICA is equipped to enter a new era of growth.
The achievements of 2017 have only been possible due to the support of our generous donors and sponsors and the ongoing backing of our government funding partners. Their commitment to PICA’s vision is paramount to the organisation’s success and to the future of contemporary Australian arts.
I will conclude by wholeheartedly thanking Robyn and the rest of the PICA board for their generous time and invaluable assistance and support during a year of significant transition for the organisation.
The year started with a marked new line up to the PICA team with the departure of the inimitable
Amy Barrett-Lennard Director/CEO
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Image: Clare Milledge, Strigiformes: Binocular, Binaural, 2017, re-enactment of the performance at PICA. Photo: Jacqueline Ball
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Chairperson’s Report
Chairperson’s Report
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It has been another incredibly busy year for all at PICA but, yet again, we have met or exceeded nearly all of the KPIs we have set for ourselves despite the economic climate continuing to be difficult. 2017 was the first year of PICA’s multi-arts funding from the Australia Council. This funding, which is the culmination of nearly a decade of work from PICA, recognizes PICA’s national role in the development and presentation of new works across visual, performing arts and interdisciplinary genres. Our total income rose to $2,314,662 and we ended the year with a surplus of $54,241 and total equity of $511,583. Income from sources other than core government grants dropped slightly in 2017 to 44% of total income. However, income from donations and sponsorships rose slightly by 5% to just over $460,000 in 2017 and it is this area as well as that of earned income that PICA is focusing on for its future sustainability. And so I offer my thanks to each and every one of our ART 1000 donors, Art Ambassadors, Art Commissioners, Art Patrons and our Director’s Circle. Our family of donors is important to us and the energy that your personal commitment brings is vital to our success. Thanks also to our corporate partners and sponsors who help PICA realise its mission of creating careerdefining moments for artists and life-changing experiences for audiences. My thanks to City Toyota – Automotive Partner, Hogan Lovells – Major Exhibition Partner, Dulux, Grace Fine Art, Keepad Interactive, Wesfarmers Arts, Training Course Experts, Willoughby Park Winery and the Alex Hotel. I would also like to thank our government partners, the Australia Council for the Arts, the Western Australian Department of Local Government, Sport and Cultural Industries, LotteryWest, Creative Partnerships Australia and the City of Perth for their valued support throughout 2017.
Image: When the Sky Fell: Legacies of the 1967 Referendum, Opening Night. Photo: OK Media
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2017 saw a few personnel changes at both the Board and management level. Lloyd Smith resigned in February 2017 after three years on the Board. Thea Costantino resigned after nearly five years upon her move to the United Kingdom and Treasurer Ben Opie flagged his resignation at the end of 2017, after five and a half years on the Board, coinciding with his move to Sydney. My sincerest thanks to Thea, Lloyd and Ben for their invaluable contributions to PICA. However, we also welcomed Kenley Gordon and Abdul-Rahman Abdullah to the Board in November 2017 and as at the date of writing, James Brown has also joined the Board as our new Treasurer. It is a privilege and pleasure to serve on the PICA Board as chair of this dynamic group. Each director is absolutely committed to ensuring PICA continues to achieve its goals and to grow as an organization and I thank each of you for your contribution. PICA welcomed senior curator Eugenio Viola to the PICA family at the beginning of 2017. His deep knowledge and international experience will make a huge contribution to PICA’s growth going forward. We also welcomed key staff members, Caris Harper as our new Business Manager and Kira Rikkers as Communications Manager, at the beginning of 2017. PICA underwent a small organizational restructure towards the end of 2017 to better support PICA’s long term sustainability. PICA’s outstanding staff and its dedicated volunteers, led by Amy Barrett-Lennard, are the head, heart and soul of PICA. The boundless enthusiasm that every PICA employee and volunteer has and their commitment to supporting artists and the development of new contemporary art works and the presentation of those works to audiences young and old is what sets PICA apart. It is why PICA is important to Perth and Western Australia (and beyond!). Thank you
Robyn Glindemann PICA Chair
Image: Aeon. Photo: Dan Grant
Chairperson’s Report
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Artistic Program
Image: When the Sky Fell: Legacies of the 1967 Referendum, Opening Night. Photo: OK Media
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RECKLESS ACTS 20 January – 4 February
PICA is the only venue, performance space and gallery truly championing Live Art, Interdisciplinary and boundary pushing experiences for audiences in Western Australia
Artistic Program
RECKLESS ACTS was a pilot program of experimental Australian performance works, presented as part of FRINGE WORLD 2017. Curated for the adventurous, this bold new program celebrated the delights and mysteries of audience participation through several intimate, playful and interactive experiences across live art, installation, theatre and dance. Expanding all over the PICA building, RECKLESS ACTS called artists and audiences to unite and surrender to the collective power, thrill and joy of participation. All works supported by PICA’s new performance model
– Reckless Acts Artist 2017
Holiday Feelings 110%
Fantasy Light Yoga Deep Soulful Sweats
20 – 28 January Westend Gallery
20 – 21 January Central Gallery
An interactive leisure oasis exploring the relationship between the pursuit of leisure and appreciation of art.
An energetic ritual/yoga/dance/party where everyone was a participant and there were no spectators.
Artists: Lachlan Herd, Beth Dillon, Kieran Bryant Music: Becky Sui Zhen with James Grant and Alec Marshall
Performers: Natalie Abbott, Sarah Aiken, Angela Goh, Rebecca Jensen Producer: Natalie Abbott Creators: Rebecca Jensen, Sarah Aiken DJ: Catlips
Fringe World Visual Arts Award Finalist
Fringe World Dance and Physical Theatre Award Finalist
Images: OK Media
Artistic Program
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Ecosexual Bathhouse Pony Express
An immersive cave of wonder with a variety of ecoerotic experiences that invited us to reconsider the relationship between humans and nature.
24 – 28 January Central Galleries
Artists/Creators: Pony Express (Loren Kronemyer and Ian Sinclair) Creative Producer: Sarah Rowbottam Performers: Jacinta Larcombe and Alicia Osyka Production Manager: Karen Cook Bathhouse Regulars: Liam Colgan, James Daley, Amber Fresh, Zoe Hollyoak, Jennifer Jamieson, Rex Monsoon and Tyrone Robinson Supported by LOFT
Desert Body Creep Angela Goh
Jumping the Shark Fantastic Malcolm Whittaker
24 – 28 January PICA Performance Space
1 – 4 February PICA Performance Space
An exploration of transformation through decay, that invited a new idea of reality based on sweet and tender destruction.
An exuberant spectacle exposing a set of conflicting and preposterous longings as a result of an investigative residency at PICA that asked the people of Perth what they thought constitutes the ‘best theatre show ever’.
Choreographer/Performer: Angela Goh Sound: Matt Cornell
Creator: Malcolm Whittaker Performers: Zoe Hollyoak, Phoebe Sullivan, Brett Smith, Malcolm Whittaker and Haydon Wilson
Image: Above and Bottom Right : OK Media. Bottom Left: Zan Wimberley
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Forgiving Night for Day Jacobus Capone 18 February – 16 April Central Galleries
The exhibition is stunning! Loved it – Visitor
Artistic Program
An immersive site-specific video installation composed of seven large screens suspended from the ceiling by WA interdisciplinary artist Jacobus Capone. It was a contemplative reflection on the poetic Portuguese word ‘saudade’, an expression of deep nostalgia and longing for people, places and times irrevocably lost. During a winter spent in Lisbon Capone wrote a lyric inspired by the emotive registers of ‘Fado’, a traditional Portuguese music genre. His song was filmed over seven consecutive days at dawn, each time performed by a different ‘Fado’ singer from seven viewpoints overlooking the city.
Presented in partnership with the Perth International Arts Festival and supported by the Visual Arts Program Partner Wesfarmers Arts Supported by PICA’s Director’s Circle
Images: Forgiving Night For Day, 2017. Image courtesy the artist.
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Image: Jacobus Capone
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Collisions Lynette Wallworth 21 February – 16 April Westend Galleries
Lynette Wallworth’s award-winning Collisions was a short, personal film experience like no other. This pioneering work employed virtual reality technology to transport audiences to a different time and place. Guided by Nyarri Nyarri Morgan, audiences experienced the dramatic collision between his traditional worldview and the cutting-edge science of virtual reality.
Presented in partnership with the Perth International Arts Festival.
Winner of the 2017 38th Annual News and Documentary Emmy for Outstanding New Approaches: Documentary
Image: Piers Mussared
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Artistic Program
Never Tilt Your Chair Back on Two Legs Louise Devenish, Leah Scholes & Vanessa Tomlinson
Show and Tell & Body Not Fit for Purpose Jonathan Burrows & Matteo Fargion
10 and 11 April PICA Performance Space
28 – 29 April PICA Performance Space
A subversive take on human behaviour and interaction, this double bill explored the world of instrumental theatre by Australia’s leading theatremusic percussionists and celebrated the 40th anniversary of one of the genre’s most seminal works Dressur by Mauricio Kagel.
Combining intellectual rigour with unexpected humour Show and Tell revealed the vital role that mimicry plays in the creative process, composing a presentation of formative images and sounds that examine what is absorbed, transformed, buried, disclosed and appropriated in the making of performance works. Body Not Fit For Purpose is the duo’s first overtly political piece, unravelling the link between meaning and action raising questions in the midst of our laughter.
The Australian premiere of Dressur was paired with a new work by award-winning Australian composer Kate Neal, Never Tilt Your Chair. Both works interweaved action, notation and gesture into a musical and visual feast.
Created and performed by Jonathan Burrows and Matteo Fargion Performers: Louise Devenish, Leah Scholes and Vanessa Tomlinson Composer and Instrument Design: Kate Neal (Never Tilt Your Chair) Composer: Mauricio Kagel (Dressur) Dramaturgical Consultant: Rémi Deulceux Presented with Tura New Music and supported by Creative Victoria, the Australian Government through the Australia Council of the Arts and PICA’s new performance model
Image: Left: Sarah Walker. Right: Luca Ghedini
Presented with Strut Dance and supported by Critical Path, Dancehouse and PICA’s new Performance model
Writing Dance Workshop | 29 April Jonathan Burrows led a short workshop sharing thoughts and practices about what it means to make a dance and perform it.
