The Adelaide Review 2013

THE ADELAIDE

REVIEW Issue 398 APRIL 2013

adelaidereview.com.au

The Vaccination Non-debate Paul Willis and Steve Wesselingh on the importance of vaccines

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joanna murray-smith

ode to nonsense

jamfactory

Australia’s premier playwright talks about her adaptation of Hedda Gabler and new work

Original Adelaide opera Ode to Nonsense is the world’s first opera about the life of nonsense writer Edward Lear

The design and craft institution celebrates its 40th anniversary with a major exhibition

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TU R N E R FROM THE TATE

the making of a master

Now showing until 19 May 2013 Tours daily at 11 am, 2 pm , 3 pm

A RT G A L L E RY O F S O U T H AU S T R A L I A See the world through the eyes of Britain’s most celebrated painter, J.M.W. Turner.

Experience Turner’s powerful and dazzling masterpieces up close in the first major Australian exhibition of his work in almost 20 years.

Book at

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detail: J.M.W. Turner, Peace – Burial at Sea, exhibited 1842 © Tate, 2013

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4 The ADELAIDE Review april 2013

WELCOME

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ISSUE 398

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Editor David Knight davidknight@adelaidereview.com.au Associate Editor Nina Bertok ninabertok@adelaidereview.com.au

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Art Director Sabas Renteria sabas@adelaidereview.com.au Graphic Design Michelle Kox michellekox@adelaidereview.com.au Suzanne Karagiannis suzanne@adelaidereview.com.au

FORM: The Colour Issue

Production & Distribution Karen Cini karen@adelaidereview.com.au National Sales and Marketing Manager Tamrah Petruzzelli tamrah@adelaidereview.com.au

Form explores this year’s furniture, textiles and surface colour trends with an exclusive shoot and expert commentary

Advertising Executives Tiffany Venning Franca Martino Michelle Pavelic advertising@adelaidereview.com.au

INSIDE

Managing Director Manuel Ortigosa

Features

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Science

14

Business

16

Health

20

Fashion

23

Performing Arts

24

Visual Arts

32

Books

39

Food. Wine. Coffee Travel

40 The Mill 48 A new Angas St hub for artists recently

FORM

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General Manager Publishing & Editorial Luke Stegemann luke@adelaidereview.com.au

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Disclaimer Opinions published in this paper are not necessarily those of the editor nor the publisher. All material subject to copyright.

This publication is printed on 100% Australian made Norstar, containing 20% recycled fibre. All wood fibre used in this paper originates from sustainably managed forest resources or waste resources.

THE ADELAIDE

review

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opened to develop and support artistic talent

2 One Another

The Sydney Dance Company returns to Adelaide for the first time since 2009

Contributors. Leanne Amodeo, Annabelle Baker, Kathryn Bellette, David Bradley, John Bridgland, Dave Brookes, Michael Browne, Helen Dinmore, Alexander Downer, Peter Drew, Robert Dunstan, Stephen Forbes, Andrea Frost, Charles Gent, Louise Gorman, Roger Hainsworth, Andrew Hunter, Stephanie Johnston, Rory Kennett-Lister, Jane Llewellyn, Kris Lloyd, Grant Mills, John Neylon, Stephen Orr, Nigel Randall, Avni Sali, Carmel Siciliano, Margaret Simons, Lisa Slade, John Spoehr, David Sornig, Shirley Stott Despoja, Steve Wesselingh, Paul Willis, Jock Zonfrillo Photographer. Jonathan van der Knaap

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FEATURE

off topic: Max Pritchard

After catching malaria in Iran, Pritchard settled in Scotland to work and get treated before tackling South America.

Off Topic and on the record as South Australian identities talk about whatever they want... as long as it’s not their day job. Acclaimed architect Max Pritchard talks about his gap year, which lasted a decade, that allowed the Southern Ocean Lodge designer to explore the world.

“I guess from my experiences in Malaysia, and particularly up in the hill tribe areas, I was fascinated with anthropology and remote or indigenous cultures and in the Andean countries with the original Incas that was quite fascinating.

I was taking some silly risks without realising it until afterwards. I doubled up quite high in the mountains of Peru beyond where there was public transport and just travelled on the back of trucks to get a lift, so it was quite remote and high up there.

I found out later, months after I’d been through a heady area, it was the breeding ground of what became known as the Shining Path Guerrillas. They became a quite notorious group in Peru and they actually massacred a village. I think it might’ve been one of the villages that I went through, months after I’d been through it. Again, blindly, I used to go on these adventures and survive.”

by David Knight

“

I went straight to uni from school at 17 and graduated five years later. I was paid by the government through uni, which was a system they had then. We got a living allowance from the government with the requirement you had to work for them for three years. I spent three years working for what was then the Public Buildings Department as an architect and at the completion of those three years I resigned and considered my options.”

Pritchard decided to travel. With no set plans he hitchhiked north from Port Wakefield Road armed with just a rucksack.

“I originally started out with a mate but after a short time we decided we’d have better experiences travelling alone. The intention was, as many did in those days, the early 70s, to travel through to Europe – usually people were doing it through some sort of program but I really had no plans at all.

“I hitchhiked indirectly to Darwin via Townsville. The cheapest way out of Australia was a short plane flight to what was then Portuguese Timor. That was then landing into a very undeveloped sort of country, so right from the start I had this idea to do the cheapest travelling possible and through doing that it could turn out to be very interesting, which is what happened.”

After Timor, Pritchard explored Indonesia, Malaysia and Thailand.

“I particularly remember Thailand being interesting because I just travelled as far north as you could on the map, beyond Chiang Mai. I met a guy up there who was a refugee from Burma. He was interested in exploring beyond where the hill tribes are – that have got publicity since then but no one really knew much about the little tribes in the early 70s – but he was interested in exploring that area for potential tourism. We headed off trekking in northern Thailand and kept on staying where we could with these villagers, these seminomadic tribes that lived up there.

“It was quite an experience and we actually stayed with tribes that had never seen a white person before, so that was amazing that you could still do that in the 70s. I met an American anthropologist after that and I said how I’d stayed with this particular tribe, which was quite an elusive one. He tried to study the hill tribes and hadn’t found a lot of them, which is just an example of how by stumbling around you can have these amazing experiences.

“The area up there is what was known, and I think still is, as The Golden Triangle where most of the opium was grown and controlled by rebels from Burma, China and I think the Thai army was pretty involved in as well. In hindsight it was incredibly risky from that point of view that you were in the midst of that but there were lovely sights while going through the poppy fields.”

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Max Pritchard

Pritchard then travelled into Northern Laos.

The Vietnam War was still raging and there was a civil war in Laos, although when he arrived there was a temporary truce.

“It was still pretty silly to be travelling down there but you only found out about the dangers after you’d been through.”

After Laos, Pritchard travelled to Burma, Mandalay, India, Nepal and then Afghanistan where a rifle was pointed at him accompanied by the click of the safety.

“I realised then, I was just wandering around aimlessly, that I was quite near the royal palace, which didn’t look like a royal palace but it was. This was the last days, within months, of the last king of Afghanistan getting exiled, so there was a lot of sensitivity about him and their political situation.”

Pritchard arrived back in Australia to work as a labourer for many years before registering as an architect in his mid-30s. When he was travelling the world there were times he thought he might become a professional traveller.

“I did but there was a time when I was travelling I thought I’d come back and study anthropology because I really liked the remote indigenous culture aspect of it. I haven’t pined for going away [since returning] and I’ve moved on. I’ve really enjoyed the work that I’ve done since. When I was travelling, and even when I was working as a labourer and a concreter, I didn’t have a set plan that I was going to be an architect again. I became an architect when it just felt right. I just started going to the library and getting books on architecture and I thought, ‘Well this is quite interesting. I might have a crack at this again.’”

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6 The ADELAIDE Review april 2013

FEATURE alive today another 30 have lived. That’s over 200 billion. But who were they? Most of us don’t know much beyond our grandparents, or their parents, and do we really care? A few of us join genealogical societies or watch findyour-ancestor documentaries, but that’s about it.

Maybe it’d help if we could find some skeletons in the wardrobe. I recently read about my great grandfather (I won’t say which side as, to quote Holden Caulfield, ‘my parents would have about two hemorrhages apiece if I told anything pretty personal about them’). He was a clerk who embezzled two pound fifteen and six from his employer, the Broken Hill Council.

History Are we dragging history to the recycle bin in this technologically obsessed new world?

by Stephen Orr

T

he world rockets ahead. Every day we need to do things differently, refine, increase efficiency, trade up to a new model, buy a new app or read Finnegan’s Wake on a Kindle (it makes more sense that way). It’s almost as though information has become the key to some happier, healthier, wealthier world. We chase the future. We sacrifice the present for the promise of another 18 channels.

In the meantime, history is consigned to the recycle bin. We barely bother separating war, famine and Uncle Ernie’s Best Bets as we dump them to make way for our children’s iPod e-vegetable plots. It seems such a pity. The older you get the more you realise how much history is biting at your heels. It colonises your body, mind, thoughts and emotions. The demolition of my childhood fibro-castle at Hillcrest felt like

losing a few fingers to an angle grinder.

On his first trip to Melville Island the artist Russell Drysdale was surprised to notice a group of local Aborigines following him around at a distance. When asked why he was told they were protecting him from spirits that might harm him. Here was, and is, a culture that doesn’t see the need to bury and forget, as Europeans do.

As Faulkner said, “The past is never dead. It’s not even past.” Most of us don’t fancy the idea of our grandmother’s ghost hovering above us as we step into the shower. It’s almost as though our bodies and souls (what’s left of them) have become some sort of Ikea consumable.

History has dominated my work. The Barossa of the 1950s, 1960s Croydon, 1930s Hamburg.

I don’t see much of a distinction between then and now. I work on the assumption that people don’t change much. Standing outside the Bastille in 1793, enjoying an afternoon of beheadings, one would probably overhear the same banter as the Heccies under-12 footy: real estate prices, 100 ways to cook mince and whether Gillard/ Danton really has the political nous.

Most of us know little about our own families.

Andrew Orr started building wooden boats in Goolwa in 1867. There’s a road named after him near Goolwa beach but there’s no sign of him. I drove up and down the street looking for an old cottage, a pile of stones, a marker, but history hasn’t thought enough of him. As, no doubt, it won’t for most of us. For every human

As with most South Australians (aware of our noconvict, Methodist past), a little bit of scintillation goes a long way. A grainy newspaper article tells how he got off lightly when the magistrate let him choose his own penalty. The judge invoked the First Offenders’ Act and explained: “Sometimes it is found more lenient to impose a fine, and other cases to inflict a term of imprisonment and suspend it. I will leave it to you.”

For every human alive today another 30 have lived.

That’s over 200 billion. But who were they? Most of us don’t know much beyond our grandparents, or their parents, and do we really care? A few of us join genealogical societies or watch find-your-ancestor documentaries, but that’s about it.”

Bates’ purse; might have travelled to Gallipoli and back; might have sat in a box gathering dust as Hitler rampaged across Europe. And here it is, today, still waiting to be claimed by time.

Thanks, Your Honour.

But who was this man, why did he steal (he had a good job) and was he overcome with guilt? Often, it’s impossible to know the dates, let alone the people.

This is where fiction comes in handy. The thought of everyone writing an autobiography is a bit worrying.

Not everyone’s Bert Facey. Perhaps this is where indigenous people have got it right. If you never really die, you never have to give a summation.

Recently, an aged family friend moved to a nursing home. This seems to be the human equivalent of a Super Storage facility – unwanted objects kept in the shed or attic, just in case. In a society based around things, not people, or emotions, or memories, or (I’d argue) even common moral tenets, worn out bodies become a liability. During the cleanout of the house we found old newspapers, coins, photos, blue ribbons from someone’s aunt’s scones, a bag of broken watches, a retirement gift from work, and the list goes on. It was a life laid out in objects. An 1857 trade coin for Dr Holloway’s Pills and Ointments might have rattled in Charles Dickens’ pocket; might have been carried to Australia in Daisy

As we all wait. Convinced, somehow, that we’re the first people to have ever lived, or mattered. History is everywhere: a Tonka wheel discovered behind a wardrobe years after the kids have left home; the smell of yellowing paper, and scribbled comments someone has written in the margins (‘Tennessee W. : boozy old queer’) or in the back cover of the family Bible (‘TW: b.1906 m.1932. d.1979’).

I think it’s time we built a Museum of South Australia. Not another one with whale bones and mummies, but a place to display a million everyday objects the citizens of this state will donate. A place to bring the kids (and tourists) and show them how life was (and is) in the living rooms and backyards of SA. I’ll put in the first fifty quid.

Any thought, Arts Minister?

Perhaps our desire to get ahead leads us too far from where we began. Objects hinder, but remind.

As the saying goes, if we forget, we gotta do it all again. As we set to rebuilding the Coliseum on the banks of the Torrens, the thought seems unsettling.

The ADELAIDE Review april 2013 7

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OPiNION

LETTER FROM the north

Mind you, Australia’s settlers have overwhelmingly come from north-western Europe.

And you know what the Brits are like with weather.

They want sun at any price. Southern Australia clearly suited them better than the north.

BY ALEXANDER DOWNER

I

t’s a strange thing about Australians: they don’t have a strong sense of the sheer size of their country. Australia, for the record, is huge.

When you fly from Melbourne to Singapore you spend four hours just flying over central and then north-western Australia. Look out the window of the plane and marvel at the mile after mile of plains and deserts.

Yet for some reason Australians seem think we live in a country not much larger than England.

Every time there is a proposal to develop a mine there are howls of outrage. A few dozen mines in a country of seven million square kilometres are hardly likely to cripple the country.

The same with tourist resorts. We have a coastline almost as long as the circumference of the earth! A few hundred kilometres of development is hardly destroying our coastal environment.

I was reminded of this when last month I took, of all things, a ship from Sydney to Darwin via Brisbane and Airlie Beach. It took eight days. That says a lot about the huge

distance involved. The Queensland coast is remarkable for its length, its beauty and its surprising lack of population. You can sail for hours up the North Queensland coast without seeing any sign of human habitation. There are pristine beaches, picturesque coves, beautiful rain forests but not a soul in sight.

There was only one problem: the rain. February is the wet season in northern Australia and wet it was with a vengeance. But unlike southern Australia, the North has plenty of water.

Which brings me to my point: it’s one of the mysteries of Australia that over the centuries the population has gravitated to the south-eastern corner of the country, much of which is relatively dry. Settlers just haven’t taken to the north.

Some argue the reason is simple: the climate.

Well, 240 million people live in nearby Indonesia, which on the whole has a rather similar climate to northern Australia. Six or so million people crowd into Papua New Guinea. Seventy million live in the tropical Philippines and so I could go on.

Then there’s the argument about the soil. Well, the soil may not be great in northern Australia but nor is it great anywhere in our ancient and very eroded continent. And despite our poor soils in the south, we’ve made a good fist of agriculture, to say the least. It’s hard to believe that tropical agriculture can flourish in South East Asia but we just can’t make it happen in Australia. Well, some bold entrepreneurial farmers have made a go of it.

Which brings me to the next problem: infrastructure. Okay, you can grow tropical crops in northern Australia but you can’t get the produce to market. I guess in the 19th century that was true of the whole country! But it is, in any case, true of the north now and that is why governments, Federal, State and Territory, should look at innovative ways of funding infrastructure in the north.

But before we are able to develop northern Australia we need the leadership to make it a priority. Since there are more votes, apparently, in Rooty Hill than northern Australia, it’s tempting for the political class to ignore the north.

There are a couple of reasons why they are wrong. For a start, the north does have huge

economic potential in terms of minerals, gas, agriculture and tourism. If we want Australia to continue to be a growing, evolving and progressive country, we need to use the north more than we do.

Secondly, our obsession with the south-eastern corner of the country has led to significant problems with congestion, infrastructure and the environment – and all that despite the huge size of the country.

If our population is to continue to grow, then at least some of that growth should be in the north.

But how to do it? Well, immigration could help. We should be telling potential investors from Asia they will get fast track approvals if they sink money in the north and we’ll let them move there as residents as well. And there may be a case for providing financial incentives to investors in the north. After all, the more they choke up the south-east, the greater the costs to governments of servicing those people.

And there’s one more point. It is a very long way from south-eastern Australia to Asia. That distance makes Australia seem remote from its region. It takes as long to fly from Singapore to Sydney as it does Singapore to Athens. But from northern Australia it’s a hop, step and a jump.

Australia’s tyranny of distance will turn into a proximity of opportunity to one of the fastest growing economies in the world.

This debate is a debate we have to have.

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feature “That was a definite low point,” says Cronin.

“We weren’t sure if we’d ever make it happen.”

From the beginning Cronin and Fowler had to slog uphill, convincing sceptics about the viability of a non-for-profit arts space and arguing with government departments about the need for artists to run arts communities.

But the biggest issue for The Mill was always the Building Code.

Erin Fowler and Amber Cronin

Creative license The duo behind new arts hub The Mill overcame the odds to open the Angas St warehouse designed to develop and support local artistic talent.

by Rory Kennett-Lister

A

mber Cronin and Erin Fowler sit at a table in their recently leased warehouse talking excitedly about The Mill. Cofounded by the two friends, this arts hub is designed to stimulate the arts community and provide artists, dancers, and those in creative industry with a place to hone their skills. It also aims to foster creative engagement with the city, providing a program of events, workshops and classes. All of these goals hint at a broader design — to keep and nurture artistic talent within Adelaide.

The space is set to open in April. Behind where Cronin and Fowler sit is a monolithic pile of old carpet, freshly torn from the concrete floors. The floor is still daubed with industrial glue and strewn with dust. There is a lot of work to do, but for the duo behind The Mill, this is nothing.

The fit out of the Angas Street space is the culmination of nearly 18 months of ceaseless struggle. The duo visited every abandoned building in the city, ran the bureaucratic gauntlet, submitted untold proposals and suffered through countless rejections. In comparison, this last stage will be easy.

In December last year, things were not looking so bright. The two women sat in Magazine Gallery, slumped over the communal table, untouched glasses of water in front of them. Having just seen another potential site for The Mill disintegrate under development regulations, they were almost ready to rethink their project. The inability to navigate through inscrutable legislation, to secure government funding and to find a useable space was taking its toll.

Photo: Twinstar Pro

As the former head of Renew Adelaide, Ianto Ware assisted Cronin and Fowler throughout their efforts. As he explains, the Code makes it extremely hard to use old buildings for new ventures.

“Unlike the UK and most European or US codes, it doesn’t have specific systems for existing buildings. In essence, you have to adapt all buildings up to modern standards if you trigger certain things - like changing its permissible use from, say, a warehouse to a community space.”

Particularly problematic is the requirement for all ‘triggered’ buildings to conform to the Disability Discrimination Act, ensuring disability access. Though laudable in aim, the Act has a stifling impact on fledgling industry, with the cost of installing disability access often prohibitive for community-minded, low-profit operations.

“The disability clause needs to be there, and buildings should be accessible for everyone,” says Fowler. “But for situations where the building would not be used otherwise, there needs to be a way around that in some instances.”

The buildings Cronin and Fowler were interested in were just that — abandoned warehouses and aging office blocks. Because The Mill had always been designed to double as a performance space, it would qualify as a ‘public space’ under the Code, requiring new classification and concomitant disability access, something the two women could not afford.

Sitting in Magazine Gallery, Cronin and Fowler had just seen their seventh prospective site condemned to collect cobwebs.

Thankfully, they shook off their despondency.

Rather than give up, they used the struggle as motivation. Having seen the ease with which shared arts spaces operate in places like Berlin, Cronin says she was determined to contribute to change in Adelaide.

“It’s so easy over there and it’s so hard over here but we’ve got the same amount of talent and incredible artists. We want to help keep that here.”

In order to do so, the partners adapted their model. Putting on hold the idea of a performance space within their warehouse, they decided to focus on incubating talent. For performances, and some workshops, Cronin and Fowler built relationships with existing arts businesses, including the esteemed Leigh Warren & Dancers, enabling The Mill to conduct public events in compliant buildings.

The Mill’s central space, however, is still the core of the enterprise. With the consistent help of Renew Adelaide, and the pro bono expertise of lawyers and marketers from Creative Partnerships Australia, Cronin and Fowler have secured their property.

They also managed to find support from the Adelaide City Council, who granted setup funding as part of the City Activation Project, a broader Council funding initiative.

As Cronin and Fowler sit in their stripped down offices, the cavernous warehouse behind them, they are clearly ready to get The Mill running.

Though their venture is just beginning, perhaps their success has already enriched the city. By overcoming the odds, by adapting to the strictures of the Building Code, and by showing that community-minded endeavour can exist within the CBD, The Mill has shown a way for Adelaide to progress and nurture talent.

As Fowler says, “Our whole philosophy with this is to bring people together, but it’s also about Adelaide more broadly.”

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OPINION

Beyond the walls

by Suzanne Miller

I

t may come as a surprise to realise that the South Australian Museum is a significant scientific research institution. As a museum, just having and preserving collections is not enough. To be able to tell the most compelling stories based on our collections, we need to research the collections and use that research to add value to the collections through knowledge. However, museums can all too readily fall into the trap of supporting research that has no clear direction. It is very tempting for every curator to work away at their own, sometimes too highly focused, research area without giving any thought to the potential impact (or lack of impact) of that scholarship. All research costs money – in staff costs, in analytical costs, for equipment and to undertake fieldwork and, just like any other research organisation, museums should be accountable for the funds allocated to research, as we are in all other areas of our endeavours.

The research focus at the South Australian Museum is one of its greatest strengths. We stand above other museums in Australia in terms of our success in attracting research

funding and in the scholarly publications our scientists produce. But why has the South Australian Museum carved out this dominant position amongst its peers in Australia?

My predecessor, Professor Tim Flannery, really understood the power of bringing globally important collections that determine research strengths, together with globally-renown scientists to lead research groups that are focused on increasing world knowledge in critically important areas. We have been fortunate too, to have the universities as close neighbours, allowing genuine collaboration to develop where the boundaries of our institutions become truly blurred. Over the last decade, the Museum has honed this model to support three key areas of research.

Evolutionary Biology takes us from studies of the earliest multi-cellular life forms on Earth to research programs that seek to identify and understand modern genetic adaptation to changing environments. This research is underpinned by our quite unique collections of fossils from across Australia and the Australian Biological Tissue Collection – the largest collection of frozen DNA tissue samples in the Southern Hemisphere.

Our Minerals, Metals and Solutions Group strives to understand the nature of ore body formation (which is absolutely fundamental to ore body exploration, mining and processing) and is in the top two or three groups working

in this critical field in the world.

And, of course, our research program dedicated to a greater understanding of Aboriginal cultures, languages and heritage is uniquely placed to work across the continent, utilising the National Aboriginal Cultures Collections in our care.

Having such significant collections has attracted the very best scientists and researchers to work in and with the museum. Our links with universities enriches the experience of our scientists, and allows us to enjoy completely synergistic relationships with our academic partners.

But fundamentally important to our research strategy, and specifically designed to ensure that we stay relevant, focused and accountable, we only undertake research that is funded through competitively won, peer-reviewed grant awards.

This strategy saw over $5.5m of grants awarded to South Australian Museum research projects in 2012, every single project being a collaboration with university partners.

Our most significant funder is the Australian Research Council (ARC), which is the national body responsible for delivering policy and programs that advance Australian research and innovation globally and that benefit the community.

