Annual Report 2018 by Perth Institute of Contemporary Arts

PICA

Annual Report 2018

Contents

Image: OK Media

Snapshot of 2018

Director’s Report

Chairperson’s Report

Artistic Program

Publications

Artist Development

Events and Public Programs

Donor Events

Learning

Financial Report

100

Board and Staff

102

Thank You

Cover Image: Confusion for Three, Jo Lloyd, 2018. Photo: Christophe Canato

PICA’s purpose is to foster the development of, and engagement with, contemporary arts and ideas.

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.

Image: 歸屬 Gui Shu (Belong) Development, 2018. Photo: Ashley de Prazer.

In 2018 PICA was supported by the City of Perth to undertake a social and economic study through Culture Counts. The study captured and analysed information about our audiences, artists, their experiences and PICA’s impact on the community.

A Snapshot of 2018

Total annual attendance:

206

Exhibitions, Performances and events:

100

Economic Impact:

Visitors that identify as being from culturally and linguistically diverse backgrounds:

Visitors that identify as living with a disability:

Visitors that were new:

Visitors that come more than 5 times a year:

38%

89%

of audiences think PICA is RELEVANT, and that what they experienced had something to say about today’s world

95%

of audiences observed RISK in the work that they experienced, and felt that the artists that PICA presented were not afraid to try new things

81%

of audiences, and 100% of artists, felt that what they experienced had LOCAL IMPACT, and that it was important that it was happening in Perth

78%

of audiences told us that what they experienced had MEANING, and that it moved and inspired them

77%

of audiences said that what they experienced at PICA was DISTINCTIVE, and that it was different from things they had experienced before

84%

of audiences were CHALLENGED, and their experience at PICA made them think in a different way

85%

of PICA’s artists felt BELONGING, and said that their experience at PICA made them feel a part of the community

309,837

Artists supported directly:

Residencies and Creative Developments:

18% from overseas 6% from regional WA 63% from Perth metro area 14% from interstate

of PICA’s visitors are cultural tourists

12 $14,966,259 25% 6% 49% 27%

Director’s Report

In 2018 PICA supported over 200 artists, attracted audiences of over 300,000 and delivered a total economic impact of just under $15,000,000. It was a year in which PICA further deepened its support of artists and its engagement with audiences, extended its program and reach well beyond its walls, critically celebrated diversity and built lasting networks within Asia. The year began with a sequence of works that encouraged the Perth community to take an active or participatory role – and this they did, in force. The sell-out premiere of yourseven by James Berlyn and WA Youth Theatre Company saw audiences enact their own life journey while Renée Newman’s Seeking basic needs and other tales of excess offered a meditative walking tour of the streets of Northbridge, set to a soundtrack featuring personal stories of movement and migration. The Second Woman by Nat Randall and Collaborators was a Perth Festival stand out. 100 Perth men of diverse ages and backgrounds became actors in this utterly compelling 24-hour live performance and cinema spectacle that saw audiences stay or queue well into the wee hours as the addictive nature of this complex and intriguing work took hold. Zone of Nowhere was the first Australian solo exhibition by internationally acclaimed, South Koreanborn and New York based multidisciplinary artist Kimsooja. Featuring a selection of the artist’s most significant work to date as well as a startling new commission and public art work, the exhibition filled PICA’s entire gallery spaces and spread into the streets of Perth. The Hatched National Graduate Show 2018 expanded to include, for the first time, a number of residencies for both local and interstate artists featured in the show, while the Schenberg Art Fellowship increased to a career-catapulting $45,000. The WA premiere of Aphids’ Howl saw PICA’s central gallery space transformed into a procession site for 15 significant and controversial moments in art history, including one that took place in our own city.

Image: Kimsooja, Zone of Nowhere, exhibition opening, 2018. Photo: Alessandro Bianchetti

PICA continued its commitment to celebrating the histories and living cultures of First Nations peoples with the commissioning of Marrugeku’s Burrbgaja Yalirra (Dancing Forwards), a triple bill of solo works that formed a deeply affecting and vivid engagement of Indigenous cultures across dance, music and storytelling. In 2018, PICA presented the largest survey of work by Australian/Lebanese artist Khaled Sabsabi. A Self Portrait featured a new commission as well as several works not previously exhibited and was supported by a public program examining art & identity and the role of spiritually engaged practices by Muslim artists in WA. A partnership with the Institute of Modern Art, Brisbane and The Power Plant, Toronto resulted in the presentation of please open hurry, the first Australian solo exhibition by Argentinian/UK artist Amalia Pica. In a series of new commissioned works, Pica explored the techniques, potential and shortcomings of communication between different species. PICA was thrilled to partner with SymbioticA in the development and presentation of Hyperprometheus: The Legacy of Frankenstein, an exhibition that celebrated the 200th anniversary of the publishing of Mary Shelley’s Frankenstein, or the Modern Prometheus (1818). Featuring the work of 19 Australian and international artists, including on and off-site performances by Stelarc, Justin Shoulder and Kira O’Reilly, the exhibition re-contextualised Frankenstein for the new millennium within the realms of contemporary and biological arts. Derek Kreckler: Accident & Process wound up its tour in 2018, with Bathurst Regional Art Gallery being the last venue of a highly successful three year, nationwide, 8 venue tour. In 2018 PICA supported a number of significant studio residencies and creative developments. Those to note were studio residencies undertaken by WA’s Elham Eshraghian, recipient of the 2018 Schenberg Art Fellowship, Victoria’s Drew Pettifer who was researching events around the shipwreck of the Dutch East India company’s Zeewijk and leading Taiwanese artist and academic Yao Jui-Chung.

Image:

Director’s Report

A creative development undertaken by Steamworks Arts for their new work 歸屬 Gui Shu (Belong), an intercultural collaboration between Australian and Taiwanese dancers, filmmakers and musicians saw the company team up with Pilar Mata Dupont as a visual dramaturg for the project. PICA partnered with Turner Galleries, the City of Perth and the Kuandu Museum of Fine Arts in Taipei to deliver a cultural exchange program between WA and Taiwan. PICA hosted residencies by Professor Chu The-I and artist Yao Jui-Chung, as well as undertaking a curatorial residency in Taipei which culminated in the development of a formal partnership and exhibition program with the Taipei Fine Arts Museum, scheduled for 2019. PICA’s extensive range of events and public programs were designed to create special social occasions for our audiences and de-mystify contemporary art while increasing our accessibility to those with different abilities, cultural backgrounds and areas of knowledge. Our 2018 visitor survey results showed that over 25% of our audiences came from a culturally and linguistically diverse background or spoke a language other than English at home. PICA’s learning program provided invaluable curriculum and extra-curriculum support and unique learning experiences across diverse subject areas to 3,837 students from over 110 schools, tertiary institutions and community groups. There were a few changes to the PICA staff line-up in 2018, with the sad departure of our unflappable Engagement Coordinator Charlotte Cooper-Dixon and Marketing Assistant Joshua Allen, both in May. At the end of the year we farewelled the fabulous Zoe Hollyoak and Sophie Johnson as they moved on to new adventures. I would like to thank the entire PICA team for their tireless enthusiasm and energy. Their talents and hard work are legendary – and deservedly so. I must also thank the PICA Board, especially the Chair Robyn Glindemann, for their wisdom, generosity and personal commitment. Amy Barrett-Lennard

Chairperson’s Report

2018 has been another hugely successful year at PICA, as the organisation deepened its support of artists, realised ambitious new projects, forged new partnerships and moved audiences. We, once again, met or exceeded nearly all of the goals we had set for ourselves and this is in no small part due to the incredible staff at PICA, led by Director Amy Barrett-Lennard, who continue to impress the Board with their enthusiasm, commitment to excellence and complete dedication to PICA’s vision. In 2018, PICA’s sustainability and dynamic artistic programming was supported by strong financial management and a renewed focus on workplace health, wellbeing and safety. PICA’s total income in 2018 was $2,137,533 with income from core grants totalling $1,306,326 and that from sponsorship and donations totalling $412,296. Although ending the year with a small deficit of $2,662, the organisation maintained healthy reserves with a total equity of $508,921 at 31 December 2018. Our government partners, the Australia Council for the Arts, the Western Australian Department of Local Government, Sport and Cultural Industries, LotteryWest and the City of Perth continued their vital support of PICA in 2018. I’d like to thank every one of our Art1000, Art Ambassador, Director’s Circle and Art Commissioner donors for their personal commitment to PICA. In 2018 and for the first time, PICA offered art tours to its donors, to Adelaide in March and then to Naples and Palermo in September. In addition to cementing firm friendships, they have proved to be excellent arts learning experiences.