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Image: Never Tilt Your Chair Back, 2017, performance at PICA. Photo: Bohdan Warchomij
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Hatched National Graduate Show 6 May – 18 June All Galleries
Artistic Program
Hatched has become a vital compass in identifying a new generation of emerging artists, fresh out of art school and eager to embark on their careers. Celebrating its 26th year in 2017 and featuring work by 35 graduates from 23 art schools and universities nationally, Hatched displayed work by a diverse group of talented and committed artists and offered a compelling variety of approaches, poetics, ideas, practices and research. The exhibition presented an intriguing snapshot of Australia’s emerging art landscape. Entering its 8th year, the Schenberg Art Fellowship was again awarded to an exceptional Hatched artist. Curated by Olivia Nichols
an amazing experience, and as a recent graduate, it provides really valuable practical skills (relating to freight, insurance, installing) as well as exposure, critiques and inspiration from other artists! – Hatched Artist 2017
Artist Selection Panel: Madeleine King, Senior Manager, IMA Georgie Meagher, Artistic Director, Next Wave Eugenio Viola, Senior Curator, PICA Nadia Johnson, Exhibitions Manager, PICA Supported by Major Exhibition Partner Hogan Lovells, Grace Fine Art and the UWA Cultural Precinct
Image: Image: Hatched National Graduate Show, Installation view. Photo: Alessandro Bianchetti
Artistic Program
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Artists: Adelaide Central School of Art (SA) Christopher Houghton Maxwell Callaghan
National Art School (NSW) Drew Connor Holland Mechelle Bounpraseuth
Australian National University (ACT) Susannah Bourke
North Metropolitan TAFE - NMT (WA) Lukas Mack
Charles Darwin University (NT) Christine Barzaga
Griffith Univerisity, Queensland College of Art (QLD) Kim Brolga Williams Laura Burstow
Curtin University of Technology (WA) Carly Lynch Dionne Hooyberg Ellen Norrish Deakin University (VIC) Anindita Banerjee Jane Bartier Edith Cowan University (WA) Nikki Lundy Reija Lee Thomas Federation University Australia (VIC) Stacey Wilson Monash University (VIC) Emily Dang
Queensland University of Technology (QLD) Callum McGrath Gwan Tung Dorothy Lau Jordan Azcune RMIT University (VIC) Aoife Coleman-Clarke Eva Collins Southern Cross University (NSW) Skye Baker TAFE South Australia and Flinders University (SA) Tracy Lymn
The University of Newcastle (NSW) Kassandra Caramanico-Walker The University of New South Wales (NSW) Eva Nolan Sang Dong and Takuya Ito The University of Sydney (NSW) Kai Wasikowski (Winner of the 2017 Schenberg Art Fellowship) Lottie Sebes University of Tasmania (TAS) Ben Fisher University of Wollongong (NSW) Greer Harris University of South Australia (SA) Min Wong The University of Western Australia (WA) Kate Alida Mullen Victorian College of the Arts (The University of Melbourne) (VIC) Hannah Gartside
Image: Hatched National Graduate Show, Opening Night. Left to Right: Amy Barrett-Lennard, Kai Wasikowski, Winner of the 2017 Schenberg Art Fellowship , Mikala Tai and Ted Snell.
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KISS CLUB 12 May PICA Performance Space
A performance event for ideas in development, featuring emerging and established artists across live and experimental arts practice. Created by Sydney based artist Karen Therese, this year KISS club was co-curated and presented for the first time by pvi collective with PICA. Featuring: Lady of the Lavender Your Mouth Collective (Phoebe Sullivan) with Mace Francis Sermon for the Material Age Renegade Productions (Joe Lui) Cephalopod Jess Nyanda Moyle and Andrew Sutherland Bad Noise rebecca’s world (Rebecca Riggs-Bennett) Rest in Context Daisy Sanders with Dominik Mall Seeking Basic Needs and Other Tales of Excess Renée Newman with Ben Collins In Conversation Finn O’Branagain with Reuben Saul, Estrin Saul Lawyers and Migration Specialists
Artistic Program
The Irresistible A Co-Production by Side Pony Productions and The Last Great Hunt 14 – 24 June PICA Performance Space
The Irresistible was a world premiere interweaving live performance, audio modulation technology and immersive design. A reckless, intoxicating love letter to the subconscious, a multi layered narrative exposed the depths of desire, depravity and the hidden nature of unconscious bias. Director: Zoe Pepper Writers: Zoe Pepper, Adriane Daff and Tim Watts Performers: Adriane Daff and Tim Watts Designer (Set and Costume): Jonathon Oxlade Composer: Ash Gibson Greig Sound Design: Phil Downing Lighting Design: Richard Vabre Producer: Gemma Pepper Production Manager: Ben Kontoolas Stage Manager: Hannah Portwine Gizmo Specialist: Anthony Watts Publicist: Tracy Routledge Supported by LOFT, City of Perth, the WA Government through the Department of Culture and the Arts, the Australian Government through the Australia Council of the Arts and PICA’s new performance model
Presented with pvi collective and supported by PICA’s new performance model
Image: Left: Renegade Productions. ‘Renegade Church’ KISS Club 2017. Photo: Amber Bateup. Top Right and Right: The Irresistible. Photo: Dan Grant.
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This is theatre with great strength of purpose, and a technical achievement that will leave you gobsmacked – From the Turnstiles
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When the Sky Fell: Legacies of the 1967 Referendum 2 July – 20 August All Galleries
Artistic Program
A landmark exhibition of Western Australian Aboriginal art acknowledging and celebrating the 50th anniversary of the 1967 Referendum. When the Sky Fell featured a diverse range of media by artists with distinctive and distinguished practices, weaving together a range of responses and narrative threads about this historical event. Curated by Clothilde Bullen
Presented in partnership with the Aboriginal Arts Centre Hub of WA and funded by the WA Government through the Department of Culture and the Arts Supported by PICA’s Art Ambassadors and Wesfarmers Arts
Image: Sharyn Egan, The Nullians, 2017, Grasstree Xanthorrhoea preissii. Photo: Alessandro Bianchetti
Artistic Program
Waringarri Arts, Kununurra Alan Griffiths Peggy Griffiths Peter Newry Mignonette Jamin Yamatji Arts, Geraldton Charmaine Green Mangkaja Arts, Fitzroy Crossing Mervyn Street John Prince Siddon Nyoongar artists Sharyn Egan
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Warmun Arts, Turkey Creek Freddie Timms Rammey Ramsey Kathy Ramsey Gabriel Nodea Shirley Purdie Rusty Peters Lindsay Malay Patrick Mung Mung Warlayirti Artists, Balgo Hills Jimmy Tchooga Jeanie Daniels Larry Gundora
Image: John Prince Siddon, Roping Saddle, 2017. Photo: Alessandro Bianchetti
Warakurna Arts, Warakurna Eunice Porter Manupa Butler Judith Yinyika Chambers Erica Shorty Ikungka Nola Campbell Yurnangurnu Carol Maanyatja Golding Nancy Nyanyarna Jackson
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Energies: Haines & Hinterding David Haines and Joyce Hinterding 2 September – 29 October All Galleries
A comprehensive survey of the multi-sensory works of two leading Australian artists, featuring collaborative projects and solo works. It brought together Hinterding’s work on acoustic and electromagnetic phenomena with Haines’ hallucinatory video worlds and aroma-based compositions. This collaborative exhibition spanned experimental, digital, electronic and traditional media, an included interactive cinema, installation, sound, video, sculpture, photography and drawing
Curated by Anna Davis Organised and toured by the Museum of Contemporary Art Australia Supported by PICA’s Art Ambassadors
Image: David Haines and Joyce Hinterding, Geology, 2015, installation view. Image courtesy the artist and Sarah Cottier Gallery, Sydney © the artist. Photo: Christopher Snee.
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Electronic Concerto Decibel 24 October PICA Performance Space
A series of newly commissioned works composed for ensemble and electronic soloist, that reworked the concept to put the spotlight on electronic instruments, with the ensemble taking on the role of the orchestra. The works featured soloists performing on instruments such as a digital Trautonium, laptop, Theremin, mobile phones, tactile electronics, bass guitar, electric harp and a pile of speakers.
Decibel Director: Cat Hope Percussion: Louise Devenish Electronics/Keyboards: Stuart James Cello: Tristen Parr Reeds: Lindsay Vickery Violin/Viola, iOS Programming: Aaron Wyatt Presented with Tura New Music as part of the 13th Totally Huge New Music Festival and supported by the Australian Cultural Fund, the APRA AMCOS Art Music Fund and PICA’s new performance model
Image: Traianos Pakioufakis
Artistic Program
Works Stolen Goods (stocketus) (world premiere) Composition: Johannes Mulder Southern Currents (world premiere) Composer/Soloist: Meg Travers Concerto Games Composer/Soloist: Catherine Ashley Motherboard - A Circuit Bend concerto (world premiere) Composition: Mark Oliveiro Soloist: Louise Devenish Patchwork RSQ Remix (world premiere) Composer/Soloist: Chris Tonkin Intersperso-Ultradiano (world premiere) Composition: Pedro Alvarez Soloist: Cat Hope Limp Wrist (world premiere) Composition: Dan Thorpe Soloist: Jos Mulder Noise in the Clouds (world premiere) Composition: Stuart James Soloist: Kouhei Harada
Artistic Program
Quarry Music Ross Bolleter & Anthony Cormican 26 October PICA Performance Space
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A sound performance installation based on the decay of the Insane and Infectious Diseases Hospital in West Subiaco that post WWII became a dump and quarry. Using the sounds of ruined pianos together with stories of the scavengers of the dump in the 1950s, contemporary dialogues, poems and 5.1 surround sound, the work evoked the history of the site and stories and sounds once forgotten.
