The Adelaide Review August 2013

THE Adelaide

REVIEW Issue 402 August 2013

adelaidereview.com.au

SALA Monograph recipient Stephen Bowers is one of more than 4900 local artists participating in the biggest visual arts festival in the world, SALA

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Amanda Duthie & Sophie Black

Being Glenn Gould

Salome

Patrick Allington profiles the new Directors of the Adelaide Film Festival and Adelaide Festival of Ideas

Stephen Orr on the outsider genius that is Glenn Gould

The State Opera returns with the 20th century’s most controversial opera, Salome

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HIGHLIGHTS FROM THIS YEAR’S PROGRAM

Meeting with

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4 The Adelaide Review August 2013

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RAH DESIGN COMPETITION

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Does the RAH Design Competition signal a shift in the way projects are procured in this state

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5 THE ADELAIDE REVIEW AUGUST 2013

FEATURE

OFF TOPIC:

STEVEN MARSHALL Off Topic and on the record as South Australian identities talk about whatever they want... as long as it’s not their day job.

S

tate Opposition Leader Steven Marshall was the Founding Chairman of Compost for Soils and is a keen gardener who had five organic garden beds in his previous home but unfortunately he’s just moved house.

“I moved from this 120-year-old cottage in Kensington Park where I had five big organic garden beds in the backyard down to this newer unit in Norwood, which has got a very small courtyard garden,” Marshall explains.

“So, I’ve got a couple of tubs with a few things planted in them. I’ll probably get going with those in spring and plant more but I’m not as productive as I have been, which is quite depressing.”

As a child Marshall’s family had a vegie patch but he wasn’t an excellent gardener growing up.

“We always had the obligatory crooked carrots that we grew and silverbeet. I’ve remained a big fan of silverbeet ever since. I became more involved when I joined Jeffries Group and learnt more about organics and

recycling. I met our first Thinker in Residence in South Australia, Herbert Girardet, and he talked about organics and recycling. We had this linear metabolism if you like, we’d tend to harvest stuff from regional, rural South Australia, consume it in the city and then those organics tended to go into landfill. He talked about closed loop recycling; we needed to return those organics back to the soil where they came from originally. It was an interest of mine. So, I eventually set up a group in South Australia called Compost for Soils, which was trying to develop end markets for recycled products. We have this philosophy in South Australia of everyone putting out their green bins and we recycled it, turned into a product but there was no end market. Compost for Soils was about creating a viable end market for that recycled product.”

Compost for Soils is now a national program and the Member for Norwood was part of the original working group that set up the Norwood Community Garden. Everything Marshall grew in his former backyard was on a completely organic basis.

Photo: Andreas Heuer

BY DAVID KNIGHT

Steven Marshall.

“There was a great guy that I met through the community garden who really was an expert in finding different varieties that grew extremely well in our soils and he advised me, really helped me set that up. It was a great sense of joy to walk out to the backyard.

“I was pretty self-sufficient to be quite honest, I’m a vegetarian a couple of days a week, not a full-on vegetarian but you could easily live by what was in your backyard. There’s a movement called Meat Free Mondays and a lot of people say you should have a specific day of the week because then it’s very regular. I’m not very organised because my life is very much about different functions that I attend on a daily basis but I try to just have a couple of days [meat free].

“My backyard changed quite considerably over the 20 years I was there. When I first moved there I was a bachelor, so it was important to have a big lawn so I could have big parties. After I got married we had the cubby house for when we had kids, and then in recent years, after getting more involved in the organic sector, we decided to make it productive. I really liked the concept, remembering what my childhood was like with the family vegie garden; it’s a great sense of achievement growing your own food. It’s that sense of being a little bit self-sufficient. It always tastes better when you’ve grown it yourself.”

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6 The Adelaide Review August 2013

PROFILE

Think & Tell

In 2013 the Adelaide Film Festival moves to October, partnering with the Adelaide Festival of Ideas. In charge of this sibling experiment are two women accustomed to being at the forefront of national ideas and entertainment: Amanda Duthie and Sophie Black.

by Patrick Allington

Amanda Duthie

“

It’s really hard to make a film,” Amanda Duthie, the new Director of the 2013 Adelaide Film Festival (AFF), tells me. It’s a revealing comment, for while Duthie’s passion for the film industry is palpable, what I find even more striking is her empathy for filmmakers and for audiences.

Sure, she has a professional obligation to spruik the festival. But when she describes “gently walking up to this mountain of good material” to decide what to include in the program, there’s reverence in her voice.

Duthie brings a broad definition of ‘film’ to her task, one that hints at a diverse program with a digital edge. “The Adelaide Film Festival is about celebrating film, it’s about work that you can see on the small screen in your living room, it’s about your phone, it’s about the gallery,” she says. What’s particularly appealing about this promised diversity is that instead of asking whether the ‘best stories’ are being told in film or on television (or, for that matter, in books, photographs, theatre or gaming), it shows that great stories can appear in any medium.

Duthie praises the legacy of distinctive and challenging festivals forged by inaugural AFF director Katrina Sedgwick (the two women effectively swapped jobs, with Sedgwick now ABC television’s head of arts). She states categorically that the AFF’s international reputation stems principally from the various projects it has commissioned and/or helped fund. “People in the film industry, in that international circuit, know Adelaide because of those commissioned films. So they might not be able to find it on a map but they definitely know that the Adelaide Film Festival is a hotspot.”

The full 2013 program will not appear until late August, but the teasers released so far all involve projects that the AFF has helped commission and/or fund. Perhaps most significantly, the feature film Tracks will premiere on the festival’s opening night. Tracks recreates the true story of Robyn Davidson, who

as a young woman travelled 2700 kilometres from Alice Springs to the Indian Ocean with camels, her dog and — intermittently — an intrusive US photographer called Rick Smolan.

Duthie lauds the film, adding “I remember reading the book when I was younger and just falling in love with it. Living in Alice Springs for a while and being able to imagine the start of that journey.”

While Duthie’s enthusiasm for Tracks is unsurprising, the personal connection she feels with the story will resonate with many people: Davidson is revered and her book much-loved, while Smolan’s photographs have left an indelible visual record of a remarkable trek. All of that cultural baggage makes it an exciting — but also risky — story to film.

Three projects funded by the HIVE Production Fund will also premiere at the festival —including The Boy Castaways, a rock musical dramatic feature film directed by Michael Kantor and starring singer Megan Washington in her first acting role (if you don’t count The Voice). Duthie stresses the innovative qualities both of HIVE’s funding model and its facilitation of cross-art collaboration. Certainly, the degree of the AFF’s involvement in such projects amounts to an intriguing — and brave — rejection of playing it safe: it matters more if audiences dislike the films.

This year, Margaret Pomeranz and David Stratton from ABC television’s The Movie Show will serve as festival patrons. I ask Duthie if it is possible to be simultaneously patron and critic. “Those two can be anything they want to be,” she says. “Yes, they’re critics but you know what, they’re champions of Australian film. And I just want them to come and hang out in Adelaide for as long they possibly can.”

Duthie suggests that Pomeranz and Stratton remain relevant and popular because “they do feel that responsibility to properly engage with the work and not just go ‘it’s a rotten tomato’”. She’s right, which is exactly why I hope Adelaide gets to witness first-hand their unexpurgated, feisty critical judgments.

The AFF has moved to an October timeslot in part to enable a close creative and administrative collaboration with the Adelaide Festival of Ideas (Duthie also serves as the Festival of Idea’s CEO). Perhaps still reeling from ‘mad March’, I unsportingly ask Duthie if Adelaide might be in danger of becoming ‘over-festivalled’. Her rebuttal is firm but characteristically positive: festivals are, she insists, Adelaide’s “beating heart”.

Sophie Black

E

mploying my best impression of an investigative journalist, I attempt to shake loose details about the 2013 Adelaide Festival of Ideas — themes, a guestlist — from its director, Sophie Black.

She declines to provide specifics — the program remains a work in progress (and for what it’s worth, I’d make an ordinary journo) — but in the meantime we chat about the festival’s legacy and future, the appeal of great minds, and the troubled state of Australia’s national conversation.

A former editor of the daily online news and opinion site Crikey, Black was appointed as Director in May and remains based in Melbourne. As a rusted-on Adelaidean I find convincing — and much-needed — her suggestion that her outsider status might be an advantage “because you approach a city with fresh eyes. You don’t take anything for granted.”

When I ask Black if she misses the cut-andthrust of the news cycle, she is equivocal. “I do miss the adrenaline rush sometimes. It was pretty productive.” But she also suggests her former and current jobs aren’t as different as they might seem. “Editing Crikey was a matter of hosting big ideas and debates and provoking conversations. That was my brief on a daily basis. This has a bit of a longer lead-time. It just has one giant deadline.”

Like many people (and irrespective of individual political ideologies and affiliations), Black expresses frustration with the state of political discourse in Australia. “We look set,” she says, firing up, “to be treated to an election that is about buzzwords, yet again. Despite how clear the public made their feelings known last

THE ADELAIDE REVIEW AUGUST 2013 7

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PROFILE

It’s a really lovely luxury in a lot of ways,” Black says. “To be able to take the long view, to rise above the white noise, and to really think about some of the longstanding issues.

And to tap into people’s brains who are dedicated to one particular field and to really deep thinking in that one particular field.”

Those words — luxury, privilege — offer a pointer, I think, to an odd phenomenon: a downbeat and sometimes angry mood pervades contemporary Australia even though, in a global sense, the nation has a great deal going for it.

audience in the way that a print editor wouldn’t.

It’s always been a conversation, and almost instantaneously. You asked me about the daily deadline but I think that conversation is more addictive than anything else.”

Black’s task as a curator of ideas seems often to come down to a balancing act between abstract theories and concrete solutions; between the global, national and what she calls the “hyper-local”; between the serious and the seriously fun. She agrees with my suggestion that some experts aren’t much good at communicating their ideas to non-experts.

“That’s one of the challenging things about presenting a program. You need people who are great on the page but they have to be able to present their thinking in an engaging way.”

This raises questions worth pondering about those brilliant minds we’ll never hear from, and about whether natural entertainers are more likely than plodding ones to convince an audience.

The Festival of Ideas will run from October 17 to 20. For the first time, it has forged close links with the Adelaide Film Festival.

Black talks with enthusiasm about provoking genuine conversation with audiences. While it’s an unsurprising aim — these days, it seems, everybody has a brief to be ‘interactive’ — Black’s Crikey background gives substance to the aspiration.

“As an online editor I have always had a pretty immediate relationship with the

Sophie Balck and Amanda Duthie

election and how turned off they were. People are turned off by negativity. They’re turned off by the paltry state of our political rhetoric. Or if it’s not paltry, it’s poisonous.”

A festival of ideas seems a fine antidote to soundbites and never-ending opinion polls. “It’s a really lovely luxury in a lot of

ways,” Black says. “To be able to take the long view, to rise above the white noise, and to really think about some of the longstanding issues. And to tap into people’s brains who are dedicated to one particular field and to really deep thinking in that one particular field. That’s a real privilege.”

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“There’s enormous scope for our programs to intersect and complement each other and feed off each other, and for audiences to do the same,” Black says. Again, there’s that emphasis on audience involvement. This I think — more so than bums on seats — will be the (unmeasurable) measure of the festival’s success: not merely whether audience members ask questions or tweet or participate in online forums, but whether ideas permeate into the community. Whether they stick.

» The Adelaide Film Festival Thursday, October 10 to Sunday, October 20. » The Adelaide Festival of Ideas Thursday, October 17 to Sunday, October 20. adelaidefilmfestival.org adelaidefestivalofideas.com.au

8 The Adelaide Review August 2013

POLITICS Arab Seasons

BY Alexander Downer

T

he London Times recently proclaimed the Arab Spring had failed. It’s a bold and sorry claim. The Arab Spring offered so much hope. For generations, Arab economies have been performing woefully compared with their neighbours in Europe.

Even oil rich Saudi Arabia, with around 20 percent of the world’s oil reserves, has a GDP of barely more than half of Australia’s. The Arab model of autocratic leadership and centralised control of the economy had failed.

Indeed, the history of the Arab world since the collapse of the Ottoman Empire in 1918 has been a sorry tale. We often forget that the Middle East as we know it today was designed by the British and French during the First World War and that design was incorporated into international law in 1920 in the Treaty of Sevres and three years later the Treaty of Lausanne.

These treaties dismantled the Ottoman structure of the Middle East and replaced it with a number of individual countries under British and French influence. So the British and the French drew the maps and the revolution in Egypt led by Gamel Abdel Nasser established a political and economic paradigm which dominated much of the Arab world until the Iraq war in 2003.

Two years ago it seemed the old Nasser model of centralised economic control under a dictatorship was dying in the face of a public revolt. The Arab street was as much driven by economics as politics. They objected to high unemployment, particularly youth unemployment. Even graduates struggled to find jobs. And for populations battling to make ends meet, the crony capitalism of rich mates of leaders wallowing in wealth born out of government mandated monopolies and oligopolies, was obscene.

So the Arab Spring was about economic fairness and frustration as much as it was about political freedom. That’s so often the case with revolutions. The French Revolution was a bourgeois tax revolt. So was the American Revolution.

But now it all seems to have gone horribly wrong. The Western media and some Western politicians had compared the Arab Spring with the revolutions which overthrew Soviet power in Central and Eastern Europe in 1989. What we have ended up with is the collapse or near collapse of the nation states created in the 1920s.

For a start, there’s Egypt, by far the most populous Arab state. The elected president turned out to be two things: divisive and incompetent. Under his brief rule, the economy deteriorated, the murder rate tripled and secularism was attacked by a conservative Islamist. The place became a shambles, so much so that a massive 22 million people signed a petition demanding the elected president’s immediate resignation.

That’s a quarter of the total population. Many of these people were secular, democracyloving liberals.

The army did the job in the end and now the dream of Egypt becoming a successful democracy has gone.

Libya isn’t much better. Qaddafi was only overthrown with Western intervention and now the country has descended into bitter rivalries between warlords and tribes. In Syria there is a bloody sectarian civil war where both sides are being backed by outsiders – Assad by the Iranians and the Russians and the rebels by the Gulf states and the West. It’s estimated that around 95,000 people have been killed and triple that number injured.

In Bahrain, a sectarian revolt by the majority Sia population was put down forcefully by the Sunni government with the help of the Saudis.

So there we have it. A revolution throughout the Arab world which has left minorities such as Christians more vulnerable than they were, has left women more threatened by Islamists who want to downgrade their status and the economies of the region are stuck in the reverse gear. On the face of it it’s a pretty poor scene.

Add to that the inability of the West to sort it out.

Well, it might not be as bad as it first appears.

Remember, during the era of dictatorship the only organised opposition was the Islamists – groups like the Muslim Brotherhood in Egypt.

Once the tools of dictatorial oppression were taken away, the public was inevitably going to turn to the opposition. That’s a natural human reaction. If you hate the government you will inevitably turn to the opposition.

On the way to full blown democracy, the Arab world will pass through the Islamist phase. But my guess is that the average voter will realise that Islamists aren’t going to deliver to them the things they really want. Things we all enjoy like iPads and DVDs, supermarkets and cheap transport, clean homes with sewage and, above all, steady, well paid jobs. They will gradually realise those things can only be delivered over time by the liberal secularists.

I don’t want to sound too deterministic or too optimistic but my guess is that left to their own devices, Arabs will work out that a democratic, liberal society which embraces tolerance and diversity is the only solution to their postOttoman torpor. The Arab Spring might be looking decidedly wintery at the moment but all winters pass and spring returns.

The Adelaide Review August 2013 9

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POLITICS

MODERN TIMES Where Dharma is constant

BY Andrew Hunter

I

n the last book of the Mahabharata, King Yudhisthira undertook a final journey into the mountains with his wife and five brothers. Early in the journey, he met a stray dog that became his trusted companion. His wife and siblings perished but Yudhishtira and his dog continued up the mountain, in the face of tumultuous winds and heavy snow.

The lord of heaven in Hindu mythology, Indra, then appeared on his chariot to take Yudhisthira to heaven. When told that dogs were not allowed in heaven, he refused to enter.

Yudhishtira proclaimed that his place is where dharma is constant, and that the dog had been a trusted friend and companion.

A familiarity with the verses helps explain the place of dogs in Indian society. In India, humans are not the only creatures that contribute to the rich tapestry of street life.

The dogs are strays and left to roam in packs.

They appear undernourished but content. They are treated with respect by locals, if from a distance.

In Australia, dogs are considered our trusted friends. Many Australians return the devotion they receive from their pet but we do not as a society respect the contribution these creatures make to our wellbeing. The lack of protection companion animals are afforded in Australia is deeply disturbing.

In India, dogs live a natural existence and are left to fend for themselves, for better or for worse. In Australia, however, their numbers swell unnaturally because they hold a market value. Each year, around 250,000 companion animals were put down because an appropriate home could not be found for them. Dogs that are not sold in pet stores or through the internet or newspaper lose their economic utility and, ultimately, their existence.

Immediate action must be taken so that the number of dogs does not exceed community demand. In contemporary Australian cities, dogs are not given the choice to roam free.

Few Australians befriend a stray dog; without market value, the dogs are destroyed.

The dharma of many Australians is kept

constant by the companionship that dogs provide but our laws reflect a different reality. Companion animals are considered part of a lucrative industry. Pet stores are businesses that seek to maximise profit.

The wellbeing of the animals they sell is of secondary importance. Pet stores are under no obligation to reveal where their dogs originally came from. It is in their interest not to disclose such information as many of the companion animals sold at exorbitant prices are sourced from the cheapest suppliers available – puppy farms.

Puppy farms are typically large scale commercial dog breeding facilities where dogs are crammed into small pens. The mother dogs are kept isolated and forced to endure an unbroken cycle of breeding until they no longer produce enough offspring to justify their existence. For most mother dogs, once her usefulness has been exhausted, her life is taken.

Introducing breeding standards so that puppy farms are unambiguously illegal could easily stop this practice. All breeders should be registered, and it should be compulsory for the registration number to appear on all advertising, at the point of sale, and on microchips. Legislation should be introduced so that dogs and cats for sale in pet stores or directly from a registered breeder are

vaccinated, micro-chipped, de-sexed and healthy.

The special role that dogs play in Australian homes makes veterinary practices and emergency veterinary hospitals particularly lucrative. Vast sums of money are spent in an attempt to ensure that our trusted friends are given the best treatment possible. Under the law, however, animals are considered as property.

When they become seriously ill, they once again become commodities in the ‘pet industry’, where their value is considered in economic terms. If companion animals have the same legal status as a piece of personal property, it is likely that they will be treated accordingly – if only on a subconscious level.

It is perhaps here that the tension between the legal status of companion animals and their real value to society is greatest. The penalty for negligent or incompetent practice should be harsh.

If dogs were not allowed in heaven, it is likely that many Australian pet owners would also refuse Indra’s invitation. It is time that strong legislation and regulation are introduced to reflect the role that they play as loyal companions who contribute to our happiness and wellbeing.

10 THE ADELAIDE REVIEW AUGUST 2013

POLITICS

DEATH BY TRIANGULATION

Rudd Vs Abbott

BY JOHN SPOEHR

T

he extraordinary turnaround in Labor’s political fortunes since the change of leadership to Kevin Rudd has saved Labor from electoral annihilation. Now Rudd seems determined to win the unwinnable election. Tony Abbott has a real fight on his hands, perhaps the toughest this ex-boxer has ever faced. Under pressure he looks an unlikely winner, a conclusion that many in the Coalition have probably drawn.

Malcolm Turnbull looks the better match for Kevin Rudd but the Coalition has left that move too late.

Kevin Rudd is everywhere, a master of presidential campaigning. No policy is sacred as he attempts to pull the political rug from underneath the feet of his opponents, making their ground his ground. Many longstanding supporters of Labor are likely to be stunned by the pragmatism, the willingness to brazenly reinvent the political position of your opponents and make it your own. Plenty will feel great despair about the PNG solution and move their vote to The Greens in protest. What Rudd is gambling on, is winning back those who through fear, ignorance, xenophobia and racism have punished Labor for past asylum seeker policies. Once again, asylum seekers are caught up an unedifying race to the bottom.

This is the ugly face of modern Australian politics.

The move to accelerate the transition to carbon trading is another example of the extraordinary pragmatism of the new Labor leadership. It effectively neutralises the Coalition’s relentless campaign against the carbon tax by introducing a measure that the Coalition would have almost certainly done had they been in government. So it looks like we might have a carbon neutral election ahead.

The dumping of Kevin Rudd inflicted a mortal wound on the leadership of Julia Gillard, which the Rudd team forensically aggravated, undermining the stability of Gillard. In the wake of his ascension, Rudd has moved swiftly to make political spills much more difficult to achieve in the future, a change that will be welcomed by some but regarded with suspicion by others – making it more difficult to remove the leader runs the risk of rewarding megalomania. Despite this, Rudd’s decisiveness in introducing a higher bar for leadership spills is likely to win the support of those who believed he was harshly treated as Labor leader in the past.

Having regained enormous lost political ground, Kevin Rudd is now within striking distance of Tony Abbott. If the outcome is linked to who is the better campaigner then Kevin Rudd has a real chance of making political history. He appears to be more determined than ever, fuelled by the frustrations of the

past to want to win the unwinnable. Meanwhile Tony Abbott must run the campaign of his life, making the transition from negative campaigning to setting out an alternative vision. This will be hard for someone so used to defining themselves by what they oppose rather than what they believe in.

In all the political noise great policy challenges fail to get the attention they deserve. Among these is simmering instability in the global economy and the prospect that unemployment will rise steadily over the next year in the face of depressed global demand and the need to boost public investment in infrastructure. While Australia has done well to escape recession, some sectors of the economy are in recession, particularly manufacturing. No doubt the future of Australian manufacturing will be forced onto the election agenda by the continued uncertainty surrounding the automotive industry in South Australia. On this issue there is a sharp divide

between the Government and the Opposition, with the latter inclined not to provide financial assistance to secure the future of the industry.

This is a policy gulf that might get narrower as the fight for seats in the northern suburbs of Adelaide intensifies.

A fascinating election is in store. Kevin Rudd has cleared the decks to launch a major assault on the Coalition forcing Tony Abbott to rethink his negative campaign. Lets hope that it all of this rises above political point scoring on asylum seeker policy. We have had enough of that. Don’t hold your breath.

» Associate Professor John Spoehr is the Executive Director of the Australian Workplace Innovation and Social Research Centre at the University of Adelaide

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BUSINESS & FINANCE

Dollar Up, Dollar Down

must confront head-on if he is to elevate the economic debate to a more considered level and with it, present the picture that the economy is doing well, it has been well managed and continues to run smoothly.

BY STEPHEN KOUKOULAS

T

he most important near-term issue that Treasurer Chris Bowen will have to deal with in his new role is to change the perception in the electorate that the Labor Party are inferior economic managers to the Coalition. The recent gap between the parties on the question of which side of politics is the better economic manager is around 15 to 20 points in favour of the Coalition.

As a bright and punchy operator, Mr Bowen should be able to close that gap and in doing so bring the economy to front of centre of the upcoming election campaign. If he succeeds at recasting the economic debate, it will no doubt improve Labor’s standing in the polls and give it a rough hope of winning the election as people give credit to the government for some first class economic fundamentals.

From one perspective, Mr Bowen’s job will be easy. The hard facts on the economy remain positive with economic growth continuing; there is a decent pace of job creation, low unemployment, low interest rates, low inflation, rising wealth, ongoing increases in real wages, the tripe-A credit rating, international trade surpluses and a stunningly low level of government debt.

Any government in Australia’s past, or future for that matter, would be delighted to have these broad economic parameters occurring

under their watch, a point Mr Bowen will need to emphasise at every opportunity.

From a different angle, Mr Bowen has a tough job and he will have to confront the effective but factually deficient spin that the Coalition invent with each bit of news on the economy.

The recent trends in the Australian dollar are a case in point.

Back in February, when the Australian dollar was trading over US$1.03, Shadow Treasurer Joe Hockey said, “The current high value of the dollar continues to be of concern to Australian businesses.” He went on, “there is no doubt that the high Australian dollar is impeding the competitiveness of Australian exporters and making life difficult for Australian producers who compete with imported products.”

Move forward to July and the Australian dollar has depreciated towards US$0.90, which most economists, including at the Reserve Bank of Australia, are welcoming. But not Mr Hockey who now thinks the lower dollar is having an “immediate negative impact” on business confidence and will push up business costs as import prices rise.

According to analysis from Mr Hockey, the strong Australian dollar was bad news in February, while the weaker or lower Australian dollar is bad news in July.

The hypocrisy of this position is the sort of misinformation that Treasurer Bowen

Mr Bowen could also quantify the savings to households and business from low interest rates. These amount to approximately $70 billion a year compared with the level of rates around five years ago. He could note that for more than a decade, wages growth has exceeded the rate of inflation which has boosted real wages and makes a mockery of concerns about cost of living pressures.

Mr Bowen could point to the fact that Labor is one of the lowest taxing governments in history and as such, is leaving money in the accounts of the private sector.

It will be tough to change perceptions on economic management in such a short time before the election, but armed with the facts, Mr Bowen has a great opportunity to lift Labor’s standing on the question of who is the better economic manager.

» Stephen Koukoulas is Managing Director of Market Economics marketeconomics.com.au

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12 The Adelaide Review August 2013

EXTRACT

Animal Form

James Bradley writes a new introduction to Wish, by Peter Goldsworthy, another addition to the Text Classics series of Australian literature

by James Bradley

I

t is difficult not to wonder how Peter Goldsworthy’s publishers reacted when he delivered the manuscript that would appear in 1995 as the novel Wish.

Already famous for his debut, Maestro (1989), Goldsworthy had established a reputation as one of the most clear-eyed observers of Australian middle-class life, yet here was a book that seemed—at least at first blush—more like science fiction than anything else.

That Goldsworthy was not entirely comfortable with narrow conceptions of his writing should have been clear from his second novel, Honk If You Are Jesus (1992), a bleakly acerbic riff on cloning technology that imagined the creation of a new Christ from traces of genetic material retrieved from holy relics. If Honk occasionally seemed like the work of a writer determined to resist the expectations of his readership, though, Wish was something else altogether: a fully realised exploration of love, language and the boundaries of personhood that just happened to centre upon the relationship between a human signlanguage teacher and a biologically engineered gorilla.

At first blush it is a subject that is likely to prove challenging to many readers. Yet Wish goes further, not by escalating the sciencefictional elements of its plot but by asking its readers to engage with the existence of systems

of meaning and ways of being much closer to home, in the form of Sign language.

The reader’s guide to this second – and in some ways more tantalising – world of meaning is the novel’s narrator, John James. Better known by his Sign name, J.J., he is an anomaly: born to deaf parents, he learned to sign before he could speak, and even in his thirties is more at home in Sign and with the deaf than in speech and the company of the hearing.

Initially J.J. seems an unlikely candidate for the experiment he becomes involved in as the novel progresses. Recently returned to his native Adelaide, unemployed and still reeling from a bruising divorce, he is adrift, living with his parents on the seafront in Glenelg, his evenings spent watching television or – in a playful reference to the aquatic ape theories of Max Westenhöfer and Alister Hardy – floating, clad in wetsuit and flippers, in the silent water outside his parents’ home. Then J.J. is hired by the zoologist and animal liberationist Clive Kinnear and his wife, the poet and veterinarian Stella Todd, to help teach Sign to Eliza – or, to use the sign name she soon adopts, Wish – a gorilla liberated from a laboratory in Melbourne by colleagues in the animal-rights underground.

Goldsworthy’s fiction has explored the charged relationship between teacher and

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review

pupil several times, most notably in his 2008 novel, Everything I Knew, about a young boy’s obsession with his teacher, and the short tale ‘The Nun’s Story’, in which a boy’s erotic feelings for his teacher collide with physical reality. These later excursions into this highly contested territory suggest a desire to tease out the complexities of such relationships, illustrating not just the ways in which both parties are often complicit in transgressing conventions, but the ways in which these transgressions can reverberate through both lives in unexpected and sometimes tragic ways.

In this respect the novel has proven surprisingly prescient, its desire to explore the manner in which advances in genetic engineering and scientific understanding are forcing us to re-evaluate our assumptions about the boundaries between animal and human anticipating not just the burgeoning field of animal studies and the intensifying debates around the ethical status of great apes, but also books such as J. M. Coetzee’s Elizabeth Costello and Sara Gruen’s Ape House, and big-budget Hollywood movies such as Splice and Rise of the Planet of the Apes.

These issues are present in Wish as well, but for the most part they are subordinated to a more complex set of questions about our increasingly unstable definitions of personhood and their ethical implications. Indeed, even as we are prompted to look past the more unsettling aspects of Wish and J.J.’s relationship we are being asked to grapple with deeper questions about Wish and her ethical status, questions that are made the more disturbing by the way her nature seems to elide so many of the categories we use to frame such discussions.

The genius of Wish lies not in its recognition that these dilemmas exist but in its deft marriage of them to the conflicts of character at the heart of the novel. Like much of Goldsworthy’s work, Wish manages the not-inconsiderable trick of being both deeply felt and slyly aware of the contradictions and absurdities of the characters it portrays, allowing it to move effortlessly between comedy and compassion.

This lightness of touch also allows the novel to sidestep the temptation to moralise about many

THE ADELAIDE REVIEW AUGUST 2013 13

ADELAIDEREVIEW.COM.AU

EXTRACT / POEM of the most unsettling questions surrounding the treatment of animals. Although J.J. is sufficiently appalled by Clive’s descriptions of factory farms and intelligent pigs to give up bacon, these horrors are kept largely offstage, intellectual abstractions discussed and responded to but never experienced or described directly.

The book internalises and reproduces the rhetorical strategy J.J. ascribes to Clive, his ‘debating trick’ of using a low voice and matterof-fact descriptions as a means of ‘having cake and eating it, his cool words only fuelling the reader’s emotional heat’. At one level this is deliberate: if nothing else the average reader’s tolerance for the visceral and confronting reality of the treatment of animals in factory farms and elsewhere is likely to be limited. But it also underlines the fact that Wish is as much about language as ethics.

Goldsworthy’s poetry has shown he is fascinated by language, and its role in shaping thought and meaning. But in Wish this is allied to a larger investigation of the ways in which language shapes our identities. This is most obvious in the novel’s treatment of Sign, and in particular its insistence that we engage with this often-neglected language, both through J.J.’s descriptions and through the many diagrams included in the text. At first glance these diagrams may seem little more than a gimmick. But they are intrinsic to the novel’s design, demanding the reader step out of the realm of verbal language and engage with Sign as a physical, gestural system.

For those not fluent in Sign this encounter is likely to be revelatory and chastening. While it is difficult not to be amazed that a world of meaning so different from the one we inhabit lies close at hand, it is equally difficult not to be aware of how this amazement underlines mainstream society’s casual marginalising of the deaf and their culture – and how our ignorance of deaf culture points to a failure to comprehend the possibility of other, quite different ways of being that are all around us.