The ARC is a statutory agency within the Australian Government’s Industry, Innovation,

Science Research and Tertiary Education (IISRTE) portfolio. The ARC advises the Government on research matters and, most importantly, manages the National Competitive Grants Program, a significant component of Australia’s investment in research and development . Having a nationally coordinated approach to research is of paramount importance if Australia is to cement its position on the world research and innovation stage. We need, as a nation, to encourage curiosity, to understand the societal challenges we face and to contribute to developing the solutions required to live and thrive in a changing world. Our ability to meet these challenges will depend on researchers.

I will shortly be attending my first meeting as a member of the Advisory Council of the ARC. I am excited and honoured to be a part of this national research policy and funding body. I am particularly proud that the South Australian Museum is able to have a small but highly focused and impactful role in Australia’s research agenda. It is my hope that we can lead the way in ensuring that museums take full advantage of their unique collections to underpin curiosity-driven research and create an environment of discovery and inspiration that will reach well beyond the walls of museum buildings.

» Professor Suzanne Miller is the Director of the South Australian Museum

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10 The ADELAIDE Review april 2013

OPINION

six square metres

THIRD AGE Terms of endearment

BY SHIRLEY STOTT DESPOJA

“

Get well soon, Jill darling,” I heard myself saying recently. And before I could process what seemed strange about that, I had a phone call confirming someone’s visit later that week.

“I am looking forward to seeing you,” my proposed visitor said.

“And I will look forward to seeing you, too, darling,” I said.

What does this mean, this sudden use of “darling” in my old age? I can’t remember using the endearment for anyone but lovers and grandchildren in the past. What has, I wondered, got into me? Does vocabulary, like many other things, change with old age?

It is easy to obsess about such changes, but luckily for me, I had ordered from my library a book by Virginia Ironside who has now become the latest guru for my old age.

By page 13 she was right on to this “darling” business and assuring me that I was not alone.

Having heard her fictional self call her new young lodger “darling” on almost first meeting, she wrote in her diary.

‘This is another curious sign of ageing. I find myself addressing everyone as “sweetie” or “darling” – and, even odder, meaning it. It is something I would never have done when I was young, in the days when the only people who received a “darling” were men I loved.’

With people her own age, she feels an equal, but with younger people she feels like a parent with caring and kindly feelings “that are lovely to experience after spending most of life feeling cross-patchy and harddone-by”.

BY Margaret simons

T

I like this woman. I can’t recommend too highly to Third Agers her two fictional diaries: No! I Don’t Want to Join a Bookclub and No! I Don’t Need Reading Glasses (Fig Tree/Penguin).

She is not a grumpy old lady. She is even quite young by some third age standards – in her 60s – but relishing old age and free travel and a feeling of freedom that she has never had before. There is truth and seriousness there, too. An old lover loses his memory; a dear friend loses his life. Friends do odd things and change – or don’t change at all and thus infuriate her. She fears losing her only son and grandchild to another country and is outwardly brave, but truly miserable in her plans for coping. She is fearless as she never was in youth and middle age, breaking up a dinner party because she speaks some truths about old age to the “you are only as old as you feel/ I am 70 years young!” bores.

Now I call her Darling Virginia, and would ring her for advice if I could.

At some stage I had a little twinge that her old age was spookily fortunate and illness free: she even opts for a facelift. But our Virginia has come out to her readers since publishing her fictional diaries, revealing that she has a colostomy bag and manages it sensibly as what she has to put up with as graciously as she can, to avoid a nastier fate.

Read her: she will cheer you up and make you think about a lot of things you might have been pushing away from your consciousness.

//////////////////

They just don’t get it.

How can we help them?

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en years ago when my children were little I lived far from any beaten track in the Blue Mountains of New South Wales. I kept goats that were named after my daughter’s kinder friends, a rooster called Vronsky and a crowd of chooks.

Before me is a newspaper story and picture about university medical students getting firsthand experience in aged care in Adelaide. Good idea.

The picture shows a young student standing, but bending solicitously over a seated 82-year-old woman.

The young woman holds the right wrist of the old woman. Her left arm is around the old woman’s shoulder.

Both have calm, sweet smiles.

It was a time of almost self-sufficiency. It was not idyllic. There were tough times, and great sadness as well as the joy of watching my babies grow. It was intense. What kept me sane was watching the chooks, and fooling around with my giant vegetable patch. I had no fewer than three compost heaps – proof of humble resurrection, and the triumph of life over death.

That season of life came to an end, and we moved to the inner city. I have missed gardening, and the gardening column I used to write. It ran for years in the Weekend Australian, then in Sunday Life magazine.

Over the years since then, various commentators have suggested that my views on media and politics are to be taken less seriously because I once wrote about compost, vegetables and chooks. One is a serious journalist, or a gardener. Not both.

What is wrong with this picture?

Well, bollocks to that.

Well don’t put me in it for a start. All this solicitude; almost like lovers. You can imagine the young woman saying (though I bet she didn’t): “There, there.” But the old woman doesn’t look as though she’s whimpering. She looks ready for a really interesting conversation (which may have happened after the photographer left). So why this patronising, sentimental depiction of the old and the saccharine treatment of a young professional woman?

It could be a ghastly Victorian painting called “Spring and Autumn Love.” Yuk. This kind of thing has to stop, or at least be laughed at, if the aged are going to maintain their personhood and respect in our society.

My advice to the young med students going into this program is to think about that picture and put themselves instead with something interesting between them and their aged client. A book, a plant, a photograph, even a piece of embroidery.

Something that shows the old person DOES something and is not just the recipient of caring smiles and tender handclasps.

The inner city suits me and my teenagers, but last year, as life once again grew particularly intense, I found myself thinking that when I retired I would return to gardening.

Then I thought ‘why wait?’.

There are a few reasons. I have only a tiny bit of space at my little house, which backs on to a McDonald’s fast food restaurant.

At the front, my house faces a post office staffed by heroic women who deal with all the joys and stresses of the suburb, speaking to people of all nations as they navigate paying of bills, the making of deposits and passport applications, and that basic act of citizenry, joining the electoral roll.

At the back I have a brick-paved space six metres square with two raised garden beds, one almost entirely in shade. At the front is a tiny strip one metre by four, divided between nutritionally challenged ornamentals and the beginnings of a vegetable patch, including a rampant grafted tomato.

I planted it the same weekend that I decided the time for gardening was now,

The ADELAIDE Review April 2013 11

ADELAIDEREVIEW.COM.AU

OPINION not in some future imagined period of sunshine and leisure. Now, each morning before I rouse the children from bed and walk the ancient Labrador, I engage in a ritual I laughingly refer to as “walking the grounds”.

I pick the tomatoes that have ripened.

I climb a stepladder to view the four polystyrene boxes on the roof, which are filled with coriander, bok choy, spring onions and a cucumber setting tiny fingers of fruit.

I contemplate the pots on the verandah, and observe the fall of shadow in the back lane between me and McDonald’s, and consider whether anything would grow there.

Inner suburbs being what they are, I also check whether the rat bait has been taken.

Over the last few weeks, I have decided I want to write about this again – the everyday miracles and failures of messy old gardening.

Some terms of engagement. I am an enthusiast, not an expert. I get depressed by gardening books that talk counsels of perfection. I have never in my life achieved a fine tilth. I have never clipped my edges.

Things often die under my care.

This column will not be a how-to. It will talk about rat bait as well fresh lettuce, about the things that die as well as those that live. It will be ridiculous, because life is ridiculous and gardening in such a tiny space most certainly seems that way.

Yet “walking the grounds” each morning makes me unreasonably happy. I am grateful for the chance to share some of that.

we can’t always get what we want For a country so obsessed with winning, as a nation we have been strangely tolerant of a race in which we seem to want all protagonists to lose.

BY grant mills

I

n what might best be called a contest for last place, Australian federal politics is in a dismal state. Not only is the quality of debate abysmally low, the whole system no longer functions in the interest of the people.

Both the major parties are showing the atrophy of old institutions and neither deserves to win power in the September election. The modern, single-minded imperative of economic success has long ago made the Australian Labor Party’s founding ‘fair-go’ policy seem parochial. Where once Labor’s role was clear, its steady evolution towards the conservative right has left it stranded between its stubbornly asserted every-man identity and political reality. Symptomatically, it has now become the party of factionalism, darkroom dealings and poorly kept secrets.

Though admirable in their unity, the Liberals are faring little better. Their unswerving devotion to economic rationalism and market forces no longer reflects the world that many people want to live in. The last few years have cracked the thin veneer of security that a corporatised world promised; the firm political ground that the Libs once stood upon has shifted, leaving their deeply rooted principles far behind the curve.

» Margaret Simons is a freelance journalist, writer and an academic.

That these two lame ducks are still in power is, in considerable part, due to the changing face of the media, and its dangerous desire to maintain the status quo. With the rise of mass, social, integrated media the power structure between voters, politicians and media organisations has been dangerously warped.

margaretsimons.com.au twitter.com/margaretsimons

Ideal democracy places the citizenry at the top of the pecking order, with the government structure below as a function of the people. Below this should

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be the media, reporting and digesting information that is then fed back to the people at the top.

This is no longer so. Rather than defer to the public, politicians now defer to the media as a weather vane of public opinion; whole government departments are now dedicated to wooing the media before any consideration of courting the people.

The competition between media outlets for audience dollars favours controversy over substance, which reduces our whole governing body to a self-perpetuating blame game. The media’s greatest trick has been convincing us that the fault does lie somewhere in Canberra, and not with our own power to hold both the media and government to account.

As a result, politicians are more engaged with political point scoring and the production of soundbites with running the country. The media’s power over how politics is played out is now tangible. Instead of the prime driver of the system being the satisfaction of the majority, the system now favours the satisfaction of the media.

This is not to pine for some long lost golden age of democracy; the media and politics have always been in a dynamic relationship. But the sheer saturation of often-monopolised media opinion and downsizing of debate has shifted the balance.

Our lives have become a perfect storm of opinion too easily pedalled as fact. And the media are the gatekeepers who decide what we see and for how long we see it.

One of the media’s cardinal sins has been to portray Australian politics as a two horse race, and on the periphery the Greens as Judas Iscariot and the independents as an anomaly of a broken system.

The system is not broken, but its players do need rejuvenation; and the quickest way is to encourage the rise of three-party politics and independents candidates. This scares both the Lib/Lab conjunction and media moguls alike.

Though not pretty, Gillard’s last term has been a rare glimpse of what politics should be, where rural voters, smaller parties and local constituents were given real power. Despite her imploding cabinet and the media’s dogged portrayal of unmitigated disaster the Gillard government managed to negotiate some very forward-thinking ideas through a hostile parliament. Whether good or bad, the last three years have been about discussion and compromise to reach outcomes.

Politics is not, and should not be, about majority parties slamming though party-line policies. The system should – as we have seen somewhat in the last three years – result in the masses reaping the benefits of political compromise, not just the invested minority of a stranglehold government.

If the mass media continues to dictate our opinions and inspire apathy over action then we are looking at a future of politicians with no policies and newspapers with no news.

We are the people stating our demands and expectations of the media everyday, with our wallets and our website traffic. Democracy demands engagement and we need to exercise our rights and reverse the trend. There is no need for us to be satisfied with slipshod journalism when there are more information sources out there than ever before. We can and we must refuse to be the bait for a media that dangles public opinion in front of politicians like a carrot.

We may not, right away, be able to get the government we want, but we will always get the government we deserve.

» Grant Mills is editor of Australia’s oldest political science journal, AQ: Australian Quarterly.

12 The ADELAIDE Review april 2013

feature Queensland portion of the Murray-Darling Basin and a large part of the plains country of northern New South Wales.

Navigating our ancient underground labyrinth A four-year study of the western margin of the Great Artesian Basin (GAB) has shown the basin to be a much more complex system than previously thought.

by Kathryn Bellette

A

new understanding of the hydrogeology and ecology of the western GAB has been attained by the National Water Commission co-funded research project Allocating Water and Maintaining Springs in the Great Artesian Basin. A comprehensive set of seven reports, by researchers from Flinders University, Adelaide University, the CSIRO, the South Australian

and Northern Territory Governments and overseas experts, was released in March.

One of the largest groundwater reservoirs in the world, the (GAB) lies beneath 22 percent of the Australian landmass, from Queensland’s wet/dry tropics, to the arid areas of SA’s Lake Eyre region. It underlies not only much of the Lake Eyre surface catchments, but most of the

The project has revealed that the only modern source of groundwater recharge (inflow) on the western margin occurs beneath specific ephemeral rivers, primarily the Finke and Plenty as a result of monsoonal flow events.

But the recharge these rivers yield is insignificant and effectively zero for management purposes.

Similarly overland flow sourced recharge in the region has been effectively zero since the last wet phase around 6000 years ago. However, groundwater still discharges via slow upward movement of water through the numerous iconic mound springs in the region. The groundwater system is not in a steady state as previously thought, as the discharge is significantly greater than the recharge and the aquifer water pressure is undergoing a natural long term decline.

The term mound spring is the name given to describe steeply walled domes or gentle inclined shield structures that have formed as a result of degassing of carbon dioxide of emerging spring water, creating a calcium carbonate residue. The springs occur when water reaches the surface through breaks in the overlying rocks created by faulting, along a fault zone from Marree to Dalhousie in the north of South Australia.

The springs are aquatic islands in the desert, providing permanent habitat for an array of rare flora and fauna that have evolved within these systems. The isolation has provided the circumstance for a high degree of endemism of aquatic life to develop, with distinct lineages between spring groups and complexes.

The mound springs flow is enabled by pressure resulting from confinement of the water by a thick layer of ‘Bulldog Shale’. The project’s co-chief investigator Associate Professor Andrew Love from Flinders University states that the “key to maintaining flow in the mound springs is to keep the pressure up. Looking at the groundwater levels only, simplifies the issue.’’

To this end, managing the water pressure to maintain the springs is a focus of water management activities across the basin.

A fascinating feature of the spring waters is

the presence of primordial Helium 3, indicating a linkage between the Earth’s mantle and the surface. Indeed the mound springs are associated with a zone of weakness in the Earth’s crust that has been present for the last 800 million years since the break-up of the super continent Rodinia.

This finding indicates a significant vertical water source in the GAB in addition to the eastern and western horizontal flows previously known.

Associate Professor Andrew Love and collaborators from the University of Bern and Argonne National Laboratories have been trailing a new technique to determine groundwater ages.

The method involves the measurement of naturally occurring Krypton 81, a noble gas radioisotope with a half-life of 230,000 years making it an ideal tracer for dating large groundwater systems such as the GAB. In the western margin of the GAB, groundwater ranging in age from modern water up to 500,000-year-old groundwater has been found to occur from the springs, which convert to groundwater flow rates from west to east in the range of 0.25 to 0.5 m/year.

Referring to a new groundwater model of the basin, Associate Professor Andrew Love estimates under current climatic conditions, it would take in the order of 50,000 years for the basin to establish a new water balance, where recharge equalled discharge, albeit at a lower water level than the level resulting from the legacy of the wetter Holocene era (not accounting for human extraction via bores).

It is clear that the basin water store is a legacy of a wetter era. Maintaining water security for the region, including mound spring flow for the foreseeable future, will require management interventions tailored to the labyrinth of vertical and horizontal geology, groundwater levels and pressure of each sub aquifer.

» The full set of reports, including those on the spatial science and ecology programs, as well as the hydrogeology program discussed above, can be accessed via archive.nwc.gov.au/library/topic/groundwater

The ADELAIDE Review April 2013 13

ADELAIDEREVIEW.COM.AU

feature

State of wellbeing Forget the Festival State can South Australia become the Wellbeing State?

by Stephanie Johnston

T

he Himalayan kingdom of Bhutan measures prosperity by gauging its happiness levels. Since 1971, the country has rejected gross domestic product as the only way to measure progress, and championed the measuring of prosperity through formal principles of ‘gross national happiness’ that reflect the spiritual, physical, social and environmental health of the country and its citizens. Gross national happiness (GNH) serves as a unifying vision for Bhutan’s five-year planning process and associated planning documents, and policies must pass a review based on a GNH impact statement that is similar in nature to the environmental impact statement process in place in other parts of the world. This belief that wellbeing should take precedence over material growth has remained a global aberration over the past few decades, however in a world beset by flailing financial systems, increasing social inequity and ongoing environmental destruction, it seems the tiny Buddhist state’s approach is suddenly gaining momentum.

David Cameron floated similar concepts ahead of the 2007 global economic crash when he told the 2006 Zeitgeist Europe conference that, “It’s time we admitted that there’s more to life than money and it’s time we focused not just on GDP but on GWB – general wellbeing.”

Cameron asserted that improving society’s sense of wellbeing is the central political challenge of our times. “Wellbeing can’t be measured by money or traded in markets. It’s about the beauty of our surroundings, the quality of our culture and, above all, the strength of our relationships.”

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The Cameron government’s program to measure national wellbeing has since undertaken a widespread collection of subjective wellbeing data, with the aim of giving them a central place in the choice and evaluation of public policies.

South Australia’s strategic plan has placed the objective of wellbeing at its core since its inception, leading to the highly popular Martin Seligman Adelaide Thinkers’ residency. Founder of the positive psychology movement, and proponent of a new ‘science of prospection’, Dr Seligman recently proposed that Adelaide become the world capital of wellbeing. “It has the edge to be the world capital.

It can create a wellbeing institute whose job is to envision and execute the Australian agenda for wellbeing,” he told a gathering of 1800 people who attended his final public lecture at the Adelaide Entertainment Centre last month.

Chair of the Economic Development Board, and the South Australian Health and Medical Research Institute, Raymond Spencer has welcomed the idea of making South Australia a global hub for the teaching and learning of positive psychology. “The science of wellbeing has much to teach us about how we can make more productive, innovative and creative organisations by focusing on the people,” he suggested. “Increasingly we recognise that economic development is built on and indeed serves as its ultimate objective the wellbeing and happiness of the community.” According to Premier Weatherill, “This residency really could

An initiative of the City of Salisbury, the Watershed Art Prize is awarded for art works depicting wetlands, biodiversity and/or water sustainability.

Cash prizes totalling $6,500 will be awarded at an exhibition opening in the John Harvey Gallery on 3 May 2013.

Enquiries to: Tabatha Weir Cultural Development Officer P 8406 8469 E tweir@salisbury.sa.gov.au Entry form and information available www.salisbury.sa.gov.au/watershedartprize

Exhibition dates 3 - 30 May 2013

be a watershed in the way in which we think about not only ourselves as individuals but also ourselves as a community and perhaps even as a state.”

Positive psychology should not be confused with positive thinking, and the associated mantras that led to the late 20th century’s obsession with material success, self-promotion and the self-appointed self-help guru industry.

A bit like preventative medicine, which aims to build the health and fitness of a population rather than simply treat disease, it aims to complement the traditional discipline by focusing on the promotion of mental health rather than the treatment of mental disorders.

According to its proponents, the field seeks to “make normal lives more fulfilling”, to “find and nurture genius and talent”, and to create the conditions for a community or organisation to flourish. Pleasure, engagement, relationships, meaning, purpose, and accomplishment all play a role, and Seligman promotes a scientific approach to the measuring and building of these attributes within an institution, such as a school or corporation, or within an entire population.

At the heart of the movement is the notion of encouraging innovation and creativity, and this is where the theory of prospection comes in. In addition to analysing people’s focus in life by positive or negative valence, prospection introduces a time perspective (past, present, or future orientation) to the

Martin Seligman

study of human motivation and happiness. The approach then moves beyond the traditional psychological framework of viewing human behaviour as being driven by the past, to one in which navigation into the future is seen as a core organising principle of behaviour.

If Seligman has his way, brain scientists, philosophers, psychologists and policy-makers will collaborate to turn Adelaide into a laboratory that will help us to understand how the brain simulates future scenarios, how it uses those simulations to predict the consequences of action, and how individual and collective decisions can then be made in the name of true progress.

14 The ADELAIDE Review april 2013

Science It is estimated that vaccines prevent more than six million deaths per year and we now have a significant list of vaccine preventable diseases that were the major killers less than 50 years ago.”

biggest challenge and will require at least another decade of the best minds and significant resources to start getting close to an effective vaccine.

We also need to improve they way we administer our current vaccines; an oral single dose multi-valent vaccine would dramatically improve the acceptance of vaccines to children and parents. It would also reduce the infrastructure requirements – no needles, no cold chain and less health staff required. We have new technologies that should allow us to move closer to this goal.

The benefits of vaccination

BY Steve Wesselingh

I

t’s very hard in a page to highlight the enormous benefits of vaccination, however they do range from saving millions of lives, to complete eradication of infectious agents, to promoting equity and even world peace.

Vaccination programs have eradicated small pox worldwide and eliminated polio and measles from large parts of the globe. It is estimated that vaccines prevent more than six million deaths per year and we now have a significant list of vaccine preventable diseases that were the major killers less than 50 years ago.

By preventing infection, vaccines also prevent the consequences of those infections. The prevention of Human Papilloma Virus infection by vaccination (an Australian development) prevents the possible consequent cervical cancer, and the prevention of Hepatitis B infection by vaccination prevents the possible sequelae of cirrhosis and liver cancer.

The cost benefit ratio of vaccines is extraordinary. Direct savings across the world are in the tens of billions and outdo most other public health inventions apart from clean water.

Vaccines contribute to our extension in life expectancy, but importantly they prevent death, predominantly in early childhood. This leads to women choosing to have smaller numbers of children, improving maternal mortality rates, literacy and education. Vaccines generally require a broad-based population approach and are often delivered for free. These programs are therefore inherently equitable and promote health equality.

This understanding was an important motivation for Melinda and Bill Gates to engage the Gates Foundation in its huge investment in vaccination.

This very important impact of vaccination programs on female wellbeing can be linked to a peaceful world. There is a very strong correlation between a country’s maternal mortality rate and female literacy and the likelihood of civil unrest and war.

There are, however, a number of significant infectious diseases that haven’t been conquered by vaccines. The big three are HIV, TB and malaria.

Of these three we are closest to the development of a malaria vaccine. We have the BCG vaccine for TB but it’s not very effective and we urgently need an effective alternative with increasing numbers of outbreaks of multi-resistant TB. HIV is the

We are very lucky in Australia to have a national, well-funded, evidence-based immunisation program, which is evidenced by our very low rates of vaccine-preventable infections. However we do need to do more. We need to improve coverage, particularly in marginalised communities. We need to reduce the impact of misinformation about vaccines and we need to use all mechanisms available to encourage the uptake of vaccines.

This probably should include a requirement for up-to-date vaccination documentation to attend preschool or school.

In this brief article I have highlighted one outcome of health and medical research that has immeasurably improved wellbeing across the globe.

WHAT'S ON IN SCIENCE Bringing science to people and people to science

ILLUMINATIONS EXHIBITION BY ANDREW BAIRD Until April 12, 10am-5pm weekdays The Science Exchange 55 Exchange Place, Adelaide Andrew Baird’s collection of portraits is a field study in the community of scientists. These unsung heroes, who work for our common good, are shown with highlights of the work of each individual scientist.

WORLD DAY OF IMMUNOLOGY VACCINATION CAFé AT RIAUS April 29, 11am-2pm The Science Exchange 55 Exchange Place, Adelaide The complex interaction of thousands of types of cells and proteins form our immune system, protecting our body from damage and infection. How does an Immunologist explore these complex interactions? What does it mean for our health? Find out the answers to these questions and more whilst getting your 2013 flu vaccination or whooping cough booster!

In order to continue to have this type of impact we need to continue encouraging and resourcing our best research minds to target key health needs and develop solutions, whether it is by vaccination, new treatments for heart disease or better diets to prevent chronic illness.

A WEEK IN SCIENCE

» Professor Steve Wesselingh is the Executive Director of the South Australian Health and Medical Research Institute (SAHMRI) and an internationally recognised infectious diseases physician with research interests in neurovirology, HIV and vaccine development.