Composed by Ross Bolleter and Anthony Cormican Original stories by John Rando Poems: Ross Bolleter Dialogues: Antoinette Carrier and Ross Bolleter Location recordings: Antoinette Carrier 5.1 Audio design and other recordings: Anthony Cormican 5.1 Surround operator: Troy Nababan Presented with Tura New Music as part of the 13th Totally Huge New Music Festival and PICA’s new performance model
Right: Vivienne Robertson
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Aeon Lz Dunn & Collaborators 26 – 29 October Perry Lakes Reserve and Cambridge Scout Hall
Informed by flocking studies and queer ecology, Aeon is activated by silence, sound, civic responsibility and personal desire. A playful push through public space and private discomfort, this subtle yet powerful performance created a temporary community that awakened the imagination, asking us to consider a new relationship to nature and each other.
Lead Artist/Concept/Performer: Lz Dunn Sound Artist: Lawrence English Choreographer: Shian Law Dramaturg: Lara Thoms Production Manager: Liz Young Producer: Narelle Lewis / Performing Lines Touring Artists: Lz Dunn, Janette Hoe and William McBride Lab Artists: Sarah Chaffey, Serena Chalker, Liam Colgan, Maddie Godfrey, Noemie Huttner-Koros, Loren Kronemeyer, James McMillan, Joshua Pether and Sete Tele Presented with Tura New Music as part of the 13th Totally Huge New Music Festival, commissioned by Mobile States, supported by Town of Cambridge and PICA’s new performance model Supported by PICA’s Director’s Circle
Aeon Artist Lab | 25 – 29 October Lz Dunn, with Janette Hoe and William McBride, facilitated an intensive performance lab based on the research and methodologies of this site-responsive, participatory work. The lab presented a unique professional development opportunity for WA artists, exploring strategies for embodied practice and audience activation across sensory awareness, improvisation, listening and perception, and navigation and movement.
such a thrilling and rewarding experience. loved it! – Visitor
Image: Dan Grant
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I don’t want to be there when it happens Raqs Media Collective, Reena Saini Kallat, Raj Kumar, David Chesworth and Sonia Leber, Mithu Sen, Adeela Suleman, Abdullah M. I. Syed 11 November – 24 December PICA Central Galleries
Artistic Program
Starting from the complex socio-political relationship between India and Pakistan, the exhibition investigated, in a broader sense, the psychology of trauma in an era of perpetual conflict. In response to the 70th anniversary of the Partition, it featured artists from both Pakistan and India. For the same reason, a tailored public program was conceived in order to involve the local Indian and Pakistani communities.
Curated by Mikala Tai, Kate Warren, and Eugenio Viola Organised in partnership with 4A Centre for Contemporary Asian Art Sydney and expanded for its presentation at PICA Presented with support from Major Exhibitions Partner, City of Perth Supported by PICA’s Director’s Circle
Image: Left: Abdullah M. I. Syed, Flying Rug of Drones (Circle), 2015-17. Photo: Alessandro Bianchetti. Right: Adeela Suleman, After all it’s always someone else who dies, 2017. Photo: Kai Wasikowski.
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Artistic Program
Remedial Works Sophie Cassar, Clare Milledge, Shana Moulton, Pakui Hardware, Jess Tan, Anicka Yi 11 November – 24 December West End Gallery
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This group exhibition explored the novel and specific materials of contemporary global societies, and how these materials can affect human bodies, the environment and relationships. Recalling the maxim ‘the dose makes the poison’, the works in this exhibition look at the fine line between a material’s capacity to repair or pollute both bodies and land. Curated by Andrew Varano
an excellent reflection on complex issues of identity and responsibility
Presented with support from Major Exhibitions Partner, City of Perth Supported by PICA’s Art Abassadors
– Visitor
Images: Left: Pakui Hardware, On Demand, 2017. Right: Remedial Works, Installation View. Photos: Dan Bourke
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PICA On Tour Derek Kreckler: Accident & Process
Artistic Program
Derek Kreckler: Accident & Process was a major survey exhibition presented by PICA in 2015. It brought together, for the first time, five decades of the artist’s oeuvre. It encompasses photography, video, installation and performance works that date from the 1970s to the present day. During 2017, the exhibition continued it’s national tour and was presented at three Australian regional and interstate venues: Contemporary Art Tasmania in Hobart, Maitland Regional Gallery and Wollongong Art Gallery. The tour continues through New South Wales in 2018.
Image: Derek Kreckler: Accident & Process, Installation View. Photo: Alessandro Bianchetti
Artistic Program
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PICA Press
Jacobus Capone: Forgiving Night For Day 44 pp full color ISBN: 978-0-9923292-9-7 Design: Tim Meakins Introduction by Eugenio Viola Essays by Sara Pereira and Andrew Varano
Hatched: National Graduate Show 2017 92 pp full color ISBN: 978-0-6480791-2-5 Design: Tim Meakins Introduction by Olivia Nichols
When The Sky Fell: Legacies of the 1967 Referendum 48 pp full color ISBN: 978-0-6480791-0-1 Design: Tim Meakins Essay by Clothilde Bullen
Remedial Works Digital Catalogue 39 pp full color Design: Tim Meakins Essay by Andrew Varano Texts by Jess Tan, Sophie Cassar and Tom Melick
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Creative Developments/ Residencies
Image: This Everlasting Light, Creative Development Showing. Photo: Bohdan Warchomij
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Creative Development/Residencies
Jenn Garland (WA) 21 February – 16 April Studio Two Jenn Garland is a Fremantle based artist with a social science background. Her interest in researching human-environment interactions permeates her artworks, particularly her fascination with the competing systems of knowledge and subjective histories that surround the natural world. During her PICA residency, Garland visualised a trashed utopian dream, exploring the sides of society that are frightening yet beautiful.
Danielle Reynolds (VIC) 21 February – 16 April Studio One Danielle Reynolds is a Melbourne based artist who works across multi-disciplinary installation and performance. Her work is interested in failure, futility and intersections of sincerity and absurdity. Danielle used the residency to explore these notions through her project, Pug in a pretty plaid bonnet.
This Everlasting Light Rachael Dease 13 March – 2 April PICA Performance Space A first stage exploration of sound, light and moving image through scientific data and new technologies. The Everlasting Light hopes to begin a dialogue via immersive environments that both reflect and challenge our ideas and rituals surrounding death and grief in Western society.
Supported by the WA Government through the department of Culture and the Arts and PICA’s new performance model Supported by PICA’s Director’s Circle
Images: Above: Jenn Garland, Time is upon us, 2014. Middle: Danielle Reynolds, Canine Horizons, 2016. Below: This Everlasting Light, Creative Development Showing. Photo: Bohdan Warchomij.
Creative Development/Residencies
45
Elaine Reynolds (Ireland) 4 July – 18 August Studio Two Elaine Reynolds makes installations that bring together video, sculptural and photographic elements. During this residency, Elaine generated materials towards a new, multi-layered video installation exploring cycles of migration from Ireland to Western Australia and the ways in which this intersected with the history of mining in the region.
Jarrad Martyn (WA) 4 July – 18 August Studio One Jarrad Martyn’s practice explores how different moments in Australian history have been represented for us, bringing together imagery and accounts through collage. Jarrad’s residency explored the recent culling of sharks, the dinosaur footprints at Gantheaume Point in Broome and the nuclear testing at Montebello Islands by the British in the 1950s.
PRVCY Kdmindustries 7 – 17 August PICA Performance Space
Concept/Design: Mark Haslam Co-Creators/Performers: Sara Black, Laura Boynes, Mark Haslam, Ella Hetherington and Tristen Parr Sound Design: Tristen Parr Dramaturg: Will O’Mahony
A second stage development interweaving movement, manipulated text, live music, hacked webcams and footage streamed live from a drone within the space. PRVCY is a sobering glimpse into contemporary society and the evolution of the information age, tracing the impact of technology and surveillance upon this universal human right. Commissioned through PICA’s new performance model and supported by Playwriting Australia
Images: Above: Elaine Reynolds, Sundowner, 2014. Middle: Jarrad Martyn, The Rare Albino Land Shark, 2016. Below: Image: PRVCY, 2017. Photo: Fionn Mulholland
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Creative Development/Residencies
Bruno Booth (WA) 5 September – 22 October Studio One Bruno Booth used his residency at PICA to develop his project Don’t know where to look. It attempted to depict the mundane, farcical and extraordinary experiences that are provided to Booth as a condition of his disability by documenting the physical reactions of the public through video, paintings and animation.
Emma Lashmar (WA) 5 September – 22 October Studio Two Emma Lashmar is a visual artist working with molten glass, crafting blown transparent objects and combining multiples into scenarios with other media, including sounds, lighting and mechanical systems, to produce room-sized immersive sculptural installations. Emma used the residency to bring to life a theatrical dreamscape depiction of an actual location etched in her memory.
Rafaela Pandolfini (NSW) 5 September – 5 October Studio Zero Rafaela Pandolfini is a photographer and artist interested in the potential of expressing emotion as form through performance. Rafaela’s residency to develop Compose Yourself!, a multi staged, cross disciplinary project inspired by Kate Zambreno’s book Heroines, aiming to look at hysteria and its relation to a feminine state of being. Images: Above: Bruno Booth, A calm before corruption, 2016. Middle: Emma Lashmar, formations/strata, 2014. Below: Rafaela Pandolfini, Compose Yourself, 2016.
Creative Development/Residencies
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Alice Dittmar (GER) 9 October – 22 October Studio Zero Alice Dittmar is a visual artist based in Berlin and Perth. For her PICA residency, she worked on a project entitled, Becoming temporary (2012) / becoming permanent (2013) – an artist book referring to her Australian partner visa applications, containing copies of the required application documents. The project was supplemented by a drawing series (‘Hide Park’), linking to her surroundings and concept of ornamentation, landscape, texture, and their alliances in transcultural contexts.
Seeking basic needs and other tales of excess Renée Newman with Ben Collins 13 – 19 November and 18 – 22 December 2017
Conceived and Written by Renée Newman Composition and Sound Design: Ben Collins Dramaturgs: Steve Bull and Marcella Polain Cultural Advisor: Ian Wilkes
A script and first stage development exploring the form of the audio tour. An amalgam of sound, stories of migration, patterns of human behaviour, notions of need and the simple act of walking as a moment of transgression. Uneasy with our contemporary habit of conflating ‘need’ and ‘want’, the work captures the stark simplicity of the everyday and asks how the notion of hope might be reappropriated and reanimated. Supported by ECU and PICA’s new performance model
Sophie Durand (WA) 14 November – 24 December Studio One Sophie Durand is a multimedia artist whose complex and immersive works combine installation, film and performance. During her residency Sophie underwent creative development for ‘Dolphin Days’, a hybrid installation and play: a site-specific construction of the moments leading up to a note being written in a book (of the same name) in 1972. Images: Above: OK Media. Middle: Sophie Durand, Where Two Oceans Meet Selected Histories of Flinders Bay, 2015-6. Below: Bonnie Lane, Head On Bed, 2016.