Image: HyperPrometheus, exhibition opening, 2018. Photo: OK Media

Thank you also to our corporate partners and sponsors who are vital in supporting PICA as it creates career-defining moments for artists. My thanks to Wesfarmers Arts, Minderoo Foundation, City Toyota, Dulux, Grace Fine Art, Keepad Interactive, Training Course Experts, the Alex Hotel, The Standard, Willoughby Park Wines and Boston Brewing. PICA welcomed the transition of the Perth Cultural Centre public realm management from the Metropolitan Redevelopment Authority to the Perth Theatre Trust (PTT) and continued to play an active role in the development of precinct policy and strategic development. In October 2018, PICA was advised by the State Government of new leasing arrangements in the Perth Cultural Centre, including the PICA building. We look forward to securing our tenancy in a way that supports the vision and objectives of the Perth Cultural Centre as well as PICA. I truly believe that PICA is a vitally important part of Perth and Western Australia’s cultural fabric. Its commitment to developing and nurturing contemporary artists across different mediums and practices is unique, inspiring and essential. Finally, thank you to my fellow PICA Board directors who are an absolute joy to work with. I would like to make particular mention of the considerable contribution of Miles Franklin award winner Josephine Wilson, whose term on the Board expired in 2018 after 6 years of the most insightful artistic guidance. Thank you all for your commitment to PICA’s vision and your support of the PICA team. Robyn Glindemann

Artistic Program

Image: Kimsooja, Zone of Nowhere, 2018. Photo: Gianni Costa

Seeking basic needs and other tales of excess Renée Newman with Ben Collins

Artistic Program

27 January – 17 February The streets of Northbridge

Artistic Program

yourseven James Berlyn and WAYTCo

A world premiere work that explored the form of the audio tour, inviting audiences to take a path through Northbridge with a set of headphones and listen in as an original soundscape unfolded with stories of migration and patterns of human behaviour. A meditation on hope, this mindful solo encounter in public space embraced how we are always moving, shifting and changing. Conceived, Written & Directed by Renée Newman Composition & Sound Design: Ben Collins Dramaturgs: Steve Bull & Marcella Polain Cultural Advisor: Ian Wilkes Stories: Lyndall Adams, Oda Aunan, Tanatchaporn Kittikong, Arad Niksefat, Federico Pidala, Casta Tongaraza, Ian Wilkes, Min Zhu & words reproduced with permission by Behrouz Boochani Voiced by Steve Turner and Renée Newman Presented for FRINGE WORLD Festival 2018 Supported by the Department of Local Government, Sport and Cultural Industries, the Western Australian Academy of Performing Arts and Edith Cowan University. The initial concept was developed at KISS club in 2017 with the support of pvi collective and PICA.

1 - 17 February PICA Performance Space Based on Jacques’ famous speech from “As You Like it”, yourseven asked audiences to consider their life journey through Shakespeare’s seven ages of man, framed through one-on-one encounters in seven photo booths. A world premiere, this touching work explored the cycle and value of living.

If you could have seen the faces of our cast when they learned of who would be seeing them perform each night and then that we sold out our season. Suffice to say that with your co-presentation we achieved all the goals we had identified were important for our members and for WAYTCo. We simply couldn’t have done anything like this without you! – James Berlyn, Executive Producer, WAYTCo

Nominee: Best Sound Design (Ben Collins), PAWA 2018 Awards

Image: OK Media

Image: Aaron Webber

Concept & Direction: James Berlyn Assistant Director: Grace Chow Lighting Designer: Chris Donnelly Set Construction: Chris Donnelly & Matt Bairstow Scenic Design: Jane Barwell Music Consultation: Chris Van Tuinen Sound Editing: Late Night Shopping Stage Manager: Tegan Sorenson Cast: Adam Kelly, Ayouk Mading, Bethany Robinson, David Ratcliff, David Stewart, Elizabeth Joseph, Grace Chow, Isabel Seton-Brown , Kasia Kelly, Laura Pitts, Lily Baitup, Olivia Mitchell, Ollie Charlton, Patch Kain Gunasekera, Scarlett Hayes & Thomas Tregonning-Barwell Presented with WA Youth Theatre Company for FRINGE WORLD Festival 2018 Winner: WA Emerging Artist & ECU Performing Arts, Fringe World 2018 Awards

Zone Of Nowhere Kimsooja 17 February – 29 April All PICA Galleries Zone of Nowhere was the first Australian solo exhibition by internationally acclaimed, South Koreanborn and New York based multidisciplinary artist Kimsooja, whose work centres around sensitive cultural and political issues and in particular those surrounding migration and displacement. Through installation, performance, sculpture, video and photography, this exhibition transcended everyday reality, bringing together the physical and the metaphysical through repetitive actions and meditative practices. It featured To Breathe – Zone of Nowhere (2018), an awe-inspiring installation of 30 flags created for PICA’s central gallery space. This work originated from the video To Breathe – The Flags (2012), commissioned for the London 2012 Summer Olympics. Curated by Eugenio Viola Zone of Nowhere was a Perth Festival event supported by Visual Arts Program Partner and PICA Public Project Partner Wesfarmers Arts.

Zone Of Nowhere on the Streets of Perth Kimsooja 15 February – 8 March Perth CBD and Northbridge Zone of Nowhere extended beyond the walls of PICA in a public project in which Kimsooja’s colourful layered flags appeared in public spaces throughout Northbridge and the Perth CBD. With special thanks to the Western Australian Museum, State Library of Western Australia, North Metropolitan TAFE, City of Perth and Metropolitan Redevelopment Authority. Image: Kimsooja, Zone of Nowhere, Exhibition Opening, 2018. Photo: Alessandro Bianchetti

The Second Woman Nat Randall and Collaborators 3 – 4 March PICA Performance Space A 24-hour live performance and cinema spectacle in which 100 different men of diverse ages and backgrounds were cast to star opposite Nat Randall in a scene inspired by John Cassavetes’ cult film Opening Night. Co-creators: Nat Randall & Anna Breckon Concept & Performance: Nat Randall Script & Direction: Anna Breckon & Nat Randall Video Direction: EO Gill & Anna Breckon Lighting Design: Amber Silk Sound Composition: Nina Buchanan Set Design: FUTURE METHOD STUDIO Hair & Makeup: Sophie Roberts Prop coordination: Lyn Randall Lead Camera: EO Gill Produced by Anna Breckon This performance featured audio description and Auslan interpretation. Presented in association with Perth Festival 2018

Some stoic souls stayed for the whole fraught adventure... I wish I had. Brave, intense, strange. These are a few of my favourite things. – Seesaw

Image: The Second Woman. Photo: Zan Wimberley.

Artistic Program

Hatched National Graduate Show 2018

The exhibition examines the pulse of the nation’s emerging arts practices while acting as an important platform for artistic careers. From painting, sculpture and drawing to installation, video and sound work, this exhibition offered an intriguing snapshot of current contemporary art practices in Australia.

Artists: Benjamin Bannan (Curtin University, WA) Sacha Barker (The University of Western Australia, WA)

19 May – 15 July All PICA Galleries The Hatched: National Graduate Show 2018 featured the work of 30 graduates of the highest calibre rigorously selected from 22 tertiary institutions representing each of Australia’s states and territories.

Artistic Program

This year’s Hatched selection panel included artist Agatha Gothe-Snape; Annika Kristensen (Senior Curator, Australian Centre for Contemporary Art); Fang-Wei Chang (Senior Curator, Taipei Fine Arts Museum) and Eugenio Viola (Senior Curator, Perth Institute of Contemporary Arts). For the first time in 2018, three Hatched artists were offered an opportunity to undertake artistic residencies with the support of Minderoo Foundation and North Metropolitan TAFE. Hatched 2018 was generously supported by Major Exhibition Partner Minderoo Foundation.

Kate Bohunnis (TAFE South Australia, SA) Julia Burke (RMIT University, VIC) Dean Cross (Australian National University, ACT) Siân Davies (The University of New South Wales, NSW) Lucia Dohrmann (Adelaide Central School of Art, SA) Madison Elrick (Monash University, VIC)

Image: Hatched National Graduate Show 2018, Installation view. Photo: Alessandro Bianchetti

Eric C (North Metropolitan TAFE, WA)

Phoebe Kelly (Queensland University of Technology, QLD)

Elham Eshraghian (The University of Western Australia, WA) Winner – 2018 Schenberg Fellowship

Olivia Lacey (Queensland University of Technology, QLD)

Jackson Farley (The University of Sydney, NSW) Olivia Fisher (Deakin University, VIC) Claire Gillam (Curtin University, WA) Caroline Goodlet (Edith Cowan University, WA) Yusuf Ali Hayat (University of South Australia, SA)

Jessica Vincenza Long (The University of New South Wales, NSW) Sonny Nguyen (University of Wollongong, NSW) Jessica Ruth Price (Federation University Australia, VIC) Mandy Quadrio (Griffith University, QLD) Kelly Reynolds (Adelaide Central School of Art, SA)

Image: Hatched National Graduate Show 2018, Exhibition Opening. Photo: Gianni Costa

Cath Robinson (University of Tasmania, TAS) Yuval Rosinger (Victorian College of the Arts, VIC) Aden Sargeant (Queensland University of Technology, QLD) Kirstie Louise Scullen (Charles Darwin University, NT) Tri Minh Tran (RMIT University, VIC) Joe Wilson (National Art School, NSW) Jodi Woodward (Southern Cross University, NSW) Bethany Woolfall (Monash University, VIC)

Artistic Program

Burrbgaja Yalirra (Dancing Forwards) Marrugeku

7 – 16 June PICA Performance Space Curated by Marrugeku’s Artistic Directors Dalisa Pigram and Rachael Swain, this evocative triple bill of new solo works invited audiences to experience intercultural exchange. Through a vibrant retelling and re-awakening of histories, locations and languages the works explored the meaning of reciprocity in Australia today. Burrbgaja Yalirra – Three Short Works Concept, cultural and choreographic support: Dalisa Pigram Concept and dramaturgy: Rachael Swain Composer and Sound Designer: Sam Serruys Set and Costume Designer: Stephen Curtis Lighting Designer: Matthew Cox Ngarlimbah Concept, text, paintings and performance: Edwin Lee Mulligan Co-direction and choreography: Dalisa Pigram Co-direction and dramaturgy: Rachael Swain Vision Direction and Animation: Sohan Ariel Hayes Co-composer: Dazastah Miranda Concept, co-choreography and performance: Miranda Wheen Director and Co-choreographer: Serge Aimé Coulibaly Dancing with Strangers Concept, text, co-choreography, performance and live music: Eric Avery Co-choreographer and Director: Koen Augustijnen Co-composer: Eric Avery Co-commissioned by PICA & Carriageworks

Deadly! Raw and emotional and poignant. The energy was amazing. The performances were powerful. An extraordinary collaboration of immensely talented artists. – Audience members

Image: Edwin Lee Mulligan in Ngarlimbah, 2018. Photo: Jon Green

Burrbgaja Yalirra was supported by the Australian Government through the Department of Communications and the Arts - Indigenous Languages and Arts Program; the NSW State Government through Create NSW; the Departments of Culture and the Arts and Regional Development, Royalties for Regions and Country Arts WA. Nominee: Best Perfomer Female (Miranda Wheen), Best Perfomer Male (Eric Avery), Best Lighting Design (Matthew Cox), Best Stage Design (Stephen Curtis), Best Stage Design (Sohan Ariel Hayes) & Best Costume Design (Stephen Curtis), PAWA 2018 Awards (Dance)

Howl Aphids

27 - 28 July PICA Ground Floor Galleries Howl was a performance at the intersection of parade, protest and procession that celebrated 15 significant moments in art history and explored the reactions art can invoke, along with the perspective that history permits. A WA premiere, Howl was recreated for PICA’s galleries with the inclusion of a new response to WA artist Connie Petrillo’s artwork Esse Quam Videri.