For even as we strive to teach dolphins and birds to speak and apes to sign, our solipsism blinds us to the possibility that these creatures may exist in richly complex worlds of meaning quite unlike our own.

This recognition is the flipside of Wittgenstein’s observation that once you teach a lion to speak it is no longer a lion. And it is also part of a larger ambivalence about language that pervades the book as a whole.

Language, the novel suggests, is both liberating

and confining, a creation capable not only of communicating but of isolating.

This is most obviously true in the case of J.J. and Wish, each caught between worlds by the ways in which their respective encounters with language have shaped them. But it is also evident in J.J.’s relationship with his parents, the way his ability to speak separates him from the two of them, and indeed the way in which their shared disability binds them together, ‘two small, neat people in a small, neat house, most comfortable, finally, just with each other’.

And – albeit in rather different form – in the novel’s awareness of the tension between language and life, and the profane and the profound. Certainly it’s no accident that Wish’s first symbolic utterance is a scatological insult.

Nor is it an accident that Wish is both Goldsworthy’s most vernacular novel, and the novel in which his fascination with language and its possibilities is most intrusive. The fluid opening page swiftly conjures the instrumental poetry of Sign: ‘The fist, thumbs up, is the Good Hand, shaper of good things. The Good Hand unfolding and tapping at the heart: Kindness. The Good Hand touching the brow: Knowledge…The observance of good is also in the exception. The Good Hand jerked over the shoulder: Fuck off.’ Goldsworthy’s prose is economical and powerful. Yet J.J.’s narration often evinces a curiously anxious, almost needy relationship with language: the noise of pipes is ‘water-music’; J.J. in the ocean is ‘a buoyant cork at the whim of the sea’; adjectives and similes abound, reminding us of the difficulty of pinning meaning down, and of the complexity contained in every description.

In the two decades since Wish Peter Goldsworthy has published three novels and several collections of short stories, as well as libretti and poetry, each of which has extended his considerable talents in often surprising directions. Yet in many ways Wish remains his greatest achievement, and the most eloquent distillation of his many interests.

Brave, brilliant, as intellectually challenging as it is playful, it is testament to a restless and unpredictable imagination.

Mitteleuropa Flying from Dubai to London Traveling north, beneath the wing I thought I

But from the oval window – returning

saw it there at last: middle Europe: hamlets,

to my tray, the plastic knife, some food,

hills too steep to climb, too far to count, armed

and several hours to go – I saw it wasn’t

with light and fallen snow; the darkest coffee

Europe only clouds piled higher than those

in bone china cups, every postcard cobbled to

dark imagined depths. No mountains there, no

its stamp. Then turning west, the shadow on

anthem darkening dreams or bread that slices

the snow, those fissures running deep, the kirche

harder than revenge, the field, the village

rebuilt and limned in blue. Those ridges coloured

children under stones, no ruined air behind

red with light, the sun like blades, and far

the barn, no shul or mosque now underfoot,

below the bridges built and blown apart

but just a ceiling blue and white, arched high

a breathing rhythm through the years, rivers

above the murderous earth, not stolen, never lost,

doing duty now, their journeys often

the only shadows: us, our moving iron cross

borders on a map, from older heads

creeping over light, through heaven mapped in air.

dark words balloon, und here we go again perhaps another beer, and summer now,

Margaret Barbalet

the river like the sky above still deep enough to drown, still running venous-hued.

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14 THE ADELAIDE REVIEW AUGUST 2013

EXTRACT

THE RISE OF REINVENTION

BY ANTHONY ELLIOTT

I

n 2012, The New York Times published an article titled “Bridal Hunger Games”. The article analysed the trials and tribulations of women seeking to lose weight in time for their wedding day. Various experts on bridal weight loss training contributed reflections on the most effective ways for women to downsize, detox and thereby reinvent their bodies. Typical weight loss for contemporary “training brides”, so the article reported, is 15 to 20 pounds. The contemporary bridal training menu is one focused resolutely on reinvention; from detoxing cleanses to fat-busting diets, training brides are out to demonstrate to others a complete transformation of their bodies.

Downsizing yourself for the big day involves a curious kind of devotion to the task at hand, one in which denial and deprivation are central to the mantras of reinvention. Yet in current times it helps, in reinventing your body, to be assured that the desired transformation

can be achieved the speediest way possible.

It is for this reason alone that drastic diets – designed to deliver super-fast weight loss – have become all the rage in the current regime of bridal hunger games.

Even so, drastic reinvention can always be pushed further. Transgression is, as it were, built-in to the very logic of makeover culture and reinvention society. One latest fad amongst drastic diets involves daily injections of a hormone associated with pregnancy – human chorionic gonadotropin. Notwithstanding various health warnings from government agencies, clinics across the United States have offered the hormone – along with guidelines in self-administering the injections – to those seeking the latest in body downsizing.

This may, at first glance, sound like a kind of living death, but according to The New York Times it is a procedure which has become increasingly popular with many training brides.

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ADELAIDE

The Adelaide Review August 2013 15

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EXTRACT Another fad for contemporary reinvention consumers is Diet Tube, a procedure for reinvention pioneered in Italy. Consumers of Diet Tube are provided with liquid nutrients which pass through a piece of plastic tubing, which is inserted directly into the nose. Attached to the tubing is a micro-electric pump, which injects protein-filled liquid directly into the stomach to keep hunger at bay. One might be forgiven for thinking that a nasogastric tube inserted up a nostril is the last thing that citizens of the contemporary West might imagine desiring, or doing. On the contrary, however, Diet Tube has become increasingly popular – not only amongst training brides, but more generally for women (and some men) seeking out extreme reinvention.

Indeed, this drastic diet of reinvention has been viewed by media critics as a kind of fashion statement, akin to carrying a Prada bag or wearing Gucci sunglasses. As the Next New Diet, such reinvention is represented as at once an indispensible bridge to personal change and a transformed body on the one hand, and a means for disciplining and regulating the individual self on the other.

In contrast to cosmetic surgical procedures designed to suck out and re-sculpt fat, and which always require both ‘down time’ and a recovery period on the part of the patient, Diet Tube requires of its users only that they do not eat (apart from, perhaps, the consuming of green tea). This, in itself, indicates that we

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are dealing with a desire for reinvention held in thrall to the logics of excess, or of what Freud termed the “death drive”. In the name of a desire for total reinvention, the body is wrenched from nature and the self is rendered omnipotent. For it is precisely in this mixing of not eating on the one hand, and having a tube supply protein-filled liquid to the stomach on the other, that Diet Tube stands out as a fashionable new departure – as the Next New Diet – for consumers of reinvention society.

Consider journalist Amanda Mitchison’s reflections on a young woman she interviewed who was experimenting with Diet Tube: ‘The tube, she says, didn’t restrict her lifestyle. When she went out, she just popped the pump into her Prada bag and nobody in the street seemed to notice she had a tube up her nose. I find this surprising. Normally you notice when people have tubes up their noses, just as you also notice when they are wearing gas masks. But Rome is Rome.’

(Mitchison, 2012, “How the world fell in love with quick-fix weight loss”) What Mitchison finds surprising – that fellow consumers do not notice a piece of tubing inserted into the nose – is, in fact, an essential aspect of the denial practised today throughout reinvention societies. Consumers, such as the young woman trialling Diet Tube, might tell themselves and say

to others that such activities are not noticed, or that they wish such activities to go undetected.

But this is where the boundaries between fantasy and reality blur, because a demonstration to others of the project of self-transformation is built-in to the very fabric of reinvention society.

Undertaking the latest reinvention product or service on the market confers a pleasurable sense of status and superiority. And this is one reason for the rapid rise of Diet Tube, which has recently opened centres not only in Italy but also Barcelona, Madrid and Athens.

If obesity today is an epidemic of global consequence, our preoccupation with dieting and super-fast weight loss is equally sweeping in its global reach. One of the most interesting things about the global diet industry is that it trades on people’s craving for the Next New Diet. The constant barrage of dietrelated research captured and conveyed by 24/7 mass media is one powerful indicator of contemporary women and men’s wishful fantasies for slimmer, sexier bodies; the rise of the multi-billion dollar slimming industry is also suggestive of the ubiquity of the desire for reinvention throughout modern societies.

The spawning of extreme reinvention practices designed to shed the pounds of Western consumers, many of whom have been rendered hair-raisingly fat (and fatter) by the global fast food industry, reflects a festering culture of instant change and fast solutions.

Shot through with the illusions of celebrity culture, the inherent plasticity of reinvention is perhaps nowhere better dramatized than in the relentless diversification and displacement of fashionable diets. From the Atkins diet to the Dukan diet, the Zone diet to the Scarsdale diet, the onion diet to the cabbage diet: the austerely self-disciplined regimens of fatbusting are revealed as part of the feverish work of reinvention, in which tracking and trialing the latest fad diet appears as an essential precondition to human flourishing.

The professional terrain of superfast dieting – of private nutritionists, personal trainers, calorie counselors and diet trainers – has in recent years given way to ever more drastic, excessive reinvention practices in the search for innovative ways to reduce fat. Diet Tube is just one of the latest ‘innovations’ to be made available in the reinvention marketplace.

Like other drastic diets, the aim to make a reinvention statement out of fat busting.

»»This is an extract from Reinvention by Anthony Elliott. Published by Routledge. »»Anthony Elliott is Director of the Hawke Research Institute, where he is Research Professor of Sociology, at the University of South Australia.

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16 The Adelaide Review August 2013

COLUMNISTS Six Square Metres The Family Shrubbery

Third Age

He did a double-take. “Passionfruit grows on a VINE?” he said.

“Yes.” “How?”

Days of Azure

“Well, it flowers, and then it sets fruit.”

BY Margaret Simons

I

have a weird extended family, a cherished side effect of a life that has not gone to plan. I have four adult stepchildren, two teenage children of my own, two ex-partners and two step grandchildren. Then there is the ex girlfriend of one of my ex-stepsons.

She, too, is family.

It is not so much a family tree as a family shrubbery.

For people in their 20s and early 30s, settling down is a sometime thing. So it is that quite often some subset of the shrubbery will be moving furniture from one home to another. Tables, chairs, fridges, washing machines and baby clothes circulate between us, travelling around the suburbs as need requires.

In this constant movement my house and garden is a fixed point – a place where items are stored or dropped. It helps that I have a loft.

Yesterday I was standing with stepson number two in the no-man’s land of the back lane that divides my backyard from the McDonald’s restaurant. We were, once again, loading stuff on a rented ute.

There was a pause while we waited for my ex partner to arrive and help. Standing in the weak winter sunshine, among the fallen leaves and discarded hamburger wrappings, I found myself pointing out the plants I have squeezed into a little box of dirt against the McDonald’s fence. I had narrowly avoided destroying them as we clumsily backed the ute.

I showed him the miraculous happy wanderer, the subject of a previous column in this series. Then I pointed out its companions. “That is parsley, and that is coriander, and that is a passionfruit vine,” I said.

“But isn’t it too heavy? How does it stay up?”

He was truly astonished.

“Just like a cucumber of any other vine.”

Another double-take. “Cucumbers grow on a VINE?” So I showed him the wiry tendrils the passionfruit vine throws around the trellis.

It has grown astonishingly well – more than a metre over winter. Soon it will help screen the view of the McDonald’s drive through and the illuminated menu.

Its tendrils are like green springs, winding multiple times in perfect coils to lock the plant tight against its support.

My stepson brushed his finger against the tendrils. “How does it know where to put them?” he said quietly. He is a vehement atheist, so I did not attempt an answer. Not that I had one.

There were some tendrils, a lighter green than those locked around the trellis, that were reaching out in to the lane. “They don’t all know where to go,” I said, pulling out the spiral of an unanchored example, and letting it snap back on itself.

He found a tendril that was less than completely regular in its spiral grip on the trellis. “Well,” he said, in tones of satisfaction.

“It stuffed that one up.”

We had a little longer to wait, and he took a look at my compost bin. The worms had climbed through a layer of dead leaves to feed on the latest bin of kitchen waste. There was a cluster of them nestled in an eggshell, feeding on the remains of the white. We contemplated them quietly, our heads bowed together.

Then my ex arrived, and we packed up the back of the ute and drove out of the lane and around the suburb, delivering stuff to its latest home.

twitter.com/margaretsimons

BY Shirley Stott Despoja

S

ome of us had childhoods waiting for the war to be over. I ask my friends of the same age if they remember that impatience that was our lot as children in the 1940s. Yes, they say. We were forever being told, if we dared to ask for something, that there was a war on, to eat vegetables because the starving Belgian children would be grateful for them, and we listened in to adults talking, it seemed interminably, about after the “duration” after the war, what it would be like, as though it would be as it had been before.

For me, a Sydney child, it meant looking longingly at chocolate-coated ice creams on a stick in the advertisement in Hawkins’ shop that was never taken down; there to torment me with what I was missing because of the war. I was impatient for my soldier sister to return from New Guinea, to become our resident hero. I was impatient for her to meet my dog, to hear about the English sailors we’d looked after when their ships berthed in Sydney Harbour.

Meanwhile, not realising how lucky we were, we ran free in the streets or bush, and in backyard orchards. We memorised half a lifetime’s worth of poems in our schools, along with our times tables, and learnt to write a fair hand.

My friend Jane, in a one-room, one-teacher school without heating, cooling, water or light, remembers how ‘Learning can flow with just four walls,/Desks with inkwells, backless benches, paper and pen/Maps, books and a gifted teacher….’

To those who even then had a great deal more than those amenities, she writes ‘you will never know/ How privileged we were.’

And then one day we were told the war was over.

We struggled to feel what we thought we ought to feel, just as, throughout childhood, we struggled to feel the right things when people died. It was tricky.

All that impatience and now… what?

The answer came quickly for Jane whose mother takes her into the kitchen (‘She’s troubled,/And needs to talk’) to tell her about Hiroshima. Jane slinks off to her thinking place by the tank stand ‘with a dull pain in the gut. For I see/That after all, the war’s not over...’

It’s hard not to shout with recognition and sharp pleasure when one reads a recreation of a childhood shared. Jane and I were together at St George Girls High School, Kogarah, until

1953, and then at university. We both lived as children in the Illawarra district of NSW. Jane taught literature and languages in Australia and overseas for 40 years. She did post -graduate research and study at the universities of Iceland and Sheffield. The girl of whom we were a bit in awe as kids, we continued to admire as we grew older, and then – as we grew old. Jane now lives in Canberra.

Days of Azure is her first book of poems. I think many of her friends have been waiting for it a long time, but it is the greater pleasure now because our old age makes us particularly receptive to a childhood recreated as beautifully as it is in this small book.

There are great treats within, whether you had a Sydney, Adelaide or Melbourne childhood.

First hearing Beethoven’s 7th on a stack of 78s, the young children of the family ‘In nighties and pyjamas began to leap/Like small, striped dervishes, all about the house…’ ‘…For the few minutes it took our mother/To find the wooden spoon, we circled the planet,/Spun in space, flew into the moon,/And broke all bans…’ Later, ‘Tucked up in bed…We were still rocked and ringing/ with the golden key of A.’ Fast forward to motherhood, a grownup son now overseas… ‘his cello lies/Inert and mute.

It used to fill the house/With its warm tenor voice…’ Here is that feeling so many of us share when children leave home and ghosts behind them. There is an imagined meeting with her mother that echoes a dream I have often: ‘Oh, you’re here. You’re well again!’

Jane is not sentimental. She simply writes about what many of us experience about days long past and memories worth revisiting, as well as darker times (both Jane and I had Great War-damaged, angry fathers). There is a sharp, sometimes funny exactitude that makes this Jane worthy of her namesake.

I am pleased she has been published by Ginninderra Press, which is now at Port Adelaide. And I love the title’s reference to Christopher Brennan, the Sydney poet our English teacher, Hilda Mackaness, knew and spoke to us about often. Clive James may not be a fan of his, but we thrilled to the story of Brennan’s thwarted ambition and his nohoper end.

How wrong people are who speak as though Australian literature hardly existed or was not appreciated until the 60s or 70s. Our teachers made us aware of contemporary Australian writers, even while we ploughed through English ancients for our exams. To quote Jane (almost), the young people of today will never know how privileged we were.

» Days of Azure by Jane Vaughan Donnelly Ginninderra Press, Port Adelaide ginninderrapress.com.au

The Adelaide Review August 2013 17

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COLUMNISTS and most stable period of the British Captain’s life. He brought his family to South Australia and built a house in Grange, enjoying financial stability and, the thing he most craved, recognition.

Sturt’s star plummeted when Gawler was replaced by a new proud and ambitious Governor, George Grey. Sturt wrote to the Colonial Office complaining of Grey and proposing himself as a better candidate for this role. Grey responded by demoting Sturt and reducing his salary. Sturt fired off fuming epistles to London and walked the streets of Adelaide in a fury.

T.S. Guill Sturt’s overland expedition leaving Adelaide 1844, which is currently in the Art Gallery of South Australia.

DR K’S CURIOUS CHRONICLES The Flawed Hero: Sturt And The Inland Sea

BY Kiera Lindsey

W

hen 43-year-old Charles Napier Sturt arrived in the burgeoning colony of South Australia in 1838, with dust from the Murray-Darling on his boots and hundreds of cattle in his care, he was already celebrated as the British Captain whose expeditions along the Murray Darling rivers 10 years earlier had opened up the continent’s unknown southern interior.

Then Sturt and his party had travelled almost 3000 kilometers, tracing tributaries by foot and pushing through silty river currents in a whaleboat. In his determination to solve

‘the riddle of the rivers’ Sturt’s party had suffered great privation and during a period of intense heat exposure, Sturt lost his sight.

It was a temporary and partial loss of vision, but it was to diminish Sturt for the rest of his life. Nonetheless, accounts of Sturt’s river expeditions were avidly consumed by men such as Edward Gibbon Wakefield who used them to propose South Australia as the ideal location for his theories of Systematic Colonisation.

Since those first river expeditions, his archrival, Major Thomas Mitchell, had also explored the riverlands, engaging in conflict with the Indigenous inhabitants, which ensured Sturt’s overland expedition was more dangerous than his earlier forays. During Sturt’s later expedition ‘blood was shed’ between his party and the Latji Latji. There were also numerous disputes and foolish decisions which eventually made it necessary for Edward Eyre to rescue the party and escort them onto Adelaide, where Sturt enjoyed a ‘tumultuous welcome’.

In Adelaide Sturt fostered a friendship with the Governor, George Gawler, who appointed him Surveyor-General. This was the happiest

As he approached his 50th birthday, Sturt’s fortunes changed once more. He became gripped by the vision of an inland sea in the centre of the continent. Although there was little evidence and even less support for this theory beyond South Australia, Sturt energetically sought funding for an expedition that would solve the riddle of ‘the centre’ and revitalise his flagging fortunes. Consumed by this obsession, Sturt concealed a deeper disquiet about the expedition, confessing only to his closest friend, that he ‘sought’ ‘the service’ as a salve to his deep unhappiness even though he feared he would perish in the desert.

The public were also entranced by the bold vision of bringing waters to the dry lands of this fledgling colony and in the winter of 1844 hundreds of colonists gathered on North Terrace to bid Sturt, his party, two sailors and a whale boat bon voyage. It was, as S.T. Gill’s vivid watercolour suggests, ‘top hats and tallyho’ and ‘off into the desert we go’.

As they pushed into the desert Sturt became increasingly absorbed by a zealous mysticism that was fueled by the belief that the birds were auguries sent from God to lead him to water.

The sighting of a bird would send Sturt into

wild excitement. For over a year, the party traveled with these mood swings until Sturt shifted his attention from the promised body of water to becoming the first to reach the centre. One morning, 18 months into the expedition, Sturt set out with two companions.

They tracked along a dried creek, then onto an ‘ocean of sand ridges’. For hours the clambered over wave after wave of sandy monotony until the intensity of heat ‘swallowed them up’ and they were finally overwhelmed by the complete futility of their mission.

This was the apex of despair. Within weeks, James Poole’s (Sturt’s assistant) legs turned black, the roof of his mouth rotted away and he died, cursing Sturt. Soon after the British Captain abandoned his men and his ‘splendid whale boat’, returning to Adelaide, wracked with scurvy, and without ‘a glimmer of hope’ about the promised sea. Over the next decade Sturt applied for and was denied the Governorship of Queensland, of Victoria and later New Zealand. Indeed, even the knighthood, which his nemesis, Mitchell, received with such ease, was awarded to Sturt only after his death in 1869.

Sturt’s early desire to solve the riddle of the rivers had been vital to the future of the colonies and deservedly attracted reward and recognition. His later reprisal of a similar mission led him into a wilderness of his own fantastical delusions. Ignoring his frailties and exposing his party to suffering and death, Sturt became not a hero but a flawed leader. Now, his story serves as a cautionary tale regarding the spurious nature of ego and obsession.

» Dr Kiera Lindsey teaches Australian History and Australian Studies at the University of South Australia.

Join us for a creative journey...

Open Day Sunday 8 Sept | 11 - 4pm

In the Gallery - SALA Festival

All Welcome! Visit Adelaide Central School of Art’s new campus located adjacent to Adelaide Film Studios in the Glenside Cultural Precinct. The two renovated historic buildings provide superior studio, teaching and reference facilities, enabling the School to offer an extended program of courses and related programs.

See Unseen

Meet staff, listen to talks by lecturers and graduates, visit the Gallery and view student studios and their work.

21 August - 13 September 2013 Opening 20 August | 6 - 8 pm

Deidre But-Husaim, Helen Fuller and Sera Waters.

Sculptural stitchings, layered paintings and coiled vessels all feature in See Unseen.

Information Night Tuesday 3 Sept | 6 - 7.30pm For prospective students interested in studying in 2014.

Visit our new facilities Call Andrew on (08) 8299 7300 to make a booking.

Watch video interviews with our graduates and staff at http://vimeo.com/centralschool Image The new Teaching & Studio Building. Photography James Field

PO Box 225 Fullarton SA 5063 Glenside Cultural Precinct | Carpark C 7 Mulberry Road Glenside SA 5065 [via Gate 1, 226 Fullarton Road] T 08 8299 7300 info@acsa.sa.edu.au www.acsa.sa.edu.au

18 The Adelaide Review August 2013

HEALTH

Immunity Lifestyle is your best defence

by Professor Avni Sali

I

n the quest for good health, one of the most fundamental wellness strategies we can consider is the development and maintenance of a strong immune system.

Especially in winter, with its typical increase in the incidence of colds and ‘flus, we can be proactive with regards to our immunity.

However, a healthy immune system is also an essential consideration every day of the year, as immunity plays an important role in the prevention and treatment of cancer and other immune disorders such as autoimmune illness.

It also plays a major role in allergy disorders.

The immune system is a complex composite of tissues, cells and molecules with specialised roles in the defence against infection, and is vital in the body’s maintenance of health. Its complex interrelationship with the psychological, neurological, endocrinological, gastrointestinal and cardiovascular systems has provided many medical insights into the nature of disease and its pathology. Immune dysfunction may appear as an immune inactivity, such as cancer, or hyperactivity as in various allergies such as asthma or autoimmune diseases such as type 1 diabetes, Multiple Sclerosis and rheumatoid arthritis. Our immunity is also linked to recurrent infections of which the common cold and influenza are perhaps the most well known examples.

There are two types of immunity: the innate immune system (non-specific) and the adaptive (acquired) immune system. The innate system refers to our body’s first line of defence and includes physical barriers such as the skin and other mechanisms. We see the effect of innate immunity when, for example, redness occurs around a cut in the skin. The innate system releases cells that are responsible for

inflammation (an initial part of the body’s protective mechanism) and natural killer cells which can destroy viruses, bacteria or cancer cells. This immune response will occur to the same extent regardless of how many times the infectious agent or trauma is encountered.

The second type of immunity is adaptive immunity. Adaptive immune responses improve on repeated exposures to a given infection or antigen. An antigen is any substance that causes the immune system to produce antibodies against it. An antigen may be a foreign substance from the environment such as chemicals, bacteria, viruses or pollen, or formed within the body, as with bacterial toxins. The body will produce either a cellular (T-cells, B-cells) or humoral (antibody) response. T-cells help B-cells make antibodies (produced in the bone marrow and thymus), which kill virally infected cells. After initial antigen exposure, immune memory develops and results in early recognition and stronger reactions to fight the antigen on subsequent exposure. This process of acquired immunity is the basis of vaccination. The innate and adaptive immune systems are not exclusive of one another – indeed they cooperate to remove pathogens and restore balance in the body.

Strategies for better health should ideally begin with taking care of the gut.

Gastrointestinal mucosa is the major contact area between the human body and the external world of micro flora and is over 400 square metres in size. Gut bacteria (flora), of which there are approximately 100 trillion, are in constant communication with our immune cells with 70-80 percent of all immune cells in the human body located in the gastrointestinal-

associated lymphoid tissue (GALT). Research now provides us with a better understanding of the interaction of bacterial species and the immune system. This represents a somewhat paradoxical shift – from the belief that the immune system controls microorganisms to the understanding that it is the microorganisms that control the immune system. Supporting GALT with optimised micro flora is therefore key to our ability to fight diseases and ward off common infections. A key problem with antibiotics and chemotherapy drugs is that they destroy the normal gut flora, which in turn leads to immune disturbance. The gut flora not only influences the immune system, but can also influence virtually all body systems, for example the brain and weight (metabolism).

All of the systems in the body, including the gastrointestinal system, are influenced by lifestyle, hence how we live affects how well our body responds to the threat of pathogens and disease. The connection between stress and depression and health is best explained through the disciplines of Psychoneuroimmunology (PNI) and Psychoneuroendocrinology (PNE). Stress and depression influence the body through the brain – PNI is the study of how the mind influences the immune system (to be normal, abnormal or hyperactive) and PNE describes how the mind influences the body’s hormones.

How is lifestyle influencing your immune system today?

The Adelaide Review August 2013 19

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HEALTH supressors and chemotherapy medications • Exposure to infections – through poor water and food quality, and poor hygiene.

Also exposure to bacterial, fungal, viral and parasitic infections • Nutrient deficiencies, for example, vitamins A, C, D, E, B6, B12, folate, zinc, iron and copper. However, all micronutrients are important for proper immune function.

Any change in lifestyle that modifies the above risk factors will enhance immunity.

Some general immunity tips include: Manage your immune system with food Many foods are immune-modulating based on whether they have an anti-inflammatory or proinflammatory effect. You can boost your antiinflammatory food intake with: omega 3 EFA, as found in seafood; low-GI foods; antioxidant rich foods (especially those high in vitamins A, C and E); high fibre foods; increased monounsaturated fats (nuts and avocados are good); restricted total calorie intake; more fruit and vegetables; lean game meats; herbs such as garlic, ginger and turmeric; and drinking green tea.

Key risk factors for immunity include:

Pro-inflammatory foods are those with: excess energy (high calories), high-GI, high trans fats, saturated fats, excessive salt and refined carbohydrates, as found in most processed and fast foods. Also excessive alcohol consumption, some dairy foods and food additives such as artificial colours, flavours and preservatives can be pro-inflammatory.

• Stress – chronic stress and depression • Lack of sleep • Lack of sunshine – vitamin D deficiency • Exercise – too little or too much (extreme) exercise • Obesity or being underweight • Poor nutritional intake and poor diets generally • Environment – climate changes including overheating, poor housing and/or living conditions such as overcrowding • Environmental syndromes including chemical sensitivities • Chemical exposure and pollutants – occupational, industrial, pollution, smoking • Medications – especially immuno-

Make quality sleep a priority Poor sleep is associated with a greater susceptibility to the common cold and most other illnesses. The natural sleep hormone melatonin is immune-modulating, so sleep disruptions have an immediate effect on the complex interrelationship between hormones and the immune system. Poor sleep is associated with a multitude of health problems and is a common complaint for Australians today. Over 50 percent of adults aged 65 and over have at least one sleep complaint. Sleep is essential for good physical and mental health. Immunity can be enhanced by ensuring regular and restorative sleep patterns are maintained. In some cases

melatonin supplementation may also be of therapeutic benefit for the immune system.

and natural killer cell activities. Plus it can be antibacterial and antiviral at high doses.

Take a probiotic every day It is understood that daily replenishment of gut bacteria is important for immunity. Supplements are ideal ways to ensure measured doses are taken; however, there are many foods that can be added to the diet that feed or replenish gut bacteria, such as yoghurt and fermented foods.

(See July issue of The Melbourne Review for more information on gastrointestinal health.)

Echinacea There is preliminary evidence that echinacea may be beneficial in the early treatment of the common cold. The purple flower is a traditional cold remedy that has been used by Indigenous Americans for centuries. Studies indicate echinacea can decrease the length of a flu-like illness, as well as reduce the frequency and severity of upper respiratory tract infections. It can be used for both prevention and treatment.

Vitamin D and the sunshine effect Originally vitamin D deficiency was only regarded to be important for bone health.

However, it is now understood that this vitamin is actually a complex vitamin that is intricately involved in the integrity of the innate immune system, plus every other body system. Vitamin D receptors exist in all tissue to regulate cell growth and decrease the risk of cells becoming malignant. Vitamin D deficiency has now been linked to numerous types of cancer, autoimmune diseases such as Multiple Sclerosis and many other chronic illnesses.

Of course at this time of year, there are additional immune strategies that may help us meet the challenges of the season. Research reveals several herbal, vitamin and mineral supplements that may be of particular benefit for boosting immunity in the cold and flu season.

Astralagus Astralagus is a 2000-year-old Traditional Chinese Medicine herb used to enhance immunity and rejuvenate the body and its vitality in the recovery of illness. It is antioxidant, anti-viral and helps rebalance gut flora. Clinical trials showed astralagus reduced the incidence and duration of colds.

Olive Leaf Extract Olive leaf extract can suppress a number of viruses, including those that cause the common cold. It has been reported to improve immunity by increasing natural killer cell function, and to be effective against viruses such as HIV, hepatitis B and C, and herpes. Preliminary research also shows benefits for artery disease, dementia prevention and other disorders.

Zinc Zinc is critical for cell function and directly influences the GALT and the mucosal barrier to inflammatory cells. It regulates the immune system and even a mild deficiency can result in immune dysfunction. Many studies have demonstrated the beneficial effects of zinc supplementation in the management of the common cold, cold sores, influenza and acute respiratory infections.

The immune system changes as we age and has different demands placed upon it during different seasons. It is disturbed by malnutrition, the normal process of ageing, physical and mental stress and undesirable lifestyles. There are many ways we can improve our immunity, and effective changes can start today by improving dietary intake of immune-modulating foods and supporting the diet with proven immune boosting supplements. A strong immune system is a mirror of a healthy lifestyle. Preventative measures in the cold and ‘flu season will also support optimal health and wellbeing.

Vitamin C Vitamin C can reduce the duration of a viral infection such as a cold. It is possible that a high dose of vitamin C may also prevent the onset of a cold. It has been found to improve components of the immune system such as antimicrobial

»»Professor Avni Sali is Founding Director of the National Institute of Integrative Medicine (NIIM).