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Creative Development/Residencies
Bonnie Lane (USA) 14 November – 24 December Studio Two Through an act of performative autobiography, Australian-born, New York based Bonnie Lane exposes private experiences that subvert prescribed gender roles. In a practice that spans video, photography, installation, sculpture, sound, collage and short stories to virtual, IRL, and secret performance, she reveals the uncertainty of sexual identity in the digital age. During her residency Bonnie created 125 Pounds of Sugar, based on conceptual research relating to contemporary views on female sex-workers.
Ross Hamilton Frew (Scotland) 14 November – 24 December Studio Zero Ross Hamilton Frew’s practice is rooted in mark making and concerned with the properties and relations of points, lines and surfaces. Be it through drawing, collage, print or assemblage, his work adheres to a series of predetermined or self imposed rules and structures. Ross placed an emphasis on ‘surface’ and by collecting recyclable materials such as books, newspapers and magazines from in and around Perth, he created various paper materials.
Jupiter Orbiting Joshua Pether 27 November – 17 December PICA Peformance Space
Created and performed by: Joshua Pether Dramaturg: Shona Erskine Videographer and Film Editor: Neil Berrick Sound Composer: Daniel von Jenatsch Understudy: Romey Cresswell
Jupiter Orbiting is an immersive exploration of personal identity via science fiction narrative and a visceral combination of movement, sound and video. In this work Pether negotiates the boundaries of fantasy and reality to navigate psychological and physical traumas. The work will premiere at Next Wave Festival 2018 before returning to PICA in 2019. A Next Wave x PICA Commission, supported by PICA’s new peformance model
Images: Above: Ross Hamilton Frew, It Is Easy And Tempting, 2016. Below: Joshua Pether, Monster, Yirramboi Festival 2017. Photo: Caitlin Dear.
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Events and Public Programs
Image: Hatched National Graduate Show Opening Night. Photo: OK Media
52
Events and Public Programs
Exhibition Opening: Forgiving Night for Day 17 February PICA Galleries
Artist Talk: Contemplative Conversations 18 February Speakers: Jacobus Capone and Greg Pryor PICA Galleries and Reading Room
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Open Studio Night Jenn Garland and Danielle Reynolds 4 April PICA Studios
Never Tilt Your Chair Back on Two Legs Panel Discussion 11 April Speakers: Louise Devenish, Leah Scholes, Dr Cecelia Sun and Vanessa Tomlinson Facilitated by Meri Fatin PICA Performance Space
Artist Talk: Science,Spirit and Story 4 March Speakers: Lynette Wallworth and Shari Frilot, Chief Curator, New Frontier Program Sundance Institute PICA Performance Space
An Illustrated Lecture with Eugenio Viola 9 March PICA Performance Space
Showing: This Everlasting Light Rachael Dease 31 March PICA Performance Space
Artist Talk: The Irresistible 20 June Speakers: Adriane Daff, Zoe Pepper and Tim Watts Facilitated by Julian Hobba PICA Performance Space
Opening Celebration: When the Sky Fell: Legacies of the 1967 Referendum 2 July PICA Galleries
Hatched Opening Night Party
Goologoolup NAIDOC Week Celebration
5 May PICA Galleries and Perth Cultural Centre
8 July PICA and Perth Cultural Centre
A Flying Start: Panel Discussion 6 May PICA Performance Space Speakers: Jenn Garland, Helen Turner, Ingrid Kellenbach, Mikala Tai, Eugenio Viola
Open Studio Night Jarrad Martyn and Elaine Reynolds 8 August PICA Studios
PRVCY Open Studio A Flying Start: Artist Labs 7 May PICA Education Studio
12 August PICA Performance Space
Showing: PRVCY Kdmindustries 18 & 19 August PICA Performance Space
Image: Midnight March, 2017. Photo: Marziya Mohammedali
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Events and Public Programs
Anna Davis Curatorial Lecture
Common Ground
30 August PICA Performance Space
7 October PICA Performance Space
Exhibition Opening: Energies 1 September PICA Galleries
Artist Talk: Energies 2 September PICA Galleries Speakers: Anna Davis, David Haines, Joyce Hinterding
Jet Stream performance by Haines & Hinterding 2 September PICA Performance Space
illUMEnate x PICA
Presented by CANWA
Open Studio Night Bruno Booth, Emma Lashmar, Alice Dittmar 10 October PICA Studios
Artist Talk: Quarry Music 26 October PICA Performance Space Speakers: Ross Bolleter
Exhibition Opening: I don’t want to be there when it happens and Remedial Works
11 November PICA Galleries
The Midnight March performance Jay Emmanuel 24 November PICA Main Gallery
Curatorial Tour by Eugenio Viola 10 December PICA Galleries
Open Studio Night Bonnie Lane, Ross Hamilton Frew, Sophie Durand 12 December PICA Studios
10 November PICA Galleries
Perth Fashion Festival Blurred Boundaries Simone Leonelli Artist Talk 16 September PICA Performance Space
Perth Fashion Festival Blurred Boundaries Simone Leonelli Installation 7 – 17 September PICA Reading Room
Showing: Jupiter Orbiting Joshua Pether
Strigiforms: Binocular, Binaural performance Clare Milledge 11 November PICA Performance Space
Artist Talk: Remedial Works 11 November PICA West End Gallery
Image: Energies, Opening Night. Photo: Cam Cambell
15 December PICA Performance Space
Showing: Seeking basic needs and other tales of excess Renee Newman with Ben Collins 20 December PICA Performance Space
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Donor Events
PICA Salon Vernissage Gala Opening Night of When the Sky Fell: Legacies of the 1967 Referendum 1 July All Galleries
VIP Exhibition Preview: Forgiving Night for Day
VIP Exhibition Preview: Energies
17 February All Galleries
1 September PICA Galleries
ART Hour: Collisions
A Taste of PICA 2018
2 March PICA West End Gallery
18 October The Standard, Northbridge
VIP Exhibition Preview: Hatched National Graduate Show 2017
Post Show breakfast: Aeon 29 October Perry Lakes
5 May All Galleries
ART Hour: Hatched and PICA Edition launch
VIP Exhibition Preview: I don’t want to be there when it happens and Remedial Works
17 May All Galleries
10 November All Galleries
Pre-show drinks: The Irresistible
ART Hour: Meet the Curators Andrew Varano and Eugenio Viola
20 June West End Gallery
Image: Aeon, Post Show Breakfast. Photo: Dan Grant
23 November All Galleries
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PICA EDITION
PICA Edition
In 2017 PICA commissioned the second PICA Edition, Iftar by renowned WA artist Abdul-Rahman Abdullah. Working primarily in sculpture, Abdullah explores the different ways that memory can inhabit and emerge from familial space. He draws on passages of personal history, articulating formative experiences of individual identity within the broader scope of family. Iftar refers to the breaking of the fast at sunset during the Islamic fasting month of Ramadan. It represents the most celebratory event of each day, when the whole family comes together to eat something and pray the Maghrib (sunset) prayer. Traditionally, the fast is broken with almonds or dates and a glass of water before the larger evening meal.
Iftar, 2017 Concrete, fifteen 23.5 carat gold electroplated almonds Edition of 30
Image: Abdul-Rahman Abdullah, Iftar, 2017. Photo: Alessandro Bianchetti.
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61
Learning
Image: Naidoc Week. Photo: OK Media
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Learning Program
Learning
Spark_Lab, PICA’s schools learning program is aimed at developing new audiences for contemporary arts and instilling innovation skills and capacities in young people and their teachers. In 2017 Spark_Lab hosted over 3,900 students from over 50 schools. Students participated in exhibition tours, activities and workshops with artists and arts educators throughout the gallery, peformance space and in our Education Studio. PICA also delivered a number of professional learning workshops for teachers to gain skills and knowledge in applying contemporary art practice as a learning tool. PICA expanded it’s learning programs to include fun and engaging all ages activities for families and young people to undertake any time they visit us.
Image: Ed Futures Workshop. Photo: Jacqueline Warrick, Camera Story.
Learning
63
18 February – 16 April
8 July
14 October
All Ages Activity: Shared Memories
Goologoolup Woven Fun Forms workshop with Sharyn Egan
Weekend Workshops: Energies - Crazy Sound Making
12 August
15 October
National Science Week - Perth Science Festival Education Tour
Teacher Professional Learning: EdFutures Design Workshop
12 August
11 November – 24 December
National Science Week - Perth Science Festival Weaving Stories Together workshop with Sharyn Egan
All Ages Activity: Alter Ego on Show
22 February – 13 April
Forgiving Night for Day and Collisions: – Education Tours, School Workshops, Activity Sheets, Education Notes
9 April
KicksART Festival Collision Tours
5 May – 18 June
All Ages Activity: Mapping Memory
12 August
National Science Week - Perth Science Festival PRVCY event
10 May – 16 June
Hatched National Graduate Show 2017: – Education Tours, School Workshops, Activity Sheets, Education Notes
11 November – 24 December
I don’t want to be there when it happens and Remedial Works: – Education Tours, School Workshops, Activity Sheets, Education Notes
1 September – 22 October
All Ages Activity: Energy Play
6 September – 13 October
28 November
Creative Arts Education Network Meeting with EdFutures
Energies: All Ages Activity: Placing our Stories
– Education Tours, School Workshops, Activity Sheets, Education Notes
1 July – 20 August
9 – 13 October
1 July – 20 August
When the Sky Fell: Legacies of the 1967 Referendum: – Education Tours, School Workshops, Activity Sheets, Education Notes
AWESOME Arts Festival School Tours
18 November
Cuttin’ it - papercutting workshop with Tusif Ahmad
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65
Financial Report
Image: When the Sky Fell: Legacies of the 1967 Referendum, Opening Night. Photo: OK Media
66
The directors present their report on Perth Institute of Contemporary Arts Limited (PICA) for the financial year ended 31 December 2017.