Image: Howl, Aphids, 2018. Photo: Aaron Claringbold.

Artistic Program

With reference to Voina, Gustave Courbet, Andres Serrano, Ai Weiwei Lynda Benglis, Charlie Chaplin, Marcel Duchamp Jason Wing, Julita Wójcik, The Escape From Woomera Collective, Connie Petrillo, Amber Hawk Swanson Soda_Jerk, Paul Yore Created & Performed by: Lz Dunn, Lara Thoms & Willoh S. Weiland Howl lab artists & performers: Noemie Huttner-Koros, Jen Jamieson, Loren Kronemyer & Rhiannon Peterson Show direction: Mish Grigor Sound Design: Rachael Dease Technical Consultants: Illuminating Possibility Production/Stage Management: Hugo Aguilar Lopez Assistant Stage Management: Georgia Smith Publication Design: Rebecca McCauley Howl was supported by the Australian Government through the Australia Council, its arts funding and advisory body and sponsored by Segway WA.

Artistic Program

Artefact Aphids

28 July Perth Cultural Centre Screen and Amphitheatre A WA premiere performance on film that offered a live participatory SMS experience to audience members, screened on a large-scale screen outside PICA during the 2018 Disrupted Festival of Ideas. A tribute to brand disappearance created with the community of Kuopio, Finland that starred some of its best loved choirs, death metal singers, funeral directors and stone masons.

Image: Artefact, Aphids. Photo: Pekka Mäkinen.

Original concept by Willoh S. Weiland Music Direction and Original Composition by J R Brennan Cinematography by Kim Saarinen with Matthew Gingold and Lasse Hartikainen Edited by Kim Saarinen Text for music by JR Brennan with Anna Akhmatova, MS DOS, Jose Saramago and “Birch Bark Letter no 22” Text for performance by Willoh S.Weiland and Emile Zile Artefact designed by Willoh S. Weiland and Susan Cohn Mixed and mastered by Chris Townend Presented with Disrupted Festival of Ideas with the support of the Perth Cultural Centre Screen.

A Self Portrait Khaled Sabsabi 4 August - 7 October PICA Ground Floor Galleries Lebanese born and Australian based, Khaled Sabsabi explores the complexities of place, identity, displacement, and ideological differences associated with migrant experiences and marginalisation to promote cultural awareness and acceptance. Working across mediums, borders, cultures, and disciplines, Sabsabi’s practice is informed by moving between communities, and attempts to enlighten our understanding of universal dynamics. A Self Portrait was the largest survey exhibition of Sabsabi’s work to date and featured a new commission as well as several works not previously exhibited. Curated by Eugenio Viola

Khaled Sabsabi’s ‘A Self Portrait’ was moving and I felt completely enveloped by it. – Visitor

“A Self Portrait” commands a reverence [and] highlights that it is possible to appreciate the richness and weight of meaning in an ideology and culture different to our own. – Seesaw Magazine

Image: Khaled Sabsabi, Corner, 2012. Photo courtesy the artist

please open hurry Amalia Pica 4 August - 7 October PICA First Floor Galleries Through sculpture, photography, installation, performance and video, Amalia Pica’s work investigates how we communicate beyond the barriers of language. Born during Argentina’s dictatorship, Pica explores the relationship between form and politics, and between history and representation. Pica’s first solo exhibition in Australia, please open hurry was a continuation of the artist’s longstanding consideration of language, comprehension, misunderstanding, translation, and listening. In a series of new commissioned works, Pica explored the techniques, potential, and shortcomings of communication between different species. This exhibition was curated at PICA by Eugenio Viola and developed in partnership with The Institute of Modern Art, Brisbane and The Power Plant, Toronto, with the generous support of the Keir Foundation.

Image: Amalia Pica, Yerkish (detail), 2018. Photo: Alessandro Bianchetti

Artistic Program

2018 AWESOME Festival at PICA

Artistic Program

Valentine Rachael Woodward 2 October PICA Performance Space

Presented by AWESOME Festival in association with PICA

A visually stimulating world premiere that used a combination of clowning and interactive shadow puppetry to explore loss and love.

Cheeky Monkeys – A Pint-Sized Theatre Project Whiskey and Boots

1 October PICA Performance Space This world premiere experiment in theatre making relinquished all creative decisions to young writers and directors. Children aged 9-12 directed two adult actors in short plays written by year 9 students from the Specialist Visual and Performing Arts program at Mt Lawley Senior High School. Performer/director/writer/musician: Mark Storen Performer/producer: Georgia King In collaboration with: The SVAPA Program and Mount Lawley SHS

Four Go Wild in Wellies Indepen-dance 3 – 6 & 9 - 12 October PICA Performance Space A playful Australian premiere by Scotland’s awardwinning inclusive professional dance company Indepen-dance that looked at how friendships are built, broken and mended. Director: Karen Anderson Performers: Neil Price, Emma Smith, Adam Sloan & Hayley Earlam Composer: David Goodall Choreographer: Stevie Prickett Design: Brian Hartley

The Listies Make You LOL The Listies 8 – 12 October PICA Performance Space This show for kids by comedic duo The Listies was a raucous, unruly hour of family fun featuring alien attacks, toilet paper guns and the rudest word in the world. Written and performed by: Matthew Kelly and Richard Higgins

Image: Cheeky Monkeys. Photo: Simon Pynt

Image Top to Bottom: Valentine. Photo: Marshall Stay. Image: Four Go Wild In Wellies. Photo: Brian Hartley. Image: The Listies Make You LOL! Photo: Andrew Wuttke

Artistic Program

HyperPrometheus: The Legacy of Frankenstein 20 October – 23 December All PICA Galleries HyperPrometheus commemorated the 200th anniversary of the publishing of Mary Shelley’s Frankenstein, or the Modern Prometheus (1818). Considered by some to be the first science fiction novel, Frankenstein is both a celebration and warning of the seductive powers and unforeseen outcomes of scientific advancement. It uncannily predicted a world in which humans are able to overcome their limitations through human/nonhuman hybridity as well as reproductive and genetic manipulation. Featuring Australian and international artists, HyperPrometheus re-contextualised Frankenstein for the new millennium within the realms of contemporary and biological arts. The featured artworks tested our understanding of what it is to be human, living, natural, functional, valid or valued. Curated by Oron Catts, Laetitia Wilson and Eugenio Viola and presented in partnership with SymbioticA, The University of Western Australia (UWA). HyperPrometheus was part of SymbioticA’s Unhallowed Arts event series. Artists AES+F Tarsh Bates Erich Berger and Mari Keto Erin Coates Thomas Feuerstein Hayden Fowler Alexandra Daisy Ginsberg Heather Dewey Hagborg and Chelsea E. Manning Sam Jinks Olga Kisseleva Daniel Lee Kira O’Reilly ORLAN Nina Sellars Justin Shoulder Stelarc Lu Yang

Image: Heather Dewey Hagborg and Chelsea E Manning, Probably Chelsea, 2017. Photo: Alessandro Bianchetti

Stickman / miniStickman Stelarc

Artistic Program

20 October PICA First Floor Galleries A five-hour durational performance and interactive installation created for HyperPrometheus by artist Stelarc that used an algorithm to operate a full-body robotic exoskeleton. Visitors were invited to insert their own looping choreography by moving the limbs of the miniature robot (miniStickMan) and pressing the play button, to see StickMan come to life. The physicality of the performance was flattened and modulated by the projected shadow of ‘StickMan’ on the wall, and with live video feedback. Sound Design: Petros Vouris Engineering: Tim Jewell Interface Programming: Steve Berrick Audio Engineer: Alwyn Nixon-Lloyd Project Coordination & Video: Steven Aaron Hughes

Artistic Program

What if this was the only world she knew? Kira O’Reilly

21 October Perth Girls School A three hour durational performance the artist developed in response to the HyperPrometheus exhibition, during which a series of material embodiments and immaterial disembodiments were performed. Kira O’Reilly’s practice employs performance, drawing, makings, biotechnical practices and writing to consider speculative reconfigurations around The Body. She writes, teaches, mentors and collaborates with humans of various kinds, technologies and nonhumans of numerous divergences including mosses, spiders, the sun, pigs, cell cultures, micro- organisms, bicycles, rivers, landscapes, rocks, trees, shoes, food, books, air, green glitter and ravens.

The installation and performance was made possible by funding from the Western Australian Department of Local Government, Sports and Cultural Industries.

Image: Stelarc, StickMan / miniStickMan. Photo: Steven Aaron Hughes

Image: Kira O’Reilly, Untitled (techné) (2012). Photo: Kira O’Reilly. Image courtesy of the artist

Confusion for Three Jo Lloyd

Artistic Program

15 - 17 November PICA Performance Space

Artistic Program

Carrion: Episode I Justin Shoulder

A thrilling WA premiere with explosive physicality, live music and tour de force performances that asked us to surrender to the state of confusion for ultimate revelation. Navigating their physical histories – from traces of folk dance to idiosyncratic body rhythms – the performers revealed a series of desperate encounters, in a destabilising flood of movement.