Season Specific Supplements

20 THE ADELAIDE REVIEW AUGUST 2013

BOOKS

SILKEN PREY John Sandford / Putnam

BY ROGER HAINSWORTH

Mr Tubbs should not have forgotten the old saying: ‘He who sups with the Devil should use a long spoon.’ An increasingly dishonest political fixer, he had ingeniously had a sheet of child-porn pictures slipped onto an office computer of Republican Senator Small during a senatorial election The Democrat candidate, Taryn Grant, a beautiful billionaire, who had been somewhat behind in the polls suddenly found herself surging ahead. So far so sleazy. Then Mr Tubbs discovered who had paid him to do it. That was when he forgot the long spoon and decided that it might be time to retire to Cancun with a million dollars. The blackmail victims might never have heard the quotation ‘stone dead hath no fellow’ but they could see a solution cheaper than a million dollars. Mr Tubbs disappears. It was at this point that the Democrat governor of Minnesota calls in Lucas Davenport. The governor had known

Senator Smalls since kindergarten and knew it had to be a frame. He had set up a state investigative organisation that did for Minnesota what the FBI does federally: it investigates across local police boundaries. Its principal investigator is Lucas Davenport.

Lucas is one of the great homicide detectives, the protagonist of now 23 Prey novels, but what the governor wants is to have Smalls cleared. If he was framed the culprit must be caught. A scandal of these proportions would be bad for political life and a disaster for the Democrat party long term. Tubbs is of no importance and is probably off on a toot. Davenport’s instincts are as sound as ever. He believes Tubbs is dead and that whoever killed him paid for framing the senator. He is also convinced that Tubbs had an accomplice on the senator’s team who rigged the computer – and that the accomplice, a loose end, is a likely next victim. He is right but he cannot identify her in time.

This is an unusual police procedural.

It is not a mystery story, because as so often in this series the reader knows the criminals. It is the hard scrabble of the investigation that is so fascinating, and the brilliant characterisation of both police and suspects. Over the years Sandford has created a gallery of extraordinary villains worthy of Dickens and he has added another here. He also brings back the anti-hero of his fearly novels, Kidd, the hacker of genius and his jewel thief wife. They are ruthlessly mobilised by Davenport as he hunts his Silken Prey.

Friends of the University of Adelaide Library

Chris Daniels

Will the environment constrain population growth? Lessons from Adelaide Professor Chris Daniels will examine the environment (climate, geography, biodiversity) and lifestyle enjoyed by Adelaideans - highlighting the environmental conditions that can impact our community, such as drought, fire and food security, and discussing how, and to what extent, we can sustainably manage continued population growth.

2013 Salisbury Writers’ Festival

BY FIONA O’BRIEN

DEAR LUCY Julie Sarkissian / Hodder & Stoughton

BY TALI LAVI

Sometimes debut novels usher themselves in unassumingly; glimmering with promise but tentative in their ambition. From the outset Dear Lucy unapologetically positions itself as beguilingly and threateningly other. Although narrated by three characters, Lucy, her pregnant friend Samantha and the owner of the chicken farm to which the girls have been sent – the formidable, God-fearing Missus – it is Lucy herself upon whom the force of the story’s telling, its strange and poetic voice, balances. Illiterate and lacking the `right words’ to express herself, her limitations and literalism allow her to perceive of the world, particularly the natural one, as brimming with unacknowledged sentience. Julie Sarkissian constructs a modern fable which is not so much moralistic as highly ambiguous when it comes to its hero and denouement. Comparisons have been made between its unconventional narrator and that of The Curious Incident of the Dog in the Night-Time but a closer kinship exists between Lucy and Steinbeck’s Lennie from Of Mice and Men; both are naïfs who value fidelity, and their place in the world teeters dangerously on the acceptance of others.

H

ave you ever wanted to write a picture book? Poetry? Historical fiction? Perhaps you’re an unpublished author wondering where to start, or a published author writing another book? Literary enthusiasts of all genres will not want to miss the ninth annual Salisbury Writers Festival to be held from August 23 to September 5. Once again, the program is jampacked with presentations, workshops and panel discussions with renowned SA writers spanning a diverse range of genres from poetry to speculative fiction.

The festival will kick off with the launch of bestselling picture book author Katrina Germein’s My Dad Still Thinks He’s funny, a companion book to international bestseller My Dad Think’s He’s Funny (2010).

“They’re good-natured jokes we can all relate to,” says Germein. “Who doesn’t have a friend or family member who reliably has a corny quip or pun at the ready!” In keeping with its predecessor, readers will be delighted by the quirky fun of Tom Jellett’s colourful illustrations that masterfully set the scenes alive.

Germein will be one of many renowned authors running a workshop for aspiring writers, with all the tips, tricks and practical advice you need to help you on your way, whether it be how to begin, or how to improve your chances of becoming a published children’s author.

WATERHOUSE The Gala Night for The Waterhouse Natural Science Art Prize was held at the South Australian Museum on Friday, July 19.

PHOTOS ANDREAS HEUER

Chris Daniels is Professor of Urban Ecology at the University of South Australia, and Director of the Barbara Hardy Institute - a research institute focused on creating sustainable communities. He has published nine books, 140 scientific publications, and won numerous literary awards.

Thursday 15 August 2013 at 6.00 for 6.30pm Ira Raymond Exhibition Room, Barr Smith Library, University of Adelaide Bookings by Tuesday 13 August to: robina.weir@adelaide.edu.au or phone 8313 4064 Open to the public / Gold coin admission / Seating is limited Sponsored by Unibooks Wines by Henry’s Drive of Padthaway and Coriole Vineyards John Roberts and Nicki Agars.

Frank Buckle and Jenny Parsons.

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BOOKS / WIN Likewise, aspiring columnists won’t want to miss the keynote address and workshop with popular Advertiser columnist Petra Starke, who, having spent more than a decade in the media industry, is keen to share the practical advice she wishes she’d known when starting her career, and the ins and outs of “crafting ideas into punchy prose”.

WIN! FOR YOUR CHANCE TO WIN, ENTER YOUR DETAILS AT ADELAIDEREVIEW.COM.AU

Israeli Film Festival

Writers of all genres will enjoy the “Slash and Burn” editing session with novelist Patrick Allington, whose novel Figurehead (Black Inc. 2009) was long-listed for the Miles Franklin Literary award, in addition to being widely published for his short fiction, columns and reviews.

The opening address will be given by widely acclaimed author Dr Dylan Coleman, whose debut novel Mazin Grace (2012), won the David Unaipon Award for Indigenous Writing, and was shortlisted for the prestigious 2013 Commonwealth Book Prize. Fictionalising her mother’s childhood growing up at the Koonibba, Lutheran Mission near Ceduna in the 1940s and 50s, Coleman set out to capture Grace Oldman’s feelings of marginalisation from the Mission community, and follow her journey of self-discovery to find her father.

Writing this heart-felt story not only meant Coleman had to confront the intergenerational trauma faced by many Aboriginal women, but also find a way to tell these harrowing tales in a manner what would relate the experience as though through her mother’s eyes. One way she achieves this is by weaving the rhythmic sounds of Aboriginal English throughout the narrative, an intricate approach that beautifully surmounts challenges encountered by many writers. Coleman demonstrates an openness to exploring new approaches and ideas, and the urge to ask questions, and it is these elements that drive the festival.

For the first time, poetry will also take

Photo: Mr Flash Photography.

“It’s a great festival because it’s definitely geared for writers or people wanting to write, and wondering how to move forward or get inspiration for their career, or who want to connect, or get some specialist advice,” Germein says.

centre stage, with a “Friendly Street Poets” evening of readings by guest poets Jelena Dinic, Indigo Eli and Kate Alder, and an open mic for fellow poets to share their yarns with an encouraging audience. This will be followed with SA Heat 2 of the Australian Poetry SLAM on September 5, promising to be an electric live event as the judges seek out Australia’s best spoken word poet, with the SA final winner and runner-up to be flown to Sydney to contest for the coveted title of Australian Slam Poet 2013 at the Sydney Theatre Company.

So come and be inspired by the best of South Australia’s writing community and explore exciting world of publishing and authorship. The diversity of speakers and hands-on sessions are sure to offer something for everyone. Places are limited, so to avoid disappointment you are encouraged to register as soon as possible.

»»The ninth annual Salisbury Writers’ Festival is presented in partnership by the City of Salisbury and the SA Writers’ Centre. The Adelaide Review is a proud media supporter of the 2013 Salisbury Writers’ Festival. salisbury.sa.gov.au

Palace Nova Eastend Cinemas Thursday, August 15 to Wednesday, August 21 Social and political commentaries; tales of love, loss and redemption; stories of history, friendship and unlikely alliances: 2013 sees the AICE Israeli Film Festival celebrating its first decade in Australia with one of its strongest programs yet.

Cosmic Psychos: Blokes You Can Trust Palace Nova Eastend Cinemas Saturday, August 17, 4pm For 30 years, the Cosmic Psychos have blazed a trail of empty beer cans and busted eardrums around the globe with their quintessential Australian drawl and pounding punk rock songs. Here’s your opportunity to see their new documentary followed by a Q&A and meet and greet with the band. Directed

by Matt Weston. Stars Eddie Vedder, Butch Vig and Bomber Hurley-Smith.

Theatre Organ Society SA – David Gray Capri Theatre, 141 Goodwood Road Sunday, August 18, 2pm In his second tour of Australia, 23-year-old David Gray will entertain you with popular AngloAmerican Hits with a Scottish twist with the mighty Wurlitzer theatre organ.

Elias String Quartet – Musica Viva Adelaide Town Hall, 128 King William Street Thursday, August 29, 7.30pm An exciting young quartet from Britain in a program that combines two revered staples of the quartet repertoire – quartets by Haydn and Beethoven’s Razumovsky – with the world premiere of a new string quartet by Australian composer Matthew Hindson.

Peter Saturno and Danielle Bott.

The Rocket Palace Nova Eastend Cinemas From Thursday, August 29 A boy who is believed to bring bad luck to everyone around him leads his family and two new friends through Laos to find a new home.

After a calamity-filled journey through a land

Lina Ross and Adam Ross.

Megan Andrews and Larry Ingle.

scarred by the legacy of war, to prove he’s not bad luck he builds a giant rocket to enter the most exciting and dangerous competition of the year: the Rocket Festival.

AdYO Gala Concert Adelaide Town Hall, 128 King William Street Sunday, September 1, 3pm Two-hundred-and-twenty musicians and four orchestras bring their energy, passion and talent to a Youth Revolution at AdYO’s annual Adelaide Town Hall Gala. ASO’s concertmaster and internationally acclaimed soloist Natsuko Yoshimoto joins AdYO to perform Bruch’s dramatic Scottish Fantasy.

Blue Jasmine Selected cinemas From Thursday, September 5 A life crisis causes a woman to head to San Francisco, where she reconnects with her sister. Directed and written by Woody Allen. Stars Cate Blanchett, Peter Sarsgaard and Alec Baldwin.

Brian Kennedy with guests Vincent’s Chair - Trinity Sessions Church of the Trinity, 318 Goodwood Road, Clarence Park Friday, September 6, 8pm Irish singer/songwriter, Brian Kennedy, best known for his work with Van Morrison on five of his hit albums has had a phenomenal 22-year career as a radio/TV host and lead performer on international stages from Riverdance on Broadway to Eurovision 2006. He has a voice to charm the angels and in Van Morrison’s words, “Brian Kennedy has a huge pair of lungs”.

Wirrina Bluegrass Festival Wirrina Resort & Convention Centre, Paradise Drive Wirrina Cove Friday, September 6 to Sunday, September 8 This second festival features some of Australia’s favourite bluegrass acts including Old South Bluegrass, The Davidson Brothers, The Cherry Pickers, Astro Cobalt and Cripple Creek. They are well supported by acoustic roots musicians including Andrew Clermont, Cal Williams Jr, Shared Affair, The Hushes, Passion Fruit Fools and Saltwater Taffy.

22 The Adelaide Review August 2013

OPINION continues to change. In common with other botanic gardens the living collections are a river of biodiversity running through the garden. The only original specimen, a Vitex agnus-castus likely dating from the origins of the Orto, (and recorded with certainty from 1550) died in 1984.

Significant living specimens remain. Goethe’s palm (Trachycarpus humilis) dating from 1585 is the oldest remaining plant – listed in a 1590 student text as Palm humile, the humble palm.

Goethe records this plant as the inspiration for his influential 1790 treatise, Metamorphosis of Plants. The plane tree Platanus orientalis is the second oldest surviving tree, dating from 1680 and a ginkgo (Gingko biloba) planted in 1750 is the third oldest tree in the Orto.

Reconstructing Eden

by Stephen Forbes

T

he oldest botanic garden in the world is a matter of conjecture and might go back 10,000 years. The oldest continuing botanic garden in the world is undoubtedly the botanic garden in Padua. The Orto Botanico Padova was founded as part of

the ancient University of Padua by charter from the Venetian Senate in 1545. Rivals Pisa and Florence have long vied for primacy and their claims are often given credence. However a recent paper by Dumbarton Oaks scholar Anatole Tchikine comprehensively dismantles much of

the evidence supporting such pretensions. The Gardens in Pisa and Florence have both changed sites but perhaps more importantly, there’s no compelling evidence to support their foundation as botanic gardens until after 1545. Nonetheless, Pisa and Florence botanics remain of special significance in botanical history.

While the Paduan Orto Botanico has continued to change for over 450 years the original layout of the garden remains substantially intact. The Orto was established as a `garden of simples’ - simples are essentially medicinal plants utilised without amendment for treating illnesses and ailments.

The value of the Gardens to the university medical school was in ensuring consistency in the identification and use of simples by medical students. In essence the Orto provided a plantbased pharmacopoeia as well as a pharmacy for students and professors. The value of the plants themselves, supported by their accurate identification and provenance, required the construction a high brick wall to prevent theft.

What y cool h ou need m e of info ad and ac ost in an e m c you a rmation. T ess to reli ergency i ccess s able s he Ale state socia ource a rt SA l e the la mergency media me website le s s t t accor est on any services, s sages from s dingly o s . Mak ituation a that you k all nd www. e sure n alert. you b can plan ow sa.go ookm v.au ark it today .

The Garden is essentially a square within a circle divided into four by walkways along the cardinal points of the compass. Interpretations of the design vary – from scientific pragmatism, to a theological representation of the rivers of Eden (and the four corners of the Earth) and to Platonic and neo-Platonic views of the circle as both perfect form and a symbol of the Heavenly City. Probably the design reflects both science and religion confounded by myth and magick.

Of course even the ‘science’ underpinning the selection and identification of the simples represented a combination of Traditional Ecological Knowledge (or biocultural knowledge), folklore (or folk knowledge), theology and what we now recognise as scientific method – testing hypotheses and building on foundations on experimentation.

While the overall design remains, the plant collections, the essential part of a botanic garden

The Orto remains exceptionally well maintained – the challenge of maintaining a comprehensive teaching collection is evident in the presence of even small annuals such blowfly grass (Briza maxima), charismatic annuals such as the giant Amazon waterlily (Victoria amazonica) that enjoys the 25 degree bore water from 300 metres below Padua and the rich and remarkable collection of arid and sub-tropical container plants (including, for example, an Australian flame tree Brachychiton aff acerifolia) that are cosseted under glass through winter and allowed liberty in the open air over summer.

Visitor numbers seem low – in the order of 60,000. While numbers might be higher if the gardens were free, the entry charge brings both precious revenue and enhanced security for both the living collections and visitors.

The Gardens remain part of the University of Padua – a governance arrangement stretching back to their foundation. Significantly the Orto is expanding. In a city where space is at a premium the University’s recent purchase of land previously owned by the Jesuits associated with the adjacent St Augustine’s is remarkable.

The expansion of the Orto sees the construction of both a visitor centre and a 0.5 hectare conservatory, as well as laboratories that will address the needs of visitors and researchers (as well as allowing the existing container collection to rest in peace summer and winter).

The Orto Botanico Padova is a World Heritage Site – the Orto is of immense significance in understanding the origins of contemporary botanic gardens as critically important institutional frameworks for innovation in our relationship with plants . On my visit, the Prefecto, Prof Giorgio Casadoro, was exceptionally generous with his time. As coincidence so often has it, Adelaide arborist Rob Palamountain arrived at the ticket booth with his family while I was in the gardens with Prof Casadoro. Dr Carlo Camarotto who was manning the booth over the attendant’s lunch break pointed Rob in our direction! I’m not sure who was more surprised but I think it might well have been our Italian hosts!

»»Stephen Forbes is the Executive Director of the Botanic Gardens of Adelaide

The Adelaide Review August 2013 23

adelaidereview.com.au

FASHION When Fashion and Art Collide

by Lachlan Aird

F

ollowing a sell-out inaugural event, A Night Of Fashion, presented by Attitude Magazine and Honda, returns in 2013 with an even greater emphasis on bringing Australia’s best designers to Adelaide.

Returning designers include Carla Zampatti, Bianca Spender, Willow, Scanlan & Theodore and Suzy O’Rourke. This year Akira, Alice McCall, Collette Dinnigan and Toni Maticevski will join them on the runway.

While many of these designers are available in Adelaide through their respective boutiques or concessions, before A Night Of Fashion it was rare to see these high-end retail and couture designers on an Adelaide runway.

What was even more significant last year was seeing the Elder Wing of the Art Gallery of South Australia used as a fashion runway for the first time in its 113-year history; it will be the centrepiece again this year. Art Gallery Director, Nick Mitzevich, is proud that the Elder Wing can play such a pivotal role in brightening Adelaide’s fashion scene.

Akira

“Last year, the Gallery’s collection and sublime architecture provided an inspiring backdrop for

the designers, makers, models and audience,” Mitzevich comments. “It’s always exciting to see the Art Gallery humming with creative energy and it was thrilling to see people engaging with the collection in unexpected ways.”

A standout contributor to last year’s A Night Of Fashion, and who is extending her involvement, is Sydney milliner Suzy O’Rourke.

Last year, O’Rourke had one of her pieces worn by a model as local artist Lisa King painted the model. This year, O’Rourke’s pieces will feature on the runway, with a special revisit of her GILT couture collection plated in 24-carat gold. Her new collection will also be on display.

One of the new designers in the parade, Akira Isogawa for Akira, was flattered to be asked to take part in this year’s event. He is no stranger to showcasing in an art environment, having exhibited at the National Gallery of Victoria and Sydney’s Object Gallery, Museum of Contemporary Art and the Powerhouse Museum.

“We always appreciate any relationship with an art-based institution,” says Isogawa.

“I think the fashion designer and artist has a fine distinction, but the distinction is becoming more blurred. Because it is difficult to distinguish between art and fashion, I feel it’s appropriate for a fashion designer to present their collections in a gallery environment.”

While Isogawa will be sending his latest Resort collection to Adelaide for the event, which will herald the arrival of the spring/ summer season, 2013 is also a special year for Isogawa as it marks 20 years since his first boutique opened in Sydney.

The local focus for this year’s event will be concentrated through The Blank Canvas – an initiative that encourages emerging designers and artists to create a wearable piece of art. The seven finalists will showcase their designs at

Fashion Rendezvous GILLES STREET MARKET Sunday, August 18 10am to 4pm 91 Gilles Street, Adelaide gillesstreetmarket.com.au For fab vintage and pre-loved fashion including the latest from local emerging designers, check out the Gilles Street Market. DJs spin the tunes alongside delicious food vendors and over 90 stalls of fashion and accessories.

the event, with Mitzevich selecting the winner.

“I will be seeking out risk, innovation and design that look like nothing I have ever seen before,” says Mitzevich, reaffirming the concept that fashion and art are best enjoyed when combined.

»»Honda Presents A Night of Fashion at the Art Gallery of South Australia with Attitude Magazine Saturday, September 7 anightoffashion.com.au

24 The Adelaide Review August 2013

MONTEFIORE MONTEFIORE

in surrounding public space. Tall buildings generate downdrafts from strong winds, which can destroy all attempts at creating lively streets or squares,” Gehl warned. More than a year after the government’s DPA release, more new concepts for high towers within the CBD are now being discussed.

A neglected recent city report reveals that the state government ignored international advice in its haste to implement a new CBD tall buildings plan.

Professor Gehl’s core recommendation was: `Few tall buildings in the city centre.’

BY Sir Montefiore Scuttlebutt

A

The Public Spaces & Public Life Study, overseen by Copenhagen-based Gehl Architects, gives international advice about well-designed cities, and how Adelaide could evolve in future years. But views within it contradict the state government’s push in March 2012 to increase city building height allowances.

The report’s printing costs were shared between the city council and the state government. Although ready to print in December 2011, the state government was busy writing a revolutionary new capital city Development Plan Amendment (DPA) for the city and its edges, including the eastern and western fringes, and south and North Adelaide.

It removed many building height restrictions a matter that the Gehl report warned against.

Town Hall sources claimed that councillors did not scrutinise the final pre-print draft until its release seven months after the government’s DPA release.

Media reports of the Gehl vision sensationalised recommendations such as opening up the Government House gardens and closing city council car parks, but ignored

Anne & Gordon Samstag Museum of Art University of South Australia

the obvious policy contradictions among the international expert’s comments. Professor Gehl warned strongly against random spreading city high-rise. Moreover, his warning was in the context of older, more modest planning rules still effective in December 2011, when height limits were averaging only eight stories, but could be up to 11, described by him at that time as “extremely generous”. But by March 2012, while his report remained unpublished, the height allowances had been increased again, allowing CBD proposals to up to 30 stories, and fringe and park land edge high-rise to 15 stories.

Experts acknowledge that the DPA featured the most significant change in decades. It claimed to reflect the aspirations and targets of the state government’s 30-Year Plan for Greater Adelaide, released in 2010. But Professor Jan Gehl brought all of his international city design experience to bear - Copenhagen, New York, Christchurch, Melbourne and Sydney - with a warning.

“Adelaide is at a crossroads,” he wrote. “It is either business as usual or a new approach to how the city should expand.”

On height allowances for buildings, he noted that tall buildings were often erected for their `landmark value’ but that Adelaide had other `non-vertical landmarks’ and such public spaces were to be encouraged. He also noted

19 July – 20 September 2013

Revealed 2: CollectorSpace Narelle Jubelin: Vision in Motion with Jacky Redgate

the `random’ placement of existing Adelaide buildings.

“What should be noted is that the building height [2011] restrictions for central Adelaide are extremely generous and hence they present a very real challenge in terms of preserving the significance of the open space landmarks in Adelaide’s plan.

“Tall buildings concentrate more activity in one place, creating a need for more servicing of the building, increased demands for integrated parking (which is unfortunately not adequately addressed in Adelaide’s planning policies), stronger demands for nearby public transport and increased needs for road capacity for driving to and from the building. As such tall buildings should be placed wisely and not only recognised for their landmark value, but also for their increased pressure on the system in general.”

The new DPA allows developers to choose where they propose high-rise development depending on the amount of land that they have accumulated - sometimes over many years.

But the professor warned that this approach was a poor determinant of the best location, especially if the city aspired to be a pedestrianfriendly, sustainable city featuring attractive and people-friendly public spaces.

“Poorly placed and poorly designed buildings have an enormous effect on the micro-climate

T’Arts Collective Gays Arcade (off Adelaide Arcade)

Exciting artist run contemporary gallery / shop in the heart of Adelaide.

How Much Can A Polar Bear? by Jane Sabey

major Adelaide city redesign study by a Danish professor highlights fundamental contradictions with recent new government policy about development approval for tall buildings in the CBD. The Town Hall draft report was signed off in December 2011, but wasn’t released for another 10 months during which time other new government policy was announced that contradicted its views.

T’arts Collectives theme for SALA 2013 is simply “INSPIRED” Through study and soul searching,T’Arts artists are exploring themes and techniques that have moved them to create a work of art.

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At the March 2012 release of the development plan amendment, planning minister, John Rau, also considered `the public realm’ but with a focus on the opposite result. The introduction to his plan amendment states: “Growth in the city has in recent years been delayed by restrictive planning controls that tend to block investment and fail to encourage good design integrated with the public realm. These restrictive and complex rules mean that 60 percent of applications are treated as being over height, taking up to 180 days to be approved - a holding cost that deters many investors.”

That deterrence is passed. In Adelaide it’s not only `business as usual’ for some big developers, but in fact `more large-scale business than ever’.

Since March 2012, more than $2.5 billion of new city development has been approved by the government’s Development Assessment Commission, a body that superseded former Town Hall approval procedures if the proposal was valued over $10 million. This trigger point, which still baffles Town Hall, quarantines Town Hall from determining big development approvals. Moreover, a new position of State Architect, leading a new Office of Design and Architecture, which was only last year championed as being independent from government, recently saw its reporting line transferred to a government department reporting to the planning minister. Town Hall is still awaiting an explanation. Meanwhile, the city’s floodgates have opened. A recent count saw 24 projects worth $1.8 billion progressing.

Copenhagen is a long journey distant, but it would appear that the good professor’s wise counsel has been overwhelmed by the sound of demolition, digging and scaffolding.

adelaidereview.com.au

The Adelaide Review August 2013 25

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26 THE ADELAIDE REVIEW AUGUST 2013

PERFORMING ARTS The music never stops

Evenings

proudly supported by

ELDEr COnsErVATOrIuM OF MusIC PrEsEnTs

ELDEr COnsErVATOrIuM sYMPHOnY OrCHEsTrA KEITH CrELLIn COnDuCTOr VArIOus sOLOIsTs

FrEE COnCErT ELDEr HALL

MusICIAns

A night of concertos at Elder Hall

istening to his 1955 recording of the Goldberg Variations, something strange happens. It’s as though a mathematician has posed an unfathomable problem and here’s someone solving it without, it appears, having to think. It’s hard to believe a human is playing the notes. Some sort of machine, surely? But then come the viewings, Gould bent over the piano, sometimes only a few inches from the keys, low enough to pull them down (as he’d been taught by Alberto Guerrero) instead of striking them, intensely focussed, singing the melody, as if there was a physical bond between piano and man.

gEnErAL ADMIssIOn

COnCErT 4 ELDEr HALL

Kaleidoscope

For the uninitiated, Glenn Gould was a Canadian pianist, born in 1932, who impressed from the beginning. As with Rose Grainger, Gould’s mother always intended him to be a great musician, and this extended to playing music to him in the womb. He hadn’t been out long before he showed signs of genius. He had perfect pitch, could read music before words and was accepted into the Royal Conservatory of Music in Toronto at age 10. Two years later he passed his final exam, graduating with the highest grade of any candidate.

ELDEr COnsErVATOrIuM WInD OrCHEsTrA rOBErT HOWEr COnDuCTOr AnDrEW WIErIng PErCussIOn

Including the World Premiere of Adelaide composer Nicholas Denison’s Concerto for Percussion and Wind Orchestra.

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A veritable kaleidoscope of colour! The ECWO explores exhilarating textures and for an evening varied repertoire.

At some point, everyone discovers Gould. Many are led to him, as I was, by Bach

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The Elder Conservatorium of Music invites you to come and enjoy some of our leading students as they get the opportunity to perform for you with ‘their’ orchestra.

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I could explain what comes next, but it’s a matter of record: playing with the Toronto Symphony at 14 (the first movement of Beethoven’s ‘Fourth Piano Concerto’), his first solo recital at 15. But, given this, he wasn’t your typical child prodigy (if there is such a thing). He once said the piano is ‘not an instrument for which I have any great love as such…’ Although this box of hammers and strings earned him a reputation as one of the great 20th century pianists, he once told biographer Otto Friedrich that if he hadn’t been a pianist he would’ve been a writer.

Any journey into the life of Gould soon exposes the contradictions. As with Grainger, meticulously recording his own eccentricities, Gould had a love-hate relationship with the maple box. Although it was the path to wealth and fame it couldn’t hope to contain his interests and ambitions.

And it’s these that interest me.

Today, we expect a lot from professional pianists.

They have to play the right notes, understand dynamics, tempi, shading of light and dark. They have to have some understanding of the composer’s intentions, how to present themselves, avoid saying dumb and controversial things and be extremely nice to their fans, corporate and human.

We tolerate a certain amount of eccentricity. We assume you couldn’t be that good without a few cogs coming loose.

Indeed, we even like a bit of Helfgott. This stretches from James Rhodes (and his infamous tatts) to Evgeny Kissin

Glenn Gould

(who The Guardian’s Martin Kettle once singled out in his piece: ‘Why are concert pianists so boring?’)

But Gould was never boring. Although he had the technical perfection to match Kissin, he also had a sort of … strangeness.

An intellect like his could never be contained, or indeed, simply described. The chances are, if he’d lived beyond 50, he would have returned to his early passion for composition. He left very little, and mostly unfinished, work. His ‘String Quartet, Opus 1’ (composed in his early 20s) shows what might have been. It contains traces of Beethoven and Schoenberg, but its vision is clear and remarkable, from its simple, ethereal opening, to its playful fugues.

Gould stopped giving concerts early in his career. Later, he was offered a blank cheque to change his mind but he thought live performance was a ‘force of evil’. With typical eccentricity, he explained his ideas in the ‘Gould Plan for the Abolition of Applause and Demonstrations of All Kinds’. He believed that concert audiences (as much an anachronism as the clothes they wore) turned music into an undignified competition.

Certainly not what JS would’ve wanted.

Thankfully, for us, he concentrated on recording. Here, the composer was King. He could study the score, select takes, edit, and bring new perspectives to works that had often been over-recorded. But even this wasn’t enough. In his 30s, he became a musical (and artistic) philosopher. His contempt for performance was matched by his wonder at the possibilities of creation. He believed that art was the ‘gradual, lifelong construction of a state of wonder and serenity.’

For me, this can best be heard in his three radio documentaries. These works allowed his mind to drift away from Bach and Scriabin into less well-mapped territories, both physical and emotional. They matched a world-view that contained Alban Berg and Petula Clark, Scarlatti and jazz. Perhaps it was his belief that music had peaked in the Baroque (‘the piano is a contrapuntal instrument’) and now had less to offer.

1967’s The Idea of North was Gould’s attempt to describe isolation. Although this radio work was about journeys into the Canadian wilderness, it was really a riff on his own aloneness.

THE ADELAIDE REVIEW AUGUST 2013 27

ADELAIDEREVIEW.COM.AU

image courtesy of Sony Music

PERFORMING ARTS

The hour-long documentary begins with voices, entering separately, fugues made not from little black dots but unidentified people talking about their lives. The constant click-clack of train wheels (he called this an ‘ostinato’) reminds

us of our own journeys, real and spiritual. At first, the listener is swamped, but then things settle, and the voices start making sense. A little like a Bach-saturated Gould emerging from his mother’s womb.

chair he played on had been made for him by his father after a childhood accident left him with spinal damage. Of course, it wasn’t about the chair, it was about his father, and the love that had gone into making it.

This ‘contrapuntal’ radio was ‘as close as an autobiographical statement’ as Gould intended. He knew the truth of a thing is lost when it’s explained. Like music, creation was about the essence. He said, ‘I’ve remained, of necessity, an outsider. And the North has remained for me, a convenient place to dream about …’

Therein lies the mystery of Gould: the need (but impossibility) of love. Relationships were never easy. In 1967, in the midst of North, he became a family man, of sorts. Cornelia Foss, the wife of American composer Lucas Foss, moved to Toronto with her two children to start a new life with him. They lived together for nearly five years before she returned to Lucas. Gould didn’t take it well. Foss noted that within weeks his mental state had declined.