General information Directors The names of the directors in office at any time during, or since the end of, the year are:
Names Appointed/Resigned
Amy Barrett-Lennard Tony Chong Resigned 10.02.2017 Robyn Glindemann Ben Opie Resigned 10.01.2018 James Brown Appointed 26.02.2018 Susanna Castleden Thea Costantino Resigned 15.03.2017 Marco D'Orsogna Joanne Farrell Neil Fernandes Lloyd Smith Resigned 10.02.2017 Josephine Wilson Abdul-Rahman Abdullah Appointed 13.11.2017 Kenley Gordon Appointed 13.11.2017
Directors have been in office since the start of the financial year to the date of this report unless otherwise stated.
Financial Report
Financial Report
Principal activities The principal activity of Perth Institute of Contemporary Arts Limited during the financial year was the promotion, development and presentation of contemporary arts within Western Australia. No significant changes in the nature of the Company's activity occurred during the financial year.
Mission To create career-defining moments for artists, life changing experiences for audiences of all ages and critical turning points in the advancement of art forms.
Goals The Company's goals are: • • • • • • • •
Commission, produce, curate and present high impact contemporary arts Foster experimentation and risk Partner and collaborate locally, nationally and globally Develop diverse and engaged audiences for contemporary art Provide cultural leadership Create innovative arts learning experiences Maintain a committed and motivated board and staff Build organisational sustainability
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68
Financial Report
Key performance measures The company measures its own performance through the use of both quantitative and qualitative measures. These key performance indicators are used by the directors to assess the financial sustainability of the Company and whether the Company's mission and goals are being achieved.
2017 Key Performance Indicator
2017 Target
2017 Actual
Commission, produce, curate and present high impact contemporary arts projects
New exhibitions, productions and publications created each year
28
30
Foster Experimentation and Risk
Interdisciplinary projects supported each year
18
27
Cross-discplinary laboratory and/or commission
1
1
Percentage of artists who felt they were able to take risks at PICA
75%
93%
Regional, national or international collaborations in the creation or presentation of new work
24
43
Community partnerships
35
105
Regional engagements
6
22
Audience numbers
280,000
298,702
Unpaid media coverage
700
516
Campaigns that focus on equality and inclusion
8
18
Percentage of surveyed audiences who would recommend PICA
95%
95%
Provide cultural leadership
Participation on boards, panels, industry events
30
93
Create innovative arts learning experiences
Attendees/participants in learning programs
3,600
3,983
Public program attendance/participation
6,500
9,283
Investment in Professional Development
$18,000
$14,761
Volunteers
70
35
Annual board audit and review
1
0
Cash reserves
20%
23%
Foundation corpus
$2.5 Mill
0
Partner & collaborate locally, nationally and globally
Develop diverse and engaged audiences for contemporary art
Maintain a committed and motivated board and staff
Build organisational sustainability
Financial Report
69
2016 Key Performance Indicator
2016 Target
2016 Actual
Commission, produce, curate and present high impact contemporary arts projects
New exhibitions, productions and publications created each year
26
28
Foster Experimentation and Risk
Interdisciplinary projects supported each year
16
24
Cross-discplinary laboratory and/or commission
N/A
N/A
Percentage of artists who felt they were able to take risks at PICA
70%
91%
Regional, national or international collaborations in the creation or presentation of new work
21
21
Community partnerships
33
95
Regional engagements
5
9
Audience numbers
270,000
284,347
Unpaid media coverage
650
495
Campaigns that focus on equality and inclusion
6
9
Percentage of surveyed audiences who would recommend PICA
95%
97%
Provide cultural leadership
Participation on boards, panels, industry events
28
60
Create innovative arts learning experiences
Attendees/participants in learning programs
3,200
4,585
Public program attendance/participation
6,500
8.809
Investment in Professional Development
$15,000
$17,781
Volunteers
65
102
Annual board audit and review
1
0
Cash reserves
20%
22%
Foundation corpus
0
0
Partner & collaborate locally, nationally and globally
Develop diverse and engaged audiences for contemporary art
Maintain a committed and motivated board and staff
Build organisational sustainability
Members' guarantee Perth Institute of Contemporary Arts Limited is a company limited by guarantee. In the event of, and for the purpose of winding up of the company, the amount capable of being called up from each member is limited to $ 1 towards meeting any outstanding obligations of the company. At 31 December 2017 the collective liability of members was $ 20 (2016: $ 22).
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Financial Report
Directors’ Report For the Year Ended 31 December 2017
Information on directors The names of each person who has been a director during the year and to the date of this report are:
Amy Barrett-Lennard Ex-officio board member
PICA CEO
Tony Chong Experience Special Responsibilities
Corporate Law and Taxation, Accounting, Corporate Advisory Chairperson (Resigned 10.02.2017)
Robyn Glindemann Experience Special Responsibilities
Lawyer, Environment, native title and corporate social responsibility advisory Chairperson (Appointed 10.02.2017)
Ben Opie Experience Special Responsibilities
Corporate Tax, Accounting and Corporate Advisory Treasurer (Resigned 10.01.2018)
James Brown Experience Special Responsibilities
Corporate Tax, Accounting, Risk Management and Treasury Treasurer (Appointed 26.02.2018)
Susanna Castleden Experience Academic, Artist
Thea Costantino (Resigned 15.03.2017) Experience
Visual Artist, Writer, Academic
Financial Report
71
Marco D’Orsogna Experience Special Responsibilities
Company Director and Businessman - Food Manufacturing and Processing Deputy Chairperson
Joanne Farrell Experience
Human Resources, Organisational Compliance
Neil Fernandes Experience
Education, Governance, Strategy and Policy
Lloyd Smith (Resigned 10.02.2017) Experience
Executive Search and Human Resource Consultant
Josephine Wilson Experience Performer, Dramaturg, Writer
Abdul-Rahman Abdullah
(Appointed 13.11.2017)
Experience Artist
Kenley Gordon (Appointed 13.11.2017) Experience Marketing and Communications
Directors have been in office since the start of the financial year to the date of this report unless otherwise stated.
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Financial Report
Meetings of directors During the financial year, 7 meetings of directors were held. Attendances by each director during the year were as follows:
Director
Number eligible to attend
Number attended
Amy Barrett‑Lennard
7
7
Tony Chong
1
1
Ben Opie
7
5
James Brown
-
-
Susanna Castleden
7
6
Thea Costantino
1
-
Marco D’Orsogna
7
7
Neil Fernandes
7
5
Lloyd Smith
-
-
Josephine Wilson
7
5
Abdul-Rahman Abdullah
2
2
Kenley Gordon
2
2
Signed in accordance with a resolution of the Board of Directors: Director: Robyn Glindemann
Date: 2 May 2018
Financial Report
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74
Financial Report
Statement of profit or loss and other comprehensive income For the Year Ended 31 December 2017
Note
2017 $
2016 $
3
2,314,662
2,185,088
Administration expenses
(328,653)
(249,483)
Cost of sales
61,100)
(33,765)
Depreciation and amortisation expense
(22,622)
(28,530)
Marketing and promotion expenses
(155,377)
(120,361)
Program and production expenses
(246,491)
(252,195)
Salaries, wages and consultant expenses
(1,452,985)
(1,441,234)
Surplus before income tax
54,241
59,520
–
–
Surplus for the year
54,241
59,520
Other comprehensive income Total comprehensive income for the year
–
–
Total comprehensive income for the year
54,241
59,520
Revenue
Income tax expense
2(h)
The accompanying notes form part of these financial statements
Financial Report
75
Statement of Financial Position As At 31 December 2017
Note
2017 $
2016 $
ASSETS CURRENT ASSETS Cash and cash equivalents
5
1,089,309
1,028,067
Trade and other receivables
6
83,774
68,010
Other assets
7
4,162
34,598
1,177,245
1,130,675
54,792
75,186
TOTAL NON‑CURRENT ASSETS
54,792
75,186
TOTAL ASSETS
1,232,037
1,205,861
TOTAL CURRENT ASSETS NON‑CURRENT ASSETS Property, plant and equipment
8
LIABILITIES CURRENT LIABILITIES Trade and other payables
9
196,829
180,959
Income in advance
10
422,934
457,376
Employee benefits
11
93,501
107,353
713,264
745,688
7,190
2,831
TOTAL NON-CURRENT LIABILITIES
7,190
2,831
TOTAL LIABILITIES
720,454
748,519
NET ASSETS
511,583
457,342
36,000
36,000
Retained Earnings
475,583
421,342
TOTAL EQUITY
511,583
457,342
TOTAL CURRENT LIABILITIES NON-CURRENT LIABILITIES Employee benefits
11
EQUITY Reserves
12
The accompanying notes form part of these financial statements
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Financial Report
Statement of Changes in Equity For the Year Ended 31 December 2017
2017
Retained Earnings $
General Reserve $
Total $
Balance at 1 January 2017
421,342
36,000
457,342
Surplus attributable to members of the entity
54,241
–
54,241
Balance at 31 December 2017
475,583
36,000
511,583
2016
Retained Earnings $
General Reserve $
Total $
Balance at 1 January 2016
361,822
36,000
397,822
Surplus attributable to members of the entity
59,520
–
59,520
Balance at 31 December 2016
421,342
36,000
457,342
The accompanying notes form part of these financial statements
Financial Report
77
Statement of Cash Flows For the Year Ended 31 December 2017
Note
2017 $
2016 $
Cash received in the course of operations
670,113
652,536
Receipt from grants
1,626,699
1,790,056
Payments to suppliers and employees
(2,239,437)
(2,130,210)
Interest received
6,095
9,949
63,470
322,331
Purchase of property, plant and equipment
(2,228)
(19,766)
Net cash used by investing activities
(2,228)
(19,766)
Net increase in cash and cash equivalents held
61,242
302,565
Cash and cash equivalents at beginning of year
1,028,067
725,502
1,089,309
1,028,067
CASH FLOWS FROM OPERATING ACTIVITIES:
Net cash provided by operating activities
18(b)
CASH FLOWS FROM INVESTING ACTIVITIES:
Cash and cash equivalents at end of financial year
18(a)
The accompanying notes form part of these financial statements
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Financial Report
Notes to the Financial Statements For the Year Ended 31 December 2017
1
Basis of Preparation Perth Institute of Contemporary Arts Limited ("the Company") applies Australian Accounting Standards - Reduced Disclosure Requirements as set out in AASB 1053: Application of Tiers of Australian Accounting Standards. The financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards - Reduced Disclosure Requirements of the Australian Accounting Standards Board (AASB) and the Australian Charities and Not-for-profits Commission Act 2012. The company is a not-for-profit entity for financial reporting purposes under Australian Accounting Standards. Australian Accounting Standards set out accounting policies that the AASB has concluded would result in financial statements containing relevant and reliable information about transactions, events and conditions. Material accounting policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless otherwise stated. The financial statements, except for the cash flow information, have been prepared on an accruals basis and are based on historical costs modified, where applicable, by the measurement at fair value of selected non-current assets, financial assets and financial liabilities. The amounts presented in the financial statements have been rounded to the nearest dollar.