7 - 8 December Connections Nightclub A scintillating nightclub performance that compelled us to consider post-human embodiment in our state of planetary disarray. In a continuation of Justin Shoulder’s repertoire of bestiary, the artist emerged as Carrion, a mythical chimeric creature. This hybrid human/animal/ cyborgian being delved into ancient wisdoms, the mess of the present and polymorphous complexity of a speculative future.

Choreographer: Jo Lloyd Performers: Rebecca Jensen, Shian Law & Jo Lloyd Composer & Live Music: Duane Morrison Dramaturg: Anny Mokotow Original Lighting Design: Jenny Hector

Carrion: Episode I is part of Shoulder’s club performance series and greater body of work Carrion and was presented in Perth in partnership with SymbioticA and Connections Nightclub.

Presented by PICA with Strut Dance

Image: Confusion for Three, Jo Lloyd, 2018. Photo: Christophe Canato

Image: Justin Shoulder, Carrion. Photo: Alex Davies

PICA On Tour

A PICA touring exhibition curated by Hannah Mathews

PICA On Tour

10 – 13 May Northcote Town Hall

Derek Kreckler: Accident & Process

2 February - 2 April Bathurst Regional Art Gallery

Jupiter Orbiting Joshua Pether

As part of Next Wave Festival 2018

Derek Kreckler is an amazing artist to me, now I have discovered his work I will look out for him. I enjoyed the humour and intrigue of his work. - thank you – Visitor

Derek Kreckler: Accident & Process, was a major survey exhibition that brought together, for the first time, four decades of the artist’s oeuvre, and featured photography, video, installation and performance works that date from the 1970s to the present day. It was developed and presented by PICA in 2015 and from 2016 - 2018 PICA toured the exhibition to eight regional and metro Australian galleries, where it was visited by over 35,000 people. The tour took in places that were significant to the artist and were reflective of the intersections of regional and urban Australia that are central to Krecker’s practice and evident in the landscapes and communities he engages with in his work. Travelling to galleries in Bunbury, Geraldton, Adelaide, Horsham, Hobart, Maitland, Wollongong and Bathurst, the exhibition used contemporary art to consider the central role that landscape plays for all Australians in shaping our lives, identity and sense of place.

Image: Derek Kreckler: Accident & Process, Installation View, 2015. Photo: Alessandro Bianchetti

“PICA was able to provide me with a substantial length of time in which I was able to immerse myself in the creative process. This allowed me a considerable gestation period between developments and as such the quality of work produced was beyond my expectations. I do believe without the support of PICA I wouldn’t have been able to take the risks and failures I needed in order to achieve the end result.” – Joshua Pether

Image: Jupiter Orbiting, Joshua Pether, 2018. Photo: Adele Wilkes

The world premiere of Jupiter Orbiting, Joshua Pether’s second solo work that combines movement, sound and video to negotiate the hazy boundaries between fantasy and reality, myth and truth. Charting experiences of isolation and distance, this performative dance work negotiated personal identity and body politics. Created and performed by: Joshua Pether Music: Daniel Jenatsch Videography: Neil Berrick Dramturg: Humphrey Bower Producer: Cameron Landsdown-Goodman Production Stage Manager: Dans Maree Sheehan Co-commissioned by PICA & Next Wave Festival Supported by Darebin Arts Speakeasy, the Australian Government through Australia Council, its arts funding and advisory body and the Department of Local Government, Sport and Cultural Industries

Publications

Publications Hatched National Graduate Show 2018 76 pp full color 148mm x 210mm ISBN: 978-0-6480791-2-5 Design: Tim Meakins Introduction by Eugenio Viola National Graduate Show 2018

Aphids Howl 36 pp full color 148mm x 210mm Design: Rebecca McCauley

Amalia Pica please listen hurry others speak better November 2018, English 128 pp full color, 88 color and 6 b/w 225mm x 290 mm ISBN 978-3-956794-27-8 Contributions by: Aileen Burns & Johan Lundh, Carolin Kรถchling, Rafael Ortega, Filipa Ramos, Volker Sommer, Eugenio Viola Design: Lotte Lara Schrรถder Co-published with The Power Plant Contemporary Art Gallery, Toronto; Institute of Modern Art, Brisbane; and Perth Institute of Contemporary Arts Unhallowed Arts 236 pp full color 193mm x 245mm ISBN: 978-1-76080-016-1 Design: UWA Press Edited by: Laetitia Wilson, Oron Catts and Eugenio Viola Contributions by: Karen Barad, Amy Barrett-Lennard, Stefano Carboni, Oron Catts, Robert Cook, Ambelin Kwaymullina, Timothy Morton, Elizabeth Stephens, Eugenio Viola, Laetitia Wilson, Ionat Zurr

Image Right: Howl, Aphids, 2018. Photo: Aaron Claringbold

Artist Development

Image: Drew Pettifer at Open Studio, 2018. Photo: Susie Blatchford

Artist Development

Residencies and Creative Developments

Artist Development

Sacha Barker (WA) 18 June - 29 July Studio Zero

Renée Newman & Ben Collins (WA) 17 - 26 January PICA Performance Space & streets of Northbridge A third stage development leading to the world premiere of Seeking basic needs and other tales of excess, finalising the soundscape and offsite pathway through a series of practice performances with test audiences.

Sacha Barker’s art practice seeks to extend understandings of traditional art media. Her handmade textile works and installations use humble materials to explore concepts of narrative, personal history and socio-cultural meanings. Sacha used her residency to explore the potential for participation and the performative aspects of her practice through her ongoing project Thingship. Supported by Hatched Major Exhibition Partner Minderoo Foundation.

Elham Eshraghian (WA) 7 May – Sunday 27 June Studio Zero

Joshua Pether (WA) 26 March – 15 April & 30 April – 1 May PICA Performance Space The second stage development of Jupiter Orbiting, prior to its premiere at Next Wave Festival 2018.

Elham Eshraghian undertook a six-week residency as part of the Hatched 2018 Residency program. During her residency Eshraghian worked with collaborators to continue her exploration of the post-diasporic experience of the 1st and 2nd generation IranianAustralian Baha’i’s. Eshraghian’s practice draws on the memories and experiences of her family and community to create immersive multi-channel video installations that combine personal narratives with a broader perspective of world history and politics. Supported by Hatched Major Exhibition Partner Minderoo Foundation.

Alex Tate & Olivia Tartaglia (WA)

Emily Hornum (WA)

23 March & 16 – 20 April PICA Performance Space

3 September – 30 October Studio One

A development of The Bureau of Meteoranxiety, in preparation for its premiere at Next Wave Festival 2018.

Emily Hornum is a multidisciplinary artist living and working in Fremantle, Western Australia. Hornum works across a range of media including analogue photography, video and installation art. During her residency, Emily worked on her project The world is full of hams, a video work created from 90s advertisements and TV footage from found VHS tapes.

Images: Top to bottom. Photo: OK Media. Photo: Adele Wilkes. Image: BoMa, 2017. Photograph Michael Tartaglia, Photo courtesy the artists

Images: Top to bottom. Image: Sacha Barker, Mindfield: The Sewing Seeds, 2017. Image: Elham Eshraghian at Open Studio, 2018. Photo: Gianni Costa. Image: Emily Hornum, The World is Full of Hams, Installation View, 2018. Photo courtesy the artist

Artist Development

Yao Jui-Chung (TWN)

Rebecca Riggs-Bennett (WA)

1 – 27 August Studio One

1 November – 23 December Studio One

Yao Jui-Chung is a researcher, lecturer, curator and artist based in Taipei whose broad practice incorporates photography, installation and painting. Yao is known for projects that studiously document built urban environments and investigate the social and political foundations on which they are constructed. During his residency Yao explored Perth’s metropolitan landscape, undertaking site-specific research and meeting with local collaborators.

Elsewhere/Rebecca (Rebecca Riggs-Bennett) is an emerging electronic music producer, sound artist and composer for different forms of performance. Her music is an almost otherworldly collection of ambient rhythms and dreamlike beats that playfully meet her own sound design and soundscape work. Rebecca’s practice combines sound, music and audio with live performance to create alternative, unconventional and immersive experiences for her audiences.

This residency was supported by Kuandu Museum of Fine Art, Taipei; City of Perth, North Metropolitan TAFE and Turner Galleries, Perth.