He has consistently worked towards the integration of high-quality medical research with healthcare delivery, leading to improved health outcomes for Australia and the poorly resourced countries of the region.

» The Science Exchange, 55 Exchange Pl Adelaide.

Bookings: riaus.org.au.

7120 8600

For your weekly science fix, view the RiAus vodcast A Week in Science each Friday morning to find out what’s happening in the world of science. riaus.org.au/week-in-science

The ADELAIDE Review april 2013 15

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Science

To vaccinate; it’s not a question

by Paul Willis

P

erhaps there is no better illustration of the confusion created around an issue of science than the campaign of misinformation and outright lies put forward by the anti-vaccination lobby. An outsider reading the literature and material available on the web might think that there is a legitimate debate about the efficacy of vaccines as well as serious concerns about side effects and contaminants. And it is disturbing that any internet search on the subject with preferentially brings up a phalanx of anti-vaccination websites.

The truth is that vaccines are incredibly safe and are responsible for the eradication and severe reductions in the incidence of debilitating and sometimes fatal diseases. As far as the science is concerned, there is no debate; vaccines are good!

So what are some of the myths spread about vaccines and why are they being spread? Let’s take ‘the what’ first.

Some people are still claiming that there is a link between vaccinations and autism.

This sprung from a research paper published in The Lancet in 1998 by Andrew Wakefield where he followed 12 children who displayed features of autism after they had been vaccinated. But subsequent work by many laboratories around the world failed to either show a link between the administration of vaccines and the development of autism or provide a viable mechanism by which a vaccination could cause autism. It was

later revealed that Wakefield had failed to declare that some of his funding came from anti-vaccine litigants and his paper was withdrawn.

So, despite an exhaustive effort to identify any link between vaccines and autism, there is no evidence to support that proposition and the original paper has been discredited.

But, as recently as last week, I found that very claim still being promoted on a number of anti-vaccination websites. This is clearly a case of running with an argument despite the evidence.

It has been claimed that vaccines are contaminated with mercury. Well yes, once upon a time, some vaccines did contain the organomercury compound Thiomersal in tiny amounts. But in 1999 the Centers for Disease Control and Prevention and the American Academy of Pediatrics asked for it to be removed from vaccine manufacture and this rapidly caught on worldwide. Today there are no vaccines available in Australia with Thiomersal in them and there hasn’t been for over a decade. This is despite the original total dose of mercury in the vaccines being much less than that in a can of tuna. It was a precautionary measure with no recorded ill effects in the first place. You’d think that would be the end of it.

Not a bit of it! Again, a quick search of the internet reveals a number of anti-vaccination sites claiming that mercury is still present in some vaccines.

Not content with promoting claims with no scientific backing, anti-vaccine proponents also peddle dangerous ideas as supposed harmless solutions to menacing diseases.

Thus anti-vaxers describe Whooping Cough or Pertussis as a bad cough and nothing to worry about. In fact it is a killer, particularly of newborn babies and the very young. In China it’s known as the Hundred Day Cough and in adults it can leave victims with broken ribs, burst blood vessels in the eyes and loss of voice for weeks on end. Worldwide it is estimated that there are 48.5 million cases of Whooping Cough each year resulting in nearly 295,000 deaths. In Australia, vaccinations have seen Whooping Cough reports drop dramatically, but there were still 34,793 reported cases in 2010.

Measles has been described by anti-vaxers as mostly harmless and they recommend that kids should be exposed to the disease early so that they can build up their own immunity. They even produced a children’s book, released earlier this year, trying to spread that strange message. In fact, measles can be a fatal disease that often leaves the unprotected victim disfigured for life. In underdeveloped countries more than one in four people with measles will die from it.

Thanks to vaccines, measles has almost been eradicated in Australia from almost 5000 cases reported in 1994 to just a handful of reports in 2010 and today measles deaths are unheard of here.

So that’s what’s being said by the anti-vaxers (or part of the litany of their misplaced rhetoric) so now the question is why? What is the motive for spreading false information so brazenly and on such a broad scale?

On this I am mostly stumped for a rational explanation. There is a legitimate concern for our kids. No one wants to see any harm come

to them, particularly if we are unwittingly inflicting that harm. But, with vaccinations, this is clearly not the case.

Overseas in some countries conspiracy theories surrounding vaccination workers have resulted in the killings of volunteers. While it’s not that bad here there are still no end of conspiracy theories and fear of government controls linked to the anti-vaccination movement. Not all but most anti-vaccination groups I’m aware of, exhibit an almost paranoid fear of state control of our health or the perpetration of Big Pharma selling dangerous products with only the profit motive in their sites.

I simply don’t want to go there. I would rather draw the focus of the discussion back to the fundamental questions of do vaccines work and do they cause undesirable or harmful side effects?

The answers are clear. Vaccines have probably made the greatest contribution to our healthy society through the reduction and, in some cases, eradication of a variety of diseases. A well organised vaccination campaign in India wiped out the scourge of polio in less than five years.

And, despite exhaustive testing and research into identifying any nasty dark side of vaccines, only extremely rare cases of side effects causing serious harm have been recorded. Certainly the benefits of vaccinations far outweigh the costs by a huge factor. To argue the contrary is to deny the evidence and dismiss the reality. And when the consequences of such arguments are weighed in the health and lives of our children, then that is a very dangerous argument to make.

» Dr Paul Willis is the Director of RiAus

• • • •

• • • •

April 2013.indd 1

18/03/13 5:19 PM

16 The ADELAIDE Review april 2013

BUSINESS

Making a statement

by John Spoehr

I

t is always difficult to attract attention to reflective policy statements like the ‘Economic Statement’ recently released

by Premier Jay Weatherill. The statement deserved more attention than it received because it broke, to some extent, with the past by continually emphasising the mutually reinforcing linkages between social and economic objectives.

Weatherill began his second year as Premier of South Australia in October 2012 announcing a commitment to releasing a blueprint for South Australia’s economic development. This was something the community expected from him, as he recently said: “It was clear to me that the South Australian community wanted an explanation from me where we are, what the future will look like, and what benefits South Australians can expect in that future.” The result was a wide-ranging

130-page statement setting out his government’s vision and policy program.

The ‘Economic Statement’ is an attempt to generate an overarching policy narrative for the Weatherill government in the lead up to the March 2014 state election. The challenge for Premier Weatherill since taking over the leadership has been to differentiate his administration in both style and substance from that of his predecessor.

Projecting a more inclusive and consultative approach to policy development has been a priority, along with establishing some policy distance between him and the Rann/Foley era.

Some gestures in this direction have included not bowing at the altar of the credit ratings agencies and presenting a more constructive view about the role of government in infrastructure development.

The closure of the Thinkers in Residence program

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 sa able s he Ale state s o emer ocial med rt SA webs urces gency the la ia me ite let s 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 o o k mark v.au it tod ay.

and the Integrated Design Commission sent a message that things were going to change, though it might be said that these initiatives warranted significant reinvention rather than abandonment.

The same might be said of The Australian Centre for Social Innovation championed by Mike Rann.

The ‘Economic Statement’ helps to build the Weatherill Government’s policy narrative. It is a scene setting document that no doubt will be followed by a series of policy announcements as the election draws closer.

A key message is that there is considerable room for optimism. The economic outlook for South Australia flowing from the statement is one of growth, ranging from solid growth to slow growth, largely determined by external conditions but shaped by domestic policy decisions. Three economic scenarios, prepared by Insight Economics are presented for consideration. The most optimistic of these is growth in Gross State Product (GSP) ranging from 3.2 to 3.9 percent, well above the historical growth of 2.7 percent.

As we know the recent boom came to an end in 2007 with the Global Financial Crisis. While recovery appears to be on the way, a more realistic outcome for South Australia might be the mid range scenario presented in the statement. That has growth in GSP ranging between 2.4 per cent and 2.7 percent, still a good outcome if it materialises in the volatile world in which we live.

This scenario is described as ‘Smart Recovery’ as it assumes sustained improvements in productivity and innovation that underpin the state’s regional competitive advantage.

The Statement reminds us that, “despite the ongoing volatility in the global economy, South Australia has maintained steady growth throughout the decade. In the nine years from 2002-03 to 2011-12, South Australia’s gross state product grew from $53 billion to $92 billion, a 65 percent increase, the same as Australia’s nonmining states.” At the same time annual exports have grown 36 percent, rising to around $11.4 billion. Australia and South Australia are the envy of the western world, most of which is struggling to recover from the devastating impact of the GFC.

The statement lays out four priority areas around which it seeks a collective commitment.

The first of these involves “increasing the focus on innovation” to enable manufacturing to “move up the value chain through more advanced manufacturing” technologies. The second focuses on quality food and wine, intensifying efforts at value adding in our agriculture, viticulture and horticulture industries. Maximising the economic and social dividend from mining is the third area of priority. Finally the statement focuses attention on the need for “driving the development of a more vibrant Adelaide to secure talented workers and businesses”. All of this might seem familiar and it is. What is distinctive about the statement is the broad philosophical outlook that underpins it – a commitment to a high skill, high wage, knowledge intensive economy that strives for a high standard of living for all.

When South Australia’s mining exploration boom translates into a mining product, services and export boom higher economic and employment growth rates can be expected to flow but only if a manufacturing dividend is extracted from the experience. The statement rightly points to the importance of this, supporting the view that mining should not be viewed as South Australia’s economic saviour but rather an opportunity to create opportunities for the diversification of the state’s manufacturing and services base. This requires better positioning and gearing up our companies, universities and communities to take advantage of mining. It also requires mining companies to source more of the goods, services and employment they need locally.

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

The ADELAIDE Review april 2013 17

ADELAIDEREVIEW.COM.AU

Business

Planning in uncertain times

by Michael Browne

E

arly 2013 presented a series of mixed messages to the business community and in some sectors the market remains tough. Stories of difficult trading terms and cash being tight abound, yet interest rates are at or about historic lows, unemployment is relatively low and stable, iron ore prices have bounced back, and the sharemarket has risen significantly in recent months. These inconsistencies have led to interesting conversations with clients during the first quarter of 2013. Questions centre around what should their business be doing, and how should strategies be set for 2013 and beyond?

My general response is that there seems to be enough signs around to be cautiously optimistic, but that any upward trend may be slow and subject to hiccups along the way.

As a result planning for an upswing may be appropriate however it would seem unwise to assume that we are heading back to the debt fueled days of past.

When planning, business would be wise to adopt a number of the lessons learnt across the GFC including being aware, agile, lean and remembering ‘cash is king’. These four messages enable a quick response to a changing environment allowing you to take advantage of opportunities and also enabling you to batten down if circumstances change.

Awareness and agility allow business to react quickly to situations and influences over which they have no control. For example the unstable Greek economy is impacting Australian business via the cost and availability of credit, as well as influencing business and consumer sentiment. Today’s business needs to be able to anticipate trends arising from these outside influences and be in a position to react. Similarly, as the economy speeds up, there may be opportunities to pursue growth early in the cycle; first mover advantage often brings significant reward and is generally only available to those who can react quickly.

As a result, now more than ever, it’s important to understand your business and the market in which it truly operates. Markets today reach further than ever before. It is no longer sufficient to be cognisant of just your local region. Businesses that traditionally didn’t impact your market may now do so. For example, energy companies now offer a range of services well outside their traditional domain, while service businesses have expanded their offerings to stretch beyond their traditional boundaries. This means that competition can come from many and unexpected places, and rather than being an impediment, may provide opportunities for your business to expand into new and different markets, thereby creating growth opportunities. Being aware and able to react is important.

In the past, Australia was to a degree insulated from the rest of the world and could act accordingly. With the rise of the global economy this is no longer the case. There are so many factors impacting on today’s business environment that means if a business doesn’t truly understand its market and customers it may be more exposed than in the past. Look no further than the local bottle shop to see that competition comes from everywhere including new product, imports and online.

Competitive reach extends much further than just retail. The fast pace of change caused by disruptive actions of other players, local or global, is impacting all industries. Being aware and having strategies to either defend against other businesses entering your market or developing your own may enable growth into markets not previously explored.

With this comes a need to really understand customers/clients and in particular, what’s important to them, why they deal with you and what they are thinking. Regular communication with clients enables an understanding of where your customers see the market, what they need and where they can help.

The focus in these conversations is not just about providing product but also providing insights. Approaching clients and customers this way enables you to be more than just a commodity; it provides an opportunity to become a valuable component of their business.

As a result, now more than ever, it’s important to understand your business and the market in which it truly operates. Markets today reach further than ever before. It is no longer sufficient to be cognisant of just your local region.”

Replacing price with value as the key determinant of dealing with you assists in differentiating your business and avoids being involved in a price war with your competitors. It is important to remember that there is only ever room for one lowest cost provider in each market.

It’s a strategy for which there isn’t a second prize!

Operating a lean business is also essential.

Continually monitoring costs and identifying where sensible savings can be made is vital. Over the last few years business has generally been very cost conscious. The obvious savings will have been made but there may still be more that can be implemented to keep the business lean.

This doesn’t mean stopping activities that assist in reaching customers or innovate, but being focussed on where the business might be ‘lazy’ or on activities, which are no longer relevant. Through a careful review of where costs can be saved, as well as questioning whether what’s been done in the past is still relevant, a business can stay lean.

Finally if the business has a strong balance sheet through available cash or low debt, the business may be able to take advantage of acquisition opportunities to build the business or pursue new markets with the confidence of knowing the money is there.

Time will tell if the market is in an upswing, but adopting these types of strategies will position business to take advantage of opportunities, whilst also allowing them to be able to quickly adjust for the inevitable uncertainties along the way.

» Michael Browne is a Partner at PwC

pwc.com.au

THE GREENS SAY “GET ON WITH GONSKI” –REFORM SCHOOL FUNDING NOW! PENNY-WRIGHT.GREENSMPS.ORG.AU/GONSKI

> $6.5 billion more for schools across Australia – distributed according to real need > Extra funding for kids who need extra help – disadvantaged, remote, Aboriginal, kids with disabilities & those who speak a language other than English > Prioritising kids in the most disadvantaged government schools Tell your State and Federal MPs: Don’t squander this opportunity. We must see this fixed before the election - or it will not happen.

Tell the Prime Minister: Introduce the full Gonski school reform when Parliament resumes in May - or it will not happen.

Authorised by Senator Penny Wright, L3/27 Leigh Street, Adelaide SA 5000

18 The ADELAIDE Review april 2013

OPINION

Our journey as a species has necessarily been about our relationship with plants as much as about our relationships with each other and with our God.”

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Jess Dare, Conceptual flowering plant series 2013, Lampwork Glass

Art, nature and memory

by Stephen Forbes

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I

n the northeast corner of the Santos Museum of Economic Botany is a glass cabinet dedicated to a forest of mushrooms and toadstools. For a little kid these are at eye height and looking through the stems the shapes, textures and colours are enthralling – even for an adult looking down through the cabinet the scene is captivating. These botanically accurate models are made from papiermâché and are hand coloured. The scholarship and technique that delivered these models from Germany to Adelaide in the 19th century deserve notice. The apples, pears and plums in the glass cabinets in the southeast corner of the museum share the same scholarship and technique.

These botanical models, originally developed as standards and for education, are one of the few remaining anywhere in the world.

The most celebrated botanical models in the world are the fabled Blaschka glass flowers in the Harvard Botanical Museum. The Blaschka’s reputation as natural history model makers working in glass was well established when Harvard commissioned botanical models from their works in Dresden. Eventually the museum, through the support of generous donors, commissioned Leopold and Rudolf Blaschka to dedicate their entire output to the production of glass flowers for Harvard. The result was over 3000 models of 847 plant species delivered between 1887 and 1936.

The precision is such that the mechanism of pollination for Pinguicula (butterworts carnivorous plant with leaves that act as flypaper) is apparent in the models that show one bee entering a flower and another lifting the stigma apron as it exits. Botanist Donald Schnell believed he’d been the first to elucidate the pollination mechanism in the late 20th century – until he visited the Harvard Botanical Museum and saw Blaschka’s exposition of the pollination process.

Visitors to the Blaschka glass flowers find the experience both exhilarating and disquieting.

The quality of the craftsmanship is difficult to comprehend and the beauty of both the detail and each composition is overwhelming. The glass flowers won’t translate into an image and the experience is difficult to communicate.

Our journey as a species has necessarily been about our relationship with plants as much as about our relationships with each other and with our God. The miracle that plants perform is in transforming light into life. Plants trap sunlight and use air and water to provide the fuel that enables our hearts to beat. The transformation of light into life by plants and its subsequent slow decay is the basis for the continuing narrative of harvest for life on Earth. The ethereal nature of plants, floating in air where they harvest light and

carbon – as much as in the ground to harvest water and nutrients – is more than a matter for wonder.

Plants provide the integrating narrative to connect culture, society, economy and environment.

Plants have always been the basis of our story as a species by providing food for people and for grazing animals, and as the source of medicines, oils, resins and adhesives, dyes, fibre for clothing and sails, wood for construction and weapons and providing both fossil and biofuels.

The process of capturing plants in particular or nature in general in art, whether on paper, in papier-mâché or in glass is a rich vein. In Adelaide, glass artist Jess Dare at Gray Street Studio is traversing some of this terrain through her work and her recent exhibition The Nature of Memory. Jess’ choice of this most challenging of materials for her first solo show is incredibly audacious. Fortunately Jess’ commitment to hothousing the development of her skills as a jeweller and glass lamp worker is extraordinary. Jess has taken inspiration and instruction from the leading exponents in her field both past (check out the Blaschka’s glass flowers on-line) and present (check out one of Jess’ teachers, Loren Stump’s murrine Madonna of the Rocks, stumpchuck.com) and has accelerated her learning to pull off an exceptional exhibition that addresses the fragility of nature, the fragility of memory and the fragility of materials.

Leopold Blaschka observed, “The only way to become a glass modeller of skill ... is to get a good great-grandfather who loved glass; then he is to have a son with like taste; he is to be your grandfather. He in turn will have a son who must, as your father, be passionately fond of glass.” In a sense there is a truth resident here - for Jess’ impetus for her exhibition was the sad passing of her grandfather in 2011. Jess’ grandfather was a passionate and dedicated gardener who inspired the rest of the family to nurture and grow things… in Jess’ case the legacy of her grandfather is preserved in her glass garden.

Jess’ work and exhibition won the Eran Svigos award for best visual art at this year’s Adelaide Fringe Awards. Following its inaugural showing at Gray Street Workshop Gallery in Adelaide The Nature of Memory will tour to Gallery 20/17 in Sydney at the beginning of this month and to Gallery Bilk in Canberra at the end of May.

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

The ADELAIDE Review April 2013 19

ADELAIDEREVIEW.COM.AU

OPINION

MODERN TIMES The unbearable sameness of the modern marketplace

BY ANDREW HUNTER

T

he progressive critique of the free market for decades focussed on its absence of soul. Now, the marketplace itself has become soulless. Many places where we gather to buy and sell have become unbearably sterile.

Once distinctive suburban shopping areas now suffer from a common sameness.

seldom took place without at least casual conversation – it was as much a human as financial exchange. Where these exchanges still exist, they have become courteous but insincere. Increasingly, self-checkout technology will relieve people of the need for even insincere exchange.

The lack of character in our suburban shopping precincts has been blamed on the escalating costs of rent that squeezes independent retailers. When only franchise stores can survive in popular shopping areas, one begins to resemble the next. Meanwhile, consumers increasingly turn to the virtual marketplace, where items are offered at often significantly lower prices.

It would not surprise those champions of the market’s invisible hand who gleefully predicted the soulless place that the market would become. The modern marketplace recalls the writings of the 20th century’s most influential economist. In Free to Choose, Milton Friedman stated that “... the price mechanism performs the task of market coordination without central direction, without requiring people to speak to or like one another”.

The closure of Vari’s continental deli on the Norwood Parade elicited nostalgic reactions in those who remember Norwood’s allure of bygone days. The modern market leaves no room for sentiment, and there is no capacity to heritage-list stores in order to preserve the memory of more vibrant times. The passage of time always leaves something of yesterday behind, but nostalgia alone is not a sufficiently compelling argument to resist change. There are, however, other reasons to support intervention in the marketplace.

‘Society’ is the sum of human exchanges. The ‘marketplace’ once provided a context rich in human interaction. Markets, malls and shops were once theatres of social interaction that defined the character of a society. Transactions

Friedman’s words have proved to be prophetic. Self-checkout technology will soon dominate larger enterprises, whilst smaller retailers struggle to compete with the value for money provided by businesses that use an internet site as their shop window. Online shopping is destined to dominate tomorrow’s marketplace. It will soon indeed be possible to participate in the market place without the inconvenience of having to speak to anyone.

What a poignant epitaph for the society we once knew.

Independent small businesses provide a level of resistance against the tedious sameness produced by the free market. Small businesses compete on the basis of superior service and

quality products that satisfied a niche in the market. Unfortunately, independent retail stores increasingly appear to be edifices of clay.

They struggle to compete for price because larger enterprises profit from influential factors such as favourable planning, collective marketing and economies of scale.

Is the invisible hand capable of restoring vibrancy and diversity to public spaces such as shopping strips? If soaring rental prices have squeezed independent retailers out and resulted in gentrified, boutique suburbs, surely the rational citizen will simply spend his time elsewhere. This provides an opportunity to other shopping areas that can offer diversity as a critical point of difference.

The argument that because consumers make rational choices, the free market will satisfy the demand for quality and variety if it exists overlooks social sources of market failure like the power of advertising. Is choice rational when advertising’s moronic gaze has rendered the masses intellectually motionless?

It is difficult for small retailers to compete with franchise stores armed with the advantage of collective advertising.

Economists argue that consumers benefit financially from the unregulated market’s ‘efficient allocation of resources’. Has this been achieved at the expense of quality and variety?

Has the quality of the food we consume or the clothes we wear diminished? What is good for the consumer is not always good for the citizen.

The fulfilment of Friedman’s prophesy that the price mechanism removes the need for people to speak to or like one another will take us closer to Orwell’s dystopia, where man lives to work, breed and consume, and all other activities are without purpose. Cheaper products allow consumers to purchase more. Little thought is given for the quality of a product, or the need to purchase it.

Milton Friedman

The modern market leaves no room for sentiment, and there is no capacity to heritage-list stores in order to preserve the memory of more vibrant times.”

Has the glorious democracy of the free market somehow conspired to limit choice, diminish quality and remove social interaction as a feature of the marketplace? If so, can countervailing influences restore quality to our products and vibrancy to our marketplaces?

Government intervention and initiative has the potential to save the marketplace from a fate that would simultaneously fulfil Friedman’s utopia and Orwell’s dystopia.

Make art the experience of a lifetime...

Adelaide Central School of Art has moved to the Glenside Cultural Precinct occupying two iconic heritage buildings, adjacent to the Adelaide Film Studios. This new campus provides superior studio, teaching and reference facilities, enabling the School to offer an extended program of courses and related programs.

Enrol in our exciting new short courses

30 Years of Adelaide Central School of Art

Program commencing from 7 May Day, evening and weekend classes.

Opening of the new Adelaide Central Gallery

All classes will be conducted in our new spacious studios.

Visit our website at www.acsa.sa.edu.au or phone us for a brochure.

Watch video interviews with our graduates and staff at http://vimeo.com/centralschool

The first six years Bloor Court 1982 - 1988.

Including works by Kay Lawrence, Leo Neuhofer, Christopher Orchard, Anna Platten, Hossein Valamanesh, Rory Richardson and Rod Taylor.

Exhibition: 20 May - 15 June 2013 Opening: Saturday 18 May at 3pm - 5pm

We invite you to take a tour of our new facilities on 8 or 29 April. Call Andrew on 8299 7300 to make a booking.