2
Summary of Significant Accounting Policies
(a)
Property, plant and equipment Each class of property, plant and equipment is carried at cost less, where applicable, any accumulated depreciation and impairment.
Plant and equipment Plant and equipment are measured on the cost basis and are therefore carried at cost less accumulated depreciation and any accumulated impairment losses. In the event the carrying amount of plant and equipment is greater than its estimated recoverable amount, the carrying amount is written down immediately to the estimated recoverable amount and impairment losses recognised in either profit or loss or as a revaluation decrease if the impairment losses relate to a revalued asset. A formal assessment of recoverable amount is made when impairment indicators are present (refer to Note 2(c) for details of impairment).
Financial Report
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Depreciation Property, plant and equipment is depreciated on a straight-line basis over the assets useful life to the Company, commencing when the asset is ready for use. Leasehold improvements are depreciated over the shorter of either the unexpired period of the lease or the estimated useful lives of the improvements. The depreciation rates used for each class of depreciable asset are shown below: Class of Fixed Asset
Depreciation rate
Plant and Equipment 10 - 40% Motor Vehicles 25% Leasehold Improvements 11%
At the end of each annual reporting period, the depreciation method, useful life and residual value of each asset is reviewed. Any revisions are accounted for prospectively as a change in estimate. Gains or losses on disposals are determined by comparing proceeds with the carrying amount. These gains or losses are recognised in the period in which they arise.
(b)
Financial instruments Initial recognition and measurement Financial instruments are recognised initially using trade date accounting, i.e. on the date that the Company becomes party to the contractual provisions of the instrument. For financial assets, this is the equivalent to the date that the Company commits itself to either the purchase or sale of the asset. On initial recognition, all financial instruments are measured at fair value plus transaction costs (except for instruments measured at fair value through profit or loss where transaction costs are expensed as incurred). Classification and subsequent measurement Financial instruments are subsequently measured at either fair value, amortised cost using the effective interest rate method, or cost. Where available, quoted prices in an active market are used to determine fair value. In other circumstances, valuation techniques are adopted. Amortised cost is calculated as the amount at which the financial asset or financial liability is measured at initial recognition less principal repayments and any reduction for impairment and adjusted for any cumulative amortisation of the difference between that initial amount and the maturity amount calculated using the effective interest method.
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(b)
Financial Report
Financial instruments Continued The effective interest method is used to allocate interest income or interest expense over the relevant period and is equivalent to the rate that exactly discounts estimated future cash payments or receipts (including fees, transaction costs and other premiums or discounts) through the expected life (or when this cannot be reliably predicted, the contractual term) of the financial instrument to the net carrying amount of the financial asset or financial liability. Revisions to expected future net cash flows will necessitate an adjustment to the carrying amount with a consequential recognition of an income or expense in profit or loss. (i) Loans and receivables Loans and receivables are non-derivative financial assets with fixed or determinable payments that are not quoted in an active market and are subsequently measured at amortised cost. Gains or losses are recognised in profit or loss through the amortisation process and when the financial asset is derecognised. (ii) Financial liabilities Non-derivative financial liabilities (excluding financial guarantees) are subsequently measured at amortised cost. Gains or losses are recognised in profit or loss through the amortisation process and when the financial liability is derecognised. Derecognition Financial assets are derecognised where the contractual rights to receipt of cash flows expires or the asset is transferred to another party whereby the company no longer has any significant continuing involvement in the risks and benefits associated with the asset. Financial liabilities are derecognised where the related obligations are either discharged, cancelled or expired. The difference between the carrying value of the financial liability extinguished or transferred to another party and the fair value of consideration paid, including the transfer of non-cash assets or liabilities assumed, is recognised in profit or loss.
(c)
Impairment of assets At the end of each reporting year, the company assesses whether there is any indication that an asset may be impaired. If such an indication exists, an impairment test is carried out on the asset by comparing the recoverable amount of the asset, being the higher of the asset’s fair value less costs of disposal and value in use, to the asset’s carrying amount. Any excess of the asset’s carrying value over its recoverable amount is recognised immediately in profit or loss, unless the asset is carried at a revalued amount in accordance with another Standard (eg in accordance with the revaluation model in AASB 116: Property, Plant and Equipment). Where it is not possible to estimate the recoverable amount of an individual asset, the Company estimates the recoverable amount of the cash-generating unit to which the asset belongs.
Financial Report
(d)
Cash and cash equivalents Cash and cash equivalents comprises cash on hand, demand deposits and short-term investments which are readily convertible to known amounts of cash and which are subject to an insignificant risk of change in value.
(e)
Employee benefits (i) Short-term employee benefits Provision is made for the Company’s obligation for short-term employee benefits. Short-term employee benefits are benefits (other than termination benefits) that are expected to be settled within 12 months after the end of the annual reporting period in which the employees render the related service, including wages, salaries and sick leave. Short-term employee benefits are measured at the (undiscounted) amounts expected to be paid when the obligation is settled. Contributions are made by the company to employee nominated superannuation funds and are charged as expenses when incurred. (ii) Other long-term employee benefits The Company classifies employees’ long service leave and annual leave entitlements as other long-term employee benefits as they are not expected to be settled wholly within 12 months after the end of the annual reporting period in which the employees render the related service. Provision is made for the Company’s obligation for other long-term employee benefits, which are measured at the present value of the expected future payments to be made to employees. Expected future payments incorporate anticipated future wage and salary levels, durations of service and employee departures, and are discounted at rates determined by reference to market yields at the end of the reporting period on corporate bonds that have maturity dates that approximate the terms of the obligations. Upon the remeasurement of obligations for other long-term employee benefits, the net change in the obligation is recognised in profit or loss classified under employee benefits expense. The Company’s obligations for long-term employee benefits are presented as noncurrent liabilities in the statement of financial position, except where the Company does not have an unconditional right to defer settlement for at least 12 months after the end of the reporting period, in which case the obligations are presented as current liabilities.
(f)
Trade and other payables Trade and other payables represent the liabilities for goods and services received by the Company during the reporting period which remain unpaid at the end of the reporting period. The balance is recognised as a current liability with the amounts normally paid within 30 days of recognition of the liability.
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(g)
Financial Report
Fair value of assets and liabilities The Company measures some of its assets and liabilities at fair value on either a recurring or non-recurring basis, depending on the requirements of the applicable Accounting Standard. “Fair value� is the price the Company would receive to sell an asset or would have to pay to transfer a liability in an orderly (i.e. unforced) transaction between independent, knowledgeable and willing market participants at the measurement date. As fair value is a market-based measure, the closest equivalent observable market pricing information is used to determine fair value. Adjustments to market values may be made having regard to the characteristics of the specific asset and liability. The fair values of assets and liabilities that are not traded in an active market are determined using one or more valuation techniques. These valuation techniques maximise, to the extent possible, the use of observable market data. To the extent possible, market information is extracted from the principal market for the asset and liability (i.e. the market with the greatest volume and level of activity for the asset and liability). In the absence of such a market, market information is extracted from the most advantageous market available to the Company at the end of the reporting period (i.e. the market that maximises the receipts from the sale of the asset or minimises the payments made to transfer the liability, after taking into account transaction costs and transport costs). For non-financial assets, the fair value measurement also takes into account a market participant’s ability to use the asset in its highest and best use or to sell it to another market participant that would use the asset in its highest and best use. The fair value of liabilities may be valued, where there is no observable market price in relation to the transfer of such financial instrument, by reference to observable market information where such instruments are held as assets. Where this information is not available, other valuation techniques are adopted and where significant, are detailed in the respective note to the financial statements.
(h)
Income Tax The Company is exempt from income tax under Division 50 of the Income Tax Assessment Act 1997. (i) Revenue and other income Grant revenue Grant revenue is recognised in the statement of profit or loss when the Company obtains control of the grant, it is probable that the economic benefits gained from the grant will flow to the Company and the amount of the grant can be measured reliably.
Financial Report
Revenue from grants is recognised at fair value where there is reasonable assurance that the grant will be received and all grant conditions will be met. Grant revenue for which there are specific conditions which have yet to be met are carried forward as a liability until all conditions have been fulfilled. The Company receives non-reciprocal contributions of assets from state government and other parties for zero or a nominal value. These assets are recognised at fair value on the date of acquisition in the statement of financial position, with a corresponding amount of income recognised in the statement of profit or loss. Donations Donations and bequests are recognised as revenue when the company gains control, economic benefits are probable and the amount of the donation can be measured reliably. Goods and services donated in kind is included at fair value when this can be quantified. Interest revenue Interest revenue is recognised using the effective interest rate method, which for floating rate financial assets is the rate inherent in the instrument. Rendering of services Revenue recognition relating to the provision of services is recognised upon the delivery of the service to the customers. Sale of goods Revenue from the sale of goods is recognised upon the delivery of the goods to the customer. All revenue is stated net of the amount of goods and services tax (GST). (j)
Goods and services tax (GST) Revenue, expenses and assets are recognised net of the amount of goods and services tax (GST), except where the amount of GST incurred is not recoverable from the Australian Taxation Office (ATO). Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the ATO is included as part of receivables or payables in the statement of financial position. Cash flows in the statement of cash flows are included on a gross basis and the GST component of cash flows arising from investing and financing activities which is recoverable from, or payable to, the taxation authority is classified as operating cash flows included in receipts from customers or payments to suppliers.