Drew Pettifer (VIC) 12 November – 20 December North Metropolitan TAFE / PICA Dr Drew Pettifer’s art practice explores themes of intimacy, gender, sexuality and the politics of desire using photography, video, installation and performance. During this residency, Pettifer continued research on a photographic and archival art project that explores the events around the shipwreck of the Dutch East India Company’s Zeewijk, which saw two young Dutch men sentenced to death for sodomy in one of the first judicial acts on Australian soil. This residency was supported by North Metropolitan TAFE

Christoven Tan (SGP) 5 November – 23 December Studio Zero

歸屬 Gui Shu (Belong) Steamworks Arts 5 – 11 November PICA Performance Space 歸屬 Gui Shu (Belong) is an immersive performance experience combining sound, film and choreography. An intercultural collaboration between Australia and Taiwan, the work has been developed over three years through residencies in Taipei, Mandurah, Bundanon and Perth. This stage of development teamed Director Sally Richardson and Vision Designer Ash de Prazer with Pilar Mata Dupont as Visual Dramaturg for the first time. They explored the work’s interdisciplinary form, with a particular focus on integrating the performance and installation with existing video material. Director: Sally Richardson Vision Design: Ashley de Prazer Visual Dramaturg: Pilar Mata Dupont Produced by Performing Lines WA

Christoven Tan is a Singaporean contemporary composer and musician whose practice seeks to redefine classical viola performance and the image of the Artist. During his residency, Tan developed a multi-layered performance that expanded the experience of listening and investigated ways sound can intersect with vision and materiality through the use of archival footage and graphic notation. Images: Top to bottom. Image: Yao Jui-Chung studio residency at PICA. Photo: Alessandro Bianchetti. Image: Drew Pettifer at Open Studio, 2018. Photo: Susie Blatchford. Image: Christoven Tan performing at Open Studio, 2018. Photo: Susie Blatchford

Images: Top to bottom. Image: Rebecca Riggs-Bennett at Open Studio, 2018. Photo: Susie Blatchford. 歸屬 Gui Shu (Belong) Development, 2018. Photo: Ashley de Prazer

Artist Development

Labs and Workshops

Howl Artist Lab 16 – 28 July Aphids’ Willoh S.Weiland, Lara Thoms, Lz Dunn and Mish Grigor worked with 4 WA artists to recreate and perform Howl for its adaptation at PICA. This learning opportunity focused on methodologies for collaboration, experimental performance, and sitespecificity, examining the evolving contexts of art making historically, in WA and the current moment in history.

KISS club

Lab participants: Noemie Huttner-Koros, Jenn Jamieson, Loren Kronemyer & Rhiannon Peterson

Residency and Lab 7 – 24 May Showing 25 May PICA Performance Space

Kira O’Reilly Workshop: Performing with Non Human Others

This annual performance event for ideas in development presented the opportunity to help shape and support new work by Perth’s performance makers. For the second time, KISS club was cocurated and presented by pvi collective and PICA. Artists: Michelle Aitken, Joe Lui, Jess Nyanda Moyle & Holly Pooley Bridget Le May & Mararo Wangai Charlotte Otton with accompaniment by George Ashforth Rhiannon Petersen Sally Richardson and Daisy Sanders Q&A with Amy Barrett-Lennard and Huia Mcglinchey Presented by PICA & pvi collective Concept created by: Karen Therese

23 – 24 October PICA’s Performance Space and offsite surrounding areas Kira O’Reilly, in participation with her exhibition in HyperPrometheus, led an artist workshop for 12 WA artists exploring body, site and time-based practices.

I feel incredibly lucky to have been part of this workshop program. The chance to engage with an international artist in a workshop environment that is supported by a local venue is a very rare opportunity!

Workshop participants: Michelle Aitken, Gaea Anastas, Janet Carter, Sarah Chaffey, Noemie Huttner-Koros, Jenn Jamieson, Patrick Kain, Tanya Lee, Josten Mybergh, Joshua Pether, Sally Richardson & Therese Roberts.

– Workshop participant

Hatched Professional Development Forum: Establishing Strong Practice Saturday 19 May PICA Performance Space This panel offered an opportunity to hear from an extraordinary line up of speakers from across Australia with insights into navigating the art world today. National leaders in the arts sector and renowned artists shared experiences and cultivated an exchange of ideas aimed at supporting artists at all stages of their career. Speakers: Esther Anatolitis, Executive Director NAVA, Laura McLeod, Director Visual Arts, Australia Council for the Art, Eve Sullivan, Editor Artlink, Rebecca Baumann, Artist Facilitated by Abdul-Rahman Abdullah, Artist

Image Top to Bottom: KISS club, 2018. Photo: David Cox. Image: Hatched Professional Development Forum, 2018. Photo: Gianni Costa

Jo Lloyd & Anny Mokotow Workshop: Collaborations – A Room of Dramaturgs 12 – 23 November Middar Room, State Theatre Centre of WA Jo Lloyd and Anny Mokotow imparted the methodology they employed for Confusion for Three over an intensive 2 week workshop for 9 artists, that culminated in a showing on 22 November. Workshop participants: Natalie Allen, Hampus Bergenheim, Sofie Burgoyne, Christopher Chua, Alison Finn, Sheridan Gerrard, Piaera Lauritz, Xin Ong and Emily Star. Presented with Strut Dance

Images: Top to bottom. Image: Howl, Aphids, 2018. Photo: Aaron Claringbold. Image: Kira O’Reilly Workshop, 2018. Photo courtesy PICA. Image: Confusion for Three, Jo Lloyd, 2018. Photo: Christophe Canato

Events and Public Programs

Image: Greater Together, 2018. Photo OK Media

Events and Public Programs

In conversation: Renée Newman & James Berlyn

Hatched Canvass: Alumni in Conversation

Hatched Artist in Residence – Open Studio

6 February PICA Central Gallery Facilitated by Meri Fatin

21 April Speakers: Liam Colgan, Carly Lynch, Graham Mathwin PICA Performance Space

Artist: Elham Eshraghian PICA Studio Zero

Exhibition Opening: Zone of Nowhere 16 February PICA Galleries

Hatched Artist Talks An Illustrated Lecture with Professor Chu Teh-I 28 April Speaker: Professor Chu Teh-I PICA Performance Space

Diversity KPOP Dance Workshop 31 March King Street Arts Centre

Showing: Jupiter Orbiting Joshua Pether 13 April PICA Performance Space

Hatched Opening Night Party 2018 18 May PICA Galleries, PICA Bar & Perth Cultural Centre Amphitheatre

Hatched Open Day 2018 19 May Performance

Kimsooja Art Walk 14 & 20 April Facilitated by Caroline Forsburg PICA Galleries, Urban Orchard and AGWA

Reflections – Make your own Kaleidoscope 17 – 18 April Facilitated by Phoebe Tran PICA Education Studio

I miss when I had a good time made things and had laughter Artist: Yuval Rosinger PICA Education Studio Performance

Artists: Mandy Quadrio, Dean Cross, Kirstie Louise Scullen, Tri Minh Tran Facilitated by Esther Anatolitis PICA Galleries

Burrbgaja Yalirra pre-show panel talk 9 June Speakers: Dalisa Pigram & Rachael Swain Facilitated by Cassie Lynch PICA Performance Space

Burrbgaja Yalirra post-show Q&A 14 June Speakers: Edwin Lee Mulligan, Eric Avery & Miranda Wheen Facilitated by Kyle Morrison PICA Performance Space

Tactile Tour of Hatched 2018 23 June Facilitated by DADAA PICA Galleries

Empty Bags Artist: Olivia Fisher PICA Studio One Performance

Image: Kimsooja, Zone of Nowhere, Exhibition Opening, 2018. Photo: Alessandro Bianchetti

Hatched Open Studio 23 June Artists: Elham Eshraghian (WA), Sacha Barker (WA) and Kate Bohunnis (SA) Facilitated by Eugenio Viola PICA Galleries & Studios

Events and Public Programs

Stitch & Bitch: A Quilting Workshop

The Communication Series #1 4 August

3 July Facilitated by Eric C and her mother Linda PICA Reading Room

In Conversation with Khaled Sabsabi

Cardboard Carpentry Workshop 10 July Artist: Sacha Barker PICA Reading Room

Stories From Her 14 July Speakers: Esther McDowell, Shirley McPherson Facilitated by Cassie Lynch PICA Ground Floor Galleries

GREATER TOGETHER Late Night Party Saturday 21 July Artists: Aphids, The Huxleys, Jen Jamieson, Loren Kronemyer House Of Bok, Mummy’s Plastic Alex Lekias, Wompp, Hyclass Jamilla, Jane Jaya Ayres, Nicole Filev, Lana Rothnie PICA Building

An Illustrated Lecture with Amalia Pica 1 August PICA Performance Space

Exhibition Openings: A Self Portrait and please open hurry

Speakers: Khaled Sabsabi, Eugenio Viola PICA Ground Floor Galleries

Catalogue of great ape gestures (in alphabetical order) Dancer: Storm Helmore PICA First Floor Gallery Performance

An Illustrated Lecture and Open Studio with Yao Jui-Chung 18 August PICA Performance Space and Studio Zero

The Communication Series #2 8 September Art & Identity: Muslim Artists in Western Australia Speakers: Marziya Mohammedali, Aisyah Aaqil Sumito Facilitated by Abdul-Rahman Abdullah PICA Performance Space

Catalogue of great ape gestures (in alphabetical order) Artist: Storm Helmore First Floor Gallery Performance

The Communication Series #3: Beginners AUSLAN Workshop 22 September PICA Performance Space

Mental Health Week: Self Care in the Arts 10 October Speakers: Kelli McCluskey, Stuart Halusz, Jen Jamieson, Shona Erskine, Amy Welsh PICA Performance Space

Beyond The Body: An Illustrated Lecture With Kira O’Reilly

Events and Public Programs

Post Show Q&A: Confusion for Three

An Illustrated Lecture with Justin Shoulder

16 November Speakers: Jo Lloyd, Rebecca Jensen, Shian Law & Anny Mokotow Facilitated by Paul Selwyn Norton PICA Performance Space

8 December PICA Performance Space

Showing: A Room of Dramaturgs

Open Studio 15 December Artists: Rebecca Riggs-Bennett, Drew Pettifer, Christoven Tan PICA Reading Room & Studios

22 November Middar Room, State Theatre Centre of WA Artists: Jo Lloyd, Anny Mokotow, Natalie Allen, Hampus Bergenheim, Sofie Burgoyne, Christopher Chua, Alison Finn, Sheridan Gerrard, Piaera Lauritz, Xin Ong and Emily Star.