Image Exterior of the new staircase and lift well designed by Grieve Gillett, built by Harrold & Kite. Photography Ingrid Kellenbach

PO Box 225 Fullarton SA 5063 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

20 The ADELAIDE Review april 2013

HEalth

Sleep Wellness the overnight remedy

By Professor Avni Sali

M

ost people can relate to the feelings of impaired daytime function and fatigue, lack of concentration and memory problems associated with a poor night’s sleep. But did you know that poor or insufficient sleep can also be a major health risk? British researchers have found sleep deprivation affects hundreds of genes involved with inflammation, immunity and our cells’ response to stress. Sleep disorders, including insomnia and sleep apnoea which can present as a snoring problem, have been shown in studies to correlate with a range of health issues such as obesity, cancer and cardiovascular diseases including hypertension, strokes and heart attacks.

Just one night of short sleep duration can induce insulin resistance, a major component of type 2 diabetes.

Abnormal sleep patterns predict lower life expectancy, and individuals with insomnia are more likely to develop a mood disorder, substance abuse and other adverse health conditions.

Sleep disorders can also affect quality of life, increase the chance of injury and put a strain on relationships. Research indicates that young people getting less than five hours sleep per night are tripling their chances of developing a mental illness. Lack of sleep is as dangerous as alcohol when behind the wheel of a car.

A study conducted by the Centres for Disease Control and Prevention in the US found that 30 percent of adults report an average sleep duration of six hours or less. Sleep disorders can happen to anyone at any time, regardless of socioeconomic

status or type of work. The stressors of modern life, with its high ‘wired-to-technology’ gearing is considered a major cause of sleep disorders today but in reality our sleep problems started with the introduction of the light bulb and artificial light, which has dramatically shifted our typical sleep-awake patterns so that we no longer ‘rise and retire with the sun.’ Our present culture of sleep deprivation is pushing us past our biological capacity.

Sleep is an integral part of our biological rhythm. These rhythms are essential for health and wellbeing and provide cyclical times in which the body can perform a whole range of complex hormonal (including the sex hormones) and neurochemical processes that help keep us healthy. While we are asleep our bodies repair DNA, build and repair muscles and tissues, and regulate weight and mood chemicals. Leptin and Ghrelin, the two chemicals associated with hunger and appetite, are affected by sleep deprivation, and depression and behaviour are both affected by the amount of sleep we experience. Sleep is important for processing memories and newly learned tasks and is essential for the healthy functioning of the 75 trillion cells that comprise the human body. During sleep there is an increased secretion of growth hormone (GH) which is critical in fat breakdown, liver regeneration and normalisation of blood sugar.

Sleep also functions as an antioxidant of the brain because free radicals are removed while we are asleep. Healthy sleep should be one of our primary health concerns.

Healthy sleep consists of two types of sleep that alternate through the night. Non-REM sleep is slow-wave sleep, which comprises about 75 percent of sleep time, REM sleep, which accounts for the remaining 25 percent, is characterised by an increase in brain activity with active dreaming, decreased muscle tone, variable heart and respiratory rates and rapid eye movements. It is a cyclical state that occurs every 90 minutes or so and can last between five and 30 minutes. REM sleep is considered vital to health and many sleep disorders, including a lack of sleep, are problematic because of their impact on REM-cycle sleep.

and managing stress. These are all important components of ‘sleep hygiene’. The use of sleep medications is rapidly increasing – almost 10 million prescriptions are written annually in Australia for sleep medications. These can be useful as short-term aids, but it is more beneficial to review lifestyle causes and make the necessary adjustments. The Integrative Medicine model provides us with a range of sleep-promoting interventions that deal specifically with causes rather than symptoms and can also be beneficial to overall health and wellbeing.

Integrative options include:

Insomnia, one of the most common sleep disorders, can be experienced in different forms. Symptoms of insomnia include difficulty in initiating sleep, difficulty in maintaining sleep, waking up too early, and non-restorative or poor quality sleep. Over 50 percent of insomnia cases are caused by psychological factors, including stress and anxiety.

Tips for getting a better night’s sleep commonly focus on getting to bed earlier, changing bedroom conditions (temperature, darkness, noise), avoiding stimulants such as caffeine and alcohol, maintaining regular sleep times

Cognitive behavioural therapy Is a psychotherapeutic approach and research studies indicate that cognitive behavioural therapy (CBT) can be more effective than sleeping medication for treating chronic insomnia.

Relaxation/meditation/yoga Relaxation techniques can be useful when stress and worry causes sleep disruptions. In a recent study, mindfulness mediation had significant benefits for improving quality of sleep. Dealing with the underlying causes of stress where possible, as with CBT, is also advisable.

The ADELAIDE Review april 2013 21

ADELAIDEREVIEW.COM.AU

Health

Exercise Many studies show exercise during the day promotes better sleep. Regular physical exercise may promote relaxation and raise core body temperature in ways that are beneficial to initiating and maintaining sleep.

Sunshine and bright light therapy Increased daytime exposure to the sun (and correlating improved vitamin D levels) and reduced exposure to bright lights in the evening (including TVs, computer screens, smart phones and artificial light) can be used to ‘reboot’ the circadian rhythms and melatonin production in the body.

Diet Diet can play an important role in sleep. Losing weight can improve sleep. Many of the brain chemicals necessary for good sleep can be found in specific foods. If intake is problematic there is also the possibility of obtaining these essentials in supplement form, under the guidance of an integrative GP or health professional.

• Melatonin: Is a hormone made in the pineal gland in the brain. It is produced from the amino acid tryptophan. Sunshine stimulates

melatonin production and darkness stimulates its release from the pineal gland.

• L-tryptophan: Is a precursor to melatonin that is necessary for the body to produce both melatonin and serotonin. It can be sourced from many foods, particularly proteins, including milk, or taken as a supplement.

Foods with substances that may enhance sleep

Foods that may adversely affect sleep

• Cherries. Are one of the few natural foods to contain melatonin, the chemical that helps control our body’s internal clock.

• Milk. Contains the amino acid tryptophan, a precursor to the brain chemical serotonin.

• Complex carbs. Such as quinoa, barley, buckwheat and whole-wheat bread, are, in general, good for sleep but it’s not a great idea to binge on carbs before bedtime.

• Bananas. Help promote sleep because they contain the natural muscle-relaxants magnesium and potassium. They are also a good carb.

• Turkey. Like milk, contains tryptophan, a chemical that can make people feel sleepy. Hummus, lentils, eggs, and many nuts and seeds are also good sources of tryptophan.

• Sweet potatoes. Provide sleeppromoting complex carbohydrates, and the muscle-relaxant potassium.

• Valerian tea. Can promote drowsiness.

The root of the valerian plant speeds the onset of sleep and improves sleep quality.

Chamomile is also useful.

• Cheeseburgers. Have a super high fat content guaranteed to be a sleep killer.

Fat stimulates the production of acid in the stomach, which can spill up into your esophagus, causing heartburn.

• Alcohol. including wine, metabolises quickly in your system and causes you to wake up multiple times during the night. And you’re more likely to snore.

• Coffee. Contains caffeine, which is a central nervous stimulant.

• Energy drinks. Are very high in caffeine. They are best avoided later in the day or, even better, avoided completely.

• Soft drinks. Contain lots of sugar, caffeine and the preservative sodium benzoate (211) and other chemicals that can aggravate the gastrointestinal tract and promote acid reflux.

• Heavily spiced foods. Can keep you awake at night, especially if the spices contribute to heartburn. Combined with a high fat dish, they are a recipe for insomnia.

• Magnesium: Is helpful especially when restless leg syndrome (RLS) is affecting sleep.

Herbal medicines Both valerian and hops have shown efficacy for the treatment of insomnia. Hops is well known as a bitter agent in the brewing industry and has a long history of use for sleep disorders.

Valerian is proven to improve sleep quality without any other side effects. Taken together valerian and hops may be even more effective.

Review of other medications A major cause of sleep disorders can be other medications. Anti-depressants are known to interrupt REM-sleep cycles and while it may be necessary to use medication to relieve pain symptoms that interfere with sleep, this can often create a counter-productive cycle. Alternative

pain relief strategies can be explored.

The average adult needs between six and eight hours sleep every night, although it is difficult to know how much sleep a particular individual should have. Adolescents and children generally require more sleep than adults. Both too little and too much sleep can negatively affect health.

Contrary to popular belief, we cannot ‘catch up on lost sleep’ on the weekend, and we are often unable to realise just how mentally impaired we are by our sleep deficit. We need to learn to sleep naturally again, and make it our health goal to awaken refreshed each morning, without the invasion of stress-inducing alarm clocks! Ralph Waldo Emerson said, ‘Finish each day before you

begin the next, and interpose a solid wall of sleep between the two.’ His advice not only underlines the importance of good sleep, but also provides us with a terrific mantra for optimal health.

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

niim.com.au

22 The ADELAIDE Review april 2013

WIN / MONTEFIORE

MONTEFIORE Now that thousands of tourists have departed for another year, we need a quiet chat about a few Adelaide city matters.

BY sir MONTEFIORE SCUTTLEBUTT

The Idea of North

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

Sleepwalk with me

The Other Son

Palace Nova Eastend Cinemas, Rundle St From Thursday, April 4

Palace Nova Eastend Cinemas, Rundle St From Thursday, April 18

A burgeoning stand-up comedian struggles with the stress of a stalled career, a stale relationship, and the wild spurts of severe sleepwalking he is desperate to ignore. Directed by Mike Birbiglia and Seth Barrish. Stars Mike Birbiglia, Lauren Ambrose and James Rebhorn.

Two young men, one Israeli and one Palestinian, discover they were accidentally switched at birth. Directed by Lorraine Levy. Stars Emmanuelle Devos, Pascal Elbé and Jules Sitruk.

Silence in the House of God Palace Nova Eastend Cinemas, Rundle St From Thursday, April 4 Alex Gibney explores the charged issue of pedophilia in the Catholic Church, following a trail from the first known protest against clerical sexual abuse in the United States and all the way to the Vatican. Directed and written by Alex Gibney.

Game Season

The Highway, 290 Anzac Highway, Plympton Continues until Tuesday, May 14 Recognising Adelaide diners are chasing an educational dining experience, The Highway brings Game Season to Adelaide.

An opportunity for diners to step outside their comfort zone and try crocodile, rabbit, duck and venison among others. Win lunch or dinner (up to $100 per couple).

‘Top Notes’ – a celebration of jazz

Musica Viva Morgenstern Trio & Christopher Moore

InterContinental, North Terrace Thursday, April 11, 7pm

Adelaide Town Hall, 128 King William St Thursday, May 2, 7.30pm

The Elder Conservatorium of Music and the Helpmann Academy present an evening of outstanding jazz. Featuring performances by the freshest jazz graduates together with ARIA Award-winning a cappella group The Idea of North.

Germany’s electrifying young Morgenstern Trio is joined by Australian violist Christopher Moore in a stunning program that includes rarely heard piano quartets

by Mahler and Schumann, as well as Beethoven’s beautiful Piano Trio no 6.

First Position Palace Nova Eastend Cinemas, Rundle St From Thursday, April 11 This documentary follows six young dancers from around the world as they prepare for the Youth America Grand Prix, one of the most prestigious ballet competitions in the world. Directed by Bess Kargman.

Hindley Street prostitution hint ‘detrimental’ to safety, comfort

F

or more than 100 years scurrilous claims have bedevilled the good traders of Adelaide’s most controversial carriageway, Hindley Street and environs, that it’s a hotbed of city sex for sale. Now, at last, comes the honest truth – the very suggestion is offensive. And that’s from a government agency that should know – the South Australia Police. A February development application by the Palace Gallery Pty Ltd, operating the Red Square Nightclub on the corner of Hindley and Rosina Streets, was recently pounced on by SAPOL and Town Hall.

Club managers, of what Town Hall described as an “adult entertainment venue”, wanted to continue using a non-complying neon sign fronting Rosina Street which read: ‘Red Light District Club’. Prompted to comment, SAPOL Eastern Adelaide Local Service Area Inspector Tim Scammell advised in writing: “It is not for SAPOL to comment on the appropriateness or otherwise of the sign... Suffice to say, however, that a ‘red light district’ is commonly associated (world-wide) with prostitution.” Citing Wikipedia confirmation of this phenomenon – as one would have to do, if there were none to be found in Adelaide – he made observations about the locale. “This street leads to dimly lit, secluded laneways, driveways and car parks.

During the hours of darkness, the Street may be frequented by young people in varying states of intoxication, including females who may be scantily dressed. It remains speculative, but there is potential that, as a result of the sign, people may associate Rosina Street with prostitution and sex-oriented businesses and this could have a detrimental effect on the safety and comfort of young females frequenting the area.” Quite right, too!

Monty wonders, however, whether the commercial enterprise Club X, a few hundred metres east of this site, featuring a Hindley Street window photo of a busty, scantily dressed stripper offering upstairs “uncensored internet access cybersex” might also come in for a birching by the good Inspector. In fact, given other suggestive material on show up and down Hindley Street, it’s probably only a matter of time before a number of other commercial operators in the street also feel the switch of the Planning Department’s bamboo cane.

This is despite a Town Hall development plan main street policy area description prescribing ‘bustle, excitement and activity’ – features reasonably likely to describe this industry. Incidentally, Town Hall vetoed the Rosina Street sign. A recent check

revealed it to be still affixed to the wall, but appropriately covered by a thin film of, ahem, black plastic. Administrators described Hindley Street as ‘an important shopping, hospitality and gathering place vital to the city’s identity and image’.

Perhaps Club X contributes to that? Monty casts no nasturtiums, of course.

Moving the water buoys Summer 2013’s highly embarrassing iridescent green algae outbreak in Adelaide’s central tourist attraction – the Torrens Lake – caps off a run of years in which growth of the toxic bloom has exploded as temperatures rise. To address the problem, thousands of hours of water bureaucrats’ time have been invested, demanding the profound concentration of biologists and water experts, endless committee meetings, files of minutes, and scores of ministerial briefings. The cause is cyanobacteria – a bug fed by year-round pollution runoff from the hills and gullies east of the city.

The attempted solution during 2011–12 and 2012–13 summers has been to flush the river with fresh-water spills of up to 40 megalitres per day (!) all the way from Hope Valley Reservoir. No luck. Toxic and pongy infestations have repeated annually, forcing health administrators to close the lake to recreational users – prompting an awareness campaign that only draws more interstate and overseas tourist attention to the problem. It’s been a PR nightmare to manage. However, deep within Adelaide’s health bureaucracy, some brilliant, outsidethe-square thinking has been fermenting.

We quote from a Town Hall source: “...

Administration have been involved in discussions regarding possibly revising the secondary contact water quality public health standard that is used to trigger Torrens Lake closure. These investigations are being undertaken in collaboration with the NRM Board and SA Health.” Monty doubts, however, whether this clever innovation would become subject of a Tourism SA ministerial news release as summer 2014 commences, a new $40 million footbridge curves low over the said waters, and a March 2014 state election campaign looming. The leafy Riverbank precinct redesign plan is to be one of Labor’s trump cards and matters green are, after all, the big theme.

The ADELAIDE Review april 2013 23

ADELAIDEREVIEW.COM.AU

Fashion Furthermore, in addition to the stalls, the event also includes a range of workshops and demonstrations where people can try their hand at a new skill.

“Previous Bowerbird Bazaars have included everything from homewares and textiles to furniture, lighting, clothing, leather goods, ceramics, glassware, stationery, objects and much more – but each event is unique, representing new directions in Australian design. It’s our goal to present a diverse showcase of the best of new design ideas and innovations to Adelaide audiences, alongside popular choices from previous events that we know people love to come back for. This is Bowerbird’s ninth event. We encourage people to come to the Friday opening night for drinks at the bar, activities and earlybird preview of new works and the winter collection. It’s a much-anticipated night out.”

Fashion Rendezvous

GILLES STREET MARKET Sunday, April 7 and Sunday, April 21 10am to 4pm 91 Gilles Street, Adelaide

Fibre Red

Bowerbird Bazaar

by Nina Bertok

T

he first of the Bowerbird Bazaar design markets for 2013 will launch this May, featuring over a hundred stalls with a selection of the best and most unique fashion items from across Australia. Although the event has also earned a reputation for the high quality of furniture, lighting, home-wear and various other goods on offer, co-founder Jane Barwick says clothing and jewellery are among the standouts at Bowerbird Bazaar this year.

“What makes this event one-of-a-kind is that the items are very unique,” Barwick states. “The emphasis is on ‘unique’ and ‘one-off’. Basically, what you get is clothing and accessories that you would not be able to find elsewhere. For this May event, we’ve been looking for people offering their winter collections, so that includes ranges across things like leggings and mits, scarves, hand-woven woollen items, bags, belts, coats – anything that will keep you warm, basically!

The items must be beautiful and they are. The same goes for jewellery – we have an amazing range this year. A lot of them were handmade.”

Brand-conscious fashion lovers and designsavvy shoppers can expect to find items from well-known labels such as Aya Kawa, Captain Robbo, Fibre Red and Frank & Lola, just to name a few. In other words, there is literally something for everyone at the Bowerbird Bazaar, according to Barwick.

“We have some great underwear from Stonemen, pieces from Aya Kawa who makes her own woven silk ties for men, those are absolutely beautiful. Fibre Red are bringing pieces too, she’s actually been in retirement for a while, her business has been dormant, so the amazing thing is that she’s coming out for this event with her wonderful woven and knitted clothing. We’ve also got items from High Tea With Mrs Woo. South Australian designers Namoi and Frank & Lola are also coming on board, which is great. Wendy Voon Knits has some beautiful eye-catching knits. Captain Robbo and Otto & Spike are bringing some scarves and bags and things. There are many, many brands that fashion lovers can look out for, the list is very long and includes Temono, Kitty Came Home, Slouch and Mattt.”

What makes Bowerbird Bazaar all the more special as an event is that it offers people the opportunity to also meet the people behind the spectacular designs, according to Barwick.

» Bowerbird Bazaar Friday, May 3 to Sunday, May 5 Adelaide Showground (Stirling Angas Pavilion)

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.

gillesstreetmarket.com.au bowerbirdbazaar.com.au

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showroom.FASHION.FURNITURE.ART

24 The ADELAIDE Review april 2013

PERFORMING ARTS

Songs for everybody New work from Australia’s leading contemporary playwright Joanna Murray-Smith will be staged across the country this year, as the novelist and playwright prepares for a year bricked with wall-to-wall productions.

by David Knight

W

ith two productions of original new work (Two Minds and Fury, to be staged in Melbourne and Sydney respectively), an adaptation of Henrik Ibsen’s Hedda Gabler for the State Theatre Company of SA, as well as an opera, overseas productions of older work and more, Murray-Smith’s 2013 is a busy year. But The Gift and Honour writer says she didn’t set herself up to have a frantic year.

“I’ve just come back from a production of The

Gift in Los Angeles,” Murray-Smith begins. “I spent a month in LA over summer with that production. There’s a line in it that artists spend their lives at the mercy of other people’s tastes.

And that line just keeps reverberating in my head because you know you’re not really in charge of what happens in terms of whether the plays are picked up or not. Last year I had virtually nothing on and this year I’ve got wallto-wall productions, so you don’t set yourself up for anything. You throw things out there and hope that some of them are going to land on a

stage. If you’re lucky people are interested in what you’re doing and it will work out. Also, the artistic directors, it is not even whether they like or don’t like your work, it’s whether it works in the season they have planned, you know, things like: do they have too many comedies or dramas or enough Australian work and so on. There’s a little bit of alchemy involved I think.”

The LA production of The Gift received standing ovations but divided the critics. Murray-Smith says the Maria Aitken directed play, which was first staged in Melbourne in 2011, was much better by the time it got to California.

“The audiences were incredible – they came in droves and gave a standing ovation at most performances. They argued about it and we had brilliant post show feedback with people staying back and talking about it because it is a very brilliant, controversial play. It divided the critics as it always does – The LA Times hated it, Variety adored it, so that’s pretty standard for my work now – my plays always get mixed reviews. I’ve very rarely had a play where everyone has said ‘We love it’ or even where everyone has said ‘We hate it’ – I don’t know what it is about me but that’s the way it is.”

The exception to this is Songs for Nobodies, which has received universal acclaim. Written to show off Bernadette Robinson’s amazing voice and range, the musical has been performed all over the country (including two Adelaide runs in less than a year) with Broadway interested.

“We did a showcase over there and there are all these jaded, cynical Broadway guys who have to be dragged to the theatre kicking and screaming to see her [Bernadette Robinson] because in New York terms both her and I are unknown. I’ve had a few things on in New York but Bernadette has not performed in New York at all but everyone came.

She had a standing ovation at the end of it and all of these die hard New York theatre people said they had never seen a standing ovation given for a showcase before and there was a huge amount of excitement about it.”

The one thing stopping Songs for Nobodies getting the Broadway green light is the lack of star power. But Murray-Smith says the show will not happen without Robinson.

“She is the show. What most of the people in New York said is we can’t think of anyone in America who can do this play. She is extraordinary.

She’s not just extraordinary in Australian terms, she’s extraordinary in international terms.”

Currently Murray-Smith is writing an opera called The Divorce for Opera Australia as well as two American commissions. In the midst of all this she found the time to adapt Hedda Gabler for the State Theatre Company after she was approached by the State Theatre’s former Artistic Director Adam Cook to adapt Ibsen’s infamous play.

“Adam originally came to me and said, ‘Look, I really want to do Hedda. I know it has been done a million times before but I want to do it a new way and I want to do it the way you’d do it’, which was

Joanna Murray-Smith

extremely nice and very flattering. When Geordie [Brookman, current Artistic Director] took over I thought, ‘Oh, well this project is going to fall apart now’ but Geordie was immediately very, very intrigued and interested and wanted to continue with the commission.”

Intriguingly Murray-Smith hasn’t completed many adaptations, the only other one being Ingmar Bergman’s Scenes From a Marriage for Trevor Nunn and the Belgrade Theatre. Murray-Smith admits she was “terribly nervous” about adapting Bergman’s work before getting over her hesitation because she thought nobody would watch it as it was “too long”. But Gabler is a different beast, as Murray Smith believes you could stage the original English translation of Ibsen’s play today and it would still “pack a powerful punch”.

“So the questions were: what can I offer? What can I bring to this that makes it worth doing?

And also, make it not kind of immoral to do, because I think there are huge ethical issues with adaptations, but anyway, I thought the challenge was there to try and wrestle with those questions and that’s what I did.

“I didn’t want to do a radical reinterpretation.

I don’t believe that anyone should do that and still retain the name of the play. When I saw the recent The Wild Duck I thought it was a wonderful theatrical experience but I thought it was so far from the original The Wild Duck that I don’t think it should have been called that. It was a wonderful experience but it should’ve had its own title and not cashed in, in a way, on the kudos of an iconic piece of literature. There’s no formula but I think it’s a very softly-softly approach to try and keep the essential elements to Ibsen’s play but allowing it to feel entirely of this time and place.”

» Hedda Gabler Friday, April 26 to Tuesday, May 18 Adelaide Festival Centre (Dunstan Playhouse)

statetheatrecompany.com.au

The ADELAIDE Review april 2013 25

ADELAIDEREVIEW.COM.AU

PERFORMING ARTS

Enter the Sea Dragon

Trail boasts the work of 10 visual artists and will this year incorporate three new studios.

“That will also give people an opportunity to go behind the scenes and see where people such as Kay Close and Alec Wheatley create their rather quirky art,” McLoughlin says. “And [prize-winning artist and well-known personality] Winnie Pelz has a beautiful studio that looks out towards Kangaroo Island. That studio will just be open for the festival.”