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(k)
Financial Report
Leases Lease payments for operating leases, where substantially all of the risks and benefits remain with the lessor, are charged as expenses in the periods in which they are incurred. The lease is not recognised in the statement of financial position.
(l)
Comparative figures When required by Accounting Standards, comparative figures have been adjusted to conform to changes in presentation for the current year.
(m)
Critical accounting estimates and judgements The directors evaluate estimates and judgements incorporated into the financial statements based on historical knowledge and best available current information. Estimates assume a reasonable expectation of future events and are based on current trends and economic data, obtained both externally and within the Company. Key estimates - In-kind Support The Company received assistance from external parties during the year in the form of equipment and vehicle hire, catering and sponsorship, advertising and freight costs. In these instances, the company has to assess a best estimate for the value of these inkind support using values given by the external parties providing the support.
(n)
Economic dependence Perth Institute of Contemporary Arts Limited is dependent on the funding received from its principal funding agencies for the majority of its revenue used to operate the business. The future operations of the company are dependent on the continued receipt of funding from these principal funding agencies or from the generation of funding and income from other sources.
(o)
Going concern Subject to continued funding from both the Commonwealth government via the Australian Council for Arts and the West Australian government via the Department of Local Government, Sport and Cultural Industries, the Directors’ expectation is that the Company will continue as a going concern. The company's lease with the West Australian government for the building it occupies in the Perth Cultural Centre expired in July 2012 and is currently on a month-by-month basis. The company is in negotiations to secure a new please. The terms and conditions of the new lease are yet to be finalised at the date of signing the financial report. The ability of the company to continue as a going concern is also dependent upon it being able to negotiate a lease on acceptable terms or to obtain alternative premises from which to operate.
Financial Report
85
Notes to the Financial Statements For the Year Ended 31 December 2017
3 Revenue 2017 $
2016 $
Core grants
1,299,276
1,134,292
Other grants
212,196
325,516
Sponsorships/donations
461,212
439,509
Other income
335,883
275,822
Interest income
6,095
9,949
Total Revenue
2,314,662
2,185,088
4 Result for the Year The result for the year includes the following specific expenses:
Expenses
2017$
2016 $
- Plant and equipment
15,816
21,309
- Leasehold improvements
5,174
5,179
- Motor vehicles
1,632
2,042
Total Depreciation and Amortisation
22,622
28,530
5,998
6,434
2017 $
2016 $
Cash at bank
1,088,309
1,026,069
Cash on hand
1,000
1,998
1,089,309
1,028,067
Depreciation and Amortisation
Rental expense on operating leases: ‑ Minimum lease payments
5 Cash and Cash Equivalents Note
15
86
Financial Report
6 Trade and Other Receivables
2017 $
2016 $
Trade receivables
150,401
67,464
Provision for impairment
(66,627)
–
Other receivables
–
546
83,774
68,010
CURRENT
(a) Financial assets classified as loans and receivables Note
2017 $
2016 $
15
83,774
68,010
83,774
68,010
2017 $
2016 $
4,162
34,598
4,162
34,598
Trade and other receivables ‑ total current
7 Other Assets
CURRENT Prepayments
Financial Report
87
8 Property, plant and equipment
2017 $
2016 $
At cost
753,582
751,354
Accumulated depreciation
(716,864)
(701,048)
Total plant and equipment
36,718
50,306
At cost
16,364
16,364
Accumulated depreciation
(13,018)
(11,386)
Total motor vehicles
3,346
4,978
At cost
155,165
155,165
Accumulated depreciation
(140,437)
(135,263)
Total leasehold improvements
14,728
19,902
Total property, plant and equipment
54,792
75,186
PLANT AND EQUIPMENT Plant and equipment
Motor vehicles
Leasehold improvements
(a)
Movements in Carrying Amounts
Movement in the carrying amounts for each class of property, plant and equipment between the beginning and the end of the current financial year
Plant and Equipment $
Motor Vehicles $
Leasehold Improvements $
Total $
Year ended 31 December 2017 Balance at the beginning of year
50,306
4,978
19,902
75,186
Additions
2,228
–
–
2,228
Depreciation expense
(15,816)
(1,632)
(5,174)
(22,622)
Balance at the end of the year
36,718
3,346
14,728
54,792
88
Financial Report
9 Trade and Other Payables
2017 $
2016 $
Trade payables
66,630
66,687
GST/PAYG payable
108,987
46,929
Sundry payables and accrued expenses
16,962
58,843
Deposits and bonds
5,000
8,500
196,829
180,959
CURRENT
Trade and other payables are unsecured, non-interest bearing and are normally settled within 30 days. The carrying value of trade and other payables is considered a reasonable approximation of fair value due to the short-term nature of the balances.
(a) Financial liabilities at amortised cost classified as trade and other payables Note
2017 $
2016 $
196,829
180,959
(108,987)
(46,929)
15
87,842
134,030
Note
2017 $
2016 $
21
382,934
421,605
40,000
,771
422,934
457,376
Trade and other payables Total current Less: GST/PAYG payable Financial liabilities as trade and other payables
10 Income in Advance
CURRENT Unspent grants Other deferred income
Financial Report
89
11 Employee Benefits
2017 $
2016 $
Provision for annual leave
44,430
58,097
Provision for long service leave
49,071
49,256
93,501
107,353
7,190
2,831
7,190
2,831
CURRENT
NON CURRENT Provision for long service leave
Provision for employee benefits represents amounts accrued for annual leave and long service leave. The current portion for this provision includes the total amount accrued for long service leave entitlements that have vested due to employees having completed the required period of service. Based on past experience, the Company does not expect the full amount of long service leave balances classified as current liabilities to be settled within the next 12 months. However, these amounts must be classified as current liabilities since the Company does not have an unconditional right to defer the settlement of these amounts in the event employees wish to use their leave entitlement. The non-current portion for this provision includes amounts accrued for long service leave entitlements that have not yet vested in relation to those employees who have not yet completed the required period of service. In calculating the present value of future cash flows in respect of long service leave, the probability of long service leave being taken is based upon historical data. The measurement and recognition criteria for employee benefits have been discussed in note 2(e).
90
Financial Report
12 Reserves 2017 $
2016 $
Improvement and equipment reserve
36,000
36,000
Total Reserves
36,000
36,000
(a)
Improvement and equipment reserve
This reserve was used in prior years to record amounts set aside to fund future equipment purchases and leasehold improvements.
13 Leasing Commitments
Operating lease commitments Non‑cancellable operating leases contracted for but not capitalised in the financial statements
2017 $
2016 $
‑ no later than 1 year
6,591
6,591
‑ between 1 year and 5 years
8,208
14,799
14,799
21,390
Minimum lease payments under non-cancellable operating leases:
The lease relates to hire of office equipment. Lease of Premises The company entered into a lease of land and buildings with the Minister for Works for a period of 21 years commencing 1 August 1991. The annual rental cost payable was $1 plus all outgoings as defined in the lease. The lease expired 31 July 2012 and is currently on a month-by-month basis. The leased land also includes buildings and improvements on the land. The company is currently in negotiations to secure a new lease.
Financial Report
91
14 Key Management Personnel Remuneration
Any person(s) having authority and responsibility for planning, directing and controlling the activities of the company, directly or indirectly, including any director (whether executive or otherwise) of that company is considered key management personnel. The total remuneration paid to key management personnel of the Company is $ 186,268 (2016: $ 179,020). No other Directors received any remuneration for their services.
15 Financial Risk Management
The Company’s financial instruments consist mainly of deposits with banks, local money market instruments, accounts receivable and payable. The totals for each category of financial instruments, measured in accordance with AASB 139 as detailed in the accounting policies to these financial statements, are as follows:
Note
2017 $
2016 $
Cash and cash equivalents
5
1,089,309
1,028,067
Loans and receivables
6(a)
83,774
68,010
1,173,083,
1,096,077
88,592
134,030
88,592
134,030
Financial Assets
Total financial assets Financial Liabilities Financial liabilities at amortised cost Trade and other payables Total financial liabilities
9(a)
16 Members' Guarantee The Company is incorporated under the Corporations Act 2001 and is a Company limited by guarantee. If the Company is wound up, the constitution states that each member is required to contribute a maximum of $ 1 each towards meeting any outstandings and obligations of the Company. At 31 December 2017 the number of members was 20 (2016: 22).
17 Operating Segments The Company operates predominately in one business and geographical segment being Western Australia.
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Financial Report
18 Cash Flow Information (a) Reconciliation of cash Cash at the end of the financial year as shown in the statement of cash flows is reconciled to items in the statement of financial position as follows:
Cash and cash equivalents
2017 $
2016 $
1,089,309
1,028,067
(b) Reconciliation of result for the year to cashflows from operating activities Reconciliation of net income to net cash provided by operating activities:
2017 $
2016 $
54,241
59,520
Depreciation
22,622
28,530
Provision for doubtful debts
61,060
–
– (increase)/decrease in trade and other receivables
(82,881)
18,575
– ( increase)/decrease in prepayments
(30,436)
(29,659)
– i ncrease/(decrease) in trade and other payables
(21,927)
73,891
– i ncrease/(decrease) in income in advance
34,442
158,388
– i ncrease/(decrease) in employee benefits
(9,493)
13,086
Cashflow from operations
63,470
322,331
Surplus for the year Non‑cash flows in surplus:
Changes in assets and liabilities:
(c) Credit standby arrangement and loan facilities The company has no credit standby or loan facilities.
Financial Report
93
19 Events after the end of the Reporting Period The financial report was authorised for issue on 2 May 2018 by the Board of Directors. No matters or circumstances have arisen since the end of the financial year which significantly affected or may significantly affect the operations of the Company, the results of those operations or the state of affairs of the Company in future financial years.