She said, ‘My life became more restricted as his paranoia become more evident. He became more difficult and I think this was due to the fact that he was taking more anti-depressants … his personality began to change rapidly.’ In the end, she wasn’t willing to risk her children’s well-being.

He was an outsider. His ‘eccentricity’ needs to be seen in the context of a culture that worships the bankable; the tried-and-true; musicians-as-athletes. Normal, to him, was that ‘incredible tapestry of tundra and taiga which constitutes the Arctic and sub-Arctic of our country.’ He had become, in a sense, more creator than re-creator. As with Grainger, he believed the former had the greater claim on posterity.

The sensible becomes insensible. Did it really matter that he sang as he played? That he preferred the night, waiting until after sunset to do his shopping? That he always wore coats and gloves? That he hated being touched?

There was always a reason. The old wooden

Gould returned to his life-within-a-life.

Perhaps, in the end, it was easier to analyse the nature of his isolation than to wait for love.

Soon, he made another radiophonic experiment titled The Latecomers. It concerned life in isolated districts beyond Newfoundland. Then, in 1977, The Quiet in the Land, an examination of a Mennonite community near Red River, Winnipeg. Together, The Solitude Trilogy is

about those who choose to withdraw from the world. In a way, the same thing he had done when he first sat a piano.

In The Idea of North one of the anonymous voices says, ‘For those who face it (the journey north) for the first or second or third time, there’s almost a traumatic experience … they feel, Ah, this is going to become impossible. It might not be now, but it’s going to come, and yet they’re able to do little or nothing about it …’

Perhaps this was Gould’s greatest fear: that there was little he could do to stop being Gould.

Self-examination didn’t work. His obsession with recording his blood pressure, medications and health problems was another take on his own isolation.

On 27 September 1982 Gould complained of a headache. It was really a stroke. He descended into a coma and a few days later his father, Bert, decided his son’s life support should be switched off. As Gould himself would’ve wanted it; as he headed north, for the last time.

Gould once said: ‘If an artist wants to use his mind for creative work, cutting oneself off from society is a necessary thing.’ As we listen to any of his 60 major recordings, we can hear this focus. In the end, he found his state of ‘wonder and serenity’. He said: ‘Isolation is the »one sure way to human happiness.’

International Concert Season 2013 Britain’s leading young chamber ensemble, the Elias String Quartet, brings its phenomenal sound to Australia in August.

Join us for the latest instalment in the Quartet’s immense undertaking to play through the complete Beethoven cycle, in concerts including his op 59 no 2, alongside a masterpiece from Haydn and an exuberant world premiere from Matthew Hindson.

Thur 29 Aug 7.30pm Adelaide Town hall

To book tickets call 131 246 or visit bass.net.au | musicaviva.com.au/Elias

28 THE ADELAIDE REVIEW AUGUST 2013

PERFORMING ARTS

How Sweet the Sound

BY ROBERT DUNSTAN

L

egendary American folk singer Joan Baez is heading to Australia for the first time in many, many years and says that the opportunity suddenly presented itself and was too good to refuse.

“My manager said to me one day, ‘What about going down to Australia again?’, and I just said, ‘Oh, goody’. That’s kind of how it’s happened. While it may look like a pretty big tour, Australia is a big place and I really wanted to go to as many places as I could.”

Joan Baez came to fame in the early 60s as a folk singer with a very pure voice. She championed a young Bob Dylan and in 1968 released the double album Any Day Now: The Songs of Bob Dylan. She also became a political activist and a staunch campaigner for non-violence.

Now aged 72, she continues to tour and record with her last album, Day After Tomorrow,

being produced by renegade musician Steve Earle. It also featured songs by contemporary artists such as Earle alongside tunes by Elvis Costello, Patti Griffin and Tom Waits. Baez was also the subject of the 2009 American Masters documentary, How Sweet the Sound.

The singer, whose Quaker father, Albert, co-invented the X-ray reflection microscope in 1948 with Stanford University professor Paul Kirkpatrick, will be accompanied on tour by multi-instrumentalist Dirk Powell and her son, Gabriel Harris, on percussion.

“Dirk plays something like seven different stringed instruments,” Baez reveals, “and Gabe is just great on percussion. And it’s great going off touring with Gabe because mums often get to hang out with their daughters, but how often do they get to really hang out with a married son? Gabe and I also enjoy being jet-lagged together. It’s very special.

“I just try and keep my concerts a happy experience these days and say whatever it is I need to say without the preaching I used to do,” Baez quickly continues. “For instance, on my last tour I dedicated a song to the people of Turkey and one night I sang a song in Portuguese that I hadn’t sung for about 25 years for the people of Brazil.”

Are there certain songs, such as The Band’s

State Theatre Company of South Australia presents

statetheatrecompany.com.au

Joan Baez

The Night They Drove Ol’ Dixie Down, that you feel you have to include in a concert performance?

through to the Civil Rights Movement and [it] also has footage of the festival. It’s quite amazing.

“As soon as you say the words ‘have to’, I think I probably wouldn’t,” Baez laughs. “But when I look around at my audience I think, ‘These people have hung around with me for so long now even if they came in midway through my career about 25 years ago’. They have been faithful to me and there are different songs they associate with me from the last 50 years.

So while I myself may be tired of a few of the songs, I’m certainly not tired of singing them to those who have turned up to see me.”

“I remember Woodstock as being very wet and muddy,” Baez says of the festival at which she performed for an hour from 1am on the opening night when six months pregnant with Gabriel.

The singer performed at The Woodstock Music & Art Fair in 1969 that had been held on Max Yasgur’s farm in Bethel, New York. She returned to Bethel in April for the first time.

Babyteeth by rita kalnejais

“It was amazing,” Baez says. “They’ve built a new amphitheatre, but they take you in one of those golf carts to see the original stage. They also have a memorial and a really amazing museum that takes people from the 1950s

“The thing about it was that having people contained like that and being all together forces them to become the best they are,” she reasons.

“For example, I remember seeing a cop place his gun in his car and then make a hotdog for some guy who was stark naked and obviously on some kind of trip.

“Outside the confines of Woodstock, he would have been arrested,” she says with a laugh. “But that kind of mood just became so contagious at Woodstock that everyone just became as good a person as they could be.”

Baez, who says she now listens to anything from opera through to Willie Nelson and Ozomatli, agrees that the last decade has seen a swing back to acoustic music.

“I don’t know what it’s like in Australia but that’s definitely the case in the US,” she concludes. “When I started off it was a reaction to what we used to call bubblegum music, so maybe it’s today’s reaction to all the music reality shows on television. I think it comes from people wanting something that’s a little more real.”

16 august — 07 september Space Theatre BASS 131 246

» Joan Baez Festival Theatre, Adelaide Festival Centre Tuesday, August 6 at 8pm joanbaez.com

THE ADELAIDE REVIEW AUGUST 2013 29

ADELAIDEREVIEW.COM.AU

PERFORMING ARTS

Real Wild Life

I said that if someone came up on stage and mimed the song and people guessed what it was, then I would actually attempt to play it.”

BY ROBERT DUNSTAN

“It’s a request show so people can ask to hear whatever they want that I’ve recorded over the years.”

F

ollowing an overseas tour as guitarist with Nick Cave & The Bad Seeds, Ed Kuepper is hitting the roads of Australia in solo mode armed with his voice, acoustic guitar and stomp box to present songs requested by fans.

Talk then briefly turns to Kuepper’s recent overseas venture with Nick Cave & The Bad Seeds of which he now seems a little ambivalent.

West German-born Kuepper first came to fame with legendary Brisbane band The Saints before going on to lead such eclectic groups as Laughing Clowns and The Aints as well as having assorted other projects on the go such as Oxley Creek Playboys, The Institute Of Nude Wrestling and The Kowalski Collective. He has also released a remarkable number of solo albums over the last 30 years including Electrical Storm, Black Ticket Day and Honey Steel’s Gold.

Kuepper begins by saying a request show is something he’s only ever undertaken once before.

“I was doing a big tour with (drummer) Mark Dawson for our album Second Winter and got offered a show on the Gold Coast,” he explains.

“For some reason Mark couldn’t do it but rather than blow out the gig I decided to go ahead and do it completely solo as a request show.

“So I quickly asked people to request songs via my Facebook page and it kind of went from there,” Kuepper adds. “The problem is you get some people who make the typical silly request for Led Zeppelin songs. Rather than ignore that though, I said that if someone came up on stage and mimed the song and people guessed what it was, then I would actually attempt to play it.

It was all in good fun so I’ll keep with that for any silly request of that type.”

“When I first took that job on I said I wasn’t going to be just a session player and merely recreate Mick Harvey’s guitar parts,” he says.

“So, will my association with The Bad Seeds continue? No, I wouldn’t really think so.”

» Ed Kuepper Governor Hindmarsh Hotel Saturday, August 17

Ed Kuepper

Yankalilla Acoustic Music Group presents

the 2nd annual

DANCE TA N G O

Bluegrass and beyond Including: Old South Bluegrass the davidson Brothers Cripple Creek astro Cobalt the Cherry Pickers Come and join us for great concerts, jam sessions and even a few masterclasses.

The musician has an extensive back catalogue of dozens of albums from which songs can be requested.

“And it’s all up for grabs,” Kuepper states.

“There will no doubt be a couple that I’ve forgotten the words to, but using the Gold Coast show as an example, if people call out for something and I think I can do it, I will. But if don’t think I can do it I’ll just say they wouldn’t really want to hear me mumble my way through it. Everyone seems to understand that and is cool with it.”

New songs from a soon to be released offering – the artist’s first album of original material since 2008 – will also not be forsaken.

“If people want to hear any of the new songs, I’ll quite happily play them,” Kuepper reveals.

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30 THE ADELAIDE REVIEW AUGUST 2013

PERFORMING ARTS

Word Up

I like to sit and talk to people about those kinds of things anyway and having such wonderful people sitting alongside me will be great. It’s such a brilliant idea.”

English musician Guy Pratt is part of a brand new festival, Word Adelaide, which will hit the city this month with the inaugural event promising to be a lot of fun.

in Adelaide with him.”

Pratt will also be working alongside The Audreys’ Taasha Coates, Leo Sayer and Spandau Ballet’s Gary Kemp at the Words Without Music event at which the panelists will be answering questions from the floor about the music industry and the art of songwriting.

BY ROBERT DUNSTAN

T

“Gary and I tend to be very candid when we are around each other so it will make for a very good exchange,” Pratt reasons. “And Gary is also one of my best friends and we’ve written two musicals together, Bedbug and A Terrible Beauty.”

he compact, four-day festival will offer a series of events and enticed such participants as Little Britain’s Matt Lucas, Spandau Ballet’s Gary Kemp, Leo Sayer, Joel Ozborn, The Audreys’ Taasha Coates, The Project’s Kitty Flanagan and 891’s Roly Sussex.

Guy Pratt

Guy Pratt, an English musician (he plays

bass with Pink Floyd) and author of the book My Bass and Other Animals, is also a comedian who has been to Adelaide several times to showcase his talents and is excited about heading here again to take part in Word Adelaide.

“Even if it means leaving the warm weather,” Pratt says from Ibiza. “But it’s not about the weather really because I’m excited about Word Adelaide. It’s all come together and I’m really happy about it.”

FOWLERS LIVE SAT AUGUST 17

BLOKES YOU CAN TRUST

IN CINEMAS AUGUST 8 PALACE NOVA EASTEND EXCLUSIVE SEASON www.cosmicpsychos.com.au

COSMICS 158x60mm ADELAIDE REVIEW.indd 1

19/07/13 1:39 PM

Pratt will be taking part in In Their Own Words with Matt Lucas, Kitty Flanagan and Roly Sussex as well as being alongside Gary Kemp, Leo Sayer and Taasha Coates for Words Without Music. He says that heading a panel, as he will with In Their Own Words, is relatively new territory but he’s looking forward to the challenge.

“It’s not the kind of thing I’ve often done before,” he admits, “but the thing I do like about Word Adelaide is the great subject matter. I like to sit and talk to people about those kinds of things anyway and having such wonderful people sitting alongside me will be great. It’s such a brilliant idea.

“I’ve known Matt Lucas for years and years,” Pratt adds. “While I can’t say I know him that well, I worked with him when Matt and David Walliams were an up and coming little UK comedy duo back in the 90s. So it’s been fantastic to watch Matt flower and I’m really looking forward to spending time

It was recently reported that Gary Kemp would be doing as much cycling around the city as he could during his visit for Word Adelaide because he had enjoyed it so much when last in town with Spandau Ballet.

“Goodness, I won’t be doing any of that,” Pratt says. “But I know that Gary is an obsessive bike rider. And there’s a lot of peer pressure in the UK for me to join in, as there’s now a whole group of them called MAMIL. That stands for Middle Aged Men In Lycra,” he adds with a laugh, “but for me to join I’d have to shed quite a few kilos before I even got anywhere near the lycra. I’m very envious of Gary though, because cycling is obviously a very good thing to do and he always looks fantastically fit.”

The musician then recalls that it was in 1982 when he first came to Adelaide.

“I was playing bass for Icehouse back then and I remember we were playing with Simple Minds at Thebarton Theatre,” he states. “And it was really, really hot and the venue’s airconditioning had broken down and the strings on my bass rusted. I’ll always remember that about Adelaide. Last time I was there – it would have been for Adelaide Fringe in 2011 – I was shocked to notice you’d got rid of the pie floater van,” Pratt concludes. “I don’t think you quite realise what a local landmark that was for overseas visitors.”

» Word Adelaide Thursday, August 15 to Sunday, August 18 wordadelaide.com.au

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PERFORMING ARTS it’s people that go to bars and cafes in their late 20s, early 30s. They’re writers and artists, there’s a drag queen in there, an orthodox drag queen, which is quite interesting, by day he is religious and by night is a drag queen. Only in Israel would you find an ultra orthodox drag queen. It’s almost black and white, it’s not black and white but because it’s shot late at night, in the early dawn, it’s just has this moody romanticised (rather than romantic) feel to it. I was really bowled over by it. It took me completely off guard because I’ve been involved in the festival for 10 years and I’m very used to Israeli film. This one came out of nowhere because of its soft, gentle aesthetic.”

While Lawrence says there isn’t a film movement in Israel as such, what he believes is a common thread through good Israeli film is believability.

“It’s about those characters. The narrative and dialogue doesn’t seem fictional, it’s almost that you believe that those people are sitting there having conversations like it hasn’t been written for them.”

Out In the Dark

whole film just about the extended family and culture and traditions of that particular family.”

Starting as a single screen festival with less than 10 films in Sydney and Melbourne a decade ago, the festival expanded to Adelaide, Perth and Brisbane in 2012 with Byron Bay and Canberra added this year. Lawrence says the core audience is Australia’s Jewish community but that the festival’s target audience is much wider.

Inch’Allah

A DECADE OF ISRAELI FILM The AICE Israeli Film Festival has expanded to seven cities across the country for its 10th anniversary, which includes a number of films by Israeli directors exploring Palestinian life.

BY DAVID KNIGHT

H

eaded by the festival’s big ticket items, the Academy Award nominated documentary The Gatekeepers and the opening night feature The Ballad of the Weeping Spring, CoCurator Keith Lawrence says around half of this year’s films explore Palestine with films such as the documentary Good Garbage, the Stephen Dorff starring Zaytoun, Inheritance and Out in the Dark.

“The Israeli filmmakers have really taken on board the slightly more humane or human

perspective of the conflict,” Lawrence explains.

“With Zaytoun it’s very much a... it’s not polemic, it’s not trying to be overtly political.

The politics are there, as with any film made in Israel or the Palestinian Authority, the politics are always going to be there. With Zaytoun it’s softer, it’s not tying to beat you over the head with politics.

“While Inheritance is very much about an Israeli Arab family living within Israel, they don’t actually refer to themselves as Palestinians – they are Israeli-Arabs. That’s a

» AICE Israeli Film Festival Palace Nova Eastend Cinemas Thursday, August 15 to Wednesday, August 21

“When it was first launched it was very much about introducing Australian audiences to not only the Israeli film industry but also Israeli culture.”

A decade ago it was rare to see Israeli films commercially released in Australia or anywhere other than Israel for that matter. That has changed in the last few years with acclaimed recent films including Waltz With Bashir, The Band’s Visit and Beaufort.

“That’s an indication that Australian audiences are embracing and are interested in film that is coming out of Israel. In the same way that we talk about the French Film Festival, the Italian Film Festival, the Russian Film Festival, the Italian Film festival etc, at the end of the day, the French Film Festival is not just targeting French speaking Australians, it’s targeting people that like continental foreign films.”

While the controversial Academy Award nominated documentary about Israel’s secret service the Shin Bet, The Gatekeepers, is the film that has everyone talking Lawrence says Slower than a Heartbeat is another must-see.

“The beauty of Slower than a Heartbeat is that it hasn’t got an Israeli aesthetic to it, it’s more of a French/European aesthetic. It’s about people who populate the night and early dawn.

When I say night, I don’t mean streetwalkers,

In CInemas

september 5

32 THE ADELAIDE REVIEW AUGUST 2013

PERFORMING ARTS COSMIC PSYCHOS: BLOKES YOU CAN TRUST

BY DAVID KNIGHT

THE ROCKET

BY DAVID KNIGHT

The effects of the American bombing campaign on Laos during the Vietnam War (where 260 million bombs dropped and 80

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million didn’t ignite) are still felt some 40 years later in the Southeast Asian country.

Aside from the yet-to-ignite bombs, electrical power and homemade rockets are the other fierce explosives that could ignite the sweet and uplifting award-winning (including Best Debut Feature at Berlin Film Festival) film, The Rocket, by Australian director Kim Mordaunt.

Sitthiphon Disamoe plays Ahlo, a young boy believed to bring bad luck to his family as he was born a twin. Ahlo’s family is forced to move from their village as a dam is set to flood their home. They relocate to a community set up for villagers whose old communities will be flooded to power Southeast Asia but Ahlo’s ‘bad luck’ has tragic consequences, as his mother is killed on the journey. More bad luck follows when they settle. The township isn’t the paradise promised, due to poor infrastructure and tension between the new arrivals. Ahlo befriends Kia (Loungnam Kaosainam) and her eccentric uncle Purple (who worships James Brown and even looks like the Godfather of Soul). Purple and Kia are outcasts and Ahlo’s father tells him not to hang out with the duo.

Ahlo ignores that advice and to allow Purple to watch his James Brown videos, steals electricity from the workers but gets caught. For this and other misdemeanors he is driven out of the community with his family and new friends in tow. During their travels they come across a dangerous homemade rocket competition, which Ahlo sets his heart on to win, so his family has enough money to settle. With a remarkable pair of child actors (Disamoe and Kaosainam) who are blessed with smiles that could melt Mickey Rourke’s plastic face, The Rocket is a beautiful film, which contains a stunning backdrop in the little filmed Laos. Yes, it’s a simple story, but one that is beautifully told and which hints at enough social and political commentary to make it a remarkable debut feature of substance.

EXCLSUIVE TO PALACE NOVA EASTEND

AUGUST 29

» Rated M

Matt Weston’s engaging and hilarious rockumentary on Australian yob rock veterans Cosmic Psychos is a warts and all look at the unlikely influence of the 30-yearold band that at first appear to be a bunch of bogens who thrash out pub punk. With farmer Ross Knight as the band’s leader, this muscle-bound bassplayer and vocalist is a brilliant character to base a doco around.

Like the music of the band, Knight is a nobullshit, straight to the point country boy who likes beer, rocking and his farm. The Psychos, along with The Hard-Ons (who appear in the doco) and The Scientists, were part of a group of Aussie 80s bands that influenced the Seattle grunge sound with their raw fuzz take on punk. An all-star lineup of grunge and punk identities appear to talk of the Psychos’ influence including Pearl Jam’s Eddie Vedder, Mudhoney, L7 and The Melvins. But it’s Knight who is the star. He is this country’s most unlikely rock’n’roll identity, as he talks about his rise from a man who likes beer, footy and cricket, and who didn’t want to leave Australia to tour Europe, to a rock’n’roll veteran who pranks and drinks his way through America

THE WAY WAY BACK

BY D.M. BRADLEY

Pals Nat Faxon and Jim Rash (aka the seriesstealing Dean from TV’s Community) shared the Best Adapted Screenplay Oscar for The Descendants with director Alexander Payne, and this success spurred them on to create this funny if melancholy original work, their début as no less than co-writers, co-producers, co-directors and co-stars.

and falls in love with a New York S&M queen.

Knight’s life is full of strange juxtapositions: how many punk rockers are champion power lifters? How many farmers don S&M gear?

Brilliantly captured by Weston, who smartly uses animation to showcase scenes from the band’s history, Blokes You Can Trust is a very

And while there’s an impressive ensemble of prestigious names here, the protagonist is actually inexpressive and unhappy 14-year-old Duncan (Liam James), whose mum (Toni Collette) has a boyfriend named Trent (Steve Carell in memorably unpleasant form) with whom Duncan simply does not get along – and who could blame him? With vague hopes of a happy, pseudo-reconciliatory summer holiday as a quartet with Trent’s daughter Steph (Zoe Levin), they wind up at a beach house where days are spent socialising, however uncomfortably, with Trent’s friends Kip

The Adelaide Review August 2013 33

adelaidereview.com.au

PERFORMING ARTS adelaide review 305hx81_Layout 1 25/07/13 12:03 PM Page 1

Before Midnight The Adelaide Review and Hopscoth Films held a special preview of Richard Linklater’s Before Midnight at Palace Nova on Wednesday, July 17.

Photos Jennifer Sando

Australian tale about an improbable group of underground rock heroes.

Vanessa De Bernadrdinis and Stephanie Ioannou.

»»Rated MA

(Rob Corddry) and Joan (Amanda Peet), as well as boozy neighbour Betty (Allison Janney, maddening but controlled).

Duncan can’t get away from them all fast enough. When he winds up at the Water Wizz theme park, he unexpectedly befriends cool man-child Owen (Sam Rockwell), whose associates include Roddy (Faxon), Lewis (Rash) and Caitlin (Maya Rudolph), a (mostly) chummy group who might just inspire Duncan to stand up to Trent and, of course, get closer to Betty’s daughter Susanna (AnnaSophia Robb – and yes, it is spelled that way).

Labelling this a ‘coming of age’ story undersells it, and perhaps it is caught between two stools: by focussing on Duncan’s plight it might seem a film for teens only, and yet the carefully-judged mood of unease and all-too-authentic adolescent angst could surely put off that audience too. And that would be a shame, as the performances here are all note-perfect, with James, Collette, Rockwell, Janney and Faxon especially fine and ‘nice guy’ Carell daringly portraying a guy you could happily throttle.

»»Rated M

Chelsea Ekonomopoulos and Melissa Banelis.

Angelo and Debbie Tullio.

Jenny Parker and Lucy Barratt.

34 THE ADELAIDE REVIEW AUGUST 2013

PERFORMING ARTS

Naked Power

BY GRAHAM STRAHLE

G

50 50 Year Anni v ersary AnniConcert versary Concert C thth Year th Year

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he Corinthian Singers

heofCorinthian Singers Adelaide invite you Corinthian Singers ofhe Adelaide invite you to join them and guest Adelaide toof join them andinvite guest you musical director, Peter Kelsall in musical director, Peter Kelsall in guest to join them and celebrating their 50th anniversary. celebrating their 50th anniversary. musical director, Peter Kelsall in Works include Mozart's celebrating their 50thMissa anniversary.

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composer Bruce Stewart.

Sunday August 25th 2013, 6.30pm St John’s Church

Sunday 25thAdelaide 2013, 6.30pm 379August Halifax Street, th 2013, 6.30pm St$30, John’s Church Tickets: $25 Sunday August 25concession (includes refreshments) 379 post-concert Halifax Street, Adelaide

St John’s Church more details: Tickets: $30, Street, $25 concession 379For Halifax Adelaide www.corinthiansingers.com.au (includes post-concert refreshments) Tickets: $30, $25 concession corinthiansingersofadelaide@gmail.com www.trybooking.com/DDOL (includes post-concert refreshments) For more details: www.corinthiansingers.com.au For more details: corinthiansingersofadelaide@gmail.com www.corinthiansingers.com.au corinthiansingersofadelaide@gmail.com

ruesome scenes are abound in opera, but none can be more blood curdling than when Salome, having cast off her veils while dancing before the lustful Herod, kisses the severed head of John the Baptist in a fit of orgiastic passion. It is where sex and death meet in the most provocative of ways in opera, and where taboos of incest and underage sex are revealed. Little wonder that Richard Strauss’s opera Salome, based on the Oscar Wilde play of the same name, was banned in Vienna and London following its Dresden premiere in 1905, and withdrawn in New York soon after showing there.

Salome

There is no doubt that Strauss deliberately set out to create a sensationalist opera in Salome, just as Wilde, as a leading writer in the decadent movement, attempted to forge beauty out of horror in his play. But is Salome just about sensationalism, and if so, how does an opera director today approach it in a world apparently inured to all things shocking?

“It did not interest me to have this scene basically being a striptease. Salome is supposed to have been 14 or 15, a fresh pubescent, yet her exceptionally demanding vocal role calls for singers who are in their 40s or 50s. When they have taken off all their clothes it is hard to see what Herod is lusting after. Plus this is totally distasteful to me as a woman.

Setting the opera in an abattoir certainly seems a good first step in driving home the point that Herod’s world is that of a despotic psychopath who holds no value for human life. Gale Edwards, whose acclaimed production of Salome is being staged by State Opera of South Australia in August, explains why she chose the scene of a slaughterhouse.

“I found a more metaphorical way of doing it, where instead of the seven veils coming off until she is naked, I looked at stereotypical roles that men find titillating, like the whore, the Madonna and so on, which she discards one by one.”

“In the first five minutes there’s the suicide of Captain of the Guard, Narraboth. Herod slides on the bloody floor, and this sets up the kind of world you’re in. I find that extraordinary. As a director, you have to solve that.”

However, most talk about Edwards’ production – which has played in Sydney and Melbourne – has centred on her radically bold reinterpretation of the Dance of the Seven Veils. This is where Salome agrees to dance before Herod on condition that he will grant her anything she wants, even half his kingdom. Typically, her nine-minute solo dance routine to one of Strauss’s most luridly sensual scores serves as the opera’s erotic highpoint.

Edwards says that as a female director she had to totally reconceive this dance:

“Then she sings alone for 25 minutes with this bleeding head in her hands, which to me is one of the most daring moments in all opera. Salome is saying, ‘I can have you, I can kiss this man who is foretelling the Messiah, you are utterly in my power’. From that moment Herod is stripped of his power and his only recourse is to kill her. I find this all very interesting. In all my theatre work, I’ve enjoyed stories that inhabit dark places and explore the hideousness of the human soul.”

Edwards agrees that Salome is a deliberately sensationalist opera but maintains there is more to the opera than just this.

Edwards insists she is no apologist for Salome. “What she does is shocking, and it is pretty well impossible to whitewash Salome. But what you can understand where she comes from and the sins of her past. Her mother is a notorious whore, her father a tyrannical lunatic. There is no sign of a moral centre in her life.”

“I see it as multi-layered. Yes it’s sensationalist, it is grotesque. However, it is a biblical story, so perhaps one could say the Bible is sensationalist. I spent a great deal of time examining the piece. Its darkness, its dealing with taboos, are the very reasons Strauss was drawn to Wilde’s retelling of the story. But what you do is dig deeper.

Salome remains the 20th century’s most controversial opera, she says. “This opera is unique even for Strauss. He played his hands right into the fire for it and created something staggeringly new. It is as shocking now just as it was in 1905, and it feels incredibly modern, both in its story and in its music.”

Salome is actually about the transference of power. What Herod doesn’t realise is that Salome is a smart cookie. She’s inherited acumen and cunning from her parents, so when he promises her the world, she hoists him on his own petard. He’s agreed to give her anything she wants by dancing for him, so she demands John the Baptist’s head on a platter. He has no choice but to agree.

» Salome State Opera of South Australia Saturday, August 24 to Saturday, 31 Festival Theatre saopera.sa.gov.au

THE ADELAIDE REVIEW AUGUST 2013 35

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Demystifing Visual Arts

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Kim Buck

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Revealed

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Social Pictures

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Stephen Bowers

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36 The Adelaide Review August 2013

SALAFESTIVAL2013

By Jane Llewellyn

T

he festival has been expanding year after year and this year sees 502 exhibitions and events with 4,917 participating artists. From the city to regional centres, and everywhere in between, the festival has the whole state covered.

Penny Griggs, who took over as Managing Director last year, is navigating her way through her first SALA and faces the challenge of maintaining and increasing the festival’s interest and appeal. She says, “It’s so big already that it’s not about getting bigger any more, it’s about remaining relevant.”

SALA celebrates some of the best art on offer in South Australia and is important in attracting new audiences to the visual arts.

“A big role SALA plays is demystifying visual arts. Whether people seeing art in a pub during SALA translates into them visiting an art gallery is hard to say but I guess it is one step closer,” explains Griggs.

This year’s program features the usual smorgasbord of exhibitions and events in art galleries, cafes, pubs, hairdressers, butcher shops and other unique venues. Griggs has particularly focused on the Studio Visits this year making them a major feature of the program. “The open studios are really popular, people love seeing how artists work. They love meeting them and finding out more about them.”

SALA is also offering more tours than in previous years, helping audiences work out what exhibitions and events to go to.

They have been working with the online community Yelp who are planning walking

tours, bike tours, coffee tours and pub tours.

While SALA will continue to celebrate the visual arts and connect artists with audiences it is also important that it embraces the changing visual arts scene. Griggs feels that SALA can take this connection even further. “We would like to take a little bit of SALA and take it on tour. Perhaps in the future it is about promoting our South Australian artists interstate and overseas. It’s about taking a more of a global view.”

This global view could work both ways. “We could potentially bring artists from overseas and interstate to South Australia. Whether it’s during SALA or outside of SALA it would create a professional development opportunity, an exchange for artists. It would connect artists with artists as much as artists with audiences.”

Recognising and embracing this globalisation of art is imperative for SALA’s success in the future. Griggs explains: “We live in a global world and galleries are becoming more virtual.

Often work can’t be represented online so essentially it’s about taking work to where the market is. It’s not all about sales, it’s also about representing what our artists do and developing what they do.”

We also need to recognise the work South Australian artists do outside of the state. “A lot of our visual artists have success overseas and it’s often not acknowledged here. Whether that’s lack of communication, I don’t know.”

Griggs continues, “We would really like to assist emerging and mid-career artists in being able to take that next step in the global word.”