The Fleurieu Peninsula region, located about 70kms south of Adelaide, is once again playing host to The Leafy Sea Dragon Festival during April.

by Robert Dunstan

T

he 10-day community event, which takes place from Friday, April 12 and now involves 40 sites from Myponga through to Cape Jervis, is a biennial affair that was first established in 2005 by Lorraine McLoughlin.

“It grew out of a meeting with local businesses and some community organisations to highlight the fact that not only was the area a good place to visit during summer for its beaches, but a lovely place all year round,” McLoughlin says.

The festival, which has a large visual arts component, is named after the marine fish that

is only found in the southern waters of Australia and commonly sighted by scuba divers at Rapid Bay and Victor Harbor.

“When we realised the fish was one of our close neighbours, we thought it would capture everyone’s imagination as the name of a festival,” McLoughlin reasons. “But, of course, we are not allowed to actually have one [in captivity] as they are now an endangered species.”

McLoughlin says that the local community come together to present the festival and adds that Yankalilla Bay Visitor Information Centre has also been more than helpful. The Artist Studio

There will also be a sculpture walk through the spectacular grounds of the 20-hectare Mulberry Farm, while Yankalilla’s historic Bungala House, built in 1856, will have separate exhibitions of painting, mosaics and quilting along with two twilight concerts from old-timey duo Our Sweet Time and folk singer Margie Russell.

As part of the festival’s literature component, Melbourne’s Steve Gration will reprise his onehander Fairweather Island which tells the story of the reclusive yet internationally acclaimed artist Ian Fairweather, and enjoyed much success at the 2011 Darwin Festival.

“That’s courtesy of an Australian Council grant,” McLoughlin says. “And, impressively, we have already sold out that performance at Pember’s Farm but he is also doing a writing workshop.

And Alan Gould, a much published writer from Canberra, is also doing a workshop.”

Morgenstern Trio & Moore

McLoughlin is excited that local artist Ruth Eisner, along with two others, have put up $6000 for assorted art prizes and that local actor, writer and clown Wayne Anthoney will officially open the festival.

The region is also famous for its food and wine and therefore over a dozen events will have a focus on that aspect.

While most events are free, including live music at Myponga Brewery during the two Sundays of the festival, there will also be some ticketed concerts such as at Yankalilla Bowling Club which will be hosting concerts by popular cabaret performer Sandi McMenamin, joined by special guest Irene Petrie, and jazz singer Wendy McPhee and her trio.

“For the youngsters we have The Amazing Drumming Monkeys, Archer’s Arcadia and various workshops every day of the week during the festival.”

» The Leafy Sea Dragon Festival Friday, April 12 until Sunday, April 21.

lsdf.org.au

Christopher

International Concert Season 2013 Europe’s electrifying Morgenstern Trio join charismatic violist Christopher Moore for a captivating program that includes rarely-performed masterpieces by Mahler, Schumann, Edwards and Beethoven.

THURSDAY 2 MAY 7.30PM Adelaide Town Hall 128 King William St

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

26 The ADELAIDE Review april 2013

PERFORMING ARTS

Making opera out of nonsense

by Graham Strahle

“

Nonsense is the breath of my nostrils,” wrote Edward Lear, the Victorian era’s most famous nonsense writer, whose capering rhymes and absurdist verse have been loved by generations. Although he invented a whole genre of literary silliness, with such delightfully memorable whimsies as The Owl and the Pussycat, the man behind the limericks tends to be forgotten. Unlike Lewis Carroll for instance, whose biography has been celebrated in at least three operas and a ballet, Lear hides very much in the shadows of his work.

Yet his life as a lost eccentric and epileptic-prone traveller, diarist, bird illustrator and irremediable romantic, sounds entirely worthy of an opera.

Now comes the world’s first opera on the life of Edward Lear, and what makes it especially notable is that the whole thing originated here in Adelaide. Andy Packer, Slingsby’s director and a lifelong admirer of Lear, has for years been devising a stage work on the acclaimed nonsense poet, in collaboration with his wife Jane Goldner, who penned the libretto, and Adelaide composer Quincy Grant. “The point of the show,” says Packer, “is that while we know Lewis Carroll well enough, we should also know Lear.” Adds Grant: “Lear is a major figure, a 19th-century Stephen Fry, and he should be celebrated”.

Ode to Nonsense has been a long time coming – four years to be precise – but they say the unexpected advantage of this has been that they have enjoyed the luxury of an extended gestation

and a much more organic creative process than usually happens in opera. “All three of us have made it in what turned out to be a continual toingand-froing process,” says Packer.

Aimed at family audiences, Ode to Nonsense runs a short 70 minutes without interval, and contains a welter of entertainment that they say will please newcomers to the operatic artform.

“It’s almost a musical,” says Grant, “and very approachable in its combination of minimalist and Janacek influences. It has left aside more hard-assed modernism, except in an epileptic scene where horrible monsters appear in Lear’s imagination. But it has emotional depth too, including references to death and darkness, where it takes on an almost a Tim Burton aesthetic, verging on [Edgar Allan] Poe.” Packer says there will be screen projections

by Geoff Cobham, three acrobats, and a children’s choir that functions rather like a chorus in ancient Greek drama, asserting the innocence of childhood – a theme of course idealised in Victorian England. Plus there will be a magical ‘Gromboolian Plain’ landscape of wild exoticism through which Lear’s life story unfolds. All his make-believe fantasy comes true, including, finally, a romance with the lady he most loved but never had the courage to propose to, Gussie. To make Lear’s madcap imagination even more palpable, chef Simon Bryant is literally cooking up some nonsense on opening night, in the shape of

Andy Packer

Crumbobblious Cutlets and Amblongus Pies – no doubt served with runcible spoons.

Nicholas Lester, Johanna Allen, Adam Goodburn comprise the cast of three principals, taking the roles, respectively, of Lear, Gussie, and manservant Giorgio, who accompanied Lear on his expeditions to Greece and Egypt to paint landscapes. Timothy Sexton conducts the Adelaide Art Orchestra in the production’s premiere.

How it all started, Packer says, was thinking about what sustained Lear’s life and creativity.

“I started to think of his imagination and sense of wonder as the ‘fourth dimension’. Lear’s words and images take us there, like Lewis Carroll. But unlike Carroll, who constructed an external world of imagination, for Lear it was pervasively all real in his mind. His nonsense, his happy characters belonged to him and resided inside him. On the one hand the opera is about how we survive through life by disappearing into creativity. At the same time though, it ends with a beautiful trio that also tells us that as we travel through life we cannot have what we necessarily want. Happiness is fleeting. We cannot hang onto it, and can only enjoy it as a momentary experience.”

Goldney says the irony of Lear is that he avidly pursued a career as a professional artist and “considered his limericks nothing”.

Painting “earned him bread and butter money, but his pictures were a bit churned out. Nonsense came easily to him,” which goes to show, she says, that “the things one strives for can be very illusory. It was the same with his unrequited love for Gussie.

He couldn’t have her. What’s right in front of you, you often don’t care about.”

Nevertheless, Goldney believes that in his nonsense poems Lear poses what could be an even larger question. “How seriously do we take it all anyway? What he suggests is that maybe there is no grand answer to anything.”

» Ode To Nonsense Her Majesty’s Theatre Friday, April 26 to Saturday, May 4

slingsby.net.au

elder hall The popular Lunchtimes at Elder Hall series hosted Homecoming with Brew Guitar Duo, Matthew Withers and Bradley Kunda on Friday, March 22.

Photos Jonathan van der knaap Pam Whittle, Patricia Mould, Janet Scott.

Diana Siguenza, Andras Tüske, Andy Peek.

Mary Annesely, Ruth Prince.

David and Barbara Lee.

Oliver Fartach-Naini, Rick Withers.

The ADELAIDE Review April 2013 27

ADELAIDEREVIEW.COM.AU

PERFORMING ARTS

THIS MONTH The Adelaide Review’s guide to april’s highlight performing arts events

Buenos Aires in the Vales Tango Festival McLaren Vale Friday, April 19 to Sunday, April 21 southerncrosstango.com.au Southern Cross Tango celebrates 100 years since the tango craze hit Europe with the Buenos Aires in the Vales Tango Festival, which will feature recitals, performances, workshops and more across the McLaren Vale over three days.

The Drones Governor Hindmarsh Sunday, April 21 thedrones.com.au Sharing Australia’s premier band title with Tame Impala, The Drones have been a shining light in Australian alternative music over the last 10 years with their 2006 single Shark Fin Blues voted the greatest Australian song by their peers a few years ago. The five-piece return to Adelaide to tour their new album I See Seaweed.

Buzzcocks Fowler’s Live Wednesday, April 24 buzzcocks.com English pop punk legends and creators of the immortal Ever Fallen in Love (With Someone you Shouldn’t’ve) return to Adelaide to showcase their late 70s and early 80s post punk classics.

Andrey Lebedev, Annie Tuske.

Matt Withers, Pat Withers.

» TO SEE MORE SOCIAL IMAGES VISIT ADELAIDEREVIEW.COM.AU

28 The ADELAIDE Review april 2013

PERFORMING ARTS

The French touch

Allen’s Midnight in Paris) as the reader, Sidonie.

It is Seydoux who shines and will benefit from Jacquot’s Midas touch to become a future star.

In Adelaide recently to introduce his latest film Farewell, My Queen to local audiences as part of the Alliance Francaise French Film Festival, veteran director Benoit Jacquot sat down with The Adelaide Review to discuss his fantastic new film.

by Christopher Sanders

F

arewell, My Queen is a visually stunning period drama about the early of days of the French Revolution through the eyes of Marie Antoinette’s reader, Sidonie (Lea Seydoux). The antidote to Sofia Coppola’s post punk glamour fest Marie Antoinette, Farewell, My Queen has more in common with The Last King of Scotland than Coppola’s OTT epic. Like The Last King of Scotland, it features a fictional account of a relationship between a powerful figure and a confidante before their rule is about to end.

Jacquot, who often directs beautiful and talented European actresses just as they are about to break into the global market (Isabelle Huppert in The Wings of the Dove, Virginie Ledoyen in A Single Girl and Judith Godrèche in The Disenchanted), directs a trio of talented and stunning European actresses in Farewell: Diane Kruger as Marie Antoinette, Virginie Ledoyen, once again working with Jacquot to play Duchess Gabrielle de Polignac, and Lea Seydoux (best known to Australian audiences for her small roles in Tarantino’s Inglorious Basterds and Woody

Originally Jacquot wanted to make the film when he first read the 2001 book of the same name by Chantal Thomas. Initially he thought it would be too expensive to make but he received a phone call to helm the project many years later from producer Kristina Larson and the rest, as they say, is history.

“It’s quite common when I read books that I can imagine films that I could make,” Jacquot explained. “For this one, straight away I knew I would like to make a film. Before I thought about the book, whether it was good or not, there was a feeling that I wanted to make a film out of this story.

Farewell, My Queen

“The movie is very close to what I thought it would be after I read the book. It is very similar in many ways.”

especially one that was very close to the story but she was also happy that the film was taking another direction at some point and making its own choices about the story but keeping close to what she had written.”

The director of A Single Girl, Right Now and Sade made some deviations from the novel including the present tense setting, lowering the age of Sidonie and focusing on the supposed lesbian/close relationship between Marie Antoinette and Gabrielle de Polignac. Jacquot said Thomas supported these changes.

» Alliance Francaise French Film Festival Continues until Sunday April 7 Palace Nova Eastend Farewell, My Queen screens on Saturday, April 6

“She was very happy a film was being made,

State Theatre Company of South Australia presents

affrenchfilmfestival.org

TA N G O ‘ TOP NOTES ’ A celebration of Jazz Featuring special guests

The Idea of North Performances by the freshest jazz graduates from the Elder Conservatorium, together with ARIA award-winning a cappella group

The Idea of North

7pm for 7:30pm, April 11th InterContinental Adelaide, North Terrace Tickets: $70, including concert, three-course meal and wine

by henrik ibsen

Bookings phone (08) 8132 0777 or email

In a new adaptation by Joanna Murray -Smith

nadia.dolman@helpmannacademy.com.au

26 april — 18 may Dunstan Playhouse BASS 131 246

Adelaide Review_Hedda Gabler (158x123).indd 1

Buenos Aires in the Vales Tango Festival 19–21 April 2013 McLaren Vale Stunning Tango shows & workshops Tango artists from Argentina & Australia Live music – Social dancing – Free community events Festival bookings now open!

Ph: 0419 309 439 sctango@bigpond.com www.southerncrosstango.com.au

Southern Cross Tango 3/20/2013 5:40:08 PM

The ADELAIDE Review April 2013 29

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PERFORMING ARTS

2 One Another

by Alex Parry

“Australia has so many good dancers but they have to work so hard to achieve what they do,” Bonachela said. “There is a huge focus on sport.

Some people still believe contemporary dance has that ‘elitist’ feel, and dance is not a part of the school curriculum. But I think people are starting to engage with it more and admire the sheer physical skill of what they see. It’s about the personal meaning they draw from watching the dance.”

2 One Another.

Photo: Ken Butti

S

panish-born contemporary dance choreographer Rafael Bonachela has had more than four years to make his mark at the helm of Sydney Dance Company. In May, Adelaide will see the fruits of his efforts in his latest work, 2 One Another. The company last performed here in 2009, presenting the work 360°, after Bonachela had replaced Graeme Murphy as Artistic Director. It was a change in culture and direction for the company, and a new challenge for the internationally-acclaimed artist: to make contemporary dance more “accessible” to Australians. His approach is now widely celebrated in national arts circles and, as he moves to engage children more closely with dance, in the education sector as well.

Kegelstatt Ensemble presents

Sunday 7 April, 3pm for it. But it was gone. I broke the rules and I cried,” and “If I place my hand here, and you put yours over there, maybe there’s enough strength between us to make sure it never falls down.”

The work is divided into four sections, following an emotional journey through poetry and music. For sound, Bonachela has drawn on the talents of Nick Wales and Adam Luston. He’s also praised Dance Director Amy Hollingsworth, Tony Assness for Production and Costume Design and Lighting Designer Benjamin Cisterne.

» Sydney Dance Company 2 One Another Her Majesty’s Theatre Wednesday, May 8 to Saturday, May 11

sydneydancecompany.com

ST JOHN’S CHURCH, 379 HALIFAX STREET, ADELAIDE

Much loved piano quintets of Schumann and Shostakovich and Penderecki’s ‘Cadenza’ for solo viola TICKETS: $25 / $18 CONCESSION BASS 131 246 www.bass.net.au

www.kegelstatt.com.au

Bonachela began his dance training in Barcelona, and later moved to London where he joined the acclaimed Rambert Dance Company. He later ventured into a choreographic career, setting up Bonachela Dance Company. In Australia, Bonachela is currently combining his role at Sydney Dance Company with his Curatorship of Sydney Opera House’s Spring Dance Festival.

2 One Another explorers how humans interact – the couple (two), the individual (one) and the group (another) – through movement. The stories in the work are drawn directly from the dynamic between its 16 dancers.

“At the time it was being created, I knew the dancers intimately. We did a lot of improvisation, a lot of exploration of personalities and relationships and we invited the poet Sam Webster to come, observe and write about what he saw,” he said.

The result was a sensual link between text and physical movement. Webster’s phrases set the path for dancers to explore love, power, gender roles, solitude and connectedness in their choreographic exercises and his words are used on 2 One Another’s soundtrack.

“The text that Samuel created is very beautiful and full of love and emotion and I sought to create movement that explored all those intensities of human interaction.”

For instance, “You held up your hand so I ran

Recitals Australia presents

Lisa Moore Friday 3 May, 6.30pm STUDIO 520, ABC, 85 NORTH EAST ROAD, COLLINSWOOD WITH THE SUPPORT OF ABC CLASSIC FM

Lisa Moore, “New York’s queen of avant-garde piano” (The New Yorker) offers an eclectic and varied program including works by Janacek, Bartok, John Adams, Steve Reich (Australian premiere) and more.

BASS 131 246 or bass.net.au

30 The ADELAIDE Review april 2013

cinema First Position

by Christopher Sanders

Sleepwalk with me

by Nigel Randall

A sleeper hit is that rare film that succeeds despite a lack of significant budget or marketing.

Usually horror (Saw, Paranormal Activity) or comedy (Napoleon Dynamite, Juno, My Big Fat Greek Wedding) cult flicks have the best odds and some even go on to scoop awards (Crouching Tiger, Hidden Dragon, Slumdog Millionaire). Sleepwalk with me meets most of the criteria for entering this rarefied field of little films that make big box office – it’s a low budget production that first made a ripple at Sundance, it’s a comedy and evolved from a critically successful off-Broadway one-man show and New York Times best selling novel.

At the very least, it deals with sleeping.

Director, co-writer and star Mike Birbiglia shaped the story on his own painful experiences as a fledgling stand-up, a commitment-phobe and sufferer from REM Sleep Behavior Disorder. Plenty to work with there, although his alter ego, Matt Pandamiglio, bombs in his early on-stage routines (consisting of 11 minutes worth of random jokes) until he starts to incorporate some life detail into his material.

It’s an honest portrayal of the grueling, often humiliating and underpaid work of a comic starting out, trekking miles between gigs to perform to empty venues or worse, to the heckling few.

As the laughs and audiences grow, so too does his time away from his long-suffering and beautifully incompatible girlfriend Abby (Lauren Ambrose). It doesn’t help that she records wedding reality TV and that his oneliners are increasingly based on their failing relationship and his fear of marriage. Matt’s parents (perennial father James Rebhorn and Carol Kane) provide ample cause for his anxiety, which manifests itself surreally into his dreams. They seem all the more pertinent due to his disorder, which results in him physically acting out his unconscious by way of sleepwalking, showering or in extreme cases, jumping through second floor hotel windows (based on an actual incident).

There’s much to like about Sleepwalk With Me, although it’s possible some might find Birbiglia’s deadpan, self-deprecating comedic style irksome. There’s certainly a touch of Woody Allen about him and the film itself, which again, some might find irksome.

It might be the to-camera narration or the self-sabotaging relationship issues with a seemingly perfect partner (à la Annie Hall), but regardless Birbiglia as comic and director deserves his own audience for his warmly observed, charmingly modest and Sleeperesque, potential sleeper of a film about sleep... and other things.

After vicariously experiencing the amount of pain, training and turmoil young ballet dancers go through when watching the documentary First Position, the film’s subheading should read: ‘Who the hell wants to be a ballet dancer?’ As the anguish each ballet wannabe goes through to try and reach their unlikely dream of being a professional dancer is breathtakingly caught in warts and all detail by first time director Bess Kargman.

With a set up very similar to 2002’s Spellbound (Jeffrey Blitz’ doco that showed the trials and tribulations of eight US students competing for the national spelling bee championship), First Position follows six young ballet dancers as they prepare for the prestigious Youth America Grand Prix. Kargman selects six pearlers as her subjects including Michaela (an orphan from Sierra Leone whose parents were killed when she was a toddler and now she is trying to break the stereotype of black ballet dancers), the Colombian in New York Joan Sebastian (who wants to succeed to support his family back home) as well as the all-American blonde princess Rebecca Houseknecht. Not as quirky or as remarkable as the wonderful Spellbound, First Position is still a fascinating insight into the make-up and determination of young elite (and not so elite) dancers and the sacrifices they need to make. You will likely steer your child away from ballet after watching this. Even if they have a sparkle in their toes, would you really want to put them through all this so they have a one in a million chance to become the next Baryshnikov?

» Rated G.

» Rated M.

The Other Son

by Christopher Sanders

This feature about an Israeli and Palestinian swapped at birth has a fairy tale or young adult element to its plot but luckily it overcomes the moral sappiness that could be drawn from such a predicament. Directed by Lorraine Levy, The Other Son features Jules Stiruck as Joseph,

a regular young Israeli teen who upon turning 18 is about to join the Israeli Defence Forces. A routine blood test, and then DNA test, proves he is not his parents’ biological son and a hospital investigation discovers that he is actually the son of Palestinian parents. With the Israeli-Palestinian conflict, this is shocking news to both sets of parents. The families, of course, come together after some hesitation and the boys (the Palestinian son is Yacine (Mehdi Dehbi)) become friends. But despite the predictability, The Other Son works because its message is one that is universal despite

Mea Maxima Culpa: Silence in the House of God

by Christopher Sanders

Like Deliver us from Evil, Alex Gibney’s (Enron: The Smartest Guys in the Room, Taxi to the Dark Side) latest doco Mea Maxima Culpa is an investigation into the Catholic Church’s child abuse problem.

Gibney’s documentary focuses on the horrors committed at a Milwaukee school for the deaf where a priest, Father Murphy (described as a wolf by one of his ex-students), deliberately preyed upon students whose parents couldn’t sign, meaning they couldn’t tell anyone about their situation. Inspired by the civil rights movement of the 70s, after no action was taken by the church or the authorities, the students took matters into their own hands designing wanted posters with Murphy (who abused more than 200 deaf children) depicted as the wanted man.

Mea Maxima Culpa begins with the victims detailing the atrocities committed by the priest before it delves into the cover-up. The victims communicate to the camera via hand signs, with voiceovers, and their signs and facial expressions is powerful viewing. Unlike Deliver us from Evil, Mea Maxima Culpa proves that the child abuse problem is not just an American or Anglo Saxon situation; it’s a global crisis. One that has been happening for centuries with the cover-ups and policy of

the location. ‘We are all human. It doesn’t matter what religion or ethnic group you are. We should all get along.’ The theme may sound like an early 70s John Lennon chant but the simple messages are often the most powerful. And watch out for Mehdi Dehbi, he is going to be a star.

» Rated M.

The ADELAIDE Review April 2013 31

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PERFORMING ARTS HYDE PARK ON HUDSON

silence reaching the highest corridors of The Vatican. Not as horrific as Deliver us from Evil, which is arguably the most terrifying documentary of the last decade, Mea Maxima Culpa excels as it explores the reasons why the abuse has been allowed to happen for so long, as well as investigating the policies that kept it secret. Also, there are some real heroes that emerge from this film.

» Rated M.

by D.M. Bradley

Drawn from the long-hidden diaries and letters of Margaret ‘Daisy’ Suckley, South Africaborn, England-residing but internationallyknown director Roger Michell’s biopic features, of course, no less than Bill Murray as hugely popular, polio-stricken 32nd US President Franklin D Roosevelt (‘Teddy’ to his nearest and dearest here, not ‘FDR’). And Michell is certainly one of the few directors who would dare cast Murray in such a demanding and dramatic role, and so firmly insist that this difficult star cut the sharp trademark sarcasm and actually act.

Daisy (Laura Linney) is a poor girl in the 1930s (the early scenes with her ailing Aunt, played by Eleanor Bron, do lay it on a bit), but her life changes for good when she’s summoned to the Roosevelt family estate in Hyde Park, New York, and is reintroduced to Teddy, her long-lost fifth (or sixth, depending upon who you ask) cousin. Teddy is overjoyed to see her during one of his many periods of crisis and they take rambling drives in the countryside with Gershwin tunes spilling out of the car radio, and it’s during one of these that they, in a very subtle and cautiously staged scene,

become lovers, which pits Daisy against Teddy’s wife Eleanor (Olivia Williams) and his snooping mum (Elizabeth Wilson), and causes problems as we build to the arrival, in 1939, of King George VI (Samuel West) and Queen Elizabeth (Olivia Colman) for a meeting concerning America’s involvement in World War II. Some have objected to the fact that Michell’s film supposedly can’t decide whose perspective it’s meant to be from (it’s obviously Daisy’s, but we are allowed some privileged scenes alone with the English royals), while others quibble about the fact that The King’s Speech beat this one to the post when it comes to depicting this King as a nervous stammerer, although West’s performance is equally as fine as Colin Firth’s (and rather more daringly sweaty and

A FILM BY LORRAINE LEV Y

(LE FILS DE L’AUTRE)

TWO FAMILIES. DIVIDED BY FATE. UNITED BY UNDERSTANDING .