13 October PICA Performance Space

Exhibition Opening: HyperPrometheus 19 October PICA Galleries

HyperPrometheus Artist Talks 20 October Speakers: Nina Sellars, Tarsh Bates Facilitated by Eugenio Viola PICA Galleries

Open Studio 27 October Artist: Emily Hornum Facilitated By Jenn Garland Studio Zero

3 August PICA Galleries

Image: Stories From Her, 2018. Image courtesy PICA

Aperitivo with Eugenio Viola 15 December PICA Reading Room

Donor Events

Image: Greater Together, 2018. Photo OK Media

Foray into Fringe Seeking basic needs and other talks of excess and yourseven 10 February PICA Performance Space & Reading Room

VIP Exhibition Preview: Zone of Nowhere

Donor Events

VIP Exhibition Preview: Hatched National Graduate Show 2018

VIP Exhibition Preview: A Self Portrait and please open hurry

18 May PICA Galleries

3 August PICA Galleries

Opening Night: Burrbgaja Yalirra (Dancing Forwards)

Curator’s Tour to Naples & Palermo 10 – 19 September Italy

16 February PICA Galleries

8 June PICA Performance Space & Reading Room

An Adelaide Art Adventure

ART Hour: Hatched

VIP Exhibition Preview: Hyperprometheus: The Legacy of Frankenstein

2 – 4 March Adelaide

28 June PICA Galleries

19 October PICA Galleries

Lunchtime Conversation with Frankie Airey

ART Hour: Artist talk with Dan McCabe

Fremantle Studio Tour & 2019 Program Announcement

7 March State Theatre Centre Board Room

15 July Moore Contemporary

Saturday, 2 December Fremantle Art Centre, Artsource Studios and PSAS

Director’s Circle Gathering

GREATER TOGETHER VIP Banquet

2 May Private home

Saturday 21 July PICA Building

Image: Aperitivo with Eugenio, 2018. Photo: Susie Blatchford

Donor Events

Tours An Adelaide Art Adventure

Napoli & Palermo Trip

2 – 4 March 2018

10 – 19 September 2018

Art Ambassadors and Director’s Circle donors experienced a whirlwind few days in Adelaide to experience the festival city at its best and to enjoy a tailored program of exclusive “insider” tours and events lead by PICA Director Amy Barrett-Lennard and Senior Curator Eugenio Viola, with a little help from their Adelaide friends. The program started with the preview and VIP opening of the 2018 Adelaide Biennial of Australian Art: Divided Worlds at the Art Gallery of South Australia and artist talks across the weekend.

A group of Director’s Circle donors joined Senior Curator, Eugenio Viola and Director Amy BarrettLennard on an adventure to Naples and Palermo.

Artist talks and tours of key galleries as part of the Biennial included The Anne & Gordon Samstag Museum of Art, the Jam Factory, ACE Open, Tandanya National Indigenous Cultural Institute, the Santos Museum of Economic Botany and the Adelaide Botanic Gardens kept everyone moving. Saturday culminated with the Festival performance of Memorial by Alice Oswald.

Images courtesy PICA

Eugenio’s network of gallerists, collectors and curators showed our donors a rare and unique perspective on Naples and its hidden treasures. Highlights of the trip included a thrilling mix of private tours of major contemporary art galleries and collections. Heritage and archeological museums featured, including a tour of the restoration in progress of the 14th Century Palazzo Caracciolo di Avellino, the home of the Morra Greco Foundation. A visit to Vigna San Martino, overlooking the Bay of Naples was a unique and beautiful respite for the travellers. The journey continued to Palermo, Sicily for the European biennial of contemporary art Manifesta 12.

Learning

Image: HyperPrometheus, Exhibition Opening, 2018. Photo: OK Media

Learning

Learning Program Learning programs at PICA seek to foster a lifelong interest in the arts amongst students and young people by introducing them to contemporary art through creative and engaging activities and resources. PICA links its artistic program to curriculum areas and provides free guided tours, education notes and activities for schools, tertiary institutions and community groups.

Since 2011 PICA has partnered with the Bunbury Regional Art Gallery (BRAG) on their annual Iluka Visions Exhibition, a showcase of artworks by High School students from the South West region that has provided PICA with the opportunity to award a participating student with an internship at PICA. This year BRAG invited PICA to broaden their engagement with the exhibition and the community.

In 2018, PICA’s learning programs attracted 3,837 students from over 110 school groups.

PICA’s Front of House Manager and practising local artist, Jenn Garland joined the selection panel for the exhibition in August and visited 15 schools in the region while PICA’s Exhibitions Manager, Charlotte Hickson delivered a presentation to students at BRAG’s professional development event in September that explored career pathways in the arts. In October, PICA Director, Amy Barrett-Lennard was thrilled to officially open the Iluka Visions exhibition at BRAG and present the exhibition’s awards, including the PICA Internship award.

17 February – 29 April

17 & 18 April

4 August – 7 October

Kimsooja: Zone of Nowhere: School tours, activity sheets, education notes

KickstART Festival: Reflections – Make your own kaleidoscope workshop with Phoebe Tran

A Self Portrait and please open hurry: School tours, activity sheets, education notes

19 May – 15 July

4 August - 7 October

Hatched: National Graduate Show 2018: School tours, activity sheets, education notes

All Ages Activity: Create Your Own Lexigram

17 February – 29 April

All Ages Activity: Design A Flag 31 March

Diversity KPOP Dance Workshop

19 May – 15 July 14 & 20 April

KickstART Festival: Kimsooja Art Walk

All Ages Activity: Printing Plants

20 October – 23 December

HyperPrometheus: The Legacy of Frankenstein: School tours, education notes 20 October – 23 December

All Ages Activity: Monster Making

Image: HyperPrometheus, Exhibition Opening, 2018. Photo: Steven Aaron Hughes

Financial Report

Image: Stelarc, StickMan / miniStickMan. Photo: Steven Aaron Hughes

Financial Report

The directors present their report on Perth Institute of Contemporary Arts Limited (PICA) for the financial year ended 31 December 2018.

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.

General information

No significant changes in the nature of the Company's activity occurred during the financial year.

Directors The names of the directors in office at any time during, or since the end of, the year are:

Mission

Names Appointed/Resigned

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.

Amy Barrett-Lennard

Goals

Robyn Glindemann

The Company's goals are:

Ben Opie Resigned 10.01.2018

• • • • • • • •

James Brown Appointed 26.02.2018 Susanna Castleden Marco D'Orsogna Joanne Farrell Neil Fernandes Josephine Wilson

End of Terms 26.05.2018

Abdul-Rahman Abdullah Kenley Gordon

Directors have been in office since the start of the financial year to the date of this report unless otherwise stated.

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

Financial Report

Key performance measures

2018 Key Performance Indicator

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.

Commission, produce, curate and present high impact contemporary arts projects Foster Experimentation and Risk

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

Foster Experimentation and Risk

Interdisciplinary projects supported each year

Cross-discplinary laboratory and/or commission

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

Community partnerships

105

Regional engagements

Audience numbers

280,000

298,702

Unpaid media coverage

700

516

Campaigns that focus on equality and inclusion

Percentage of surveyed audiences who would recommend PICA

95%

Partner & collaborate locally, nationally and globally

Develop diverse and engaged audiences for contemporary art

2018 Target

2018 Actual

New exhibitions, productions and publications created each year

Interdisciplinary projects supported each year

Cross-discplinary laboratory and/or commission

Percentage of artists who felt they were able to take risks at PICA

75%

87%

Regional, national or international collaborations in the creation or presentation of new work

Community partnerships

Regional engagements

Audience numbers

300,000

309,837

Unpaid media coverage

700

572

Campaigns that focus on equality and inclusion

Percentage of surveyed audiences who would recommend PICA

95%

82%

Provide cultural leadership

Participation on boards, panels, industry events

Create innovative arts learning experiences

Attendees/participants in learning programs

3,800

3,837

Public program attendance/participation

7,200

7,215

Maintain a committed and motivated board and staff

Investment in Professional Development

$22,000

$18,834

Volunteers

Annual board audit and review

Cash reserves

20%

24%

Foundation corpus^

$5 Mill

Partner & collaborate locally, nationally and globally

Develop diverse and engaged audiences for contemporary art

Build organisational sustainability Provide cultural leadership

Participation on boards, panels, industry events

Create innovative arts learning experiences

Attendees/participants in learning programs

3,600

3,983

^Organisational Sustainability Strategy has shifted focus to alternative income streams.

Public program attendance/participation

6,500

9,283

Members' guarantee

Investment in Professional Development

$18,000

$14,761

Volunteers

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.

Annual board audit and review

Cash reserves

20%

23%

Foundation corpus

$2.5 Mill

Maintain a committed and motivated board and staff

Build organisational sustainability

At 31 December 2018 the collective liability of members was $ 18 (2017: $ 20).

Financial Report

Directors’ Report For the Year Ended 31 December 2018

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

Robyn Glindemann Experience Special Responsibilities

Josephine Wilson

(End of Terms 26.05.2018)

Experience

Performer, Dramaturg, Writer

Abdul-Rahman Abdullah Lawyer, Environment, Native Title and Corporate Social Responsibility Advisory Chairperson

Experience Artist

Kenley Gordon

Ben Opie

Experience Experience Special Responsibilities

Marketing and Communications

Corporate Tax, Accounting and Corporate Advisory Treasurer (Resigned 10.01.2018) Directors have been in office since the start of the financial year to the date of this report unless otherwise stated.