20 Company Details The registered office and principal place of business of the company is: Perth Institute of Contemporary Arts Limited 51 James St PERTH WA 6000
21 Grants Unexpended grants b/fwd from previous financial year $
Grant income received this year $
Grant recognised this year $
Unexpended grants c/fwd to next financial year $
- Multi-Arts Key Organisation
150,000
300,000
(300,000)
150,000
- Visual Arts Craft Strategy
144,638
292,801
(289,276)
148,163
294,638
592,801
(589,276)
298,163
‑ DCA Core Grant
–
710,000
(710,000)
–
Total Core Grants
294,638
1,302,801
(1,299,276)
298,163
‑ Australia Council Project Grant
75,740
–
(38,803)
36,937
- Creative Partnership Australia
–
50,000
(50,000)
–
‑ City of Perth Grant
–
20,000
(20,000)
–
- DLGSC Project
46,227
100,000
(98,393)
47,834
- Playwriting Australia
5,000
–
(5,000)
–
126,967
170,000
(212,196)
84,771
421,605
1,472,801
(1,511,472)
382,934
Australia Council Core Grants
State Arts Funding
Other Grants
Total
94
Financial Report
Directors' Declaration The directors of the Company declare that:
1. The financial statements and notes, as set out on pages 6 to 22, are in accordance with the Australian Charities and Not-for-profits Commission Act 2012 and: a. comply with Australian Accounting Standards Reduced Disclosure Requirements; and b. give a true and fair view of the Company's financial position as at 31 December 2017 and of its financial performance for the year ended on that date. 2. In the directors' opinion, there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable. This declaration is made in accordance with section 60.15(2) of the Australian Charities and Not-for-profits Commission Regulation 2013 and is signed for and on behalf of the directors by:
Director: Robyn Glindemann
Date: 2 May 2018
Financial Report
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96
Financial Report
Financial Report
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98
PICA Board and Staff
BOARD Tony Chong Chair (until February) Robyn Glindemann Chair (from February) Marco D’Orsogna Deputy Chair Ben Opie Treasurer Abdul-Rahman Abdullah (from November) Amy Barrett-Lennard (ex-officio) Thea Constantino (until March) Susanna Castleden Joanne Farrell Neil Fernandes Kenley Gordon (from November) Lloyd Smith (until February) Josephine Wilson
STAFF Amy Barrett-Lennard Director Caris Harper Business Manager (from March) Eugenio Viola Senior Curator (from February) Tim Carter Business Manager (until March) Producer (from March) Sarah Weber Producer (until June) Renae Coles Communications Manager (until February) Rachel Audino Acting Communications Manager (February – April) Kira Rikkers Communications Manager (from April) Jo Malone Development Manager Minaxi May Education Program Curator Caroline Forsberg Acting Education Program Curator (July – September) Charlotte Cooper-Dixon Events Coordinator Nadia Johnson Exhibitions Manager (until December) Charlotte Hickson Acting Exhibitions Manager (from December) Andrew Beck Production Manager (until November) Joshua Allen Marketing Assistant (from October) Tim Meakins Graphic Designer Maddy Blue Acting Graphic Designer (July – August) Grace Traeger Front of House Manager (until April) Acting Digital Marketing Coordinator (April – October) Lydia Bradshaw Acting Front of House Manager (April – November) Amy Perejuan-Capone Acting Front of House Manager (November – December) Jennifer Garland Front of House Manager (from December) Yen Lee Finance Officer (until September) Suzanne Fielding Accountant (from October)
PICA Board and Staff
PICA Board and Staff
CASUAL STAFF Scott Armstrong, Matt Bairstow, Dan Bourke, Lydia Bradshaw, David Brophy, Emma Buswell Damien Capone, Gary Carter, Alex Coles, Liam Colgan, Caroline Forsberg, Tim Green, Brent Harrison, Mark Homer, Miranda Johnson, Simone Johnston, Isaak Karagoglou, Ben Kontoolas, Joseph Landro, Alexandra Lekias, Sarah Hipkins, Beth Maslen, Olivia Nicholls, Amy Perejuan-Capone, Ned Reilly, Harrison Sadler, Annabella Snell, Phoebe Tran, Tron Tran, Hans-Dieter Zeh
INTERNS Jessica Hart, Isaak Karagoglou, Elise Kooperman, Alanna Kusin, Zoe Lutze, Josten Mybergh, Daisy Pattinson, Ned Reilly, Evana Tanner
VOLUNTEEERS Samuel Beilby, Eliza Burton, Scott Da Silva, Natsumi de Dianous, Fiz Eustance, Paul Farina, Jon-Paul Fitzgerald, Shauna Goh, Mikael Hahlesson, Penelopy Harrall, Brent Harrison, Tessa Hill, Hannan Jones, Gill Kaur, Lucy Leach, Lisa Liebetrau, Tiffany Moffatt, Rex Monsoon, Bronwyn Mory, Kelly Marie Miller, Jesceline Requiero, Rebecca Riggs-Bennett, Johan Sulaiman, Lynsey Trench-Murphy
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Image: When the Sky Fell: Legacies of the 1967 Referendum, Opening Night. Photo: OK Media
101
102
Thankyou
Thankyou
Foundations
Director’s Circle
ART1000 Donors
Ungar Family Foundation
Michael and Liza Blakiston Desi and Marcus Canning Camillo Della Maddalena Joanne Farrell Adrian and Michela Fini Frédéric and Capucine Flipo David Martin Véronique Ramén
Neil Archibald and Alan Dodge Zelinda Bafile Amy Barrett-Lennard and Michael Levine Henry Boston James Brown and Kim Mercer Raefe Brown and Belinda Tang Naomi Button Tim Carter Marisa D’Orsogna Tim Doyle Penelope Eagle Neil Fernandes Evi Ferrier Elizabeth Fong Robin and Liz Forbes Franklin Gaffney Geoff Hancy and Yvonne Ellies Yen Lee
Bequests Dr Harold Schenberg ART Patrons Tim Bradsmith Bux Charitable Foundation Liza and Michael Blakiston Desi and Marcus Canning Tony Chong Marco D’Orsogna Joanne Farrell Frédéric and Capucine Flipo Di and Jeff Hay Robyn Glindemann Golden Group Griselda Hitchcock Matthew Howison William Kentridge Zoé Lenard and Hamish Milne Charles Morgan and Caroline De Mori Fred and Georgina Nagle Ben and Kate Opie Véronique Ramén Wesfarmers ART Commissioner
ART Ambassadors Sandra Barrett-Lennard John and Linda Bond Bux Charitable Foundation Dane Etheridge and Brooke Fowles David and Sandy Heldsinger Nathan Giles Robyn Glindemann Waldemar Kolbusz Zoé Lenard Darryl Mack and Helen Taylor Georgia Malone Hamish Milne Fred and Georgina Nagle Ben and Kate Opie Jamie Price and Gillian Gallagher Allan Miles and Steven Shadwell Patti Simpson and Michael Bennett Rob and Lola Wilson Melvin Yeo Anonymous X 1
Marco D’Orsogna Tony Chong Golden Group
Image: When the Sky Fell: Legacies of the 1967 Referendum, Naidoc Week. Photo: OK Media
ART1000 Donors Dr Andrew Lu OAM and Dr Geoffrey Lancaster AM Christian Lyon and Russell Date Tos Mahoney Michael and Jo Malone OAM Justin and Amanda Mannolini Santo Merenda Margaret Moore Perth Veterinary Oncology Carole Peters Anarchy PR Linda and Andy Robb Sign Supermarket St John of God Health Care Art Collection Linda Savage and Stephen Davis Amy Stokes Turner Galleries Liz Terracini Rodney and Penelope Thompson
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Partners
Partners Government Partners
PICA’s ongoing programs are primarily supported by an investment from the State of Western Australia through the Department of Sport, Local Government and Cultural Industries in association with Lotterywest, assistance from the Australian Government through the Australia Council, its arts funding and advisory body. PICA is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.
Major Exhibitions Partners
Supporting Partners
Automotive Partner
Freight Partner
Beverage Partners
Corporate Partners Alex Hotel, GM Consulting Additional Partners Art Guide, Art Monthly, Artist’s Chronicle, ArtLink, Boston Brewery, Box Green, Compaq, Discus Digital Print, Limeburners, Aesop, AmpedIT, Anarchy PR, Discus Digital Print, Fashion Council WA, Georgia Malone Consulting, Fineline Print, Hippocampus, Hudson & Hughie, Kirrikin, Kingfisher Tours, Kununurra Country Club Resort, Limeburners, Out in Perth, Plastic Sandwich, The Pumphouse Kununurra, Replant, RTR FM, Schwartz Media – The Saturday Paper, Scoop Digital, Sign Supermarket, The Standard, Toby’s Estate, Virgin Australia Regional Airlines, Waringarri Arts, Warmun Art Centre, Willoughby Park Wines, Zenith Interiors Program Partners 4A Centre for Contemporary Asian Art Sydney, Aboriginal Arts Centre Hub Western Australia, Awesome Festival, Creative Victoria, Critical Path, Dancehouse, FRINGE WORLD, illUMEnate WA, Institute of Modern Art Brisbane, KicksART Festival, The Last Great Hunt, LOFT | The Blue Room Theatre, Mobile States, Museum of Contemporary Art Australia, National Science Week, Next Wave Festival, Performing Lines, Perth Fashion Festival, Perth Festival, Playwriting Australia, pvi collective, Side Pony Productions, Strut Dance, Town of Cambridge, Tura New Music, University of NSW Art Addicts Partners Alex Hotel, Art Gallery of Western Australia Shop, The Blue Room Theatre, Chicho Gelato, City Toyota, Co3, Comet Pizza, Francoforte Spaghetti Bar, Generics, Highgate Continental, Jacksons Drawing Supplies, Lil Toastface, Livingstone’s Urban Jungle, Luna Palace Cinemas, No Mafia, Planet Northside, PICA Bar + Café, Pretzel, RTRFM, The Black Swan State Theatre Company, UWA publishing, William Topp
Image: Remedial Works. Photo: Zal Kanga Parabia
Perth Cultural Centre 51 James St Northbridge pica.org.au | 9228 6300 @pica_perth
Gallery Open Tue – Sun | 10am – 5pm Box Office Open Mon – Sun | 10am – 5pm