“A moving, intimate family drama filled with terrific performances.”

THE HOLLYWOOD REPORTER

“A graceful and touching story ... propelled by a hopeful, good-hearted humanism.”

NEW YORK TIMES

OPENS APRIL 18 EXCLUSIVELY AT PALACE NOVA EASTEND CURIOUS DISTRIBUTION PRESENTS A VIRGINIE LACOMBE AND RAPHAËL BERDUGO PRESENTATION “THE OTHER SON” EMMANUELLE DEVOS PASCAL ELBÉ JULES SITRUK MEHDI DEHBI AREEN OMARI KHALIFA NATOUR WITH MAHMOOD SHALABI, BRUNO PODALYDÈS ANDA SPECIALAPPEARANCE BY EZRA DAGAN INTHE ROLE OFTHE RABBI PRODUCED BY RAPSODIE PRODUCTION AND CITÉ FILMS CO-PRODUCED BY FRANCE 3 CINÉMA, MADELEINE FILMS, SOLO FILMS WITH THE PARTICIPATION OF ORANGE CINEMA SÉERIES, FRANCE TÉLÉVISION, USEFUL PRODUCTION, HOCHE ARTOIS IMAGES INTERNATIONAL SALES CITÉ FILMS MUSIC BY DHAFER YOUSSEF DIRECTOR OF PHOTOGRAPHY EMMANUEL SOYER CAMERA OPERATOR PIERRE-LAURENT CHÉNIEUX SOUND JEAN-PAUL BERNARD, GUILLAUME BOUCHATEAU, DOMINIQUE GABORIEAU PRODUCTION DESIGN MIGUEL MARKIN COSTUME DESIGN RONA DORON, VALEÉRIE ADDA 1ST ASSISTANT DIRECTOR SOPHIE DAVIN FILM EDITING SYLVIE GADMER SCRIPT SUPERVISOR ISABELLE DELACROIX-DUCOUSSET, KEREN STERNFELD PRODUCTION MANAGER FRÉDÉRIC GRÜNENWALD CASTING BY MICHAËL LAGUENS, ESTHER KLING, ROZEEN BISHARAT ISRAEL EXECUTIVE PRODUCER ITAÏ TAMIR / LAÏLA FILM ASSOCIATE PRODUCER ÉRIC AMOUYAL BASED ON AN ORIGINAL IDEA BY NOAM FITOUSSI WRITTEN BY NATHALIE SAUGEON, LORRAINE LÉVY, NOAM FITOUSSI PRODUCED BY VIRGINIE LACOMBE AND RAPHAËL BERDUGO DIRECTED BY LORRAINE LÉVY

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embarrassed), and Colman (better-known for comedies including I Give it a Year and TV’s Rev.) matches Helena Bonham Carter as a harried, worried Elizabeth. But, in the end, it’s Murray’s show, and he works hard to make Roosevelt a man of great kindness, formidable political wiles and more than a little naughtiness, and while there are times that his performance seems big, with the twirling cigarette-holder and the cheeky wisecracks, don’t forget that he’s playing a President, and there was a time when they were all show-offs.

» Rated M.

32 The ADELAIDE Review april 2013

Visual Arts

Sue Kneebone has a knack for mining. This is unsurprising given that the name Kneebone is a recurring one in Cornish mining history and that an Irish-born ancestor discovered copper in Arizona.

by Lisa Slade

M

ining for Kneebone, however, has taken a slightly different direction to that of her forebears – she mines the museum and its collections.

The Mineral Kingdom is the title of Kneebone’s excavation of the South Australian Museum’s mineralogy collection. This is the latest installation in a decade-long collaboration between Craftsouth and the South Australian Museum, called Inside SAM’s Place, whereby artists and artisans are invited to respond to the Museum’s collections. Kneebone is an apposite choice for such a project, as in her words, she says: “Central to my studio practice is the transformative process of mixed media assemblage and photomontage that allow for new associations to be made from fragmented clues found in museums, photographs and archival material.”

In The Mineral Kingdom Kneebone redeploys museum objects (including spectacular specimens from its mineralogical wonder cabinets), archival photographs, digital photomontage and found objects to re-present the state’s curious history and culture of mining. Cabinets from the Victorian period, that great age of the museum, are filled with unlikely and often contradictory specimens and artefacts. In one cabinet a camel skull is adorned with a miner’s hat-cum-candelabra. In

this arresting and somewhat humorous collision of materials and ideas, the gentility of the parlour room (represented by the candelabra) meets the rugged frontier of colonisation (in this instance, symbolised by mining). This collision is a recurring signature for Kneebone who has, for more than a decade, exposed the tenuous and often absurd civility of colonisation and its resulting environmental consequences (signified by the skull of the introduced animal now deemed feral).

In the title piece for the exhibition, a ram’s head encrusted in halite, or rock salt, rests upon an upholstered footstool. The specimen was found on the Eyre Peninsula, south of the arid homestead of Kneebone’s forebears in the Gawler Ranges, and offers a return to the imagery and symbols employed in her earlier works. A photographic montage held in the collection of the nearby Art Gallery of South Australia depicts her great-grandfather with the head of a ram. Titled For better or for worse 2010, the sepia-toned montage is based on a 1890s wedding portrait of Kneebone’s great-grandparents who ran a pastoral property called Yardea Station, in the northwestern part of the Gawler Ranges. This collision of the pastoral and the parlour room provides an abiding motif for Kneebone in her critique of the consequences of colonisation, for better or for worse.

Photo: courtesy of the artist

A knack for mining…

Sue Kneebone Johann Menge Cleaning his Minerals (after Cawthorne) 2013 (detail) Archival digital print, 128 x 50cm

Kneebone’s findings from the museum’s collection, including the auspicious crystallised ram’s skull, are presented using the didactic language of the museum itself. She plays on museum conventions, not to underscore the museum’s authority, but to question it. Installed as dioramas, the surreal and often hybrid or conjoined objects are set against images from the state’s photographic archive. These include a large photograph of the colossal Burra Burra mine from 1875 from the archive of the Department for Manufacturing, Innovation, Trade, Resources and Energy. The state’s first known copper deposit, the Burra mine was referred to as ‘the monster mine’ and attracted fortune-seeking miners from Cornwall, the home of Kneebone’s ancestors. By the late 19th century South Australia had earned the reigning title as ‘The Copper Kingdom’ with other mining towns such as Moonta surpassing Cornwall as the largest copper region in the Empire.

The state’s mineral sovereignty continues with the Olympic Dam mine – home to one of the world’s largest copper deposits, although also focused on silver, gold and uranium. Kneebone traveled to Woomera and Olympic Dam during her research for The Mineral Kingdom and a radioactive glow has worked its way into her museum intervention. The cabinet-based work titled Radium Fever exposes the early-20thcentury craze for radium, found naturally in uranium as a trace element. Considered a cureall, or kitchen-cabinet panacea, radium was added to a panoply of products including ester dispensers, cleaning products and cosmetics.

The star of Kneebone’s Radium Fever is a uranium glass water cooler, which glows ominously under UV light.

Displayed alongside the cabinets containing the mixed media dioramas are digital photomontages. The most enigmatic of these is Johann Menge Cleaning his Minerals (after Cawthorne) 2013, a digital re-creation inspired by the biography of Johann Menge, the state’s first mineralogist, written in 1859

by W.A. Cawthorne. Born in Germany in 1788, Menge’s audacious explorations led to South Australia’s first mining boom and to the resultant expansion of settlement. Kneebone’s composition imagines Menge being on, as distinct from being in, the landscape. The shape of the landscape resembles a skull, which links back to the litany of skulls found in the cabinets but also serves as a harbinger of environmental impact. Kneebone’s portrait of Menge has been cleverly constructed to remind us of earlier European landscape conventions, specifically the anthropomorphic landscapes of Marcus Gheeraerts the Elder, who in his sixteenthcentury engraving The Image Breakers presents a figure-encrusted skull as an allegory of human toil and folly. Kneebone imagines Menge polishing his specimens, which had, by end of 1840, totalled more than 200 and were to become an attraction at London’s Crystal Palace during the Great Exhibition of 1851.

(The Crystal Palace offers the starting point for a forthcoming exhibition of contemporary South Australian art at Flinders University Art Museum, proving colonial history’s abiding lure for contemporary artists.)

To experience Kneebone’s The Mineral Kingdom is to be cajoled by art that is informed by both good humour and rigorous research.

For Kneebone, the consequences of our actions, both past and present, echo into the future and we, the audience, are the future makers.

new landscapes 5 – 28 April 2013 Siv Grava Jill Noble Megan O’Hara Jenny Riddle Harry Sherwin Tim Jones

PRUDENCE LITTLE ESSENCE

19 April – 11 May 2013 artimagesgallery 32 The Parade Norwood t. 8363 0806 artimagesgallery.com.au

www.bmgart.com.au Water Lily 2013, Graphite on Canson Montvale, 82 x 115cms

» Lisa Slade is the Art Gallery of South Australia’s Project Curator

Sue Kneebone The Mineral Kingdom Continues until Friday, April 12 South Australian Museum, Level 3

The ADELAIDE Review april 2013 33

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VISUAL ARTS

Jam on it

constantly reflected in its many accolades and one such person who is succinct in summarising its relevance is current CEO Brian Parkes.

such as Jeff Mincham, Peta Kruger and Kirsten Coelho, visitors will be treated to some of the very best in Australian contemporary craft and design.

Adelaide design and craft institution JamFactory celebrates its 40th anniversary with an exhibition beginning this month and a satellite campus to be completed later in the year at Seppeltsfield Winery.

Moving from Sydney to take up the position in 2010, Parkes is forthcoming about what attracted him to the role. “I knew about the JamFactory at art school in the late 1980s; it was something that was held in high regard,” he says. “And in the subsequent two decades that I spent working in the contemporary art and craft area I followed it.”

When Stephen Bowers ended his six-year term as JamFactory Managing Director in 2010 he left a freshly refurbished shop designed by Khai Liew. This ever-popular retail outlet now stocks the JamFactory’s new batch-produced high-end products, including the Kink vinegar bottle and Press salad servers. It’s a manufacturing model that is proving successful and one of many savvy business strategies taking place that will see the JamFactory continue to prosper within the next 40 years.

by Leanne Amodeo

M

y earliest memory of the JamFactory comes courtesy of my mother. We were driving into the city along Payneham Road one typically hot Adelaide summer’s day when she pointed it out to me. I remember asking her lots of questions and listening in fascination as she talked about the craft and design being made behind those big stone walls. It immediately filled my young mind with wonder – the concept seemed so magical to me.

That was in the late 1970s when the JamFactory was only newly established. The organisation may have since moved premises to its current Morphett Street location, but my sense of wonder has not waned. And I suspect I am not alone in my feelings of nostalgia and sentiment, especially as the JamFactory kicks into full swing with celebrations to mark its 40th anniversary.

As one of Australia’s most well respected craft and design centres this inimitable not-for-profit organisation has every reason to celebrate. The fact it has grown and continues to grow, while managing to hold its own against creative hubs such as Object: Australian Centre for Design in Sydney and Form in Perth, is to be commended.

At a community level the JamFactory enjoys strong local support and is much loved, although it could be argued that it’s easily taken for granted. The organisation is so deeply embedded in the rich fabric of Adelaide’s cultural history after all, and 40 years has proved enough time to become comfortably acquainted. But the JamFactory’s significance is

keith cowlam coastal 6 - 27 April 2013 www.hillsmithgallery.com.au

But what initially impressed Parkes was the JamFactory’s large suite of activities. “It’s an organisation with great potential and amazing assets in terms of creative personnel, shops, galleries, distribution networks and studio facilities with extraordinary capacity for both small scale and semi-industrial manufacture,” he explains.

What these assets have provided is fertile testing ground for new ideas, with exhibitions having featured new work by Khai Liew, studio space being hired by the likes of Gerry Wedd, and Caroline Casey having designed and prototyped her first range of furniture there in the 1990s.

What also sets the JamFactory apart from even the most influential of its contemporaries is its Associate Training Program. The two-year course not only teaches Associates the techniques of their craft – in ceramics, glass, furniture or metal – it also teaches them the necessary business skills to manage their own creative practice. But where the program’s importance lies is in the impact it has had, and continues to have, on both national and international levels. The names that dominate the industry, such as Clare Belfrage, Lauren Simeoni and Christopher Thomas, are alumni and their influence is far reaching.

In its 40th year, however, the JamFactory’s activities have reached its most ambitious level yet. The exhibition Wood: art design architecture kicked off the 2013 program with a diverse collection of visually and intellectually stimulating work. While the accompanying symposium enthralled for the calibre of its four speakers, all of whom were included in the exhibition. Designing Craft/Crafting Design: 40 Years of JamFactory promises an equally engaging offering when it opens on Friday, April 19. In bringing together past and present members of the JamFactory ‘family’,

Perhaps the most exciting event to coincide with the 40th anniversary is a new JamFactory satellite campus due to be completed at the Seppeltsfield Winery later in the year. The new facility will include a shop, galleries and studios in the refurbished stables building on the historic winery’s site. At this stage, it really is a ‘watch this space’ scenario, but there will, no doubt, be lots to see.

» Designing Craft/Crafting Design: 40 Years of JamFactory JamFactory Gallery One Friday, April 19 to Saturday, June 8 Lesa Farrant, Flotsam and Jetsam, 2012, slip cast porcelain, 420 x 120 x 100 each

jamfactory.com.au

34 The ADELAIDE Review april 2013

VISUAL ARTS the path towards ‘legitimacy’ where large commissioned murals replace illegal graffiti.

Festivals funded by energy drinks, videos produced by fashion magazines and murals commission by car companies have become the hallmarks of success in the industry of urban art. As artists hold financially lucrative exhibitions, their work on the street starts to function as advertising for their commercial ventures. For some, illegal graffiti was just the early stage in their careers as urban artists. For others, street art’s greatest power will always be its ability to question the value of private property and expand the scope of free expression within public space.

narrative of art history. In the tradition of the situationists, the urban art community is a separate entity from the art world.

one of which is on its way to Adelaide for your perusal. Oi You!’s main attraction is the collection of 70 works by ‘the world’s urban art megastars’ owned by New Zealand collector George Shaw. Whatever the collection’s current market value, it’s sure to go up after Oi You! has raised its profile.

While conservative minds still perceive street art as the cure against graffiti, those who actually make street art realise its ability to cure conservative perceptions. On one level, liking street art makes it harder to dislike graffiti. Once you realise that the same artists are making both types of art, you have to stop and think.

So if you have a spare wall in the city that’s facing a public space, the last week of April might be the perfect opportunity to start you’re own street art collection. Just give Matt Stuckey a call and make him an offer.

Obviously you’ll have to share your wall with everyone else and you won’t be able to sell it, but that’s kind of the point.

Street art has been on a funny journey over recent years. The counter culture with roots in vandalism has become the bargain ingredient of urban renewal and the most reliable way for any major art gallery to capture a youth audience. As the fame of street art has grown and its contradictions thickened, most artists have continued along

But urban art’s greatest power is its ability to cure the fallacy that art is a luxury, belonging only to financial elites. Street art is free.

Appearing spontaneously in public space means it belongs to all of us. As part of our everyday experience of the city it doesn’t require the protection of art institutions, the pretenses of official art theory or even the standard

Anthony Lister

Oi You!

by Peter Drew

B On the edge (detail), mixed media using recycled papers, by Uta Mooney, Winner 2012

anksy: “When you go to an art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires.” At least, that’s what Banksy thought back in 2006. These days the world’s most famous street artist is included within those trophy cabinets,

ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC. 4th Solar Art Prize

TANDANYA – NACI presents

31st March – 21 April With $23,000 of Solar vouchers to be awarded Official launch: Friday 5 April, 6.00pm with guest speaker, Prof. Monica Oliphant Artists concerned with environment & climate change

The best thing about any festival like Oi You! is the effect it will have on the city. Thanks largely to the initiative of local artist Matt Stuckey, the city streets will soon play host to Anthony Lister, Rone and Beastman, three Australian artists whose work is already recognised globally. Behind the scenes they’ll be connecting with local artists for the first time and uncommissioned collaborations will appear. It’s this work that will capture the attention of the larger urban art community via the blogs that serve audiences around the world.

» Oi You! Adelaide Urban Art Festival Adelaide Festival Centre Saturday, April 20 to Sunday, June 2

Special Art Tour 2013 Croatia & Italy

Self Portrait (detail), oil by Durham Rayner, RSASA Collection

2013 RSASA Portrait Prize 23 June – 14 July – entries due 31 May 2013 – open to all artists and mediums Download entry form from www.rsasarts.com.au Prizes: 1st $1,000, 2nd $500 & more.

An inaugural portrait exhibition with a difference

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.

Jacob Stengle, The New Arrivals – Colebrook Series (detail), watercolour, 37 x 34.5 cm

with KEN KNIGHT, Australian leading plein-air painter

CONCLUDING SUNDAY 21 APRIL

SPEAKING WAVE Tandanya Permanent Collection & the South Australian Aboriginal and Torres Strait Islander Storytellers’ and Writers’ group.

Local storytellers and writers have been invited to view the Tandanya Permanent Collection and respond to the artworks through poetry and prose.

IN OUR LIFETIME Burthurmarr Christopher Crebbin A talented local resident, Burthurmarr returns to Tandanya with a selection of old and new works including paintings, carvings and artefacts.

Burthurmarr will be presenting an artist talk in the gallery on Saturday 13 April at 1:00pm. FREE

Tandanya - National Aboriginal Cultural Institute 253 Grenfell St (cnr East Tce) Adelaide 5000 (08) 8224 3234. Free entry. Open daily 10am - 5pm www.tandanya.com.au

• A 10 DAY ART TOUR WORKSHOP IN THE BEAUTIFUL ISLAND OF KORCULA – BIRTHPLACE OF MARCO POLO • A 3 DAY STAY IN TUSCAN VILLA WITH A MASTER COOKING CLASS • VISITS TO FLORENCE AND VENICE BIENNALE 2013

4 places left CROATIAN ISLANDS EXPERIENCE www.croatianislands.com.au info@croatianislands.com.au 0400 222 060

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VISUAL ARTS

Thingshow

to be commended; that they are naturally intelligent and engaging makes Kennedy an artist well worth keeping an eye on.

Her merging of stuffed soft leather forms and found demolition blocks makes for a delicious material proposition, one in which the artist finds effective expression for her investigations into natural and built environments.

by Leanne Amodeo

B

en Leslie has curated an exhibition of objects that oscillate between absurdity and wonder. At their most superficial level these objects may elicit a chuckle or two, but look closer and the quiet beauty so often associated with the handmade is revealed. It’s what lends the 12 individual sculptures and sculptural installations in Thingshow their tangible ‘thingness’ and makes them so curious.

Ambiguity in both meaning and representation characterise Thingshow. But despite this, the collection of seemingly functionless, odd-shaped things still begs the viewer to get close enough to see the imperfections and flaws of the objects’ making. Each work keeps people guessing but what is ultimately revealed is the process inherent in the production.

Some objects are more successful than others and this translates into work that is well resolved and articulated. Sarah crowEST’s series of four mounds continues her exploration into material and form, displaying the artist’s understanding of both. Her mounds sit on

Underlying all the works in Thingshow, however, is the notion of the artists at work in their studio. The idea of making, building, producing and creating informs each work and is particularly evident in the expressive crumple of Sam Songailo’s Proposition for Board Shorts or Brooke Babington’s appealingly multi-layered Hootie and the Blowfish. Demystifying the process and making it accessible via the exhibition’s collective ‘thingness’ is a worthy curatorial investigation that has resulted in some clever sculptural works.

Talitha Kennedy, Tricks to build earth into flesh, 2012-2013, Kangaroo leather, thread, stuffing and found demolition blocks.

the gallery floor in a tidy cluster and inhabit the space in a way that is quietly compelling. crowEST’s Belgian linen wall hanging is an elegant counterpart to her sculptures and is notable for its simple composition.

But Thingshow’s real scene-stealer is Talitha Kennedy’s Tricks to build the earth into flesh. That these quirky smallscale sculptures can hold their own alongside crowEST’s sophisticated work is

CREATIVE FUSION Painting & Textile Art Works by Marden Senior College Graduates

lucy turnbull panel vision

2 – 26 April 2013

6 - 27 April 2013 www.hillsmithgallery.com.au

8364 2088

Image: Shima Gholami and Adrian Potter, SUN , 2013, rock maple, walnut, fret work, carving and inlay, 1100h x 980w x 75d mm.

The Third Space: intercultural crafting Shima Gholami and Adrian Potter, Masuma Akther and Kay Lawrence, Oluwole Oginni and Simone Tippett, Milete-Tsega Ogbalidet and Lisa Furno, Lady Narvaez Penaloza and Jelina Haines.

7 – 28 April 2013 1 Thomas Street (cnr Main North Road) Nailsworth Tel 8342 8175 prospect.sa.gov.au

Jean Winter, detail

Now at Glenside Campus www.centralartistsupplies.com.au Opens: Friday 5 April at 6 pm Opening Speaker: Sarah Bell-Smith Visual Arts Educator/Artist Free Artist Demonstrations will be held on Saturdays 6, 13 & 20 April 2 pm –4 pm

Free entry - all welcome!

Pepper Street Arts Centre Exhibitions. Gift Shop. Art Classes. Coffee Shop.

558 Magill Road, Magill PH: 8364 6154 Hours: Tuesday to Saturday 12 noon - 5 pm An arts & cultural initiative funded by the City of Burnside

www.pepperstreetartscentre.com.au

T HE CEN T R E FOR CR EAT IVE PHOT OGR A PHY

» Thingshow (curated by Ben Leslie) Fontanelle Gallery 26 Sixth Street Brompton Continues until Friday, April 12

fontanelle.com.au

36 The ADELAIDE Review april 2013

VISUAL ARTS

From A to B, going the distance A handful of Adelaideans explain why Berlin, their home away from home, conjures ‘notions of Utopia’ and remains one of the world’s most intoxicating places to live.

by Louise Gorman

facades, things like that. It was fascinating; it was a real textual experience in a sense,” the former West Beach artist says.

The 38-year-old is among nearly half-a-million foreigners who now reside in Berlin and make up a seventh of the city’s diverse inhabitants.

Kutschbach’s Adelaide work, which included a series of life-size robot-like sculptures for a 2008 Adelaide Festival commission, is more often than not concerned with surfaces, detail and their aesthetic interactions. He says the juxtaposition of Adelaide and Berlin was stark. “Here there was a clear sense of a different sense of history involved a much more sort of layered city … sort of broke but at the same time culturally rich which is almost kind of a cliché about the city now.”

The ability to meet like-minded people, share ideas and facilitate new projects was not lost on Paul Gazzola. He’d been living and working in Portugal and Belgium prior to moving to Berlin in the mid-90s. Within a month of joining his girlfriend and fellow artist, Nadia Cusimano, Gazzola had been invited to perform his work at Hebbel am Ufer, a renowned theatre performance space in Kreuzberg. “The city is very intoxicating, very open and gives a lot of energy back. There were a lot of possibilities.

Berlin is a classic because you don’t need a lot of money to survive. So clearly there’s that shift of focus when you can kind of (live) from little means and be still open to see performances at a really cheap price,” Gazzola tells me having earlier flown into Sydney from Adelaide.