James Brown Experience Special Responsibilities

Corporate Tax, Accounting, Risk Management and Treasury Treasurer (Appointed 26.02.2018)

Susanna Castleden Experience Academic, Artist

Marco D’Orsogna Experience Special Responsibilities

Company Director and Businessman ‑ Food Manufacturing and Processing, Fellow of the Australian Institute of Company Directors Deputy Chairperson

Joanne Farrell Experience

Human Resources, Organisational Compliance

Neil Fernandes Experience

Education, Governance, Strategy and Policy

Financial Report

Meetings of directors During the financial year, 6 meetings of directors were held. Attendances by each director during the year were as follows:

Directors’ Meetings

Number eligible to attend

Number attended

Amy Barrett‑Lennard

Robyn Glindemann

Ben Opie

–

James Brown

Susanna Castleden

Marco D’Orsogna

Joanne Farrell

Neil Fernandes

Josephine Wilson

Abdul-Rahman Abdullah

Kenley Gordon

Signed in accordance with a resolution of the Board of Directors: Director: Robyn Glindemann

Date: 7 May 2019

Financial Report

Statement of profit or loss and other comprehensive income

Financial Report

Statement of Financial Position As At 31 December 2018

For the Year Ended 31 December 2018

Note

2018 $

2017 $

Note

2018 $

2017 $

ASSETS

2,137,533

2,314,662

CURRENT ASSETS

Administration expenses

(372,875)

(321,846)

Cash and cash equivalents

979,697

1,089,309

Cost of sales

(1,624)

(61,100)

Trade and other receivables

25,490

83,774

Depreciation and amortisation expense

(23,844)

(22,622)

Other assets

7,552

4,162

Marketing and promotion expenses

(151,983)

(155,377)

TOTAL CURRENT ASSETS

1,012,739

1,177,245

Program and production expenses

(291,108)

(246,491)

NON‑CURRENT ASSETS

Salaries, wages and consultant expenses

(1,298,761)

(1,452,985)

Property, plant and equipment

41,466

54,792

(Deficit) Surplus before income tax

(2,662)

54,241

TOTAL NON‑CURRENT ASSETS

41,466

54,792

–

TOTAL ASSETS

1,054,205

1,232,037

(Deficit) Surplus for the year

(2,662)

54,241

Other comprehensive income Total comprehensive income for the year

–

Total comprehensive income for the year

(2,662)

54,241

Revenue

Income tax expense

2(h)

The accompanying notes form part of these financial statements

LIABILITIES CURRENT LIABILITIES Trade and other payables

95,237

196,829

Income in advance

350,959

422,934

Employee benefits

87,836

93,501

534,032

713,264

11,252

7,190

TOTAL NON-CURRENT LIABILITIES

11,252

7,190

TOTAL LIABILITIES

545,284

720,454

NET ASSETS

508,921

511,583

36,000

Retained Earnings

472,921

475,583

TOTAL EQUITY

508,921

511,583

TOTAL CURRENT LIABILITIES NON-CURRENT LIABILITIES Employee benefits

EQUITY Reserves

The accompanying notes form part of these financial statements

Financial Report

Statement of Changes in Equity

Statement of Cash Flows

For the Year Ended 31 December 2018

2018 Balance at 1 January 2018

Note

Retained Earnings $

General Reserve $

Total $

475,583

36,000

511,583

2018 $

2017 $

Cash received in the course of operations

575,804

670,113

CASH FLOWS FROM OPERATING ACTIVITIES:

Deficit attributable to members of the entity

(2,662)

â&#x20AC;&#x201C;

(2,662)

Receipt from grants

1,587,522

1,626,699

Balance at 31 December 2018

472,921

36,000

508,921

Payments to suppliers and employees

(2,266,283)

(2,239,437)

Interest received

4,863

6,095

(99,094)

63,470

Net cash provided by operating activities 2017

18(b)

Retained Earnings $

General Reserve $

Total $

Balance at 1 January 2018

421,342

36,000

457,342

Surplus attributable to members of the entity

CASH FLOWS FROM INVESTING ACTIVITIES:

54,241

â&#x20AC;&#x201C;

54,241

Purchase of property, plant and equipment

(10,518)

(2,228)

Balance at 31 December 2017

475,583

36,000

511,583

Net cash used by investing activities

(10,518)

(2,228)

Net (decrease)/increase in cash and cash equivalents held

(109,612)

61,242

Cash and cash equivalents at beginning of year

1,089,309

1,028,067

979,697

1,089,309

The accompanying notes form part of these financial statements

Cash and cash equivalents at end of financial year

18(a)

The accompanying notes form part of these financial statements

Financial Report

Notes to the Financial Statements For the Year Ended 31 December 2018

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.

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 depreciation rates used for each class of depreciable asset are shown below:

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.

Plant and Equipment 10 - 40% Motor Vehicles 25% Leasehold Improvements 11%

Class of Fixed Asset

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.

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.

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).

Depreciation rate

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.

(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.

Financial Report

(d)

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)

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.

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.

Contributions are made by the company to employee nominated superannuation funds and are charged as expenses when incurred.

(ii) Financial liabilities

(ii) Other long-term employee benefits

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.

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.

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.

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.

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.

Employee benefits (i) Short-term employee benefits

(i) Loans and receivables

(c)

Cash and cash equivalents

(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.

(g)

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.

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.

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.

â&#x20AC;&#x153;Fair valueâ&#x20AC;? 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.

Donations

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.

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.

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).

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

For non-financial assets, the fair value measurement also takes into account a market participantâ&#x20AC;&#x2122;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)

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).

Income Tax The Company is exempt from income tax under Division 50 of the Income Tax Assessment Act 1997. (i) Revenue and other income

(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).

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.

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.

(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)

Notes to the Financial Statements For the Year Ended 31 December 2018

Comparative figures When required by Accounting Standards, comparative figures have been adjusted to conform to changes in presentation for the current year.

(m)

Financial Report

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 in-kind support using values given by the external parties providing the support.

3 Revenue 2018 $

2017 $

Core grants

1,306,326

1,299,276

Other grants

167,021

212,196

Sponsorships/donations

412,296

461,212

Other income

247,027

335,883

Interest income

4,863

6,095

Total Revenue

2,137,533

2,314,662

4 Result for the Year The result for the year includes the following specific expenses:

(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

Expenses

2018 $

2017$

- Plant and equipment

17,193

15,816

- Leasehold improvements

3,305

5,174

- Motor vehicles

3,346

1,632

Total Depreciation and Amortisation

23,844

22,622

7,413

5,998

2018 $

2017 $

Cash at bank

978,697

1,088,309

Cash on hand

1,000

979,697

1,089,309

Depreciation and Amortisation

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 Directorsâ&#x20AC;&#x2122; expectation is that the Company will continue as a going concern.

â&#x20AC;&#x2018; Minimum lease payments

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-bymonth 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.

5 Cash and Cash Equivalents

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.

Rental expense on operating leases:

Note

Financial Report

6 Trade and Other Receivables

7 Other Assets 2018 $

2017 $

CURRENT

2018 $

2017 $

7,552

4,162

7,552

4,162

CURRENT

Trade receivables Provision for impairment

Financial Report

6(a)

Other receivables

19,744

150,401

–

(66,627)

5,746

–

25,490

83,774

Prepayments

8 Property, plant and equipment

2018 $

2017 $

PLANT AND EQUIPMENT

(a) Provision for impairment Provision for impairment as at 1 January 2017

–

Plant and equipment

Change for the year

66,627

At cost

81,898

753,582

Provision for impairment as at 31 December 2017

66,627

Accumulated depreciation

(51,855)

(716,864)

Written off

(66,627)

Total plant and equipment

30,043

36,718

Provision for impairment as at 31 December 2018

–

Motor vehicles At cost

16,364

Accumulated depreciation

(16,364)

(13,018)

Total motor vehicles

–

3,346

At cost

47,131

155,165

Accumulated depreciation

(35,708)

(140,437)

Total leasehold improvements

11,423

14,728

Total property, plant and equipment

41,466

54,792

The Company writes off a trade receivable when there is available information that the debtor is in severe financial difficulty and there is no realistic likelihood of recovery.

(b) Financial assets classified as loans and receivables 2018 $

2017 $

Note Trade and other receivables ‑ total current

25,490

83,774

Less:

–

GST receivable

(5,746)

–

19,744

83,774

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

The carrying value of trade receivables is considered a reasonable approximation of fair value due to the short‑term nature of the balances. The maximum exposure to credit risk at the reporting date is the fair value of each class of receivable in the financial statements.

Plant and Equipment $

Motor Vehicles $

Leasehold Improvements $

Total $

Year ended 31 December 2018 Balance at the beginning of year

36,718

3,346

14,728

54,792

Additions

10,518

–

10,518

Depreciation expense

(17,193)

(3,346)

(3,305)

(23,844)

Balance at the end of the year

30,043

–

11,423

41,466

Financial Report

9 Trade and Other Payables

Financial Report

11 Employee Benefits

Note

2018 $

2017 $

CURRENT

2018 $

2017 $

CURRENT

Trade payables

73,976

65,880

Provision for annual leave

37,403

44,430

GST/PAYG payable

â&#x20AC;&#x201C;

108,987

Provision for long service leave

50,433

49,071

Sundry payables and accrued expenses

16,261

16,962

87,836

93,501

Deposits and bonds

5,000

95,237

196,829

11,252

7,190

11,252

7,190

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

2018 $

2017 $

Trade and other payables Total current

95,237

196,829

Less: GST/PAYG payable Financial liabilities as trade and other payables

â&#x20AC;&#x201C;

(108,987)

95,237

87,842

Note

2018 $

2017 $

349,774

382,934

1,185

40,000

350,959

422,934

10 Income in Advance

CURRENT Unspent grants Other deferred income

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).

Financial Report

12 Reserves

Financial Report

14 Key Management Personnel Remuneration 2018 $

2017 $

Improvement and equipment reserve

36,000

Total Reserves

36,000

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 $192,762 (2017: $186,268).

(a) Improvement and equipment reserve

No other Directors received any remuneration for their services.

This reserve was used in prior years to record amounts set aside to fund future equipment purchases and leasehold improvements.

15 Financial Risk Management

13 Leasing Commitments

The Company’s financial instruments consist mainly of deposits with banks, local money market instruments, accounts receivable and payable.