LOUISE VADASZ MY BACKYARD, THE WILLUNGA BASIN

OPENING 18th AUGUST 11:30am VIEWING FROM 2nd AUGUST – 30th SEPTEMBER PENNY’S HILL CELLAR DOOR OPEN 10–5 DAILY 281 MAIN ROAD McLAREN VALE - 08 8557 0840 JoJo Spook is renowned for her metal dress like fashion inspired sculptures based in the painful etiquette of the fashion junkie, her works describe uncomfortable corsets and stilettos made and constructed from kitchen utensils and unique found objects.

43-55 Woolshed St, Bordertown South Australia

The Adelaide Review August 2013 37

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SALAFESTIVAL2013 1

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1. Frank Barrett 2. Deidre But-Husaim, The painting, 2011.

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ACH Group

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Art is an element of good lives for older people and this exhibition showcases the works made by older people as individual artists and in community art projects.

Volunteers and staff of ACH Group have contributed works to the exhibition to demonstrate how art brings us together for creative expression.

You Are Beautiful Exhibition Milpara, 147 Saint Bernard’s Road, Rostrevor, Monday to Friday, Thursday, August 15 to Friday, August 23 (9am-5pm). Opening Night Cabaret Thursday, August 15 (6-8pm), features a performance by Libby O’Donovan.

The Colours Of Life Exhibition McLaren Vale, 177 Main Road, open every day Saturday, August 17 to Friday, August 23 (10am-2pm) Murray Bridge, 108 Swanport Road, Thursday, August 15 to Thursday, August 22 (10am-1pm) Mile End, 22 Henley Beach Road, Sunday, August 18 and Sunday, August 25 (1.30pm-4.30pm) Salisbury, 25 Fenden Road, Monday, August 5, 12 and 19 (9.30am-12pm)

Adelaide Central Gallery

7 Mulberry Road, Glenside See Unseen: Deidre But-Husaim, Helen Fuller and Sera Waters Sculptural stitchings, layered paintings and coiled vessels all feature in See Unseen.

Each artist is connected by their exploration of the many carefully crafted layers of thread, paint and clay. In her intricate embroidered works, Sera Waters delves below the known surfaces to darker places unseen. Deidre But-Husaim’s precise and detailed brushstrokes explore the strata between medium and support while also recording the relationships between people and space. Helen Fuller’s hand built formations with their characteristic irregularities express the physicality involved in their creation.

Wednesday, August 21 to Friday, September 13. Opens on Tuesday, August 20 (6-8pm)

acsa.sa.edu.au

ach.org.au/sala

Crystal Palace 27 July - 29 September Flinders University City Gallery State Library of South Australia, North Tce, Adelaide Tuesday - Friday 11 - 4, Saturday & Sunday 12 - 4 T (08) 8207 7055 E city.gallery@flinders.edu.au

www.flinders.edu.au/artmuseum Domenico de Clario, yellow ectoplasm (store room) (detail), 2013, performance/installation in Flinders University Art Museum store, Bedford Park, South Australia. Photography: Lisa Harms

38 The Adelaide Review August 2013

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3. Gerry Wedd, Pig Plate 4. Ann Neagle 5. Mark Richards, Rear Window, 2009 6. Peter Bok, Via Dolorosa the way of the cross 7. David Dridan, Coorong Sandhills and Vegetation 8. Cheryl Bridgart, Journey Begins.

3

RHAGODIA MOSAICS Open Studio 10am 5pm Saturday 10th & Sunday 11th August (Viewings outside of these times by appointment)

Art Images Gallery

4

ART@GOOLWA

32 The Parade, Norwood

13 Porter Street, Goolwa (Next to the museum)

Palette to Plate A delectable smorgasbord of painting, drawing, ceramics, limestone sculpture, mixed media and glass sculpture. To accommodate all appetites! Artists: Rebecca Cooke, Violet Cooper, Andrea Fiebig, Susan Frost, Emmeline Khor, Sue Michael, Judy Morris, Lindsay Nicholson, Ivo Tadic and Gerry Wedd.

Interlude Exhibiting award winning artists across a range of mediums: painting, photography, glass, ceramics, mosaics, textiles, wood and metal work jewellery and more. A solo exhibition by artist Ann Neagle is also currently on display.

Ann’s Inspiration for all of her paintings comes from nature, in the form of shapes and colours and leaves the interpretation to the viewer.

Friday, August 9 to Sunday, September 1

Sunday, August 4 to Thursday, October 31

artimagesgallery.com.au

artatgoolwa.com

Singer/Songwriter Lisa Jane at 11am, 1pm & 3pm Tea/coffee/cake/biscuits by Pennys Road BnB available for purchase Open Studio is accessible for wheelchairs and wheelie-walkers. Footwear must be worn.

RHAGODIA MOSAICS 25 Schaedel Street, Nuriootpa | M 0414 318 829 | E heather@rhagodia.com.au Rhagodia Mosaics

Sound Echo Repeat 3 August - 8 September 2013 Launch Saturday 3 August 2013, 3-5pm Live music by Kylie Wilson

190 McMurtrie Road, McLaren Vale SA 5171 Open Public Holidays - Live Music Sundays 08 8323 8994 redpoles@redpoles.com.au www.redpoles.com.au

38 The Adelaide Review August 2013

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3. Gerry Wedd, Pig Plate 4. Ann Neagle 5. Mark Richards, Rear Window, 2009 6. Peter Bok, Via Dolorosa the way of the cross 7. David Dridan, Coorong Sandhills and Vegetation 8. Cheryl Bridgart, Journey Begins.

3

RHAGODIA MOSAICS Open Studio 10am 5pm Saturday 10th & Sunday 11th August (Viewings outside of these times by appointment)

Art Images Gallery

4

ART@GOOLWA

32 The Parade, Norwood

13 Porter Street, Goolwa (Next to the museum)

Palette to Plate A delectable smorgasbord of painting, drawing, ceramics, limestone sculpture, mixed media and glass sculpture. To accommodate all appetites! Artists: Rebecca Cooke, Violet Cooper, Andrea Fiebig, Susan Frost, Emmeline Khor, Sue Michael, Judy Morris, Lindsay Nicholson, Ivo Tadic and Gerry Wedd.

Interlude Exhibiting award winning artists across a range of mediums: painting, photography, glass, ceramics, mosaics, textiles, wood and metal work jewellery and more. A solo exhibition by artist Ann Neagle is also currently on display.

Ann’s Inspiration for all of her paintings comes from nature, in the form of shapes and colours and leaves the interpretation to the viewer.

Friday, August 9 to Sunday, September 1

Sunday, August 4 to Thursday, October 31

artimagesgallery.com.au

artatgoolwa.com

Singer/Songwriter Lisa Jane at 11am, 1pm & 3pm Tea/coffee/cake/biscuits by Pennys Road BnB available for purchase Open Studio is accessible for wheelchairs and wheelie-walkers. Footwear must be worn.

RHAGODIA MOSAICS 25 Schaedel Street, Nuriootpa | M 0414 318 829 | E heather@rhagodia.com.au Rhagodia Mosaics

Sound Echo Repeat 3 August - 8 September 2013 Launch Saturday 3 August 2013, 3-5pm Live music by Kylie Wilson

190 McMurtrie Road, McLaren Vale SA 5171 Open Public Holidays - Live Music Sundays 08 8323 8994 redpoles@redpoles.com.au www.redpoles.com.au

The Adelaide Review August 2013 39

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Australian Experimental Art Foundation

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BAPëA Art School & BAPëA Gallery

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Bay Discovery Centre

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Beltana House

364 Carrington Street, Adelaide 51 Wood Avenue, Brompton

Glenelg Town Hall, Moseley Square, Ground Floor Gallery

Lion Arts Centre, North Terrace, Adelaide Peter Bok – Via Dolorosa: the way of the cross A casual forum of artists exhibiting in the west discuss their work shored up by a line-up of brilliant musicians from Elder Conservatorium Jazz School. Featuring Tom Cole, Darcy Callus, Peter Nicholas and Gregory Tenikoff.

Blender Featuring new art from regional South Australia, this is the first in a series of exhibitions showcasing contemporary practice from around the state. Artists: Lorrie Humphries (Mount Gambier), Pamela Kouwenhoven (Mount Barker), Mark Richards (Murray Bridge), Richard Rigney (Murray Bridge), Allen Sparrow (Port Pirie) and Dagny Strand (Penola).

Continues until Sunday, August 25 (10am-4pm, Wed-Fri, 1-5pm Sat and Sun)

Continues until Saturday, August 17 Curator’s Talk: Friday, August 9 (1pm) peterbok.com

aeaf.org.au

David Dridan OAM: Dridan’s Australia The Bay Discovery Centre proudly presents Dridan’s Australia, a survey of works celebrating over 50 years of painting by renowned South Australian artist David Dridan OAM. The works on display document the artist’s meticulous depiction of the colours and textures of the Australian landscape.

A Little Attitude: Cheryl Bridgart Cheryl combines striking colour and visual depth to create stitched art and paintings with a twist to give the viewers an uplifting experience. Her stories and interpretations of faces, animals and birds are symbolic, yet playful and are inspired by her dream narratives. Cheryl’s technique is unique; her hands move blank paper under the needle of a domestic sewing machine, drawing and scribbling to create very detailed images in thread.

Friday, August 2 to Sunday, September 29

Saturday, August 10 to Sunday, August 18 (11am-5pm daily)

holdfast.sa.gov.au

bridgart.com

There may be a chill in the air, but Petaluma’s Bridgewater Mill cellar door is the perfect destination this winter.

Adelaide Hills Winter Reds Cellar Door Weekend July 27th & 28th

SALA exhibition – Nourish July 27th to August 13th

Nourish your heart, body and soul with tastings of Petaluma back vintage reds, a bite of baked King Island Dairy Brie or our regional tasting menu, together with the launch of our SALA exhibition. www.adelaidehillswine.com.au

Launch event Saturday, July 27th at 2pm.

Petaluma Winter Tasting Series Sparkling wines July 6th & 7th

Spring into Spring new releases August 31st, September 1st

Rare & aged back vintage July 27th & 28th

At each of these tastings we will be offering a fl ight of two wines* with a matching dish for $30 to be enjoyed in our cellar door.

petaluma.com.au Mt Barker Road, Bridgewater.

Ph: 8339 9222

LIO0058_AR1

Winter Warmers fortified & dessert wines August 10th & 11th

*each glass a 75ml pour.

Curated by Karen Paris, Nourish is part of the annual South Australian Living Artists festival, celebrating the many talented and upcoming visual artists living and creating in South Australia. www.salainc.com.au

Adelaide Hills Wedding Weekend August 17th & 18th Organised by Adelaide Hills Weddings, the Wedding Weekend will feature fashion parades and over 60 exhibitors. Meet with photographers, celebrants, venues, and many other wedding-related businesses, and make your special day a perfect one. www.adelaidehillsweddings.com.au/weddingweekend

40 THE ADELAIDE REVIEW AUGUST 2013

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9. Imiyari Adamsona, Yilpi (detail) 10.Footy Moments, Daniel Tsatsaronis 11. Julie Henderson, until it looks like you, 2013 12. Ivars Jansons - High country, Victoria 13. Blue Wren, Kim Bellette, Tasmanian Myrtle forest waste.

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BETTER WORLD ARTS

144 Commercial Road, Port Adelaide

HOPE IS THE THING WITH FEATHERS THAT PERCHES IN THE SOUL A collection of drawings

by Dana Kinter 3 August - 1 September Opening Saturday 3 August at 2pm

COMMUNITY BRIDGING SERVICES

Eastwood Community Centre, 95 Glen Osmond Road, Eastwood HURLY-BURLY Community Bridging Services (CBS Inc.) presents Hurly-Burly, their 18th major art exhibition, which features a range of stimulating and distinctive artworks by over 20 artists with a disability, who attend art programs run by CBS. The artists are excited to have the opportunity to show their artworks to a wider audience. All proceeds from work sold will go direct to the artist.

Saturday, August 3 to Saturday, September 14

Wednesday, August 7 to Friday, August 23

betterworldarts.com.au

communitybridgingservices.org.au

Image: Mark Richards, Rear Window , 2009

Hahndorf Academy 68 Main Street, Hahndorf 10am - 5pm, 7 days contact: 08 8388 7250 hahndorfacademy.org.au danakinterartdesign.com

BETTER WORLD ARTS – MALPA TJUTA Collective exhibition featuring: Rama Sampson, Nelly Patterson, Daisybell Kulyuru, Imiyari Adamson, Karen Kulyuru and Yaritji Heffernan.

Anangu artists at Better World Arts never fail to surprise. This vibrant community from the APY Lands brings their gorgeous country to the city. An eclectic mix of artists showcase tjukurrpa (dreaming stories) brought to life on canvas, reflecting deep traditional knowledge.

Important and beautiful works from the heart of South Australia.

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Blender {08 . 8354 . 0839}

Lorry Humphreys (Mount Gambier) Pamela Kouwenhoven (Mount Barker) Mark Richards (Murray Bridge) Richard Rigney (Murray Bridge) Allen Sparrow (Port Pirie) Dagny Strand (Penola)

26 July to 17 August. Curator’s Talk: 1pm Friday 9 August

lion arts centre, north terrace, adelaide www.aeaf.org.au | 11am–5pm tues to fri & 2–5pm sat | +61-(0)8 82117505 | open free to the public

The Adelaide Review August 2013 41

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Contemporary Art Centre of SA (CACSA)

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David Sumner Gallery

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The Elbow Room

14 Porter Street, Parkside

359 Greenhill Road, Toorak Gardens

Cnr Stump Hill Road and Main Road McLaren Vale

Main Gallery: CACSA Contemporary 2013: Provisional States Part 1

South Australian Masters of Oil This promises to be an outstanding exhibition of oil paintings by Adelaide’s premier oil painters, Ivars Jansons, Andris Jansons, John Lacey, Richard MusgraveEvans, Trevor Newman and John Tiplady. A not to be missed exhibition showcasing the best of South Australian oil painters, all masters of their ‘craft’.

Kim Bellette: Endangered Australia – Australian Bird Sculptures Kim Bellette is an Adelaide Hills artist who has specialised in carved and sculptured work for over 30 years. Working in both exotic and native timber forest waste and limestone, his dedication to detail is self evident in works ranging from architectural to antique, ecclesiastical, classical and contemporary.

From Sunday, August 4

Continues until Saturday, August 24

david-sumner-gallery.com

kimbellette.com.au

The Project Space: Julia McInerney | The Meadow Provisional State reflects both the precarious environment of the desire to present significant visual art projects away from the secure but limited domicile of the CACSA Parkside gallery, and the art of the state.

“Provisional” in this context suggests ‘contingent’, ‘tentative’, ‘conditional’, ‘dependent’, ‘ephemeral’, ‘experimental’, ‘interim’, ‘limited’, ‘makeshift’; all descriptions apropos to past CACSA Contemporary projects of 2010 and 2012 and the unfulfilled desire to present once again in 2013 a critical and generative project within the CBD realm.

Continues until Monday, August 26 cacsa.org.au

VIA DOLOROSA: THE WAY OF THE CROSS New Work by PETER BOK

Opening Saturday 3 August 6pm Exhibition concludes 25 August

With Via Dolorosa: The Way of the Cross, Bok explores the intersection of a personal history with the politics of religious estrangement. The title of the exhibition plays on the ambiguity of the word way directing the viewer to understand it as manner - the manner in which the Christian Crucifix has been deployed in numerous disguises to achieve political and social outcomes, usually with sorrowful consequences.

“The two explosions detonated near the finish line of the Boston Marathon lead me almost

entirely without intention to consider the crucifix as commentary on this global quandary,” says Bok. While the point of departure is clearly expressed, it is predominantly the process of painting itself that defines the work. The crucifix features in all paintings yet often morphs into merely oblique references to it. The associations the crucifix evokes are intentional. At times, however, the sentiment of the series leaves us to contemplate only the resolve of the distilled image - a visual abstraction bringing about a change in perception. “In embracing the crucifix as my vehicle, I thought about a way of working with it to express cultural inflexibility and insensitivity. In doing so, it lead me to scrutinize

its inherent design problem. It is either perfectly constructed and balanced or it is clumsy and uneasy.”

“Motivation precedes the image but it is the image that drives inspiration. My intellectual application requires accepting the process.”

BAPëA Gallery 10am – 4pm Wed – Fri, 1-5pm Sat and Sun 51 Wood Avenue Brompton 8346 2600

BAPëA

ART CAFÉ.

Building on last year’s success, BAPëA Art Café will again appear every Sunday afternoon for the duration of the SALA Festival presenting Artist Talks and live music with top graduating students from the Elder Conservatorium Jazz School.

Artist Talks are informal presentations by artists exhibiting in the western suburbs discussing their work in a relaxed café environment in the studios at BAPëA Art School.

• 4 AUGUST: • 11 AUGUST: • 18 AUGUST: • 25 AUGUST:

FREE ADMISSION

TOM COLE TRIO DARCY CALLUS TRIO PETER NICHOLAS TRIO GREGORY TENIKOFF TRIO FULLY LICENSED BAR COFFEE/TEA AND CAKES 2-5PM SUNDAYS BAPëA ART SCHOOL & BAPëA GALLERY 51 WOOD AVENUE BROMPTON 8346 2600

42 The Adelaide Review August 2013

SALAFESTIVAL2013

Kim Buck, Lithology (detail), Charcoal on paper, 2013

“Making art is such an isolated and solo journey for the vast majority of the year that it can be a challenge to have a realistic sense of where you’re going and if it’s all worth it.

Opportunities like this certainly provide a great deal of validation, but most importantly, encouragement to keep going.”

By David Knight

“

And an honour to be part of a group exhibition with artists like Hossein and Angela Valamanesh, who have long been heroes of mine,” Buck explains.

Buck created Lithology exclusively for AGSA’s SALA event, with the giant six-foot piece inspired by her 2011 Landscape series.

“It was wonderful to have the opportunity to push those ideas a bit further, on a much bigger scale,” Buck said. “I had picked out that particular wall space at AGSA with Lisa [Slade] and Nici [Cumpston] [curators] before starting

the work, so it was great to have that in mind when deciding on the composition.”

Buck is known for her work with charcoal but says she is not necessarily limited to this medium.

Lithology, like her 2011 series, is part of Buck’s attempt to broaden the term landscape.

“I would love to learn to paint or sculpt but for now, charcoal and I still have a long way to go with each other. Working with this medium is a seemingly endless challenge. The day that stops is the day it’s time to move onto something new.”

“The series initially began while I was living and working in the Blue Mountains in 2011, although looking back, its real genesis was a childhood spent in the volcanic limestone landscape of Mt Gambier, as well as family trips to the Grampians. I’ve always been a lover of mountains and geology. Although I’m no landscape painter, it was impossible to live in the magnificent scenery of the Blue Mountains and not respond to it in some way. I started to see terrains in the figures I was drawing – in the folds of their clothing, the curves of their forms and the compositions of their bodies.

I also started to realise those figures I drew shared a great deal more in common with those mountains than just their appearance.

“As I walked the mountain trails and watched their forms change ever so slightly day by day, I realised they were in a constant process of becoming what they are – by ceasing to be what they were. Their terrain now is what the weather and movements of the earth and deep time have left behind. I realised it was just like us. We’re simply a faster kind of sandstone than those mountains – deposited, compressed, uplifted and carried away all in a matter of years. Drawing for me is, I think, an attempt to slow that erosion, or engage with it at least, and Lithology is our biggest conversation yet.”

The UniSA Bachelor of Visual Arts graduate says she wants to stretch what can be achieved with charcoal.

“It’s interesting to look back at drawings from five or six years ago… they’re quite crude compared to those I’m doing at the moment.

Every day I learn more and more about the possibilities of charcoal, and my own abilities in wielding it. It’s a process of continual refinement.

Perhaps one day I’ll feel technically satisfied enough to loosen up a little again but for now, the pursuit of realism and detail in an inherently difficult to control medium has me hooked.”

Up next for Buck is an exhibition at Peter Walker Fine Art. “I’m currently working on some much smaller pieces for this as yet untitled exhibition at Peter Walker’s. They do continue my exploration of landscape via the human body.”

Heartland Art Gallery of South Australia Continues until Sunday, September 8 artgallery.sa.gov.au/heartland

The Adelaide Review August 2013 43

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14. Joseph Nash, The Great Exhibition of 1851: The British Nave, 1852 15. Starr Sharon Chainmail Necklace 16. Greg O’Leary, Portrait of Vern.

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Flinders University City Gallery

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Crystal Palace New work by nine contemporary Australian artists (Morgan Allender, Troy-Anthony Baylis, Domenico de Clario, Siamak Fallah, Lisa Gorton, Julie Henderson, Brigid Noone, Lee Salomone and Sera Waters) is presented ‘in conversation’ with objects from South Australian museums and archives, provide ranging responses to Australia’s colonial past. Works include projections, soundscapes, sculpture, painting and performance set within a purpose-built space.

flinders.edu.au/artmuseum/ exhibitions#CrystalPalace

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Marion Cultural Centre, 287 Diagonal Road, Oaklands Park

State Library of South Australia, North Terrace, Adelaide

Continues until Sunday, September 29

Gallery M

Members of the Red House Group Inc: tête-à-tête Contemporary and traditional artwork in various media, including 2D and 3D works, by over 90 artists. The title ‘têteà-tête’ is not meant to be taken literally (translates as ‘face to face’), but means the artwork communicates one-on-one with the viewer.

The Red House Group is an artist managed non-profit organisation that acts as a focus for art and cultural activities for all individuals and groups in the City of Marion council area and its surrounding region. Members range from emerging artists through to well-known professional practitioners.

Friday, August 2 to Sunday, August 25

Gallery 239

239 Cross Road, Cumberland Park Greg O’Leary: Recent Works Greg is a tonal realist painter, working in oils and charcoal. He has held numerous solo exhibitions and was a Waterhouse Prize finalist in 2009, 2010 and 2013.

This exhibition features still life, landscape

MORE THAN BEAUTIFUL FLOORS

and portrait works displayed in a home environment. See a portrait painted from life over three sittings. Paintings and drawings for sale.

Open on Sunday, August 4, 11, 18 and 25 from 2-5pm, or by appointment

gregoleary.com.au

FLOORS & FURNISHINGS

SALA on Terrace 2013

Opening: Thursday August 1 at 5pm Runs: Monday-Friday 9am-5pm and Saturday 10am-4pm until Saturday August 17

gallerym.net.au

John Lacey

Works on Paper and the Odd Oil OPEN 3-25 AUG 12 noon - 5pm Daily for SALA Demo day 4 Aug 2pm

41 Woodcone Rd Mt Compass Ph. (08) 8556 8388 Mob. 0419 823 708 Email: laceyjla@internode.on.net www.johnlacey.com.au

Tsering Hannaford

gallery studio

Michael Meade

FINEST WALL-TO-WALL CARPET • BEAUTIFUL RUGS • TIMBER & RESILIENT FLOORING

HOME ACCESSORIES • COMMERCIAL PROJECTS • CUSTOM RUG & CARPET DESIGN 51 Glen Osmond Rd Eastwood Ph 8274 1125 www.terracefloors.com.au Open Mon–Fri 9am–5pm Sat 10am–4pm

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17. Domestic science, Niki Sperou, Preserves: fix, stain, embed, section, 2012 18. John Lacey, Market Day Action 19. Dana Kinter, Hahndorf: Wattle and wattle bird 20. Peter Serwan, The Cyclist 21. Peg Miller , White Stone Cottage 22. Gee Greenslade, Remix 3.

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GALLERY 1855

2 Haines Road, Tea Tree Gully THE NATURE Features 45 artists including: Anne Newmarch, John Ferguson, Angela Black, Leonie Westbrook, Jess Dare, Alison Main, Niki Sperou and Janice Laine.

Thursday 27 June, Portrait Demonstrations, Scott Eames & Lyn Robins

North Tce & Kintore Ave, Rainy Day, Watercolour by Steve Smart

ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC. Winter Blues, RSASA Members’ Winter/SALA Exhibition 21 July – 18 August An exciting exhibition of over 100 artworks, a creative mix of paintings, textiles, sculpture, drawings, photographs, mixed media, all from members celebrating art during SALA From 8 Portrait Demonstration Sessions: during the 2013 Inaugural RSASA Portrait Prize 32 Artists created portraits of the eight sitters, and these are on display and Sun 18 August the sitters will choose their preferred works.

Artists Demonstrated: Neil Griffin, David Kemp, Julia Townsend, Kerry Inkster, Scott Eames, Lyn Robins, Natasha Nydegger, Hugh Adamson, Cheryl Bridgart, Sue Heinemann, Fran Callen, Kate Kurucz, Ann Nolan, Glenn Kestell, Cathi Steer, Nick Parsons, Peter Stevanz, Gerhard Ritter, Heather Lorenzon, Coralie Armstrong, Michael Hocking, Tsering Hannaford, Emerson Ward, Cathie Noble, Betty Anderson, Gary Lee Gaston, Judith Klavins, Catherine Scholz.

ASSOCIATED WORKSHOP SERIES: As an extension to The Nature exhibition well known South Australian printmaker Margaret Sanders will facilitate a seven-week lino-print workshop, where participants respond to the themes arising out of the exhibition. Commences: Saturday, August 24.

Sunday, August 4 to Saturday, September 7 (Wednesday to Saturday 12-5pm)

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GREEN TANK GALLERY

41 Woodcone Rd, Mt Compass JOHN LACEY: WORKS ON PAPER AND THE ODD OIL Today, John is better known for his oils, but the majority of works in this exhibition are of mixed media which include watercolour, ink and oil pastel on art paper. Uniquely presented, these fresh, spontaneous renditions of figure and landscape are well worth a visit to John’s studio/gallery at Mt Compass.

johnlacey.com.au

teatreegully.sa.gov.au/gallery1855

Portrait Sitters: Alan Smith, Director State Library of SA; Amanda Pepe, CEO Helpmann Academy; Michael Scarpantoni, Director, Scarpantoni Wines; Chloe Fox, Minister Assisting the Minister for the Arts, Mark Williams, Chris Braham, Inyani (Peter) Agalla & Vikki Waller President RSASA

Royal South Australian Society of Arts Inc. Level 1 Institute Building, Cnr North Terrace & Kintore Ave Adelaide, Ph/Fax: 8232 0450 www.rsasarts.com.au rsasarts@bigpond.net.au Mon- Fri 10.30-4.30pm Sat & Sun 1- 4pm Pub Hol. Closed.

Cheryl Bridgart Cheryl combines striking colour and visual depth to create freeformed stitched art and paintings with a quirky twist.

Cheryl’s first Adelaide exhibition since her year long fellowship tour of Australia and NZ. T: 0417813779 www.bridgart.com

“A Little Attitude”

“Top Cocky” Detail

Embroidery

11th Aug -18th Aug 11 to 5

Beltana House 364 Carrington St Adelaide

The Adelaide Review August 2013 45

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Hahndorf Academy

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Hill Smith Gallery

68 Main Street, Hahndorf

113 Pirie St, Adelaide

Dana Kinter: hope is the thing with feathers that perches in the soul Birds, botany and a poem by Emily Dickinson were the inspirations behind this playful and energetic exhibition of recent work by Dana Kinter. Her distinctive use of line, colour and form combined with the colours, patterns and knots in the wood on which she works, capture delightful moments in nature.

HSG Artists Group Exhibition: Roll Call Roll Call presents work by South Australian HSG artists. Artists include Melinda Brodde, Samone Turnbull, Stephen Trebilcock, Richard Maurovic, Talia Wignall Louise Feneley, Janine Mackintosh and Peter Serwan.

Saturday, August 3 to Sunday, September 1

Thursday, August 8 to Thursday, August 21 (Tuesdays to Fridays, 10am-5pm, Saturdays, 2pm-5pm)

hahndorfacademy.org.au

hillsmithgallery.com.au

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Hugo Wines

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246 Elliott Road, McLaren Flat

138 Richmond Road, Marleston

Peg Miller King: The Painted Vale The paintings depict McLaren Vale in extremely bright colours – vineyards, olive groves, hay paddocks and the people who labour in this picturesque valley. Peg Miller King is an established artist and paints only for pleasure.

Open Saturdays and Sundays, 10.30am to 5pm, Mondays to Fridays, 9.30am to 5pm

hugowines.com.au

The Light Gallery

AIPP FOR SALA, Contemporary Photographic Art from the SA Professional Photography Awards The Light Gallery at the Centre for Creative Photography, with the Australian Institute of Professional Photography, presents The Contemporary Photographic Art Award as part of their annual state awards. Six photographers present portfolios of their personal work, allowing a more thorough visual exploration of their singular ideas. Photographers: Hilary Hann, Marc Bowden, Brent Leideritz, Leanne King, Gee Greenslade and Tony Kearney.

Friday, August 2 to Friday, August 30 lightgallery.ccp.sa.edu.au

The Colours Of Life Exhibition

ACH Group is proud to be participating in SALA 2013 celebrating the creative talents of our customers, volunteers and staff.

McLaren Vale 177 Main Road Everyday 17-23 August 10am-2pm

Visit www.ach.org.au/sala for further information or call 1300 224 477.

You Are Beautiful Exhibition

Murray Bridge 108 Swanport Road Thursday 15 & 22 August 10am-1pm Mile End 22 Henley Beach Road Sunday 18 & 25 August 1:30-4:30pm Opening Event Forum 16 August 3-6pm Salisbury 25 Fenden Road Monday 5, 12 & 19 August 9:30am-12pm

Milpara 147 Saint Bernard’s Road, Rostrevor Monday-Friday 15-23 August 9am-5pm Opening Night Cabaret 15 August 6-8pm Featuring a performance by Libby O’Donovan

46 The Adelaide Review August 2013

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Light Square Gallery, Adelaide College of the Arts, TAFE SA 23. Margie Sheppard, Figure With Red Boat 24. Open Day 25. Into the Storm: Patricia Georgi 26. Magpie 27. Neville Cichon, Golden tassels 28. Jann Makepeace.

39 Light Square Adelaide Geographica The exhibition Geographica brings together eight artists in a dynamic encounter with internal and external landscape. With a predominately printmaking background this studio group has emerged from a recognition of corresponding nuances in each other’s themes and aesthetics. Their diverse interpretations explore notions of dream, literature, place and memory as a way of

mapping their own discoverable worlds.

Artists: Silvana Angelakis, Janet Ayliffe, Jenny Clapson, Christobel Kelly, Margie Sheppard, Sandra Starkey, Kath Oliphant, Deborah Sleeman.

Continues until Thursday, August 22 tafesa.edu.au/adelaide-college-of-the-arts

“Hurly-Burly”

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JamFactory

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King William Road Traders

19 Morphett Street Adelaide King William Road, Hyde Park JamFactory Icon 2013 - Stephen Bowers: Beyond Bravura Stephen Bowers is one of Australia’s foremost contemporary ceramic artists. His work is celebrated in the JamFactory Icon Series, showcasing the achievements of South Australia’s most outstanding and influential craft and design practitioners. Premiering in Adelaide before touring nationally.

Various Artists: Food. Fashion. Fun. and Art on King William Over 30 venues on King William Road, Hyde Park will feature artist’s work during SALA, creating a walkable art gallery. Single artists at smaller venues like Mark Lobert at Move Over Menswear, and multiple artists at some venues, including Cocks Auld Real Estate.