Back in Australia for current and ongoing projects in both of those cities, Gazzola is among six artists who will present a series of rapid prototypes in Little Rundle Street on Saturday, April 13 to be considered for permanent installations as part of plan to develop Kent Town into a creative industries precinct.

Michelle Nikou, whose latest work showcased at Greenaway Art Gallery alongside fellow artists Louise Haselton and Mark Siebert last month, has her eyes set firmly back on a return to Berlin. A Samstag Scholarship recipient, Nikou packed up her family including her then five-year-old daughter, to move to the German capital in 2010. “[Berlin] was a chance to immerse myself in a culturally-established environment and start at the bottom of the pile.” Panorama-based Nikou, whose work often fuses literary references with householdfound items, says she found the city’s lifestyle very appealing and was humbled by the scale of the European art scene. “It’s quite a sobering thought for artists from Adelaide.” Berlin’s rising rents, a section of the longest stretch of the remaining wall known as East Side Gallery earmarked for removal by developers and a steady flow of the so-called ‘Easy jet’ set making the city their new party stopover are also sobering new developments to Berlin. It’s something Gazzola and his peers were aware of over a decade ago when they started using the city as a base. “There are a lot of notions of Utopia in Berlin. There’s a beauty but it’s still a really poor city and there’s not a lot of work.” Kutschbach too says the atmosphere has shifted over the last few years since the influx of more internationals but believes the art community has not been adversely affected. Unlike London, where competition can be fickle and fierce, he says the scene in the German “Hauptstadt” is still much more grounded. “Berlin is a place to work and people are accepted for that and no one really expects to make it big here.” At least Kutschbach is adamant he won’t.

Rewind to 1990. The wall had fallen and Lucio Auri had completed his studies in Munich and headed north to visit Berlin for a few days the year Germany became one again. Twenty-three years later he still hasn’t left. His first apartment in the now upmarket Prenzlauer Berg had no heating, shower or telephone. “At that stage it was real new frontier east Berlin. If anyone had a telephone that was a pretty good status symbol,” the 50-year-old laughs from his spacious studio in a side street off Karl Marx Allee. Growing up in Payneham

Photography by Mick Bradley. Supplied: By artist & Greenaway Art Gallery

W

inters in Berlin can be brutal.

Long cold grey and bleak days interspersed with random bursts of snow-covered bliss or rainy slushy and slippery ice. Come mid February, even hardened Berliners familiar with the conditions are poised for spring. Fresh tulips seem to propagate surreptitiously on tables in cafes and in shop front windows. Everyone it seems is willing new life back into the city even if the conditions outside point to it being futile.

When I meet Michael Kutschbach in a backstreet of trendy yet dirty Kreuzberg one frosty morning, however, the sun is shining and trying doggedly to burst through the thick blanket of grey enveloping the skies. A resident of Berlin on and off for the last decade, Kutschbach has become used to the ebb and flow of the seasons. They can be ripe working conditions for artists. Kutschbach is among hundreds who commute daily by foot, bicycle or train to their studios or ‘ateliers’ as they are referred to here. He’s also among nearly 2000 Australians who call Berlin ‘home’, a figure that’s doubled in eight short years. Kutschbach, who’s lived in Tokyo, Milan and London, says he fell for Berlin while backpacking around Europe in the late 90s. “Berlin was the one place that I felt I wanted to come back to as an artist to experience it, to live and work here basically. There was a certain rawness: crumbling houses unrenovated

to Italian migrants, Auri’s work encompasses painting, furniture design and assemblage of mostly-found objects and has shown in galleries across Germany, including group exhibitions alongside other Berlin-based artists including world-renowned Danish-Icelandic artist Olafur Eliasson. Auri also remembers the gallery district during its infancy. “Auguststrasse was a pretty empty street. There were really cheap rents then.

A couple of public galleries started there and then it grew and grew.” But he says Berlin’s greatest asset is its open art community.

AnnA Austin shelve 6 - 27 April 2013 www.hillsmithgallery.com.au

Michael Kutschbach, Go you little dynamo, go! 2007-2008, painted & cromed resin, steel, flocking, stainless steel, approx 1.8 mt high, ed. 10 (uniquely coloured)

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VISUAL ARTS of mouth and through online means. It’s a different world to even four or five years ago.”

Miels comes from a graphic design background and still works in the industry.

“I wanted to be creative but also financially stable so I went into design.” While he loves graphic design he also feels restricted by it, “you can only go so far so with your creativity in design”. Miels works mainly in portraiture and says, “I have always loved faces and eyes, especially eyes. They can say so much with just subtle changes. I wanted to try and pick up on people’s emotions.”

Looking at his earlier works compared to his most recent portraits there is an obvious progression of colour. The earlier works are much darker than his bolder, colourful later works. “I started playing around and experimenting a bit more with colour. I didn’t want to lose the expressions in the faces but I wanted to play with the paint more.”

Contemporary portraiture has come a long way from the traditional style, originally a historical documentation of the aristocracy.

These days artists like Miels are not focussed on the subject necessarily but rather it’s a study of paint and form. “For me there is a real interest in faces and portraiture but as long as it’s not realistic and people are not

wondering who is that person but instead see it as a figure and understand what that person is feeling.”

For his inspiration Miels looks to international art and loves discovering new styles and techniques. He lists artists such as British artist Guy Denning, David Kassan (whose style is different but he loves his work), Joram Roukes, Andrew Salgado and Jenny Saville as artists he admires.

While Miels loves faces and plans to continue on the portraiture path he is looking at working on a larger scale and bringing the body into his works. This is still at the conceptual stage but it’s a direction he plans to take. “I also want to look at utilising what I was doing with my digital stuff and skills on the computer and actually start bringing them into my pieces in terms of manipulating images and bringing different pieces together.

“I want to have fun with my art and make sure it’s enjoyable. I want to continue to evolve and enjoy what I do.”

joshuamiels.com

Joshua Miels, Silent anger (detail)

Profile: Joshua Miels

by Jane Llewellyn

W

ith another Adelaide commercial gallery, Greenhill Galleries, closing its doors early this year there are fewer opportunities for artists to

gain representation and exhibit their work.

As luck would have it the last two galleries Adelaide artist Joshua Miels exhibited at have both closed down, so what’s next for Miels and other Adelaide artists?

“It’s up to me to market myself through social media and make sure all the online stuff is working well. I’m entering art competitions and making submissions to art magazines.

I’m trying to think outside of the square without diminishing credibility,” he explains.

“I’m selling privately to people through word

T’Arts Collective Garry Duncan, Black Duck, Oil on Belgian linen

Ivana DiStasio, Patchwork Pendant

‘Upcycled’ is a new collection by glass artist Ivana Di Stasio in which she has fused pieces together to create a vibrant and unique Patchwork effect.

Window runs until April 20th.

Open Mon-Sat 10am-5pm Phone 8232 0265

www.tartscollective.com.au

THE GALLERY @ PIKES GAZ AND THE FRANKS 6 T H A P R I L – 2 9 T H M AY P O L I S H H I L L R I V E R R O A D, S E V E N H I L L | P I K E S W I N E S . C O M . A U | ( 0 8 ) 8 8 4 3 4 3 7 0

Clint and Liz Frankel, Gourmet Weekend, Glass art

Gays Arcade (off Adelaide Arcade)

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

38 The ADELAIDE Review april 2013

VISUAL ARTS

THIS MONTH

hill smith gallery Melbourne-based artist Simon Finn’s exhibition Stages of Descent was launched at Hill Smith Gallery on Friday, March 8.

The Adelaide Review’s guide to aprils’s highlight visual arts events

Tim Sterling

Photos jonathan van der knaap Lauren Menegazzo, Simon Finn (artist), Sam Hill-Smith.

Platzangst Hugo Michell Gallery Continues until Saturday, April 27 hugomichellgallery.com Using materials such as paperclips, extension cords and pencils to create his installation works, Tim Sterling weaves these everyday objects to rewrite their purpose. For his latest exhibition, Platzangst, Sterling experiments with plywood.

Frances Cummings, Stephen Nova (artist).

Margo Hill-Smith, David Frazer (artist).

Tim Sterling, Vanishing Point

tough(er) love: art from Eyre Peninsula Flinders University City Gallery Continues until Sunday, April 28 flinders.edu.au/artmuseum

Joel Weatherald, Jennifer Hay.

John Pocket, Liesbeth Pocket.

ART SCHOOL & GALLERY P R O F E S S I O N A L I S M AT L E I S U R E

2013 Term 2 commences

30 April For full programme contact Peter Bok

8346 2600 bapea@aapt.net.au

51 Wood Avenue Brompton SA 5007 T - 08 8346 2600 E - bapea@aapt.net.au http://people.aapt.net.au/~bapea

Affordable Quality 9 Week Terms Beginners & Advanced Drawing

$235

Life Drawing

$280

Portrait Drawing

$280

Painting the Figure & Portraiture

$310

Beginner’s Painting

$265

General Painting

$265

Watercolours & Pen & Ink

$235

12 April - 5 May 2013

exhibitions gallery shop

10 X TEN

An exhibition in various media celebrating a decade of collective and collaborative work by members of the T’Arts Textile & Arts Collective

Curated by John Neylon (Adelaide Review arts writer) tough[er] love explores the relationship 12 Eyre Peninsula artists have forged with the west coast of South Australia. Artists include John Baily, Cindy Durant, Amanda Franklin, Siv Grava, Joylene Haynes and Karl James.

Beaver Lennon, The Head of the Bight (detail)

New Landscapes Art Images Gallery Continues until Tuesday, April 30 artimagesgallery.com.au The group exhibition New Landscapes features artists Siv Grava, Jill Noble, Megan O’Hara, Jenny Riddle and Harry Sherwin, as well as Tim Jones sculptures, at the Norwood gallery.

Jenny Riddle, Secret Garden in the Mist (detail)

The Art of Science South Australian Museum Continues until Sunday, May 19 samuseum.sa.gov.au This travelling exhibition from Museum Victoria explores the wonder of old and new scientific illustration featuring artists such as John James Audubon and John Gould, as well as the latest digital microscopic images. Rare books, working drawings, photographs and digital media will be displayed.

Ken Walker, Cerambycid (detail)

Gallery M, Marion Cultural Centre, 287 Diagonal Rd, Oaklands Park SA 5046 P: 08 8377 2904 E: info@gallerym.net.au Mon-Sat: 10am-4pm; Sun: 1-4pm

www.gallerym.net.au

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books

At times Konkretion is so dense with allusion that it seems to want to out-Sebald Sebald, but without nailing the hypnotic hold of the German’s gaze.”

STANDING IN ANOTHER MAN’S GRAVE

Siege

Konkretion

Sarah Mussi Hachette Australia

Marion May Campbell UWAP

Ian Rankin Orion/Griffin Press

REVIEW Roger Hainsworth

Rebus is back! The (fictional) villains of Edinburgh had thought it safe to slither from their lairs but John Rebus is back from retirement in a ‘cold case’ unit. Not quite a cop, not quite a civilian, but all Rebus – that is, not all the persons gnashing their teeth are villains. Inspector Malcolm Fox of ‘the Complaints’ who investigates the sins of cops is obsessed by a delusion that Rebus has always been in the pay of gangster Gerald ‘Big Ger’ Cafferty.

Then there are the superior officers. Rebus, a thorn in the side of numerous bosses down the years, has not changed except that he’s worse. He no longer tries to suffer fools gladly. Well, he’s sort of retired, right?

Rebus’ cold case boss, Cowan, he regards with derision but discovering there’s been a serial killer making women disappear over several years shifts him into a serious crimes unit. Rebus tries to be nice but his new boss Page is more a career obsessive on the make than a detective on the prowl. Oh dear! Rebus tries to rein himself in because his friend and former partner DI Siobhan Clarke is in the unit. But the leopard has not changed his spots: just got spottier.

This is a strange case. Women disappear but on that day apparently send the same phone picture of an unremarkable roadside view to phones randomly chosen from the victim’s acquaintances.

The exception to all this is the 18-year-old schoolgirl who had disappeared before that technology existed but whose mother had never given up. She had spotted similar disappearances on the A9 since 2004 but the cases fell in different jurisdictions.

Finally she stumbles on Rebus and enlists his help.

He calls in the old files from the north and discovers the weird common phone link. Then an Edinburgh girl disappears on the A9 and Page’s serious crimes team are called in – plus Rebus. Even so it is all far north of Edinburgh in other jurisdictions. Will that stop Rebus? Not hardly!

REVIEW Helen Dinmore

REVIEW David Sornig

It’s the near future and in a paranoid and unstable Britain, disadvantaged kids have been consigned to high security schools. In Challenge Academy YOU OP 78, the Lock Down system designed to keep rioters out has been taken over from inside by an armed and murderous gang of boys. The authorities can’t get in, and no one can leave, including 16-yearold Leah, who hides in the ceilings in a bid to survive.

Relentless, bloody and brain-splattered, Mussi’s second YA novel isn’t for the faint-hearted. And although Siege has the ingredients for a formulaic thriller, Leah’s not a straightforward heroine, parachuted into YOU OP 78 from some kinder world, her moral compass set to ‘obvious’. As she trembles, freezes and sprints for her life, Leah grapples with the greater forces at work on her and the task of surviving with her humanity intact; and Siege begins to do what dystopian fiction does best – extrapolate dark consequences from problems we might neglect in the present. Mussi’s message cuts through the violence and suspense, leaving us with much more than cheap generic thrills.

In 1969, German journalist Ulrike Meinhof followed Andreas Baader and Gudrun Ensslin into the violent underground of the German left. Seven years later Meinhof, in Stammheim prison together with others of the Baader-Meinhof Group, suicided in disputed circumstances.

In Konkretion Marion May Campbell reimagines the increasingly vituperative attacks on Meinhof by Ensslin in the letters they exchanged in Stammheim, and, in the present day, a return to Paris by ageing Australian lecturer, writer and radical, Monique Piquet. In Paris, Piquet floats, in imagination and decaying body, through the spaces, history, memory, literature, and philosophy of the city.

Don’t go looking for a powerful, singleengine narrative here. At times Konkretion is so dense with allusion that it seems to want to out-Sebald Sebald, but without nailing the hypnotic hold of the German’s gaze. Still,

Friends of the University of Adelaide Library

Tim Bullamore

Celebrating Pride and Prejudice On January 28, 1813, Jane Austen received her copy of the book that she called her “darling child”. Getting Pride and Prejudice into print had not been an easy task - though it would make Austen her fame, if not her fortune. The story itself, at one level is a classic girl-meets-boy love story; at another, it is inspiring because of the charm, spirit and wit of Elizabeth Bennet and the way in which Darcy transforms his character. In this entertaining talk, Tim Bullamore, publisher of a recent book to mark the bicentenary of Pride and Prejudice will look at the past, present and future of Jane Austen’s “darling child”. Tim Bullamore, editor and publisher of Jane Austen’s Regency World magazine, is an award-winning journalist and University lecturer whose work has featured in The Times in London, The Sydney Morning Herald and The New York Times.

Wednesday 1 May 2013 at 6.00 for 6.30pm Ira Raymond Exhibition Room, Barr Smith Library, University of Adelaide Bookings by Monday 29 April to: robina.weir@adelaide.edu.au or telephone 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

Campbell’s long experience as a writer has her attuned to cross-currents of humour, punning, nostalgia, Australian cultural cringe, narcissism, regret and death in a way that rewards the deep, patient reader.

Once it finds its own voice, it reaches toward something quite beautiful.

40 The ADELAIDE Review april 2013

FOOD.WINE.COFFEE Roasted carrot and lentil soup Ingredients • 7 large carrots – peeled and halved • 2 large red onions – cut into quarters • 2 cloves garlic • 1 tablespoon cumin, coriander and paprika • 1 teaspoon Kashmiri chilli powder • 50ml olive oil • 2 pinches of saffron • 2 litres chicken stock • 250g red lentils • Tamarind paste • Salt, pepper Method 1. In a large bowl toss the carrots, onions and garlic with the cumin, coriander, paprika and olive oil, ensuring all is covered in the spices.

FOOD FOR THOUGHT

BY ANNABELLE BAKER

S

oup is the perfect example of a dish that without the correct seasoning can be extremely one-dimensional and borderline insipid. The flavours can become complex, rich and soul warming with the addition of our pantries flavour enhancers, salt and pepper being our favourites. But there are so many options for lifting flavour and, when embraced, they too will become part of your normal pantry stables. Tamarind, fish sauce, palm sugar and even miso, when used in the correct dish, can take food to the next level. The phrase ‘flavour enhancers’ has a somewhat bad wrap and is often associated with less natural E-numbers and MSG. But even MSG has place in the natural world and is found in many of our everyday fruit and veg.

I am personally not a fan of the MSG hangover sometimes experienced after a late night in Chinatown but like most things in life, use everything in moderation, and the problem is not really MSG but the concentration in which it is used. Mushrooms, tomatoes and parmesan are all naturally laced with MSG and full of flavour! Mushrooms sautéed with garlic and thyme and folded through a risotto can even distract the carnivore to not notice there is no meat in sight!

If naturally formed flavour enhancers are still not giving your food the kick it needs then acid may be your next best bet. Acidity is extremely important when balancing fatty foods and is best used right at the end of cooking. A squeeze of lemon over a crispy pan-fried fillet of salmon

makes the rich fat of the dish sharp and electric as the sea. Vinegar-like lemon juice is a perfect way of highlighting the flavours of your dishes.

Sherry vinegar of Spain is definitely one of my favourtie pantry items and its uses are truly endless. A perfect lunchtime salad of grilled chorizo, chickpeas and rocket, dressed with Sherry vinegar and olive oil, is perfection but only due to the perfect balance the vinegar brings the ingredients.

All food needs seasoning and enhancing in one way or another and exploring this is a perfect way to refine your cooking. Line your pantry with spices, different salts and peppers and fruit and veg that have natural ability to give you flavour, just by cooking them. But most of all remember to never be with out a lemon on hand; you never know when you will need a few drops of acidic juice to bring your food to life!

Celebrate the break in the weather with this warming soup. Best enjoyed with some naan bread from your local Indian restaurant or better still make some of your own!

2. Place on a baking tray and bake at 180 degrees for 30 minutes or until the carrots are just tender.

3. In a large, heavy-based pot bring the chicken stock, lentils and saffron to the boil.

4. Add the roasted vegetables and leave to simmer for 40 minutes or until the lentils are completely cooked.

(Use some of the stock to rinse the baking pan to ensure you don’t leave any spices behind!)

5. Leave to cool slightly and blend until smooth.

6. Return to the pot and season to your taste using tamarind, salt and pepper.

7. Serve piping hot with a spoonful of yoghurt and mint leaves.

twitter.com/annabelleats

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FOOD.WINE.COFFEE

A fine vintage

it’s ga me season

by Dave Brookes

at the highway

I

t is upon us again. That time of year when the fruits of the South Australian vignerons labour is magically converted into that liquid that enriches our lives, provides refreshment, enhances our meals and gives us so much enjoyment throughout the year. Wine is a beverage that should be celebrated and Australia’s largest and longest running vintage festival, The 2013 Barossa Vintage Festival, does just that with a series of fantastic events over the week-long event that will satisfy all members of the family, from the foodie and wine geek to the kids.

The first Barossa Vintage Festival was held in 1947 and the festival continues to be a celebration of all the things that we love about Australia’s most famous wine region - its wine, food, history, people and stories. It’s a community driven event with the whole of the region getting behind the event from the old hands with many generations of toil on the land under their belts to the local school children. The event has some 1500 volunteers making sure the week’s activities flow smoothly and without a hitch.

The 2013 Barossa Vintage Festival continues until Sunday, April 7. It kicked off with the Carnival in the beautiful, date palm studded surrounds of Seppeltsfield. This Easter weekend opening event was perfect for wearing out the kids on the first day of the long weekend with plenty of activities, food and entertainment to keep them occupied throughout the day. Parents enjoyed a range of wines from throughout the Seppeltsfield sub-region and local Barossan produce, bands and even a grape treading competition made sure it was a memorable way to start the festival off on the right note.

For marketeers, the Harvest Market at Yalumba Wines on Tuesday, April 2 and Wednesday, April 3 was the place to be for superb local produce, the famous Yalumba museum tasting, long-table lunch, cooking school, art exhibition, barrel making demonstrations and music all set in the grounds of one of the most beautiful, historic wineries in the country. The Ziegenmarkt on Thursday, April 4 is like taking a step back in time to experience a traditional Barossa market – fresh fruit and vegetables, small-goods, pickles, livestock and game all go under the auctioneers hammer during the course of the morning and it’s a chance to try some traditional fare such as Rote Grutze, Kartoffel Kuchen and Deutsch Kuchen. Of course the renowned Barossa Farmers Market is also open at the Vintners Hall in Angaston on the Saturdays during the festival.

The Penfolds Rare & Distinguished Wine Auction on Friday, April 5 is one of the festival highlights. There are some very sought-after vertical collections up for grabs including Orlando Steingarten Riesling, Rockford Basket Press Shiraz, Torbreck Run Rig and Yalumba Signature Shiraz. Rare collections include a Penfolds 1996 Classics set of Grange, Yattarna, Bin 707, St Henri, Magill Estate and Block 42, as well as Seppeltsfield Anthology set of Para Tawny spanning from 1907 to 1912.

There is also an emphasis on large format bottles with imperials (six litre) bottles of 2008 Penfolds Grange, 2009 Langmeil Freedom Shiraz, 1996 Peter Lehmann Stonewell Shiraz and 1996 Henschke Hill of Grace going under the hammer.

With the Barossa’s rich food culture it stands to reason that that there will be no shortage of events to keep your appetite sated. The Race to the Plate on Saturday, April 6 is an event where you compete in a kitchen ‘cook-off’ with Maggie Beer.

The first Barossa Vintage Festival was held in 1947 and the festival continues to be a celebration of all the things that we love about Australia’s most famous wine region - it’s wine, food, history, people and stories.”

With a shopping list in hand you hit Barossa institutions such as the Farmers Market, Apex Bakery and Barossa Valley Cheese before returning to The Farm where you will recreate a series of dishes and dine with Maggie and family. The festival also features cooking classes with Saskia Beer, The Grand Cellar Dinner and the famous Legends Behind the Barrel dinner if you fancy carousing with the regions famous winemakers.

The Vintage Festival Parade on Saturday, April 6 is another event not to be missed as more than 100 floats and 1200 participants travel along the Barossa Valley Way between Tanunda and Nuriootpa. It’s a fun day and highlights the tightly bound social fabric that makes the Barossa such a beautiful and enjoyable place to visit. It’s a jam-packed schedule and one that is hard to do justice to in the scope of this article. Head over to the official festival website at barossavintagefestival. com.au for a full run down of all the events and celebrate what looks to be another fine South Australian vintage and a region that has helped put Australian wine on the world stage.

» Barossa Vintage Festival Continues until Sunday, April 7

barossavintagefestival.com.au

Crocodile

R abbit Duck Venison

K angaroo

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& CHILLI JAM

dare to dine differently m ay 1 – m ay 15 To book call The Highway Bistro 8297 8155 290 Anzac Highway, Plympton thehighway.com.au

42 The ADELAIDE Review april 2013

FOOD.WINE.COFFEE

cheese matters Cheddar

BY kris lloyd

T

he origin of cheddar cheese lies in the village of Cheddar in Somerset, South West England. Cheddar has been produced since at least the 12th century. Records dating back to 1170 note King Henry II purchased around 10,000 pounds of cheddar at a farthing per pound. In the 19th century a Somerset dairy farmer Joseph Harding began perfecting the technique that was not only the name of this much loved cheese, but the technique in which it is made.