Operating lease commitments

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:

Non‑cancellable operating leases contracted for but not capitalised in the financial statements

2018 $

2017 $

Minimum lease payments under non-cancellable operating leases: ‑ no later than 1 year

6,591

‑ between 1 year and 5 years

1,617

8,208

14,799

The lease relates to hire of office equipment. Lease of Premises

Note

2018 $

2017 $

Cash and cash equivalents

979,697

1,089,309

Loans and receivables

6(b)

19,744

83,774

999,441

1,173,083

95,237

87,842

95,237

87,842

Financial Assets

Total financial assets Financial Liabilities Financial liabilities at amortised cost Trade and other payables Total financial liabilities

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.

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 2018 the number of members was 18 (2017: 20).

17 Operating Segments The Company operates predominately in one business and geographical segment being Western Australia.

Financial Report

18 Cash Flow Information

19 Events after the end of the Reporting Period

(a) Reconciliation of cash

The financial report was authorised for issue on 07 May 2019 by the Board of Directors.

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:

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.

Cash and cash equivalents

2018 $

2017 $

979,697

1,089,309

20 Company Details The registered office and principal place of business of the company is:

(b) Reconciliation of result for the year to cashflows from operating activities

Perth Institute of Contemporary Arts Limited 51 James St PERTH WA 6000

2018 $

2017 $

(2,662)

54,241

Reconciliation of net income to net cash provided by operating activities: (Deficit)/Surplus for the year

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

151,500

304,515

(303,000)

153,015

- Visual Arts Craft Strategy

146,663

295,672

(293,326)

149,009

298,163

600,187

(596,326)

302,024

–

710,000

(710,000)

–

710,000

(710,000)

–

298,163

1,310,187

(1,306,326)

302,024

‑ Visions of Australia Project Grant

36,937

–

(36,937)

–

‑ City of Perth Grant

–

30,000

(12,250)

17,750

- DLGSC Project

47,834

100,000

(117,834)

30,000

84,771

130,000

(167,021)

47,750

382,934

1,440,187

(1,473,347)

349,774

Non‑cash flows in surplus: Depreciation

23,844

22,622

Provision for doubtful debts

22,209

61,060

– (increase)/decrease in trade and other receivables

41,821

(82,881)

– (increase)/decrease in prepayments

(3,390)

(30,436)

– increase/(decrease) in trade and other payables

(107,338)

(21,927)

– increase/(decrease) in income in advance

(71,975)

34,442

– increase/(decrease) in employee benefits

(1,603)

(9,493)

Cashflow from operations

(99,094)

63,470

Changes in assets and liabilities:

Australia Council Core Grants

State Arts Funding ‑ DCA Core Grant

Total Core Grants

Other Grants (c) Credit standby arrangement and loan facilities The company has no credit standby or loan facilities.

Total

Financial Report

Directors' Declaration The directors of the Company declare that:

1. The financial statements and notes, as set out on pages 5 to 21, 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 2018 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: 7 May 2019

Financial Report

100

PICA Board and Staff

PICA Board and Staff BOARD Robyn Glindemann Marco D’Orsogna Ben Opie James Brown Abdul-Rahman Abdullah Amy Barrett-Lennard Susanna Castleden Joanne Farrell Neil Fernandes Kenley Gordon Josephine Wilson

Chair Deputy Chair Treasurer (until January) Treasurer (from January) (ex-officio)

(until May)

STAFF Director Amy Barrett-Lennard Caris Harper General Manager Jennifer Garland Front of House Manager Eugenio Viola Senior Curator Charlotte Hickson Exhibitions Manager Tim Carter Producer Charlotte Cooper-Dixon Engagement Coordinator (until May) Sarah Rowbottam Guest Curator (May – July) Kira Rikkers Communications Manager Tim Meakins Graphic Designer Joshua Allen Marketing Assistant (until May) Zoe Hollyoak Marketing Assistant and Events Coordinator (April – December) Jo Malone Development Manager Sophie Johnson Development Officer (June – December) Suzanne Fielding Accountant

CASUAL STAFF Matt Bairstow, Ben Bannan, Bridget Bathgate, Dan Bourke, Lydia Bradshaw, David Brophy, Amanda Campbell, Damien Capone, Gary Carter, Alex Coles, Liam Colgan, Caroline Forsberg, Tim Green, Brent Harrison, Mark Homer, Miranda Johnson, Simone Johnston, Isaak Karagoglou, Guillermo Kramer, Alexandra Lekias, Giorgia Mack, Olivia Nicholls, Amy Perejuan-Capone, Annabella Snell, Phoebe Tran, Tron Tran, Andrew Varano, Claire Wohlnick, Hans-Dieter Zeh INTERNS Ben Bannan, Sesha Dalton, Leslie Rigot, Evana Tanner VOLUNTEEERS Anastasia Beasley, Hannah Boulton, Maddy Collins, Natsumi de Dianous, Nikki de Zwart, Aimee Doyle, Fernanda Gerdes, Holly Langford-Smith, Kyung-ei Lee, Phoebe Mulcahy, Fariha Rehman, Carolyn Smith, Rose Stewart, Kiara Vincent, Alisa Waddell, Heidy Asri Kumala Yunita

Image: Aperitivo with Eugenio, 2018. Photo: Susie Blatchford

102

Thank You

Thank You Foundations

ART Commissioner

ART1000 Donors

Ungar Family Foundation

Golden Group

Bequests

Director’s Circle

Dr Harold Schenberg Griselda Hitchcock, estate of Shelagh Wakely, artist

David Martin Marco D’Orsogna Joanne Farrell Desi and Marcus Canning Frédéric and Capucine Flipo Allan Miles and Steven Shadwell Adrian and Michela Fini Michael and Liza Blakiston Jamie Price and Gillian Gallagher Zelinda Bafile

Neil Archibald and Alan Dodge Justin and Amanda Mannolini Naomi Button Henry Boston Penelope Eagle Linda and Andy Robb Elizabeth Fong Carole Peters Christian Lyon and Russell Date Turner Galleries Liz Terracini Rodney and Penelope Thompson Evi Ferrier Amy Barrett-Lennard and Michael Levine Tim Doyle Perth Veterinary Oncology Jo and Michael Malone OAM Sign Supermarket St John of God Health Care Art Collection Yen Lee Marisa D’Orsogna Franklin Gaffney Margaret Moore James Brown and Kim Mercer Dr Andrew Lu OAM and Dr Geoffrey Lancaster AM Neil Fernandes Amy’s Friends Bevan Honey Genevieve Simpson Anonymous x 1 Warwick Hemsley Willy and Mimi Packer

ART Patrons Charles Morgan and Caroline De Mori Desi and Marcus Canning Tim Bradsmith Bux Charitable Foundation Tony Chong Ben and Kate Opie Marco D’Orsogna Di and Jeff Hay Griselda Hitchcock Matthew Howison Joanne Farrell William Kentridge Golden Group Fred and Georgina Nagle Véronique Ramén Wesfarmers Robyn Glindemann Zoé Lenard and Hamish Milne Michael and Liza Blakiston Frédéric and Capucine Flipo David Martin Adrian and Michela Fini Franklin Gaffney Darryl Mack and Helen Taylor Ungar Family Foundation Zelinda Bafile

ART Ambassadors Zoé Lenard Hamish Milne Waldemar Kolbusz Georgia Malone Robyn Glindemann Melvin Yeo Sandra Barrett-Lennard Patti Simpson and Michael Bennett Rob and Lola Wilson Darryl Mack and Helen Taylor Bux Charitable Foundation Dane Etheridge and Brooke Fowles

Image: Kimsooja, Zone of Nowhere, Exhibition Opening, 2018. Photo: Alessandro Bianchetti

104

Thank You

Thank You Government Partners

Community Engagement Partner

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

Beverage Partners

Freight Partner

Hospitality Partner

Corporate Partners

Additional Partners Art Guide, Art Monthly, Artist’s Chronicle, ArtLink, Business News, Concreto, Discus Digital Print, Fabric Quarterly, Fineline Print, Fox & Rabbit, Generics, Ginger B, Grand Cru, Grandiflora, Hickey Hardware, Highgate Continental, Limeburners, Out in Perth, Periscope, Petition, Plastic Sandwich, QT, RTR FM, Scoop Digital, Segway, Sign Supermarket, State Theatre Centre, Streetpitch, Sue Lewis Chocolatier, The Como, Tres Amici, UWA Grounds, Wildflower, William St Cycles, William Topp Program Partners Perth Festival, FRINGE WORLD, Edith Cowan University, WAAPA, WA Youth Theatre Company, pvi collective, Marrugeku, Carriageworks, UWA Cultural Precinct, Next Wave Festival, Aphids, Metropolitan Redevelopment Authority, State Library of Western Australia, Disrupted Festival of Ideas, Centre for Stories, Institute of Modern Art Brisbane, North Metropolitan TAFE, turner galleries, Segway WA, SymbioticA, University of Western Australia, Performing Lines WA, STRUT Dance, AWESOME Festival, Propel Youth Arts WA, Australian Cultural Fund, Whiskey + Boots, The Blue Room Theatre Art Addicts Partners Alex Hotel, Art Gallery of Western Australia Shop, Black Swan State Theatre Company, Chicho Gelato, City Toyota, Co3, Francoforte Spaghetti Bar, Generics, Highgate Continental, Jacksons Drawing Supplies, Lil Toastface, Livingstone’s Ubran Jungle, Luna Palace Cinemas, No Mafia, Northside Books, PICA Bar + Café, Pretzel, RTR FM 92.1, The Blue Room Theatre, UWA Publishing, William Topp

Image: A Self Portrait & please open hurry, Exhibition Opening, 2018. Photo: OK Media

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