Friday, August 9 to Saturday, September 28 Official opening Wednesday 7 August 12:30pm Showcasing work by Artists who attend Art programs run by Community Bridging Services (CBS) Inc. To be opened by: John Mercer, Chairperson Eastwood Community Centre

SALA Open Day

A flyer listing all artists and venues will be available on the Road and at the website.

Saturday, August 17 (12-4pm)

Friday, August 2 to Sunday, August 25

jamfactory.com.au

kingwilliamroad.com.au

Eastwood Community Centre 95 Glen Osmond Road Eastwood Telephone (08) 8373 2225

Artwork by Anna Henry

Exhibition dates 7 - 23 August 2013 Mondays 12:30pm - 3:30pm Wednesdays 1:00pm - 3:30pm Thursdays & Fridays 11:30am - 3:30pm

Community Bridging Services (CBS) Inc.

Writing: An Elegy

Jann Makepeace 2-31 August Meet the Artist Friday August 9. 12.30 - 2.30pm Mindfield Book Gallery Shop 1, 10 Coromandel Parade Blackwood 8370 2284

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MERCEDES COLLEGE ART ROOMS

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THE HOTEL METROPOLITAN

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MINDFIELD BOOK GALLERY

46 Grote Street, Adelaide

Shop 1, 10 Coromandel Parade Blackwood

NEVILLE CICHON: LONG LIVE THE MAJ Go behind the scenes for a unique perspective of Her Majesty’s Theatre. The photographs were captured below, around and above the stage to reveal the work areas, tools and hidden mementoes of the 100-year-old theatre. Presented in the Theatre Bar and Dining Room of The Hotel Metropolitan, right next door to Her Maj.

JANN MAKEPEACE – WRITING: AN ELEGY Jann Makepeace has been cutting and pasting and making art since she was a small child. Her formal art training began at Julian Ashtons Art School in Sydney followed by the National Art School where she majored in Sculpture, later studying at O’Hallorhan Hill Visarts majoring in Drawing. Jann currently works from her Blackwood studio where she teaches art to adults focusing on drawing, painting, works in 3D, collage, pastel and charcoal drawing. She has exhibited for many years as an individual artist and as part of the collective group Concertina. Her work is concept driven, inspired by personal interest ranging from birdlife, archetypes and recycling, breathing new life into discarded objects.

540 Fullarton Road, Springfield

Saturday, August 3 and Sunday, August 4 (1pm-5pm), Monday, August 19 to Wednesday, August 21 (4pm-6pm)

Continues until Saturday, September 21 (official opening Sunday, August 11) longlivethemaj.com hotelmetro.com.au

mercedes.catholic.edu.au

Friday, August 2 to Saturday, August 31; meet the artist Friday, August 9 (12.30pm-2.30pm) mindfieldbooks.com.au

ESSENCE: ALL THAT MAKES US WHAT WE ARE A SALA exhibition of textiles

by Fibre Artist Network (F.A.N.)

3 - 30 August 2013

Samantha Pope, Pyrolysis and Perfume

MERCY ART EXHIBITION Various artists including award winning artist and Mercedes Old Scholar Cat Leonard, who has taken ‘mercy’ on her old school, Mercedes College running two exclusive painting workshops for the College community. Work completed during the workshops and Cat’s work will form the collection of works for the 2013 Mercy Art Exhibition to be held in the Mercedes College Visual Arts facility.

Opens: Saturday 3 August at 2pm Opening Speaker: Cheryl Bridgart, Internationally recognised textile artist Free Artist Demonstrations will be held on Saturday 10, 17 and 24 August 2pm – 4pm

Hsg Artists group ExHibition roll call

Free entry - all welcome!

8 - 21 August 2013 www.hillsmithgallery.com.au Pepper Street Arts Centre Exhibitions, Gift Shop, Art Classes, Coffee Shop.

558 Magill Road, Magill PH: 8364 6154 Hours: Tuesday to Saturday 12 noon - 5pm

Melinda Brodde A Modern Death,

An arts and cultural initiative funded by the City of Burnside

www.pepperstreetartscentre.com.au

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29. Jim Deans, Murraylands Transient Moment 1 of 3 30. Janine Mackintosh, Propinquity 31. Muriel 32. Louise Vadasz, Portrait of Greg Clarke 33. Penny Nenschke, Notes to Self 34. Elle Elle Dawson-Scott, Untitled 3.

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MURRAY BRIDGE REGIONAL GALLERY

27 Sixth Street, Murray Bridge JIM DEANS MURRAYLANDS: EARTH, SKY AND RIVER An 18-month painting sojourn into the harsh, strange and sublime Murrayland’s landscape.

MICHAEL BRYANT: IN THE NATURE OF THINGS Michael Bryant uses the human figure and the portrait to negotiate the depth and subtleties of the human experience and our relationship to the environment.

10 X TEN: T’ARTS TEXTILE ARTS COLLECTIVE An exhibition in various media celebrating a decade of collective and collaborative work by members of T’Arts – Textile and Arts Collective.

Continues until Sunday, September 8

murraybridgegallery.com.au

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THE NATIONAL WINE CENTRE

HOW DO WE LOVE THEE? LET US COUNT THE WAYS… Talented, recognised and exciting emerging artists combine in an extraordinary expression of the marvel that is Rosenberg’s Goanna. KI, the last stronghold for this enigmatic and ancient creature, is home to many creative souls. Fine Art Kangaroo Island’s fourth mainland exhibition fulfills its reputation for diverse and quality artworks.

Artists: Audrey Harnett, Caroline Taylor, Cath Cantlon, Cecilia Gunnarsson, Daniel Les, Dave Clarke, Dean Fox, Diana Keir, Fred Peters, Gay de Mather, Janet Ayliffe, Janine Mackintosh, Jennifer Woodhouse, Jenny Clapson, Joyleen Cowin, Maggie Welz, Michele Lane, Nicholas Burness Pike, Patti Blucher, Peggy Rismiller, Quentin Chester and Scott Hartshorne.

Thursday, August 1 to Sunday, August 25 (Monday to Friday, 9am-5 pm, weekends 10am-5pm) facebook.com/fineartkangarooisland/events

australian Bird sculptures

by Kim Bellette

26th July – 24th august 2013 The Elbow room t:83238686

www.kimbellette.com.au

KERRY PACKER CIVIC GALLERY AT THE HAWKE CENTRE

Cnr North Tce & Hackney Road, Adelaide

EndangErEd australia

Cnr Stump Hill Rd & Main Rd McLaren Vale 7 Days 10am–3pm Fri & Sat 6:30 till late M 0407187161

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“Out on a limb”

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PENNY’S HILL CELLAR DOOR

281 Main Rd, McLaren Vale UniSA City West campus, Hawke Building level 3, 55 North Terrace, Adelaide NAN NGELAR WINAMEN: TWO HEARTS BEAT ‘N TIME Two women (Muriel ‘Mumthelang’ Van Der Byl AM and Julianne ‘Ambo’ Jakaitis) united in their Aboriginality come together to share stories of family, life and culture through art. Their paintings are executed in a myriad of colours and mediums that together form a kaleidoscope that acknowledges the spirits of the ancestors that occupy the landscape, and reflects the spiritual intensity of the lands, skies, waters, birds and animals – all symbolic of their personal connections with their country.

Monday, August 12 to Wednesday, September 11 (open weekdays) unisa.edu.au/hawkecentre/ KerryPackerCivicGallery/exhibitions_2013.asp

LOUISE VADASZ: MY BACKYARD, THE WILLUNGA BASIN Louise Vadasz has been painting her favorite scenes of the Willunga Basin, which she has enjoyed since childhood. Her large, colourful, impasto oil paintings range from scenes of the classic Willunga Hills and the cliffs of Pt Willunga to portraits of friends relaxing on the beach.

Friday, August 2 to Monday, September 30 Opening, Sunday, August 18 (11.30am) louisevadasz.com

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PETALUMA’S BRIDGEWATER MILL CELLAR DOOR

558 Magill Road, Magill Mt Barker Road, Bridgewater ESSENCE: ALL THAT MAKES US WHAT WE ARE: AN EXHIBITION OF TEXTILES BY MEMBERS OF FIBRE ARTIST NETWORK (F.A.N.) All of the 24 artists exhibiting in Essence are passionate about the challenging world of textile arts and use fibre, fabric, thread and stitch in different ways. They use dye, paint and print and embellish in their work, to create luscious textures, exciting surfaces and surprising images, through the exploration of colour and pattern.

NOURISH Join the artists of Nourish as they explore the notion of self and inner sensitivity through contemporary photography and ceramics. Photographers Elle Dawson-Scott, Danielle Walpole, Edward James and Jenn Brazier join ceramicist Wayne McAra for this exquisite exhibition curated by Karen Paris. Nourish your soul with fine art and fine wine.

Continues until Wednesday, August 14

Saturday, August 3 to Friday, August 30, Tuesday to Saturday, 12pm-5pm pepperstreetartscentre.com.au

petaluma.com.au

palette to plate Rebecca Cooke • Violet Cooper Andrea Fiebig • Susan Frost Emmeline Khor • Sue Michael Judy Morris • Lindsay Nicholson Ivo Tadic • Gerry Wedd

9 August – 1 September

Judy Morris, No Pyjamas, coloured pencil on paper, 52cm x 67cm

32 The Parade Norwood Mon-Fri 9-5.30 Sat 10-5 Sun 2-5 t. 8363 0806

www.artimagesgallery.com.au

50 THE ADELAIDE REVIEW AUGUST 2013

SALAFESTIVAL2013 “There is the depth and breadth of works of art in South Australian private collections to present a number of exhibitions; and to tell a number of different stories,”

Revealed2: CollectorSpace installation view, collection of Khai Liew and Nichole Palyga. Photo: Sam Noonan

the Michell family, Jeff and Lexie Mincham and Vivonne Thwaites. The collectors collaborated with Samstag’s curators to create Revealed.

“Developing the exhibition involved identifying collectors and then visiting their homes, followed by an ongoing dialogue,” Green says. “Identifying the ‘DNA’ of their collecting would not have been possible without these discussions with the collectors, and their close involvement throughout the entire process.”

BY CHRISTOPHER SANDERS

T

he nine collections in Anne & Gordon Samstag Museum of Art’s second Revealed exhibition shows the forces that move contemporary collectors. This theme differs from last year’s inaugural Revealed exhibition, which displayed the jewels in local collectors’ crowns. Samstag’s Director Erica Green says the Revealed series of exhibitions “celebrate the crucial role that private collectors play in supporting and encouraging contemporary art practice and to showcase the richness and diversity of private art collections in the state”.

“The first exhibition, last year, gave us the opportunity to gain a better understanding of just what exactly was out there, hidden in private

SALA on King William

homes,” Green explains. “It was during this process that the seeds for the second Revealed exhibition were sown. Like the process of collecting, it is our desire that the Revealed exhibitions will change and develop over the duration of the series. It is intended that each exhibition will take a different approach and feature new collectors to ensure each exhibition retains freshness that continues to be a visually engaging and enriching experience for visitors to the Samstag Museum.”

With CollectorSpace, nine private local collections are revealed from collectors such as Mark and Jill Awerbuch, Candy Bennett, Rick and Jan Frolich, Stephanie and Julian Grose, Nicholas Jose, Khai Liew and Nichole Palyga,

Green discovered that there is nothing predictable about collectors.

“Revealed 2: CollectorSpace – I think demonstrates very clearly that collectors are not simply an indispensable part of the cultural food chain, but are in fact also distinguished patrons, driven by a unique passion and a genuine hunger for the contemporary visual arts.”

Candy Bennett’s collection is captivating, as it features new media installations. Green says although video and new media installations are ubiquitous in museum collections the medium does present challenges for a private collector, “who must not only acquire the work but also install a viewing platform in their home”.

“So there is a great deal of careful thinking and planning involved, not unlike that of a museum curator,” Green explains. “Candy Bennett, of course, is a very engaged and knowledgeable visitor to the world of contemporary art exhibitions, and I think her willingness to take on the challenge of acquiring such work demonstrates her adventurous nature. She’s not alone in this, however; other collectors in Revealed2, such as Stephanie and Julian Grose and Rick and Jan Frolich, also have substantial collections of video and new media art. I do think these people exemplify the enlightened role of the private collector of art: their bold spirit and involvement have been a fundamental companion to the story of international modern art from the 19th century. It has more often been private collectors, inspired by artistic innovation and driven by personal passion, who have sustained the most progressive of artists – and today that encompasses this very dynamic area of new media in contemporary visual arts practice.”

Originally slated as a series of three exhibitions, there is a chance Revealed might extend beyond this.

“There is the depth and breadth of works of art in South Australian private collections to present a number of exhibitions; and to tell a number of different stories,” Green says. “In addition, these collections are continuously growing and developing as new works are acquired. At this stage, we certainly intend to do a third exhibition: whether we decide to follow up with another exhibition is a question we will keep open!”

Revealed2: CollectorSpace Anne & Gordon Samstag Museum of Art Continues until Friday, September 20 unisa.edu.au/samstagmuseum

A wonderful variety of work by South Australian artists on display in many of the fabulous shops, restaurants and cafes of King William Road, Hyde Park.

Collect a brochure on the Road and spend a day enjoying the SALA art and a coffee, a glass of wine, a meal or a browse!

For information visit kingwilliamroad.com.au facebook.com/KingWilliamRoadHydePark

@KingWilliamRoad

Food. Fashion. Fun.

and Art! Sarah Georgi at Boo Radley

Heather Little at Parisi's

Sally Christopher at Toop and Toop

Neha Awasti at Colin and Co

Krystyna Ciesiolkiewicz at Tomich Wines

Adelaide Arcade SALA Exhibition Adelaide Arcade is pleased to once again provide artists with a beautiful location to display their latest works. Paintings, clothing, photography, jewellery, ceramics, period costumes and glass are just some of the interesting and exciting artworks on offer. Take your time to wonder and enjoy these wonderful exhibitions and of course the beautiful Adelaide Arcade.

From 6pm Friday 2 - Sunday 25 August 2013 Open 7 days 路 Opposite the fountain in Rundle Mall www.adelaidearcade.com.au

For the chance to win a Holden Barina Spark simply spend $25 at any Adelaide Arcade retailer.

See participating retailers for an entry form or visit www.adelaidearcade.com.au for details.

SA Lic No. T13/948.

52 THE ADELAIDE REVIEW AUGUST 2013

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35. David Summerhayes 36. Heather Gordon, Mermaid Mosaic 37. Hugh Adamson, Touch Of Spring, 38. Lisa Losada, Bonnie 39. Hayden Fowler, Goat Odyssey I, 2006.

35

RED POLES GALLERY/CAFÉ/ RESTAURANT/B&B

Damiani, Sally Gibson-Dore, Frances Phoenix, Mary Pulford, Andrea Przygonski, Stephanie James-Manttan and Victoria Bone.

190 McMurtrie Road, McLaren Vale SOUND, ECHO, REPEAT Artists create through processes, materials and thoughts that speak in echoes, repeat in practice and strike chords within. Sound, Echo, Repeat is an enticing exhibition of painting, photography, ceramics, jewellery, textiles and more.

Exhibition opens Saturday, August 3 at 3pm. Concludes on Sunday, September 8. The gallery is open from Wednesday to Sunday between 9am and 5pm. redpoles.com.au

Twelve artists exhibiting in a range of mediums – Emily McAllan, David Summerhayes, Melissa Gillespie, Rachael Louise Penn, Guy Ringwood, Renee

Recent works by Greg O’Leary

Gallery 239 239 Cross Road Cumberland Park T: 08 8351 4163

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RHAGODIA MOSAICS

25 Schaedel Street, Nuriootpa

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ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC.

RHAGODIA MOSAICS Open Studio: Heather Gordon Visit this modest cream brick house where the external walls are gradually being transformed by mosaic as part of artist Heather Gordon’s 10-year plan to change the exterior of this Barossa home into an extraordinary mosaic haven surrounded by a productive and sustainable garden. Three years into the plan, mosaic mermaids loll, dive and twirl and the bushland mosaic enchants.

Level 1, Institute Bldg, Cnr North Tce & Kintore Ave, Adelaide

Open Studio, 10am-5pm, Saturday, August 10 and Sunday, August 11 (viewings outside of these times by appointment).

Singer/songwriter Lisa Jane at 11am, 1pm and 3pm. Tea/coffee/cake/biscuits by Pennys Road BnB available for purchase.

Open Studio is accessible for wheelchairs and ‘wheelie-walkers’. Footwear must be worn.

rsasrts.com.au

WINTER BLUES: RSASA MEMBERS’ WINTER/SALA EXHIBITION An exciting exhibition of over 100 artworks, a creative mix of paintings, textiles, sculpture, drawings, photographs, mixed media, all from members celebrating art during SALA. Continues until Sunday, August 18

Facebook: ‘Rhagodia Mosaics’

• Exhibition of works in our home gallery and working studio • Portrait painting/drawing demonstration each week • Paintings and drawings for sale

Sundays during SALA – 2-5 pm www.gregoleary.com.au

how do we love thee? let us count the ways...

22 artists

1 enigmatic survivor

Official Opening: Sunday 4th August 2 - 4pm The National Wine Centre, Cnr North Tce & Hackney Rd Adelaide, South Australia. 1 - 25 Aug 2013 Telephone: 08 8553 0448 KANgAROO ISlANd ReSIlIeNCe & ROSeNbeRg’S gOANNA

Varanus rosenbergi

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South Australian Emerging Designer Award

drink+ dine+ design South Australian Emerging Designer Award

call for applications

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Saint Ignatius College Junior School Campus

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Anne & Gordon Samstag Museum of Art

decades, alongside newly commissioned works inspired by architecture and the built environment.

62 Queen Street, Norwood

55 North Terrace Adelaide

Continues until Friday, September 20

Saint Ignatius Art Show 2013 With 73 South Australian artists (and Lucy Turnbull the featured artist of 2013), Saint Ignatius Art Show is a great place to start for a SALA overview with more than 70 local artists participating, including six SALA Award finalists. A centerpiece is the Cabinet of Curiosities, a collaborative installation.

The weekend exhibition includes artist talks and demonstrations, music and a cafe.

Revealed²: CollectorSpace Lipman Karas Gallery 1 Building on the success of Revealed ¹: inside the private collections of South Australia, the Samstag Museum of Art presents the second exhibition in the threepart Revealed series.

unisa.edu.au/samstagmuseum

Friday, August 9 (7pm – ticketed opening night event) Saturday, August 10 and Sunday, August 11 (10am-4pm) saintignatiusartshow.wordpress.com

Focusing on South Australia’s reputation for great food, wine and dining experiences, this award calls for innovative and exciting product design ideas to enhance the experience of consuming fine food and wine.

The $2,000 award is open to emerging designers including current students and those who have completed a design training or study program in South Australia in the last five years.

Showing an enthusiasm matched by impressive discernment, it has often been private collectors acting against the grain of institutional prejudice which has sustained the most progressive of artists, by acquiring and supporting their work.

Narelle Jubelin: Vision in Motion Bestec Gallery 2 and Gallery 3 The great themes of art and architecture are brought together in Vision in Motion, a major project by expatriate Australian artist Narelle Jubelin. Vision in Motion animates an Australian history of modernism, presenting a survey of Jubelin’s intricately sewn petit points of the past three

Cheryl Hutchens, Bloat, gag, (gastric ulcer), embroidery.

The nature..

45 South Australian visual artists and craftspeople respond to nature as our physical environment and as human character or disposition.

Opening 3pm, Sunday 4 August

A not to be missed exhibition showcasing the best of South Australian oil painters, all Masters of their ‘craft’.

High country ,Victoria (detail) by Ivars Jansons

Ivars Jansons, John Tiplady, Richard Musgrave-Evans, John Lacey, Andris Jansons & Trevor Newman

Opening 4th Aug 2013 at 11:30pm DAVID SUMNER GALLERY 359 Greenhill Road Toorak Gardens Ph: 8332 7900

Tues to Fri 11-5 | Sat to Sun 2-5 www.david-sumner-gallery.com

Exhibition continues from 7 August - 7 September 2013.

Associated public program includes: Free 7 week lino-printmaking workshop with Margaret Sanders. Commences 24 August.

Workshop registrations essential. To register and for further information contact: niki.vouis@cttg.sa.gov.au Recently established in the north east, Gallery 1855 is Adelaide’s newest visual arts facility.

Gallery1855, 2 Haines Road, Tea Tree Gully Opening times: Wednesday to Saturday 12-5pm teatreegully.sa.gov.au/gallery1855

entries close 9 September 2013 to apply visit www.jamfactory.com.au Images: John Quan, Stackable Serving Set, 2007; Wayne Mcara, A4 Platter, 2012

SA MASTERS OF OIL

Opening Speaker: Christine Nicholls, SALA Board Member, curator, visual arts writer, Senior Lecturer in Australian Studies, Flinders University.

54 THE ADELAIDE REVIEW AUGUST 2013

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40. JoJo Spook , Birds of a Feather 41. Michael Meade, The Valley 42. As My Soul Heals 43. Vanessa Williams 44. Marie Jonsson-Harrison, Hold Fast at Holdfast.

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TATIARA DISTRICT COUNCIL WALKWAY GALLERY

43-55 Woolshed Street, Bordertown JOJO SPOOK: DOMESTIC WEAR Domestic Wear has been created by the 2012 Advantage SA’s Dr+PC Regional Arts Award recipient JoJo Spook. Renowned for her metal dress like fashion inspired

sculptures based on the painful etiquette of the fashion junkie, her works describe uncomfortable corsets and stilettos made and constructed from kitchen utensils and unique found objects.

Thursday, August 1 to Saturday, August 31

tatiara.sa.gov.au

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TERRACE FLOORS & FURNISHINGS

51 Glen Osmond Road, Eastwood SALA ON TERRACE 2013 SALA on Terrace features over 20 artists in an energetic exhibition of various mediums: oils, collage, printmaking, jewellery, textiles and ceramics.

Opens Thursday, August 1 at 5pm. MonFri 9am-5pm and Sat 10am-4pm until Saturday, August 17

terracefloors.com.au

42

VENTURAS VISIONS

36 Main North Road, Auburn A CAULDRON OF COLOUR Enjoy a vibrant brew of art, among the winter vines of the beautiful Clare Valley.

A Cauldron of Colour, spiced with many mediums, forms an evocative body of remarkable talent. Artists: Tracy Vandepeer, Neil Sheppard, Robert Landt, Randall Sach, Denise Wilkins, Heidi Hodge, Llewena Newell and Jim Kinch.

Saturday, August 3 to Sunday, August 25, Saturdays and Sundays 10am-4pm (Weekdays, press intercom) venturasvisions.com.au

“The Painted Vale”

Peg Miller King Painting Oils on Canvas

Hugo Wines SALA exhibition “The Painted Vale” by local artist Peg Miller King. The paintings depict McLaren Vale in extremely bright colours - Vineyards, olive groves, hay paddocks and the people who labour in this picturesque valley.

GARRY SHEAD

the muse of mount pleasant 31 JULY - 30 AUGUST

Peg Miller King is an established artist and paints only for pleasure.

Sonali Patel, Narcissus II, ceramic, 46x40x27cm Photo M. Kluvanek

Hugo Wines Pty Ltd 246 Elliott Road McLaren Flat SA 5171 Open Mon - Fri 9.30 to 5pm , Sat & Sun 10.30am to 5pm Ph (08) 83830098 www.hugowines.com.au

The ERA We Live In 21 Artists Curator Annabelle Collett 4 August - 29 September 2013

GREENAWAY ART GALLERY www.greenaway.com.au

1 Thomas Street (cnr Main North Road) Nailsworth prospect.sa.gov.au

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SALA AWARDS

44

The SALA Awards Ceremony was held at Keith Murdoch House on Friday, July 5.

PHOTOS ANDREAS HEUER

Wayne Grivell and Kate Rowan.

ZU DESIGN – JEWELLERY + OBJECTS

102G Gays Arcade Balcony, Adelaide Arcade

44

Malia Wearn, Amy Joy Watson and Sally Parnis.

Robyn McBride and Nigel McBride.

30 EXHIBITIONS FOR SALA AT HOLDFAST BAY

Open throughout SALA

The City of Holdfast Bay will be overflowing with events to celebrate SALA 2013. Of 30 exhibitions, 21 will be held in Glenelg’s compact Jetty Road Precinct. Highlights include the M Square shipping containers in Sussex St, Jetty St and Moseley Square and the ‘Dridan’s Australia’ and ‘Love Where You Live’ SALA Youth Art exhibitions at the Bay Discovery Centre, Moseley Square.

Download a copy of Holdfast Bay’s free SALA Festival Art Trail map for details of all the free local SALA exhibitions.

zudesign.com.au

holdfast.sa.gov.au

THE FINER THINGS: A GROUP EXHIBITION OF OVER 30 CONTEMPORARY JEWELLERS ‘The finer things’ is a group exhibition showcasing over 30 contemporary jewellers who have, or are currently living and working in South Australia. Each artist has created pieces answering to the theme, and the work reflects their passion and love for creating beautiful jewellery.

Todd Salter and Lauren Salter.

exhibitions gallery shop

2 - 25 August 2013 painting by Margaret Slape-Phillips

43

Dana Mickan and Matthew Ives.

tête-á-tête

An exhibition of artworks in various media by members of the Red House Group Inc

Venturas Visions Gallery & Studio

CAULDRON OF COLOUR 3 – 25 August

Artists: Tracy Vandepeer, Neil Sheppard, Robert Landt, Randall Sach, Denise Wilkins, Heidi Hodge, Llewena Newell, Jim Kinch Multiple Mediums (clockwise from top left) glass platter by Julie Pritchard necklace by Sharon Starr textile wall hanging by Sue Grant leadlight lamp by Paul Kruger

Gallery M, Marion Cultural Centre 287 Diagonal Rd, Oaklands Pk SA P:8377 2904 info@gallerym.net.au

www.gallerym.net.au

36 Main North Rd, Auburn, SA 8849 2087 or 0408 411 404 OPEN: Sat & Sun 10-4pm Weekdays Press Intercom www.venturasvisions.com.au

56 The Adelaide Review August 2013

SALAFESTIVAL2013

By Jane Llewellyn

“

I thought ‘Who is out there? Who have I met? Who do I admire? And who might be interested?’” he says. What emerged was Insitu, a group exhibition featuring some of South Australia’s most talented sculptors – Greg Johns, Astra Parker, Nicholas Uhlmann, Dylan Harris and Worth.

The Botanic Garden as an exhibition venue appealed to Worth because of his background in landscape architecture. He made the transition into sculpture after “seeing a lot of ornamentation in the Middle East, really elaborate decorative architecture and then thinking that some of my garden designs in Adelaide would look great with dressing up some walls,” he explains.

“I think your artwork is an expression of your own consciousness. Serenity is something that is important to me and sometimes comes out in my work” Insitu features 11 sculptures and spans three areas of the Botanic Garden and National Wine Centre – the Eremophila Garden, Australian Native Garden, and a small area of the Wine Centre under the jacarandas. Bringing together this ambitious project has thrown up many obstacles for Worth.

“I’ve tried to step back from the fact that I am in it too. I have been wearing many hats from marketing to curating to exhibiting to OHS officer to Graphic Designer. It’s been quite a challenge,” says Worth.

Parker, who has three artworks in the

exhibition, Standing Pod Unfolding, Standing Pod, and Cell 2, is involved in a number of SALA exhibitions but was particularly attracted to Insitu because of the botanical element. She feels the Botanic Garden location is a perfect fit for her work.

“It’s just my ideal spot to exhibit. There is a sense of serenity here. It is something that I hope comes out in my work.” Parker continues: “It’s not necessarily intentional but I think your artwork is an expression of your own consciousness.

Serenity is something that is important to me and sometimes comes out in my work. It fits well in that kind of environment.”

James Worth, Free Form Dancers, 2013, painted steel.

Parker’s steel sculptures deal with ideas surrounding the way nature reproduces itself – the cycle of life. Her abstract seedpods can often also be womb-like or a cocoon shape. “I like that cross over between the anatomical and the botanical,” she says.

Taking her sculptures and displaying them in this environment will allow them to be seen differently, as opposed to inside a gallery or in an urban space.

“My work is very rustic and quite organic, it’s not pristinely manufactured, not that clean cut kind of look. It’s going to be great in the gardens because the environment welcomes that kind of work.”

Worth’s initial idea of a solo exhibition has blossomed into something much bigger where sculpture becomes part of the landscape, fitting organically into the native surrounds.

Insitu Adelaide Botanic Garden Saturday, August 10 to Saturday, August 31

Astra Parker, Standing Pod Unfolding (detail), mild steel.

58 THE ADELAIDE REVIEW AUGUST 2013

SALAFESTIVAL2013

BY JANE LLEWELLYN

T

he Monograph recognises an artist who is on the rise. Bowers suggests, “It’s not meant to honour what you have done but rather honour what you are doing and where you are going. It’s an investment.”

Along with the release of the monograph this month Bowers also has an exhibition at the JamFactory. “It’s the biggest show I have had in Adelaide for years so it’s a good chance to show my work to a public who may not have seen my work or might have seen only one piece.”

In spite of Bowers’ long career Adelaide people might not be familiar with his work because he doesn’t exhibit here regularly, concentrating on exhibitions interstate and overseas. “You go where the audience is and audience is not just about people buying your work. It’s also about people seeing and writing about it.”

Bowers has been fortunate enough to have a full-time job for most of his career with positions at places like Arts SA and the JamFactory. This gave him the freedom to create artworks without being bound by commercial pressures. “It allowed me to survive as an artist though I still worked full time as a ceramicist and my work became recognised and widely collected,” he says.

Most contemporary ceramicists work on their own whereas Bowers prefers a collaborative approach, sourcing pots from other people and then decorating them. “I decided I was going to specialise in what really interested me, which was the decoration – the glaze, the images, the patterns and the representation on the

Marc Bowden, Trellis William Morris camouflage plates, 2011, jigger-jolley, earthenware, underglaze colour, clear glaze, on-glaze gold lustre, enamel, 35 cm x 2.5 cm. Private collections. Photo Grant Hancock.

2013 SALA AWARDS WINNERS

pot.” Bowers’ work is mostly underglaze with overglaze added to it. Complex layers are built up over many firings at different temperatures.

Pots are fired to white heat and then refired at lower temperatures to add more colours and gold.

The Advertiser Business SA Contemporary Art Prize Marc D Bowden Rip It Up Young Artist Award Amy Joy Watson

Bowers takes the blank canvas of the pot and creates complex decorative images of the Australian native landscape inspired by his childhood growing up in the bush. He also reinterprets traditional imagery of ceramics and creates scenes, which are both familiar and strange, imaginative and slightly surreal.

Bowers says that while “my work is not driven by particular conceptual theories, there are aspects of commentary and concepts in my pieces”.

Familiar motifs of Australian heritage are presented with patterns of blue and white Chinese porcelain, Indian textiles and William Morris’ wallpaper designs, which aren’t just there for their decorative appeal. These manmade patterns enclose and restrict Bowers’ symbols of nature, representing what he describes as an “oblique comment on man’s impact on the environment”.

The SALA monograph is an impressive award and a distinct milestone for an artist.

Bowers says: “It’s a real honour to be picked.

Atkins Photographic Award Wayne Grivell Adelaide Central School of Art Professional Development Award Therese Williams

Exotic Birds and Strange Fruit, 2012 (one of a pair of ‘Palaceware’ vases), wheel-thrown, earthenware, underglaze colour, clear glaze, on-glaze gold lustre, enamel, 74 cm x 55 cm. Photo Grant Hancock.

You just do what you do as an artist. You don’t necessarily do it because you think one day someone might turn it into a book.”

Jam Factory Icon Stephen Bowers: Beyond Bravura Friday, August 9 to Saturday, September 28 jamfactory.com.au

Mercy Art Exhibition Mercedes College and SALA invite you to attend an

August 2013

exhibition of works by members of the Mercedes College

Saturday 17 and Sunday 18, 1 - 5pm

community who have attended workshops led by

Monday 19 – Wednesday 21, 4 - 6pm

Old Scholar and Award Winning Artist, Cat Leonard

Mercedes College Art Rooms

540 Fullarton Road, Springfield SA Telephone 08 8372 3200 www.mercedes.catholic.edu.au

Oz Minerals Copper Sculpture Award Warren Pickering and Anna Small Centre for Creative Photography Latent Image Award Gabriella Szondy JamFactory Contemporary Craft and Design Award Kim Thompson The Austral Hotel Emerging Artist Award Jacky Murtaugh

Honouring almost fifty years of supporting creative professionals, Guildhouse continues to develop a sustainable community of visual artists, craftspeople and designers by providing support services and creating industry pathways.

MEMBERSHIP

INFORM

INFORM REGIONAL ACCESS

Guildhouse offers five types of membership to meet the varying needs of practitioners and the South Australian visual art, craft and design industry.

Workshops, artists and industry information sessions and networking events.

Over the next eighteen months, Guildhouse, in partnership with Country Arts SA will be delivering INFORM sessions in regional South Australia.

Ceduna and Port Lincoln sessions coming soon. See our website or contact us for more information.

Depending on your membership, benefits can include public liability insurance, free professional development assistance by appointment, free entry to Guildhouse INFORM events, eligibility to apply for Guildhouse projects and initiatives, our regular eBulletins full of the latest news and opportunities plus discounts with our membership support partners.

How to price your work 6pm Wednesday 7 August Jane Bowden, partner Zu design – jewellery + objects.

How to price your services 6pm Wednesday 11 September Tamara Winikoff, Executive Director, NAVA. Not an expensive hobby: financial management and tax for artists 6pm Wednesday 23 October Brian Tucker, public accountant with over 30 years experience.

Crowdfunding: Make It Pozible 6pm Wednesday 13 November Fee Plumley, technoevangelist.

STUDIO SESSIONS Don’t miss this rare opportunity to visit the private studios of some of Adelaide’s most successful artists and hear how they’ve established sustainable careers.

6pm Wednesday 18 September Gray Hawk 6pm Tuesday 19 November Fontanelle: Brigid Noone and Roy Ananda

THE COLLECTIONS PROJECT A collaboration between Guildhouse and the Art Gallery of South Australia, this project provides artists the opportunity to work with the collections of the Art Gallery of South Australia to develop new work for exhibition within the gallery.

See our website for details about Expressions of Interest for projects culminating in 2014.

INSIDE SAM’S PLACE November - December 2013 South Australia Museum An exhibition of new work by Meghan O’Rourke interpreting the South Australian Museum’s collections using the language of visual art, craft and design.

www.guildhouse.org.au Level 1, 38 Hindley Street, Adelaide. Tel: 08 8410 1822. E: guildhouse@guildhouse.org.au

60 The Adelaide Review August 2013

VISUAL ARTS

Double Dare

by John Neylon

I

Image courtesy of the artist and Greenaway Arts Gallery

n 2001 the Adelaide artist Ian North undertook a residency at Bundanon, the estate Arthur Boyd left to the nation.

The site incorporates the Bundanon Homestead site and the Riversdale site located on over 1000 hectares of bush land and pastoral land overlooking the Shoalhaven River, near Nowra in New South Wales. The natural beauty of this place and its symbolic character as a touchstone for European sensibility abroad in the Australian bush has informed numerous works by Boyd and many other artists who continue to make art about the Bundanon ‘experience’.

It is in some respects no different to any other tracts of Australian landscape in terms of its varied natural topography and patterns of settlement. But artists have created a prism through which to envisage it. So, it is a landscape but is also a place, which makes demands on its visitors to stay alert and responsive to events as they unfold.

Ian North, Haven 4 (detail), type C photograph.

North followed these principles, trailing across the paddocks, along the river and dogging the escarpments, his camera at the ready. Some days, nothing happened. The light was flat and the vistas resistant to any realisations. Suddenly, in a burst of sunlight

through clouds or the coalescence of shadows in later afternoon, things ‘happened’. The photographic works, which make up Haven testify to these moments. In keeping with the

Come celebrate the art and gourmet produce of our creative island.

Flinders University City Gallery State Library of South Australia, North Tce, Adelaide Tuesday - Friday 11 - 4, Saturday & Sunday 12 - 4 T (08) 8207 7055 E city.gallery@flinders.edu.au

www.flinders.edu.au/artmuseum

Crystal Palace

artist’s practice, few photographs were taken on any given day and the shortlisting down to the works for the exhibition was rigorous.

Despite the stirring beauty of these images they would not sit easily as a ‘Bundanon 2013’ calendar set. They have a slightly off-key quality as if not fully declaring their hand as images that want to be looked at. I think this reflects the artist’s own experience of engaging with a landscape which avoided easy capture.

He describes this process as being “led into the landscape”, not desperately looking but more in a state of “relaxed awareness”. Some frameworks are pure aesthetics. The way the

shadows along the river’s left bank thrust like a black spear into the composition, the action of a polar tree flaring like a beacon against a dark sky, a curving track leading the eye towards a distant building – these are time-honoured devices. Deliberately so. North has consciously nuanced these images with tropes, which can be easily associated with pictorial photographic images of Australian life and landscapes of the early 20th century.

For the curious, search for the work of one such artist, John B. Eaton, whose graceful photographs convey a sense of tranquil repose.

In this quasi ‘channeling’ of Eaton, North

the 2nd

art exhibition Lincoln College Annual Art Exhibition

14 to 28 September

Opening: 14 Sept, 3 to 5pm

45 Brougham Place North Adelaide 5006

Partners:

27 July - 29 September Artwork: “Mystic” by Alan Louis Ramachandran

THE ADELAIDE REVIEW AUGUST 2013 61

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VISUAL ARTS appears to be daring himself to drift away into a mist of nostalgia, surrendering in effect, to the subject and its charms. But playing dare has exposed the contradictions that are always close to the surface whenever artists make art about place.

North’s instinctive radar has picked up on the blandishments of rural traditions such as the productive paddocks set against a stand of ‘wild’ bush land or the crumbling homestead as a symbol of benign settlement.

Alert to this seduction North sees some irony in Bundanon as a perceived “haven” in a troubled world. The fact that the residency took place in 2001, the envisaged year of Stanley Kubrick’s 1968 film 2001: A Space Odyssey and that (subsequently) the world was taken to a place it would rather not go to, post September 11, suggests that no place can be called haven, no matter how self-contained its portrayal. In this context the ‘new’ cinematic pictorialism of Kubrick’s 2001 finds alliance with both North’s fineline walking between an imagined past and an unthinkable future and his knowing manipulation of all those aesthetic levers which subtly dispose us to see the world though comforting prisms.

There is discomfort in these edgy images, which comes from a lifetime’s apprenticeship in letting images speak for themselves. By locating his images in a real and iconic place, then testing the veracity of his own and the viewer’s experience North has created a little ‘stargate’ which like a black hole that has the potential to suck the viewer in while broadcasting back an infinity of possible interpretations. In his own words, “There is no way back to the garden”. No safe haven.

» Ian North Haven 2001 Greenaway Art Gallery Continues until Friday, August 30 greenaway.com.au

Waterhouse Natural Science Art Prize winners

BY ASHLEIGH KNOTT

A

fter a record 859 entries from across the globe, the winners of the 2013 Waterhouse Natural Science Art Prize were announced on Friday, July 19.

The overall winner of the $50,000 prize was Flight of Fancy, an intricate lace cape crafted by Lynton artist Judith Brown. The natural cycle inspired the piece with its fluctuating existence, continually changing between perfection and declination. Called a “rare beauty” by the judges, Brown’s piece is a masterfully created using Watsonia bulbs, leaves and paper.

The Waterhouse Prize, one of Australia’s most highly regarded art prizes, aims to artistically reflect the current issues faced by the world. Judges from both the artistic and scientific realms awarded prizes to both established and emerging artists.

The Works on Paper prize was awarded to Young Soon Jin of Prospect for her lively pencil on paper piece Enoki. Leabrook sculptor Nick Mount won the Sculpture prize for his Fruit Salad #093012 made from blown glass, olive branches and American oak. The Youth prize was awarded to Llewelyn Ash for the marine

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Category Winners (for Paintings, Works on Paper, and Sculpture) received $12,000 each, Youth Art Prize Winner received $5,000, People’s Choice Award was worth $5,000 and the Dr Wendy Wicks Memoriam Prize, $5,000.

Owned and run by the South Australian

Museum, the prize was named in honour of the museum’s first curator, Frederick George Waterhouse. The exhibition of the winners and finalists of the prizes are on display at the South Australian Museum until Sunday, September 7.

samuseum.sa.gov.au

Other winners included Queensland artist Claudine Marzik, who won the Paintings category for her acrylic on canvas piece Limestone Belt Cairns West. The work, best viewed in real life, features excavated channels on the weathered-looking canvas.

The Adelaide Park Lands Art Prize

PHILLIP McGILLIVRAY-TORY

Judith Brown Flight of Fancy

STRONG WOMEN STRONG PAINTING STRONG CULTURE Aboriginal Women’s Art of the Central & Western Deserts from Sims Dickson Collection

5 July - 1 September 2013 Tandanya - National Aboriginal Cultural Institute Inc 253 Grenfell Street Adelaide SA 5000 daily 10am - 5pm www.tandanya.com.au

Entries close 5 pm Thursday 28 November 2013

Alkawari Dawson, Tjawl Tjawl (detail)2002, 630 x 740 mm, acrylic on canvas

Judith Brooks Past and Present An exhibition of Paintings, Prints and Drawings

2 – 11 August 2013 Jewellery from The Mistress Von Berlow Collection Susan Sideris at Hanrahan Studio By appointment, and open for the duration of this exhibition 1: 00 – 5: 00 pm Thursday – Sunday 48 Esmond Street, Hyde Park, South Australia T 0449 957 877 hanrahanstudio @ bigpond.com During exhibition hours Barbara Hanrahan and Jo Steele’s private residence and gallery are open for viewing image Judith Brooks, The Kiss (detail) 1994 coloured linocut, 37 x 39 cm

62 THE ADELAIDE REVIEW AUGUST 2013

TRAVEL A trip to Japan wouldn’t be complete without a visit to Tokyo. Enormous, hectic and brimming with lights, some have described Tokyo as too overwhelming; however, a few hours studying the subway and a good guidebook will help you enormously. The subway is the most efficient means of travel in this colossal city, with trains running every two minutes and snaking underneath the entire metropolitan and outer suburbs of Tokyo.

ELECTRIC CITY

BY MIRANDA FREEMAN

T

he Japanese are both deeply traditional and at the same time some of the most advanced citizens on the planet, with their daily life imbued with all kinds of cultural quirks

asia

and advanced technology. While there’s an abundance of space in Australia and nearly none in Japan, it’s fascinating to see how they have utilised what they have and transformed their islands into a thriving travel destination.

From the central Shinjuku station you can hop on any number of trains that will take you to Shibuya, nightclub district Roppongi, ‘electric city’ Akihabara and Mitaka to visit the famed Studio Ghibli museum. Ghibli tickets outside of the county are limited, but local Lawson supermarkets stock them – a polite ‘sumimasen’ should get a clerk to come and help you. The Japanese are extremely helpful folk who will go as far as to walk four blocks with you if you can’t find your hotel, so don’t be afraid to ask.

Then, of course, there’s Tokyo’s Harajuku district – the home of the famous ‘Harajuku Girls’. Shopping is an obvious highlight here, especially down Takeshita Street, but down some of the windier paths are a number of great places to eat, including burger bars, buffets with hot ramen bowls and tonkatsu and rabbit cafes, where you can pay 2000 Yen an hour to pat (not eat) bunnies while sipping green tea. If Harajuku’s sea of tittering youths gets

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a bit much, a moment of Zen can be found at the nearby Togo Shrine, a Shinto temple built in the 1940s.

Undoubtedly one of Japan’s largest tourist attractions is its bullet trains, or ‘shikansen’, which travel all across the country at high speeds of up to 300km/h. Train is the fastest means of travel in Japan, so it is highly recommended that you get a Japan Rail pass before heading over.

Described as the Japanese Melbourne, Osaka provides all the big city quirks of Tokyo without the edge. The famed Dottonbori strip is a must for food, drinks and shopping, without forgetting the number one rule while in Japan – always look up! The best restaurants and karaoke bars are likely on the eighth floor, so keep an eye out for busy stairwells packed with groups of locals.

After spending a day in Amerikamura, Osaka’s American-inspired district, get the subway in Ebisuhigashi and visit the truly glorious, fivelevel Spa World – a man-built public onsen. A visit to one of these means you have to get your kit off – all of it – but genders are separated, so once you’ve overcome being entirely naked in a room full of 300 women, the perks of soaking in a herbed bath for three hours is an experience you just can’t buy at home.

Outside the cityscapes, typical Japanese life is very peaceful. Kyoto is home to what has long been dubbed ‘The Most Beautiful Street in Asia’. The city is also home to the famous geisha; a nighttime visit to Gion on the weekend and you may be lucky enough to see a maiko, or apprentice geisha, dressed in a stunning kimono chuckling with businessmen.

Further south is Beppu, home to a series of natural hot springs. It’s here, assuming you’ve acquainted yourself with onsen etiquette, that you can tackle some natural, open-air hot springs. Highly recommended is the Myoban onsen, which has a number of milky pools filled with rich mineral deposits.

Before you jet home a bus trip to the lake country to view Mt Fuji is a good way to fill up a spare day. The summit is quite dangerous during the colder seasons and unfit to climb, but you can still obtain a spectacular view of the mountain from its neighbouring town Fujiyoshida. A cable car ride down by the lake offers the best picture-taking spot.

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Despite the stereotypes of big cities, perverse comics and crazy pop culture, Japanese daily life, compared to Australia, is quite simple.

While they exist in one of the most forwardthinking countries in the world, it’s still possible to see a Harajuku girl donned in skulls and wigs offer a coin at the Shinto shrine and piously clap her hands together to pray.

Despite the vibrant chaos of their daily life, the Japanese are very much geared towards family and religion and are kind people. A trip to Japan is a sobering one, and will leave you reflecting as to why we don’t do the same thing at home.

THE ADELAIDE REVIEW AUGUST 2013 63

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FOOD.WINE.COFFEE Venison and Porcini Mushroom Pie • • • • • •

FOOD FOR THOUGHT

BY ANNABELLE BAKER

W

hen confronted with the invitation to a horse degustation last week in Melbourne, I was slightly horrified at the thought of multiple dishes of horse. In actual fact I have eaten horse before whilst living in France and rather enjoyed it. There are market stalls that exclusively sell horse and most butchers will have the more common cuts available all throughout France. There is a movement with Sydney and Melbourne chefs to promote and serve horse is their restaurants’. Part of me wonders if their motivations are somewhat sensationalism, to

1kg venison leg 1 cup flour 2 carrots diced 1 leek diced 1 red onion diced 2 sticks of celery diced

• 3 cloves of garlic • 1 ½ cups Swiss brown mushrooms • 75g dried porcini (soaking in 1 cup of warm water) • 1 sprig rosemary

In a heavy based, ovenproof pot heat three tablespoons of oil over a medium heat.

Sauté the carrots, leeks, onion, celery, Swiss brown mushrooms and garlic until fragrant and tender, remove from the pan.

Dice the venison leg into large chunks and roll through the flour, lightly covering the meat.

Add another three tablespoons of oil to the pot and fry the meat off until brown on all sides. (Doing this in small batches will give you better colouration). Remove from the pan and set aside with the vegetables.

Drain the porcini mushrooms but reserve the liquor. Chop the porcini mushrooms in half.

Deglaze the hot pan with the stout, porcini liquor and stock. Stir to lift the flavour left behind from the vegetables and meat.

Bring to a boil, leave to reduce for five minutes.

Return the vegetables, browned meat and reduce to a simmer. Add the porcini

help get people back to restaurants in a sluggish economy. The less cynical part of me wonders if the message runs a lot deeper. We have embraced the concept of nose to tail eating; we order pork belly, beef cheeks and even trotters without hesitation. Five years ago these cuts where the bane of every butcher’s existence but now fetch competitive prices and are demanded by us all.

So is it time we started thinking about what type of meat we eat, not just what cuts?

all sides, through in a handful of green grapes and bake in the oven. Serve medium rare and with the sweet pan juices. There are lots of small producers rearing these forgotten breeds; the only way to support them is to start eating them!

Chicken visits our tables frequently, if not more than once a week. It is said that approximately 490 million chickens are produced for eating ever year in Australia. So we love our chicken, but would the quality of our meat be better if we embraced different breeds of poultry? Roasting a pheasant, quail or pigeon is, in my opinion even more delicious than the common chicken.

If you like the dark meat of chicken then you will love the flavour of pigeon. Wrap them in smoked bacon, fry in an ovenproof dish, until golden on

Wallaby, horse and deer are starting to appear on menus all over the country. Although this seems as relatively uncharted waters for us, all manner of animals have been eaten in the past. There are amazing stories and paintings of banquettes enjoyed by Kings and Queens, feasting on tables full of bizarre meats.

Peacocks, swans and geese sat proudly, fully endowed on top of pies that showcased the fertile land around royal castles. This does seem slightly flamboyant looking back but the want

• 3 sprigs thyme • 3 bay leaves • 1 tablespoon cracked pepper • 1 tablespoon cracked juniper berries

• 375ml stout • 250ml beef stock • Neutral oil • Puff pastry • 1 egg beaten with 2 tablespoons of water

mushrooms, rosemary, thyme, bay leaves, cracked pepper and juniper berries.

Transfer to a 180-degree oven for two hours, stirring occasionally.

Remove from the oven when the meat is tender. Leave to cool in the fridge for at least three hours although overnight is best.

Trim the puff pastry to be one centimetre larger than your pie dish.

Fill an ovenproof pie dish with the chilled filling.

Brush the beaten egg over the rim of the pie dish.

Place the puff pastry lid over the dish, roughly crimping the excess pastry to sit snugly on the rim. Using the tip of a knife cut slit in the pastry in the middle of pie, allowing steam to release through it. Brush the puff pastry lid with the remaining egg wash.

Bake at 180 degrees until the puff pastry has risen and is golden brown.

Serve hot from the oven.

to showcase all that the local land had given to them was a truly revolutionary concept.

Everything old becomes new again and food is no exception. Showing support to chefs, producers and providores who choose to share their passion for alternative breeds is imperative, if we want to enjoy the best quality meat possible.

If a degustation of horse is a little too much for you start with a classic meat pie or a roast.

Pheasant, wallaby and deer will frequent your table in no time. Somehow though, I feel horse may take a little more convincing.

twitter.com/annabelleats tablefare.com.au

64 THE ADELAIDE REVIEW AUGUST 2013

SOCIALS THE ADELAIDE REVIEW READERS EVENT WITH FEAST! FINE FOODS

TURKEY FLAT POP-UP CELLAR DOOR EVENT

The Adelaide Review together with FEAST! Fine Foods hosted an exclusive ‘Introduction to sausage making’ class on Wednesday, July 3. With a record number of attendees, our readers made a new flavour of sausage and were served Bremeton Wines.

Turkey Flat Vineyards held a pop-up cellar door event at Queen’s Theatre to launch their 2013 wine on Wednesday, July 10.

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FOOD.WINE.COFFEE

Cabernet That Comes With Maximum Respect

an ordinary Shiraz most guys can play with.”

BY CHARLES GENT

J

ohn Struik really likes his Goat Track Shiraz, and so do a lot of other people.

But the grape he really loves is Cabernet Sauvignon.

Proprietor and vigneron of Bendbrook Wines, Struik confesses to a deep-seated admiration for the noble variety. In good years, like 2004 and 2010, his Pound Road Cab repays the compliment, emerging as a wine of startling quality.

The judges of The Adelaide Review Hot 100 South Australian Wines elevated the 2010 version to their Top 10, describing it as “full bodied and fruit forward with pleasing black fruit surrounding a leafy core”. Struik, a big, bluff bloke, is more prosaic: he calls it a “standup wine”.

Bendbrook’s 10 hectares of vines grow on the slopes of an unobtrusive, idyllic valley just outside the township of Macclesfield, towards

the southern end of the elongated Adelaide Hills region.

Shiraz and Cabernet Sauvignon make up the two halves of Struik’s estate vineyard, and the varieties roll down opposing slopes to face off across the Angas River, the twisting stream that gives Bendbrook its name. Whereas Shiraz grows almost like a weed, Struik says he respects Cabernet for its complex personality both in bottle and vineyard: “It works so hard to be majestic, even in a bad year.”

According to Struik, most Shiraz can be made into something easy-drinking without too much effort. Cabernets, he says, are more demanding.

“Often they are too acidic; they can be thin depending on where they come out of; and often the balance is hard to get right,” he says. “You need a good winemaker to make an ordinary Cabernet well, whereas

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The fruit in 2010, however, was exceptional and did most of its own work.

Then, as if to provide a cautionary tale, the 2011 season was “complete rubbish” and Struik’s Cabernet crop, while reasonable by the standards of the vintage, didn’t warrant making the Pound Road. The 2012, though, is looking good.

Struik admits there was an element of serendipity in the siting and layout of his vineyard, and hints that knowing what he knows now, he might have done things a little more scientifically. But due to what he calls “a weird kind of luck”, the underlying geology is making great wine grapes.

“No matter how good we are at making our booze, to be totally honest, it’s a matter of what we’re feeding them. And we’re not feeding them anything – they’re taking it from mother earth.”

And for anyone who doubts that small variations in terroir can have profound effects, Struik says you only have to taste the difference in flavour profiles between his wines and those of Longview.

“They’re just about within mortar range, but it’s a totally different belt of dirt.”

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66 THE ADELAIDE REVIEW AUGUST 2013

FOOD.WINE.COFFEE

DIRTY GIRL KITCHEN DIARIES

and the Royal Adelaide Show. Hot cinnamon doughnuts, greasy and coated in processed white goodness. The smell takes me back to a place of simple joy. Back then I could down an entire bag of six and not have any side effects other than being one hyped-up teenager. No groaning or guilts like I would today as a grownup. I am adamant there is more than one kind of doughnut nostalgia. I can also stand for the High School canteen doughnut nostalgia – Balfours chocolate or sprinkled doughnut. You are only ever one or the other. I have yet to meet someone who alternates their Balfours choice.

Recess, once a week I was given ‘doughnut’ money.

Doughnuts – nostalgia or undeniable love?

BY REBECCA SULLIVAN

F

ood trends are a funny thing. They are thrown out into the world via the media by highly regarded food personalities. Some of these trends catch on and some of them are simply a paragraph to read, then to be tossed in our rubbish bins. A mere thought to many of us, but to some, perhaps the next ‘big’ dish for their various establishments. Much like the runway is to fashion, the pass is to a restaurant. What comes off the pass at the launch of a new menu, may just be the next new ‘food trend’.

The most recent of trends (for which I have to admit, I am rather glad) is the doughnut. It was dubbed the next big trend by someone I regard very highly; in fact, she named my ‘Granny Skills Movement’ a trend to watch for 2012.

Like all trends, this is one that essentially is not a reinvention of the wheel, it has just come

full-circle. Much like the doughnut.

Doughnuts (or donuts) are deep-fried cakes with a long European history and roots in earlier Middle Eastern cuisine. They were introduced to America by the Dutch in New Netherlands as oliekoecken (oil or fried cakes), and were made of yeast dough plentiful in eggs and butter, spices, and dried fruits. Their sweetness came from the fruit and a final dusting of sugar. The history of the doughnut goes back centuries, long before the discovery of the New World. In ancient Rome and Greece, cooks would fry strips of pastry dough and coat them with honey or (rather grossly) fish sauce and in medieval times, Arab cooks started frying up small portions of unsweetened yeast dough, drenching the final cake in sugary syrup to sweeten them.

Eventually holes were added to the centre of the fried cake to create the shape we all know today as the doughnut. The actual hole was not by any means an accident; when egg yolks were added to the doughnut it would more often than not end up raw in the middle after frying, so the addition of a hole in the middle eliminated the raw part and left you with the golden fried soft and delicious doughnut.

My happiest doughnut nostalgia was relived on a recent Saturday in London, and it was that of the Neals Yard Chantilly cream filled doughnut.

Every Saturday when I used to work in London’s Borough Market, I would be first at the door at Neals Yard to buy us all a stash of these cream filled (no hole) joyous bounties. My record stands at four. No one dare tried to break it.

Over the centuries doughnuts have become a distinct American food (think Homer Simpson) although the first printed recipe was in an English cookbook in 1803. Yet the Americans remain incredibly patriotic when it comes to the doughnut...

According to recent food trends, the one to watch now is the peanut butter and jelly (jam) doughnut. I have yet to eat one but – but this perhaps will be a trend I won’t be following.

The doughnut for me is nostalgia. It takes me instantly back to September as a school girl

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FEATURE

RE-INTRODUCING THE BAROSSA

T

he Barossa is synonymous with world-class wines and those of us who’ve visited before think we know the extent to what the Barossa has to offer. However, there’s something else that’s long been bubbling away in the Barossa and we’re finally starting to awaken to the fact that the region has much more to offer than just award-winning wines. Thanks to the Barossa’s dirt, the region is home to people who have settled there just so they can use the best and freshest produce grown from Barossa earth.

In fact, it’s no surprise that the same soil that grows the grapes for Barossa premium wine is the same soil that grows the produce that ends up on plates in some of the best restaurants in the region.

Looking at the Barossa with fresh eyes, it’s clear the small region that lies just an hour north of Adelaide is home to a food culture that is more than just a passing fad. On the contrary, the Barossa dirt is the lifeblood of the region’s many producers, cooks and chefs who work daily with whatever is in season, at its best and most flavoursome.

Stop by the Barossa Farmers’ Market on a Saturday morning and the place will be abuzz with visitors and locals catching up, having breakfast and buying their supplies of fresh produce that’s often been picked just the night before. Even the meat benefits from the Barossa lifestyle with animals leading a stress-free life before ending up on a plate.

There aren’t a lot of food miles with Barossa produce.

From the rustic Apex Bakery to the upmarket Appellation at the Louise, there’s a consistency in quality and taste. Menus often follow the seasons making the most of what produce is at its best. Tuoi Do uses her creativity and a blend of Asian flavours and Barossa produce to come up with the exquisite dishes at FermentAsian in Tanunda. Lachlan Colwill of Hentley Farm will forage to make the most of what’s in season and use it to create mouth-watering dishes presented with creativity and flair.

Mark McNamara has taken cooking schools to another level and in doing so has created Food Luddite – a cooking school without walls. Go back to basics and learn that delicious, honest food doesn’t have to come from a kitchen with all the bells and whistles. In fact, in Mark’s case it’s more likely to come from a rural barn, a winery out-building or even an old manorhouse kitchen.

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Good food and wine go hand in hand and the Barossa has them both in plentiful supply. Be prepared to be surprised on your next visit to the Barossa – you’ll be consumed.

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Nuriootpa township is a twenty minute walk and Tanunda township a ten minute drive.

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68 THE ADELAIDE REVIEW AUGUST 2013

ADVERTISING FEATURE BAROSSA WEEKEND GOURMET

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THE BAROSSA DID YOU KNOW?

T

he Barossa is home to more than 100 wineries, with over 80 cellar doors open to the public and a winemaking heritage dating back to 1842.

The Barossa region is 1,970km2 – encompassing the Barossa Valley, Eden Valley, Gawler, Tanunda and Angaston. The region contains four main communities including

Angaston, Lyndoch, Nuriootpa and Tanunda and is an hour’s drive north of Adelaide.

The secret to the highly lauded vineyards and the organic fresh produce is the fertile soil of the Barossa and has assisted in making the Barossa a world-class wine district.

It is home to some of Australia’s finest regional restaurants, inspired by fresh food, wine and produce from the region.

The Barossa has cool summers and rainy winters, making it perfectly suited for red wine production, particularly Shiraz and richly flavoured Cabernet. There are a total of 755 grape growers in the Barossa situated on 13,256-hectares of vineyard area and the average vineyard size is 17.7 hectares.

Preserving, smoking and baking produce

are still a part of everyday life in the region and the results include smoked mettwurst, lachschinken, traditional breads, bienenstich and streuselkuchen, dill cucumbers, pickled onions, olives and olive oil, egg noodles, and a variety of chutneys, pickles and preserves.

Barossa’s food industry has attracted a new wave of people to the area in recent years, which has put a progressive, contemporary spin in the character and history of the region.

Travel around the Barossa and you will see 160-year-old villages, chateaus and churches in beautiful condition.

The Whispering Wall at Williamstown holds the Barossa Reservoir back. The amazing acoustics mean a whisper from one end is clearly heard more than 100 metres away.

THE ADELAIDE REVIEW AUGUST 2013 69

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BAROSSA medals since Filsell’s release in 1992.”

Established Faces in the Barossa

Burge attributed its success to the unique Barossa vineyard, which gives the wine its name.

Dave Powell – Torbreck Maggie Beer Prue Henschke Peter Gago – Penfolds Grange winemaker Fechner family – Apex Bakery Angie Heuzenroeder – Writer, author of Barossa Food

“The Filsell Vineyard has a unique place in the history of the Barossa Valley and Grant Burge Wines,” he said. The vines are over 90 years old and make up one of the largest patches of historical varietal fruit in the Barossa.

“This is a very special piece of Barossa history: an old vineyard, planted in the traditional style, and still bearing exceptional quality fruit. It is one of the few significant survivors of the vine pull scheme of the early 1980s and it crams character into each berry.”

Grant Burge’s 2010 Filsell Named World’s Greatest Shiraz

A

super-premium Barossa Shiraz sourced from 90-year-old vines was named the best Shiraz in the World. The Grant Burge Wines 2010 Filsell Shiraz took the honours at Winestate Magazine’s World’s Greatest Shiraz Challenge VIII, beating over 700 international Shirazes from France, South

He described the 2010 Filsell Shiraz as having incredible depth of colour and a “rare purity of fruit” in the bouquet.

Africa, New Zealand and every major region in Australia.

“I couldn’t be prouder of our Filsell Shiraz,” Grant Burge said. “From vintage to vintage it just keeps on winning. “We’ve now won five major trophies, 22 gold medals and 47 silver

“The 2010 vintage was a great year and it has all of those ripe blackberry and blackcurrant aromas infused with rich vanilla and milk chocolate notes. The palate is beautifully weighted, with optimal balance between concentrated fruit flavours, sweet spices, tannins and acidity.”

grantburgewines.com.au

New Faces in the Barossa Josh Pfeiffer – winemaker at Whistler Wines Fiona and Matteo Carboni Phil and David Lehmann – the late Peter Lehmann’s sons. Phil is a winemaker at Teusner and also has his own label Elytra. David is the owner/winemaker of his own label David Franz Wines Lachlan Colwill – Hentley Farm Sam Wigan – winemaker at Yalumba and Running With Bulls Eleni Michaela – Apex Bakery. A young fresh character to the bread world Victoria McClurg – owner/ cheesemaker at Barossa Valley Cheese Company

Be the first to try the new release

2008 Balthazar Barossa Shiraz Tasting Sunday 25th August, Barossa Small Winemakers Centre, Chateau Tanunda Trade Enquiries anita@balthazarbarossa.com or phone 8562 2949

www.balthazarbarossa.com

70 The Adelaide Review August 2013

COFFEE the methods such as espresso, cold drip, pour over and siphon right through to the three blends or two single origin beans to choose from.

I started with an espresso (short black) of Costa Rica (which seems to be the single origin flavour of the month amongst boutiques). The aroma was sweet and the crema, which was laid on thick, held its form ‘til the last sip.

Smooth acidity and bright flavour gave good first impressions from the skilled barista.

The latte was presented to me with a six-leaf tulip on top and another staff member willing to talk about the bean I chose, Guatemala. The first sip of the latte was floral and fruity. The stretched and textured milk was a bit thin and

lacked body but the coffee taste still shined through.

The staff did not know who I was or where I was from but it felt like all the staff knew I was coming in to assess them and their coffee, which tells me that they treat all their customers like this. After coming across Coffee by the Beans, I now understand what they mean by a hidden gem.

»»Coffee by the Beans Shop 3, 394 Henley Beach Road, Lockleys coffeebythebeans.com.au

Hidden Gem

by Derek Crozier

N

ow here is a place that is off the beaten track and was designed for the coffee connoisseur. Coffee by the Beans is an impressive small

space that has been well utilised featuring an espresso bar right next to a brewing bar. The service was incredible, the lady behind the counter took me through all my options from

Bitter Sweet

by Derek Crozier

A A GREAT NEW CAFÉ CONCEPT NEW FOOD IDEAS MADE FROM FRESH SEASONAL PRODUCE, BY OUR INNOVATIVE CHEFS ENJOY A COFFEE EXPERIENCE MADE WITH PASSION

NOW AT RUNDLE PLACE CITY (08 8236 1511) OR 123 KING WILLIAM RD HYDE PARK (08 8357 0200) WWW.COLINANDCO.COM.AU

s soon as you walk into The Coffee Barun a coffee plant welcomes you to your right and a 3kg coffee roaster to your left. Within seconds of entering I was greeted by the barista who was at the machine like a solder ready for battle. Specialty coffee is why I’m here and the barista was well informed on the different single origin beans they had to offer. For my espresso he suggested I go with the Costa Rica and for a milk-based drink I should try the Brazil Yellow Bourbon.

The promptly delivered first course was the espresso, which had a sour aroma.

Unfortunately the crema wasn’t very thick and it started to dissipate fast. Costa Rica coffee is known for its soft acidity and although the appearance and aroma wasn’t satisfactory, the taste was. It was like cutting a slice of lemon to find it was actually quite sweet after biting into it.

The main course was a latte, which had the latte art of a six-leaf tulip. It had a good mixture of dark brown shades on top, which held the taste of the crema. The Brazilian coffee’s sweet notes cut through and complemented the silky smooth (Tweedvale) milk.

The Barun offers alternative brewing methods like cold drip, pour over and siphon, which are on display at the front counter.

Although some of the seating area is like a cafeteria, it’s still very inviting and has plenty of private areas for gossiping about work. They use local produce throughout their food menu, present local art on their walls and it’s great to see the coffee roasters set up and functioning so the curious customer can have a look. It’s one of the few coffee outlets that give you a window into what would normally be behind closed doors.

»»The Coffee Barun 219 Main North Rd, Sefton Park thecoffeebarun.com

THE ADELAIDE REVIEW AUGUST 2013 71

ADELAIDEREVIEW.COM.AU

CHEESE

CHEESE MATTERS Cheese Architecture Part 2

BY KRIS LLOYD

H

olland produces millions of kilograms of cheese per week. One of its most famous cheeses is quite familiar to us all. The cannon ball shaped Edam in its red wax rind would have to be one of the most easily identified cheeses largely because of its shape. The cheese is named after the Harbour of Edam where the cheese was originally traded.

The name Edam is used worldwide as a general term for cheeses with similar characteristics.

Gouda is of similar shape, however, it is finished with a bright red wax rind and named after the city of Gouda in the Netherlands. The wax coating prevents the cheese from drying out, making lengthy sea transportation possible.

The difference between Edam and Gouda is the fat and moisture content, Gouda being slightly higher in fat content. It is said the ball shape came about due to ease of storage on the sailing transport ships; the round shape was said to take up less space, minimise the damage that

could occur to the cheese and allowed for an even maturation. Many reports claim that the cannon ball shaped cheese was occasionally used in the Caribbean as cannon balls. It was said that this made the cheese even more popular! Traditional Edam weighs around 1.7kg per ball.

In the 12th century, the monks who lived in the valley of Abondance in France understood the cheese they had been casually producing could be a source of fortune for their remote mountain valley. They cleared the lush, green alpine land to create grazing pastures for their herds of cows. The monks worked on perfecting this particularly wonderful cheese, which was said to have been presented to the papal conclave that met in Avignon in 1381 to elect the new Pope.

It was at this time that Abondance cheese was identified as a classic and quality cheese. The shape of Abondance is quite unusual as its sides are concave. It is said the shape of the cheese was influenced by the need to get the cheeses down from the mountain for storage or selling to market. The concave sides allowed two of these large cheeses to fit snugly each side of the donkeys belly without too much movement. Traditional Abondance is still made in this shape.

The King of English cheeses is undoubtedly Stilton. There has always been a degree of uncertainty around the first making of Stilton and oddly enough the cheese was not made in the town of Stilton, which it takes its name from. Some

Nown!

Ope

note 1720 however, there are varying theories.

It requires 78 litres to make eight kilograms of Stilton. This classic blue cheese is rich and buttery, it has a deep mellow flavour that melts in the mouth and that is almost syrupy. Stilton must be made in only three counties in England, Derbyshire, Leicestershire and Nottinghamshire from local milk, which is pasteurised. It must be unpressed and allowed to form its own crust or rind. It must also have blue veins stretching from the centre of the cheese and only be made in a traditional cylindrical shape. It is said that the shape of the cheese prevents the corners of the cheese from being damaged during its three-day brining and round cylinders would maintain their shape, as any other shape would distort and break apart, as modern cheesemakers know. The shape and thickness was also the key to even salt uptake.

Aside from the history and some colourful stories the shape of cheese directly influence texture, ripening and flavour. Whether it is a log or a pyramid, cylinder or barrel, these different shapes and structures have a lot to do with how they will ultimately taste.

A cheese with less surface area is often also a dense cheese, and sometimes needs to be aged longer for the flavours embedded within the structure to fully develop. Consequently, small goat milk cheese with differences in surface area produce more than subtle variations in flavour. Shape is only one factor in the

maturation process. White mould cheese with a higher ratio of surface area to total volume will ripen faster. The smaller the cheese the quicker it will ripen but also the quicker it will become dry, but not always. Alas, such is the complexity in the wonderful world of cheese.

» Kris Lloyd is the Head Cheesemaker of Woodside Cheese Wrights. woodsidecheese.com.au

72 The Adelaide Review August 2013

WINE

A Tour of Spain

by Andrea Frost

Segura Viudas Reserva Heredad Cava

ValdeSil Pezas da Portela 2010

Solar Viejo Crianza 2010

Penedes, Spain RRP $50 seguraviudas.com

Valdeorras, Spain RRP $69 valdesil.com

Rioja, Spain RRP $25 solarviejo.com

Segura Viudas is situated in the wine region of Penedes west of Barcelona. Lush forests and orchards surround the property and its vineyards. It’s a lovely setting for the winery that produces both Cava and table wines in an increasingly environmentally sensitive manner.

But it wasn’t always this tranquil. In the 11th century, the region was at the crossroads of religious wars and the tower built to protect crops that blanketed the region. Today Penedes is the main Cava producing region in Spain and Cava is Spain’s answer to Champagne.

It is made in the same traditional method as Champagne, but with local white grape varieties of Macabeo, Parellada and Xarel.lo. The Segura Viudas Reserva Heredad is the crown jewel of the Cava range. Taking more than three years to produce, it is a wine of richness, freshness and complexity, with the pewter-trimmed bottle only adding to the wine’s presence.

High on a broken slate hillside in the Valdeorras region of northwest Spain is the Valdesil Pedrouzos vineyard. Planted by grower José Ramón Gayoso in 1885, the 500 native Godello vines have thick, gnarled and twisted trunks.

At the time, Gayoso was considered mad to plant a straight Godello vineyard but, convinced of the variety’s potential, he insisted. The Pedrouzos vineyard has survived the demise and subsequent rise of Godello – at one point only a thousand square metres remained until an industry program reversed the decline. Just as Gayoso provided offspring to continue the winemaking business, the Pedrouzos vineyard has supplied much of the material for Godella’s revival, in particular, the 10 ‘pezas’ or plots that make this wine, the Pezas da Portela. Complex, fleshy with layers of fruit, acidity and a lovely texture, it’s a wonderful introduction to a variety experiencing a very happy renaissance.

Laguardia is a charming medieval village built high on a hill in the north of Rioja, in the Basque province of Alava. To the north, the view sweeps across vineyards and farmland, until the Cantabrian Mountains jut up, grey and jagged, protecting the region from the cool winds that blow off the Atlantic Ocean. To the south is the snaking Ebro River, which forms the natural boundary between the sub-regions of Rioja.

These natural features create a cocoon of ideal weather for winegrowing. Bodegas Solar Viejo originated in Laguardia, its name coming from ‘Casas Solariegas’, the noblemen’s houses where the first Solar Viejo wine was made. Now the winery is situated a short drive away at the base of the Cantabrian Mountains. This 100% Tempranillo Crianza has bright red fruit, spice, vanilla and liquorice, soft tannins and a fresh and elegant finish. If possible, enjoy with the view from Laguardia.

PIZZERIA BAR

Eating is an agricultural act. It is also an ecological act, and a political act too. - Michael Pollan

Bookings recommended for all and required for parties of six or more.

Visit www.ngeringa.com for more details.

119 Williams Rd, Mt Barker Summit, Adelaide Hills T/F: +61 8 8398 2867 wine@ngeringa.com

Driving through Ricardo Palacios’ vineyards in the hills around Villafranca del Bierzo in northwest Spain, you get the feeling nature is only just being held back. Vineyards don’t dominate so much as dot the landscape between cherry, almond and apple trees and small plots for farm animals. Palacios’ focus is the native red grape Mencia, another variety enjoying a renaissance. Mencia makes a medium-bodied, elegant red wine offering red fruit, spice and earth. As well as making some of the most exciting versions of Mencia, Palacios also takes an holistic approach to the community where he has established a school to teach skills including cheese making, farming and winegrowing: “People are not using these skills and if we don’t teach them, they will be lost”. Exciting wines, wonderful approach.

Open Friday - Sunday 11am - 5pm European-inspired, biodynamic wines Estate-grown seasonal Paddock Plate Monthly Pizza Sundays, next firing up 25th August

“sensational pizzas… get there” Adelaide Review May 2013

• artisan beers wines ciders • single origin coffee New tradiNg hours: lunch & dinner tuesday to friday, functions anytime

8211 9959 108 waymouth st adelaide

barriouno.com.au

Friday-Sunday, 11am – 5pm at the Cellar Door

This winter, feast on pork mosaic, chestnut soufflé, marinated lamb and lavender panna cotta.

Bierzo, Spain RRP $49 bodegasricardopalacios.es

BARRIOUNO

PADDOCK PLATE

Join us at the Cellar Door for our seasonal Paddock Plate degustation menu. A paddock-to-plate flavour experience of estate-grown, biodynamic, organic and local produce matched to our biodynamic wines – a gourmet expression of sustainable and ethically sourced food and wine.

Descendientes de J. Palacios ‘Pétalos’ Mencia 2010

THE ADELAIDE R EVIEW AUGUST 2013

FORM D E S I G N • P L A N N I N G • I N N OVAT I O N

TCL – Pt Noarlunga and Witton Centre. Photo: Ben Wrigley

AILA & FORM PEOPLE’S CHOICE AWARDS

77

CLEVER THINKING

FRED HANSEN

ON THE RISE

The RAH Hospital Design Competition

Leanne Amodeo interviews the Renewel SA chief about the RAH Competition

Franco Crea is a furniture designer to watch

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74 The Adelaide Review August 2013

FORM

Clever Thinking

The recently announced Royal Adelaide Hospital Design Competition signals a shift in the way built projects are procured in South Australia. But is this shift a good one?

by Leanne Amodeo

W

hen the open ideas design competition was announced for the Royal Adelaide Hospital (RAH) site in late June it signalled a historically significant shift in the way built projects are procured in South Australia. Design led engagement processes are a matter of course in the eastern states, with Melbourne’s Flinders Street Station Design Competition currently in its final phase and Sydney’s Barangaroo continuously generating media attention, but for South Australia this is something new. The ‘if it ain’t broke…’ murmurs may have already begun, however, this is the way things are done not only interstate but internationally as well. If

South Australia doesn’t get on board we run the risk of being left behind.

At its most fundamental level the RAH Design Competition promises to inspire conversation, but as an exemplar of best possible practice it has the potential to benefit community. The call for submissions will bring together a diversity of ideas at the very beginning of the design process and this is key in unlocking the site’s potential.

As South Australian Government Architect Ben Hewett explains, “The RAH site is very important to South Australia and so it needs to go through an inclusive process where possibilities are tested with a broad range of people.”

Many of these ideas may not even be viable, but what the process offers is the genuine opportunity for speculation. “Design is too often left to the end of the process after all the monetary and programmatic decisions are made without actually knowing what should be built or could be built,” continues Hewett. “But if you have design at the beginning when the breadth of possibilities are being explored then you get to leverage that creative intelligence

where it can have the most effect for the least amount of money.”

It costs nothing to think differently, which is ultimately what the RAH Design Competition is asking people to do. Understanding that the competition is not just about the outcome but the actual process itself is vital. This culture of process and the way of working is important not only for the RAH site, but for

The Adelaide Review August 2013 75

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FORM

by Leanne Amodeo

Photo: Sam Noonan

T future built developments across the state that could also benefit from such design led engagement processes. If the RAH Design Competition can be run successfully – and at this stage there is no indication that it can’t – then it sets a different standard for procurement in South Australia.

An integral part of the RAH Design Competition is public engagement. For Hewett and the Office for Design and Architecture SA (ODASA), who continue the work of the Integrated Design Commission and are responsible for the competition’s co-ordination, the participation of the public is necessary when dealing with a site as significant as the RAH. “The point to it being an open ideas competition is that everyone gets to see these ideas develop,” says Hewett. “However, the integrity of the design competition must be maintained and so the decision making process is made by the competition jury alone against the criteria that have been established in the brief.”

The competition itself will be run in two stages. Stage One will see teams anonymously submit design concepts that will then be shared with the public through a dedicated website after Stage One closes on August 28. The public has the opportunity to comment on the designs and respond to the comments of other community members, while the jury selects six teams to continue through to Stage Two. These six shortlisted teams are then each paid $100,000 to develop their design concept, informed by the jury’s advice as well as a collated summary of the public’s feedback.

They must also include local architect participation. Following the end of Stage Two on November 8 the jury will award first, second and third prizes, with the competition winner receiving $200,000, the second prize winner receiving $70,000 and third $30,000. The successful teams will be announced at an exhibition in early December.

he redevelopment of the Royal Adelaide Hospital (RAH) site has grand urban implications for Adelaide; not least of which will be its integration with the Greater Riverbank Precinct and the city itself. This element of connectivity guarantees civic and cultural opportunities and promises design cohesion to afford improved standards of livability. The task of co-ordinating the RAH Design Competition may fall to the Office for Design and Architecture SA (ODASA), but the responsibility to implement the competition’s outcome belongs to Renewal SA. Their job will be to look at the feasibility, implementation and delivery of the RAH site’s redevelopment as informed by the preceding design led engagement process. As the State’s urban renewal authority and one of the project’s major partners they have a big task ahead of them.

Leanne Amodeo speaks with Renewal SA’s Chief Executive Fred Hansen on the significance of the RAH site’s redevelopment.

How does the redevelopment of the Royal Adelaide Hospital site tie in with Renewal SA’s plans to reinvigorate the Adelaide CBD? The redevelopment of the RAH site is perfectly positioned to ensure the east end remains a vibrant part of our city once the hospital relocates in 2016. It offers a genuine opportunity to help enhance connections between the east end of the city and the river. The Greater Riverbank Precinct Implementation Plan proposes paths through the RAH site that will not only connect North Terrace with the city but with the eastern and western parts of that precinct. Ultimately, Renewal SA’s goal is to create great public spaces that are sustainable, connected, affordable, inclusive and healthy.

The RAH Design Competition allows for consultation and transparency in the design making process. How important will these two factors become as the competition progresses?

One of the key benefits of an open ideas process is that it encourages everyone to get involved.

By talking and listening to the South Australian community and design industry, interested parties and key stakeholders we can ensure that local ideas and priorities become a part of the project. Running this engagement parallel with the competition allows the shortlisted teams to tap into the public’s feedback, which can then be incorporated into their own revised proposals.

There is an independent competition advisor who oversees the integrity of the competition and compliance with the terms and conditions, and

The Australian Institute of Architects and the Australian Institute of Landscape Architects have endorsed the RAH Design Competition.

These professional bodies only endorse and promote competitions to their members that encourage environmental responsibility, are undertaken by a sponsor committed to the competition’s integrity and are assessed by a jury with appropriate skills and credentials.

This endorsement ensures best practice and the highest professional standards are maintained.

What can be learnt from other Australian urban redevelopment projects when determining the best possible outcome for the RAH site?

Competitions encourage innovation and excellence and open ideas competitions allow for a wide exploration of potential solutions. The RAH Design Competition comes at a time when Adelaide is taking a fresh look at how the inner city functions.

This is based on a greater understanding of how cities work, and how we want the city to work for our community. Projects like 5000+ An Integrated Design Strategy for Inner Adelaide and policies such as the 30-Year Plan for Greater Adelaide, Adelaide City Council’s Smart Move Strategy are

Photo: Sam Noonan

Urban Integrity

the competition jury who selects the shortlisted teams and eventual winners. Both the advisor and jury ensure an open and transparent decisionmaking process, which is critical.

all encouraging a more sustainable, people friendly, healthy environment in line with global best practice.

The design brief for the RAH site gives competitors considerable latitude to envisage the site’s future and allows for wide exploration.

The competition’s seven key objectives includes the creation of public open space as an extension of the parklands, respecting the site’s cultural and built heritage through adaptive re-use and innovative new uses and delivering best practice in sustainable design. Each objective has been developed to reflect the importance of an integrated approach and a balance of best practice social, environmental and economic principles.

renewalsa.sa.gov.au

76 The Adelaide Review August 2013

FORM

On The Rise

As a finalist in Launch Pad 2013 local furniture designer Franco Crea is a name to watch and his new Mesa collection is starting to turn heads.

by Leanne Amodeo

W

Photo: Stephen Gray

hen the finalists were announced for this year’s national Launch Pad emerging designer competition Franco Crea wasn’t even aware that he was one of them. It was a call from his brother that alerted him to the good news and lucky for Crea he was sitting down at the time. “I was in shock,” he admits. “But I felt really privileged to be shortlisted.

It’s a big honour and for me it’s an opportunity to get my name out there.”

The furniture designer has been hard at work on a number of different collections in his Parkside studio for the past two years. But it was Mesa, a table and stool collection suitable for both indoor and outdoor applications, which ultimately impressed the six Launch Pad judges. He beat over 150 entrants to earn a place in the final 11, and as the only Adelaide-based finalist his success shines a spotlight on the city’s flourishing design industry.

It also recognises Crea as a designer of elegant precision. He values symmetry and

strives for a clean, uncomplicated aesthetic that reiterates his considered approach. “I try to design very simply using a limited number of materials so that what’s on show is the detail,” Crea says. “I deliberately don’t design complicated products so there’s nothing to hide and that’s something I really pride myself on.”

Mesa is created out of high-pressure laminate, a durable material often used in the building industry as cladding. Crea enjoys working with manmade materials and the laminate’s fine aesthetic coupled with its inherent strength allows for great versatility. What is most impressive about Mesa is that the table and stools are constructed without fixings or fasteners; each is held together by a series of sturdy joins that take advantage of the material’s robustness.

The collection may be undoubtedly good looking, and with the laminate’s black core adding an elegant yet restrained accent to the overall design, there’s no doubt it will have

commercial appeal. But for Crea Mesa’s real significance lies in its commitment to local manufacture, an important design consideration the Marleston TAFE graduate, who also studied interior architecture at the University of South Australia, is passionate about. “Everything I design is manufactured in Adelaide,” he says.

“And ultimately, Mesa is my little way of trying to keep local manufacturers in business.”

Sustainability is also at the heart of Crea’s design philosophy. Up to 95 percent of the laminate sheet from which Mesa is cut can be optimised, keeping wastage to a minimum. Schiavello has been quick to recognise the collection’s many fine attributes and it is now stocked in limited edition in their Adelaide store. Should Crea win Launch Pad Mesa will most certainly go into production.

The winner will be announced during Saturday in Design in mid-August and regardless of the outcome Crea is excited at what the future holds.

“If Mesa is getting some attention then it makes me think you’ll be seeing other collections that I’ve got in the pipeline in the next few years,” he says. What is for certain is that Crea is a name to watch. With his star well and truly on the rise it will only be a matter of time before his designs are stocked nationally.

francocrea.com.au launch-pad.com.au

The Adelaide Review August 2013 77

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FORM 1

2

3

4

s Voting open August 5 on Monday, d closes midday an st 30 5pm Friday, Augu

5

ase go to To vote ple u view.com.a adelaidere

Photo: Ben Wrigley

Photo: Don Brice

Photo: Brett Grimm

Photo: James Hook

Photo: Sam Noonan

1. Hassell – Adelaide Zoo Project 2. Aspect – Meningie Lakefront Habitat Restoration Project 3. City of Marion – Glade Cres Playspace 4. Jensen Planning – Piazza Della Valle 5. Swanbury Penglase – M2 Plasso 6. Swanbury Penglase – Glenside Mental Health Facility Stage 1 & 3 7. Oxigen – Halifax Studio 8. TCL – Pt Noarlunga and Witton Centre 9. Wax Design with Ric McConaghy – Bonython Park Play Space 10. TCL – Wild Sea Exhibit, Melbourne 6

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Photo: Wayne Grivell

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Photo: Dan Schultz

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Photo: Ben Wrigley

Photo: Simon Bills

2013 AILA & FORM

T

PEOPLE’S CHOICE AWARDS

Landscape Related to Buildings and Infrastructure (landscape of any nature around or within non residential buildings; e.g. institutional, commercial, industrial and resorts)

The Adelaide Review is proud to be pairing with The Australian Institute of Landscape Architects for this year’s People’s Choice Awards for the Design Category in Landscape Architecture.

Public Open Space and Recreational Facilities

he Design category recognises completed (newly constructed or renovated) sites of landscape architectural design and encompasses all scales of work. Examples of the types of projects that can be considered in the design category include: Civic Design and Design of Urban Space (streetscapes, plazas, urban renewal)

Photo: Ben Wrigley

The Jury assess the projects entered in the Design category against the following criteria:

Transport and Infrastructure (road, cycle and rail corridors, civil works) Landscape Art (permanent or temporary works, memorials, sculptures and lighting)

designed and made in our ceramics, furniture, glass and metal design studios

Michelle Herbut, Town & Park Furniture

• Criteria 1: Excellence and Innovation • Criteria 2: The Brief • Criteria 3: Influence • Criteria 4: Sustainability Emphasis • Criteria 5: The Australian Landscape Principles (value the landscape; protect, enhance, regenerate; design with respect; design for the future and embrace responsive design) With many thanks to Town & Park Furniture, readers have the opportunity to win a City Profile Bench worth $990+GST

Heritage Landscapes (conservation, management and interpretation)

PRODUCT COLLECTION design + craftsmanship

10

Town & Park, the urban furniture specialists, has built a solid reputation for providing refined, durable, Australian made and sustainable products that will aesthetically enhance and add intrinsic value to any landscape or streetscape project. Town & Parks founder Bruce Mackenzie was a Fellow of the Australian Institute of Landscape Architects and served on the council for nine years. In keeping with tradition Town & Park are proud to support the 2013 People’s Choice Award for the Landscape Architecture Projects in the Design Category.”

»»For full coverage of this year’s Australian Institute of Landscape Architecture Awards and winners plus the reader winner of the People’s Choice Awards, please look in the October Edition of The Adelaide Review. Available Thursday, September 26.

adsheltownandpark.com.au

On Friday 20 September, turn a car park into a ‘people park’ for the day!

Adelaide

Available online and in-store now! www.jamfactory.com.au

www.adelaideparkingday.com

78 The Adelaide Review August 2013

FORM / ADVERTISING FEATURE

Refurb Renaissance

Kmart, one of Australia’s largest retailers, opened its first multi-level, city-based retail operations in Australia, located in the Renaissance Building, now 127 Rundle Mall, in Adelaide’s premier mall in late 2012. The space totals 3,600smq comprising of 2,400sqm retail trading area over two storeys, the first for Kmart.

Ian Tan and Petar Vukajlovic from Schiavello SA managed this two-staged project successfully. Stage 1 involved demolition and structural works followed by Stage 2 being the Kmart fit out and base build refurbishment.

The levels included the basement, ground, first and second floor plus rooftop services works.

MORE THAN BEAUTIFUL FLOORS

Greenway Architects designed the space to have an “industrial” and “CBD” feel to it, meeting a high-end design brief with a feature 9.5 metre high ceiling and display wall designed to connect the two storeys of retail with the new atrium for the escalators, plus suspended metal feature ceilings and other exciting finishes. The interior construction also included framing and linings, floor coverings, all new electrical, data, mechanical, hydraulic and fire services to offer a completely new interior within the existing shell.

Simon Frost, Director from Greenway Architects comments that, “The redevelopment of part of the former Cox Foys department store in Rundle Mall proved a challenge for Greenway Architects. Over the years we have explored many options within the building incorporating much modification to the internal spaces for a range of tenants, and even residential apartments in a roof top extension.

When Kmart expressed interest in moving into the Rundle Mall Precinct, we jumped on the chance to restore the store to an exciting retail experience for the Adelaide market. The new store incorporates a two storey void through the middle of the store, reactivating part of the original design of the building moving shoppers up and down through the centre of the store

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Photos: Lyndon Stacy

T

he Renaissance Building holds a special place in Adelaide’s history.

The first building to feature external glass faced elevator cars when brought back to market in the 1970s, had in recent times fallen out of favour despite its pride of place in the city’s premier retail strip. The new owners, Joefield Investment (Aust) Pty Ltd, succeeded in attracting Kmart as an anchor tenant and selected Schiavello SA Construction as Head Contractor to undertake the comprehensive refurbishment, base building works and interior construction.

on escalators. Whilst gone is the roof top ferris wheel, which had you dangling off the edge of the building, this project will inject another exciting lease of life into the building”

construction of the display wall sub-frame from ground level to the first storey. Stage 5 involved the installation of the escalators and architectural display wall.

The building, a combination of three pre-existing structures, represented significant challenges in terms of adjoining floor level discrepancies, varying built forms and aged services, and the statutory removal of asbestos. Schiavello strategically moved the team through each challenge, and risk managed the asbestos removal responsibly with thorough supervision and meticulous process management, reporting to authorities, consultants and the client during the entire process.

Neil Pearson, Director and Lead Structural Engineer from CPR Engineers, observed that the “construction history of this building, consisting of the original two buildings with several previous significant structural alterations and additions, combined with a lack of historical documentation (structural and architectural drawings) presented significant obstacles to the project team. This was particularly challenging in the new escalator atrium area.”

Schiavello provided strategic planning advice for the construction of Stage 2 scope including the successful collaboration with CPR Engineers and Greenway Architects to construct the new atrium in a reverse construction methodology. The creative construction logic can be summarised in five stages:

With the challenges of the existing building Schiavello successfully delivered the project to allow Kmart to open the store for the Christmas trading period. Ian Tan, Schiavello Construction Manager, noted: “Similar to my experiences in Asia with the Japanese Contractors, I viewed this project as an exciting challenge working with a local talent base for an international client in a compressed programme. I believe the whole project team including the client and tenant worked tremendously well. At Schiavello we view these types of projects as a market segment which takes refurbishment albeit ‘brown to green’ to a new level of technical competence.”

Stage 1 involved the setting out and documentation of the construction detail in consideration of as-built site conditions and constraints. The set required precision surveying of the first storey feature ceiling set outs based on the basement footing set out. Stage 2a involved the construction of the first storey ceiling complete with lights and services, plus the top half of the 9.5m display wall structural sub-frame at first storey. Stage 2b involved the demolition of the escalator pit at basement slab and first storey. These works were completed safely below the first storey whilst providing time savings on the construction schedule. Stage 3: Once the first storey feature ceiling and display wall were constructed, the demolition of the first storey slab could commence to create the new atrium. Stage 4 involved the structural steel erection around the atrium and architectural installation plus continued

Tan Kim Boon, Client Representative from Joefield Investment (Aust) Pty Ltd commented, “Schiavello’s commitment to quality and their understanding of the importance of a cohesive and workable design proposal makes them a great partner in arriving at solutions to suit budget constraints, helping to meet the financial, functional and aesthetic goals of a project”.

schiavello.com

adelaide feStival Centre PreSentS

Shaun Parker & ComPany

2011

AustrAliAn DAnce AwArDs Nominee Most Outstanding Choreography

nZ BAnksy AwArD Winner

Image: Branco Gaica

NZ International Arts Festival

an intoxiCating, free-flowing mix of ballet, break-danCe, aCrobatiCS and highly PhySiCal danCe This project has been made possible by the New south Wales Government through arts NsW.

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August

see Adelaide Festival Centre for details 1. ADVentuRe? win a hot air balloon ride!

2. A MoRning PiCK uP? enjoy a year’s supply of coffee 3. FAnCy A new wARDRoBe? Miss gladys sym Choon shopping voucher adelaideFestivalcentre

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FestivAl Centre C e l e b rat i ng 4O years

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