Harding introduced the recognised standard for traditional cheddar making.

The centralisation of food controls during World War II insisted all cheeses be made in factories. This resulted in many small farmstead operations closing down and almost wiped out all other cheese production in the country. Before World War I there were more than 3500 cheese producers in Britain many of which produced traditional cheddar, less than 100 remained after the Second World War. Such a great shame!

The technique of making cheddar to the traditional method as noted by Harding is complex, lengthy and strenuous but extraordinarily satisfying. No other cheese is made quite like it with the crucial feature being the way the curds are managed.

Cow milk is heated to around 35 degrees and inoculated with heat tolerant starter cultures otherwise known as thermophiles, critical in developing a rich and full-bodied flavour in the cheese. Traditional recipes require the milk to be set using animal rennet, however, modern techniques also use non-animal rennet. Once set, the curds are cut several times with cheese knives until they are the size of a rice grain. It is at this point that slow and patient stirring commences along with gentle heating of the curds and whey to around 42 degrees, this is sometimes referred to as scalding the curds.

The tiny curds are kept warm in the whey for up to an hour to allow the curd to become firm. The cheesemaker will then drain off the

While there are many styles of cheddar produced around the world using an industrial approach that is quick and easy, the flavour, texture and intensity of the real deal will leave you wanting more.”

whey leaving rubbery warm curd, which will need to be kept warm throughout the process.

The curd is then divided into two rows along the side of the vat. The curds knit together quickly resulting in long mats of the curd. These mats are cut into blocks, which are stacked four high. The stacks are turned and re-stacked for around an hour to encourage the release of whey under its own weight. This stacking and turning process is referred to as cheddaring.

Once the correct acidity has been achieved the stacks are placed on a warm table and cut into chips, the size of a hot potato chip. The chips are returned to the warm vat where salt is added by hand. These salted curds taste delicious; it is customary to sample some of the squeaky fresh curds. The salted curds are pressed into large hoops lined with cheesecloth and pressed for several days. At this point you truly realise the fruit of your labour. A total of around six to seven hours is needed to produce these stunning and imposing wheels of cheese. In my experience making cheddar by this method, 450 litres of milk yields two large wheels weighing 25kg each, the traditional cheddar size. I always struggled to lift them!

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The young cheeses are smeared with warm lard, once they are removed from the hoops.

They are then placed into maturing rooms, at 12 degrees, to mature for around 12 to 18 months. The cloth wrapping allows the rind to breathe and the cheese to slowly lose moisture, which is essential to the texture. During the long maturation period the cheesemakers carefully turn, clean and, if needed, re-apply lard to keep the rind supple.

A cheese trier is used to sample the progress of maturation from three months. Slow maturation is the key to producing a fullbodied flavour that sharpens over time and an open texture that is creamy, but crumbly.

There are only a handful of Australian cheesemakers producing cheddar to this traditional method. The lengthy maturation period is a deterrent for most small producers due to cash flow. Brie and Camembert styles will, by contrast, give producers a return in around 21 days of being made.

While there are many styles of cheddar produced around the world using an industrial approach that is quick and easy, the flavour, texture and intensity of the real deal will leave you wanting more. The beauty of these cheeses is the personality and character each batch will possess, a reflection of the season, terroir and the cheesemaker. It is one of the world’s most loved cheeses, often paired suitably with red wine. I encourage you to try this unique cheese and reflect on the tradition behind it, one that I hope we see a resurgence of some day.

» Kris Lloyd is Woodside Cheese Wright’s Head Cheesemaker

woodsidecheese.com.au

The ADELAIDE Review April 2013 43

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FOOD.WINE.COFFEE

Grenache gears up to go it alone

to be used as a base variety for port; its existence as a table wine was intermittent at best.

by Charles Gent

As the demand for table wine accelerated in the 1960s and 70s, the more vaunted charms of Shiraz and Cabernet-Sauvignon and the boom of white wine saw many Grenache vines uprooted to make way, although the grape was still regularly called off the bench for blending, usually in a junior role to Shiraz.

t might be premature to say that the Barossa Valley is entering a Post-Parker Period, but the increasing prevalence of wines that are characterised by elegance and structure – such as Damien Tscharke’s 2011 Gnadenfrei Marananga Grenache – suggests that the dictates of fashion are indeed moving on.

Straight Grenache, often made from remnant bush vines, began a revival in the 1990s, thanks in part to the nostalgic tendencies of Barossa vignerons such as Charlie Melton. A more serious regard for the variety has grown steadily since. In McLaren Vale in 2004, a coterie of winemakers formed an official fan club, with each putting out pure or Grenache-dominant wines under the Cadenzia banner.

I

Damien Tscharke was never interested in making his red wines in the steroidal style engendered

by US wine writer Robert Parker’s penchant for bruising levels of fruit, oak and alcohol, and he now believes that with the recent cooling of American enthusiasm for Australian wine, the Parkerised product will find itself increasingly irrelevant.

The Tscharke Grenache, fourth place-getter in The Adelaide Review’s Hot 100 South Australian Wines, points not only to a leavening of the bootsand-all winemaking philosophy in the Barossa, but also to the emergence of Grenache as a high quality table wine – all on its own.

As a variety, Grenache has Mediterranean origins, and in recognition of its hardiness and vigour in warm dry climes, it was planted early and often in South Australia. For the next century, though, most local Grenache was fated

In 2011, mind you, it would have been hard to make a jammy monster even if you’d wanted to.

The vintage was preceded by the coldest, greyest and dampest growing season in living memory;

much of the fruit struggled to ripen and the vines were dogged by disease from beginning to end.

Thanks to the naturally earlier ripening on the western slope of the Valley, the Tscharke Grenache was ready for picking a couple of weeks before most other Barossa reds, sparing the Marananga vines the final rains that elsewhere brought terminal visitations of mildew and mould.

NORWOOD

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His terroir helps too. Two of his three vineyards are located in the Barossa’s Marananga subappellation, where his terraced Grenache vineyard bears the region’s original German name, Gnadenfrei. In addition to boasting the Barossa’s geologically oldest soil, the locale’s elevation and easterly-facing aspect confer subtle differences from conditions on the Valley floor.

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SOUTH AUSTRALIAN

“When Grenache can be done well it can be an amazing drink, and there needs to be more benchmark straight Grenache wines out there to build the credibility that this varietal really deserves,” Tscharke says.

“Our vineyards tend to produce wines with lovely balance – we get good ripeness and flavour development, but also still a lovely retention of natural acidity,” Tscharke said.

“It makes for a great single varietal wine.”

As yet no club has been formed, but Tscharke says many Barossa growers and winemakers are thinking along the same lines as their McLaren Vale counterparts.

And while bearing no malice towards the ubiquitous three-way Rhone blend, he sees no benefit for his own grapes.

“We’re seeing a lot more parcels of Grenache finally getting to the bottle without being bastardised or blended with something else.”

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In years like 2012, with its overabundance of sunshine, it’s easy for Grenache to over-ripen and tend towards a formless fruitiness, but Tscharke is an advocate of prompt picking to keep any boisterousness at bay.

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FOOD.WINE.COFFEE

Organic Wines

by Andrea Frost

Spring Seed Company, Poppy Pinot Grigio 2012

Te Whare Re TORU 2011

Dog Point Section 94 2010

Fromm Clayvin Pinot Noir 2010

McLaren Vale RRP $18 springseedwineco.com.au

Marlborough, New Zealand RRP $25 twrwines.co.nz

Marlborough, New Zealand RRP $32 dogpoint.co.nz

Brancott Valley, New Zealand RRP $75 frommwinery.co.nz

Joch Bosworth and Louise Hemsley Smith of Battle of Bosworth and Spring Seed Wine Company have been leaders in the organic winegrowing movement in Australia since they started converting their McLaren Vale vineyard to organics in 1995. Their A-Grade certified vineyards produce a range of wines under their Battle of Bosworth and Spring Seed Labels. Vibrant and expressive as the label that adorns it, the Spring Seed Poppy Pinot Grigio 2012 is made in a light and fresh style. “We wanted to retain the fresh gentle aromas of the variety and make a light bodied, fresh wine,” commented Louise. And light and fresh it is; the wine has aromas of pear, citrus and a slight Pinot Grigio spice.

Serve chilled with a smashing view.

Te Whare Re is part of the MANA (Marlborough Natural Winegrowers), “a group of like-minded, Marlborough wine growers who share a passion for producing the very best wine possible – naturally”. Anna and Jason Flowerday, owners of Te Whare Re, the oldest small vineyard in the region, take a long-term view of winegrowing.

“We want people to benefit from the land just like we benefitted from the people who planted these vines in 1979. Often the work you do is not for your generation but the ones that follow.”

This wine sings as seductively and beautifully as a swarm of sirens on the rocks. Wafts of floral, orange blossom and exotic spice perfume are followed by a rich, complex and textured palate.

A beautiful wine that pairs wonderfully with Vietnamese or Thai food.

The Maori refer to the Wairau Valley of Marlborough where the infamous Sauvignon Blanc grows as Kei puta te Wairau ‘the place with the hole in the cloud’. It is this hole in the cloud, or to put it another way, the vast amount of sunshine hours, which makes Marlborough so well suited to organic farming. Dog Point wines originated with Ivan Sutherland and James Healey who have played a large role in the region’s original successes. Farmed organically, the Section 94 has a nose of citrus, lime and flint, before a complex and layered palate with ripe fruit, layers of texture and a lick of acid. A wine to put to rest any doubt of Marlborough Sauvignon Blanc’s potential for evolution, or for its ability to be crafted into complex and intriguing wines.

New Zealand is an infant on the winemaking scene. In only a few decades it has created some famous stories, one being the inimitable style of Marlborough Sauvignon Blanc. This wine represents one of the emerging stories, set to be a classic; Pinot Noir from Marlborough’s Southern Valleys. Different aspect, different soils and slightly different microclimate than the wide yawning valleys that grow the Sauvignon Blanc vineyards. Fromm is also part of the MANA group of Marlborough winemakers and this wine from the esteemed Clayvin vineyard, tucked high in the Southern Valleys, has aromas of dark fruit, spice and savoury notes on the palate with fine tannins and an elegant finish. As well as organic farming, these wines also have music played to them during vintage. True story.

Enjoy Pikes finest wines & fabulous food by Stuart Oldfield and Hand Made Catering while listening to the smooth sounds of Sam Brittain (Sat) and E Type Jazz (Sun).

The Gallery @ Pikes Exhibition from 4th April – 29th May featuring Garry Duncan and Glass Art by Clint and Liz Frankel.

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FOOD.WINE.COFFEE world who washes the pods prior to processing, which makes for an incredibly clean-tasting end product. Carob flowers on the tree between March and May after which the pods grow.

The pods take 10 months to grow, ripen on the tree and are harvested from February to March. Michael has seven different species on his farm, each have different qualities that can be exploited in many different ways. After picking and washing, Michael cures the pods in a warehouse until the correct moisture content is reached; from there he makes a variety of natural products. Casuda is the variety I prefer, it’s a great all rounder and one of the sweetest fattest varieties. From our research, 10 to 12 percent is the perfect moisture content from which to extract maximum flavours and aromas.

chewin’ the fat Fake chocolate? No, it’s carob!

BY jock zonfrillo

T

hrough the process of investigating native ingredients in Australia we have considered many plants, trees and weeds, which are not native, but flourish very well in this climate. One very surprising example comes from the humble pea family – carob. Originally hailing from the Mediterranean, this evergreen and deciduous tree, grown up to 15 metres tall, produces a pod, which has been used by animal and man for food since prehistoric times. Today, carob is used for curing tobacco, papermaking and is a thickening agent and stabiliser in food. Unlike chocolate, carob does not contain theobromine, therefore it is the ingredient used in dog chocolate treats.

On the health benefit front, carob contains high levels of tannins, is rich in gallic acid, which in turn, provide anti allergenic antiseptic and anti bacterial benefits. It’s a great source of vitamin E, full of antioxidants and high in potassium and magnesium, all of which help regulate the digestive system and lower cholesterol.

Great stuff, right? So why aren’t we seeing more carob on menus or ingredients lists? After a lengthy discussion with my Pastry Chef Emma Shearer and Head Chef Shannon Fleming we all agreed on one thing, carob chocolate is, at best, pretty ordinary. It seems that is enough in most cases to cull any further interest. I mean, when we started researching carob we really had to go looking for it in its natural form or, most other forms, other than chocolate substitute. The search lead us to Michael Jolley from the Australian Carob Co who has more than 6000 trees in Booborowie, South Australia. He is the only carob processor in the

Why is the best known carob product a dodgy fake replacement chocolate? Does it highlight the delicious aromas? Does it show carob in the best possible way? No! ”

Generally speaking the sugar content in carob pods can be as high as 50 percent and with it comes a super sweet concentrated aroma, completely individual in its nature. This begs the question once again... Why is the best known carob product a dodgy fake replacement chocolate? Does it highlight the delicious aromas?

Does it show carob in the best possible way?

No! Identifying and respecting carob as a single flavour, a single ingredient rather than a chocolate substitute, has been rewarding to say the least.

Before all you carob chocolate manufacturers, lovers and enthusiasts get your knickers in a knot, I’m not saying it doesn’t have a place; it just might not be the best thing to do with carob, that’s all. How about carob flavoured caramel?

Infusing carob into fat or oil and then making an emulsion or mayonnaise bursting with natural carob flavour and sweetness. Steaming and braising carob to extract both flavour and aromas in a concentrated form while carob bitters make an amazing addition to a cocktail.

Another way we have been using carob recently is by hot smoking and cooking over fire. I have used carob wood from the tree for many years; it gives a beautiful, ever so slightly, sweet smoke over the fire, which is perfect for cooking. That said, the pods are quite simply amazing to cook over! At the 10 to 12 percent moisture content, the flavour of carob comes through in fish, meat and, more recently, we discovered an incredible harmony between carob and tomato! This way of using carob is simply stunning. Smoke is, of course, an ingredient and cooking over 15 different timbers in my kitchen last year to achieve delicate variances on the BBQ made burning carob pods one of the first tests. I can’t recommend it enough. Buy some whole pods and throw them on the charcoal just before you put on the fish, meat or even try some tomatoes still on the vine, close the lid on the BBQ to capture the smoke and you will be amazed. All of the above and so much more will allow you to truly taste carob as the amazing unique ingredient that it is.

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46 The ADELAIDE Review april 2013

something sweet feature

sweet temptation With underwhelming dessert bars popping up across the city it’s good to know that Adelaide’s restaurants and eateries haven’t discarded sweets.

From vintage favourites such as

scones and cakes complementing high teas, to exciting new creations dished up by forward thinking eateries, as well as cake decorating, we look at five Adelaide spots and their sweet treats.

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AN EXCEPTIONAL HIGH TEA EXPERIENCE Indulge in Stamford Plaza Adelaide’s ‘Exclusivity High Tea’ held every Sunday in our stunning Crystal Room which features Waterford crystal chandeliers and floor to ceiling glass overlooking Parliament House and North Terrace.

EXCLUSIVITY HIGH TEA Available every Sunday in the stunning surrounds of the Crystal Room, Stamford Plaza Adelaide Includes High Tea with glass of sparkling on arrival, chocolate fountain and music by our resident pianist. $45 per person Served from 2pm – 5pm Bookings essential. Please phone 08 8461 1111 or email hightea@spa.stamford.com.au

Bistro Dom

The Highway

Duncan Welgemoed’s uber cool Waymouth St eatery Bistro Dom features a dessert menu that rivals its mains and entrees. If you are after a chocolate hit with a difference try Bistro Dom’s ‘After dinner mint’ (main picture), which is a eucalyptus and mint chocolate bar with Columbian black pure cacao. A rich Australian native twist on a chocolate bar, the ‘After dinner mint’ bursts with unique Australian flavours. If you aren’t a chocolate fiend, then go for the ‘Apple beignets, calvados bavarois and green apple sorbet’.

Pubs aren’t renowned for their dessert menus but The Highway isn’t your everyday pub. With Head Chef Nick Finn at the helm, The Highway’s dessert menu is more than just puddings and ice cream. Changing diners’ perceptions of pub food, especially with its dessert menu, the 2012 Hotel of the Year offers desserts you can share (including ‘Churro balls with dolce nero and caramel sauce’ and their must try share plate) as well as desserts inspired by Finn’s travels. This includes the ‘Orange crema catalana with blood orange sorbet and basil syrup’, which is inspired by Finn’s time in Spain working in Asian restaurants.

bistrodom.com.au

thehighway.com.au

150 North Terrace. Adelaide, SA 5000 Australia Phone 08 8461 1111 www.stamford.com.au/spa

The ADELAIDE Review April 2013 47

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FOOD.WINE.COFFEE

CUPCAKE DECORATING

CLASS VACANCIES

Lenzerheide

Baldocks

Classic Adelaide restaurant Lenzerheide has been offering fine dining from its Hawthorn location since 1989. The multi award-winning establishment offers a seasonal high tea menu, which comes with T-Bar blends for the tea and a glass of sparkling on arrival. Aside from the hot savouries and sandwiches it is the sweet offerings that sparkle, especially the carrot and walnut muffins and the strawberry mousse in chocolate nest.

If you’ve mastered the art of baking the perfect cake but are unable to decorate it to you heart’s desire then you need to check the range of cake decorating courses at Baldocks. The party supply hub offers four Wilton Cake Decorating Classes, from basic to advanced, with each course run

by Baldocks’ authorised Wilton Method Instructor, Robynn Yoerger.

lenzerheide.com.au

baldocks.com.au

Lenzerheide High Tea

Limited Places Available Small Class Size

experience sumptuous elegance

MOTHER’S DAY CUPCAKE CLASS Decorate cupcakes with Fondant & Buttercream 1 x fun-filled 2 hour lesson Tues 16 April 6.30-8.30pm or Tues 23 April 6.30-8.30pm Enquire about dates for Buttercream Cupcake Fun Class

Stamford Plaza If you are after a touch of elegance on a Sunday afternoon look no further than the Stamford Plaza’s ‘Exclusivity High Tea’, held every Sunday from 2pm to 5pm in Stamford’s Crystal Room. The perfect place to enjoy a luxurious high tea experience, you can enjoy the menu with a glass of sparkling on arrival while overlooking Parliament House and North Terrace. The sweets on the Exclusivity High Tea menu include passion fruit pavlova, strawberry tart scones with jam and cream, dark chocolate mousse, handmade chocolates and macarons.

COOKIE BOUQUET CLASS Basics of cookie baking and decoration.

2 x 1.5 hour lessons Tues 30 April & 7 May 6.30-8pm

Wilton Cake Decorating Courses

Places available in Decorating Basics Flowers & Cake Design Gumpaste & Fondant Adv Gum Paste Flowers Classes run all year

MOTHER’S DAY GIFT IDEA

Looking for a great gift idea for your mother?

We can provide gift certificates for cake decorating classes or product from the store.

Baldocks is a veritable Aladdin’s Cave of decorative and useful merchandise . . . we have something for almost everyone and every occasion.

www.baldocks.com.au 63 Queen Street Adelaide

stamford.com.au/spa

Ph: 8224 0016

Voted Australia’s favourite fine dining restaurant 2012 Lunch and dinner Tues–Sat ~ High Tea Tues–Sat 12–3 Bookings Essential 146 Belair Road, Hawthrone SA 5062

www.lenzerheide.com.au

P: 08 8373 3711

48 The ADELAIDE Review april 2013

travel

Hanoi and Halong Bay Even though everyone is on Vietnam as a place to visit, it is still one of Asia’s greatest tourist destinations despite its immense popularity. Vietnam’s fresh unique food, mix of cultures, frantic streets, historic temples and luscious green mountains make it an ideal choice for tourists and travellers alike.

Halong Bay

by Christopher Sanders

H

anoi’s old quarter is the perfect place to kick start your Vietnam adventure. With a magnitude of cheap and high quality threestar hotels located in the old quarter, you can experience the hustle and bustle of the historic area in comfort. You can’t write about Hanoi without mentioning the food, especially the street food. With hole in the

wall places located across the old quarter, just pull up a dodgy small plastic seat and table and order away. Some are put off by the grimy eating spots, but the authentic food found at them, which cost practically nothing, are the best dining spots in Hanoi. You can check the French Vietnamese fusion places, which cost a lot more, but don’t compare. If you want to escape the street tables to have

a sophisticated night out, the restaurant to check is Koto. Not only is it one of the best restaurants in town, it is also a feel good story, as the staff is made up of trained disadvantaged youth.

The best days in Hanoi kick off with a pho (which are much fresher than the ones we get in Adelaide) and Vietnamese coffee

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After a few days of Hanoi’s hectic pace, you will want to relax for a bit to be dazzled by mother nature. Luckily Halong Bay is close by.”

(condensed milk and drip coffee) before you hit the old quarter’s busy streets full of tuk tuks, street markets, scooters (there are five million in Hanoi alone), tourists, historic temples and wonderful food smells, as Paris and Asia fuse wonderfully in the northern Vietnamese city. Even though the pace is fast with plenty of noise and traffic, Hanoi doesn’t overpower. The people are friendly while the colours and history calm despite the calamity. But after a few days of Hanoi’s hectic pace, you might want to relax for a bit to be dazzled by mother nature. Luckily Halong Bay is close by.

It’s a few hours by bus to Halong Bay, one of the wonders of Asia, as the thousands of limestone islands are breathtaking to view while aboard a junket. There are a variety of junket tours offering day, overnight and two-night options. Overnight is plenty time enough. Be careful when choosing your junket, as some are party boats. If you don’t want to get stuck on a boat with a gang of Australian 20-somethings whose mission is to drink the bar dry, you might have to go with a more expensive option. If you choose correctly, you will have the boat ride of your life, as you weave through the green-topped limestone islands. Make sure the junket you choose offers a canoe ride, as there is no better way to view the majesty of the islands than up close rowing in and out of Halong Bay’s maze of small islands.

THE Adelaide R EV IEW ap ril 2013

FORM D E S I G N • P L A N N I N G • I N N OVAT I O N

Aptos Cruz

the colour issue

50 The ADELAIDE Review april 2013

form

zuster

2013 colour trends

by Leanne Amodeo

T

angerine Tango was always going to be a hard colour to follow. The name alone was enough to put a smile on any face, and when applied to anything from a piece of furniture to nail polish it becomes an instant head-turner. So when Pantone announced Emerald as its colour trend for 2013 it was greeted with mixed reactions.

The swatch plastered across all the good design blogs showed a subdued green seemingly unlike the colour of the actual gemstone. But as the year progresses we see Emerald pop up in shades that are rich, deep and luxurious. The fashion catwalk is always a good indication of how a colour is going to be applied and the likes of Roberto Cavalli and Lanvin are saying ‘go bold’.

Of course, green (whether bejewelled or not) is inherently associated with nature and the choice of Emerald as this year’s colour trend suggests a return to a natural aesthetic. One could argue that the colours of nature never really go out of style, however, Pantone’s choice of green does manage to shine the spotlight that little bit brighter on the environment and its associated global design issues.

In Australia, Colourways (the memberbased trend forecasting group established by the Design Institute of Australia) has also announced its two colour trends for 2013. Their Tundra palette features the organic colours found in nature and includes iced blues and cool greys. When applied across a product,

interior or object, these muted colours have the potential to convey feelings of elegance and calm. They also provide the ideal canvas upon which to develop a sophisticated or multilayered colour scheme.

Providing a contrast to Tundra, Colourways’ second colour palette includes sugary pinks, corals and pretty purples. Going by the decidedly apt name of Sweet Chalk, its overtly feminine shades don’t pack the visual punch of a fire engine-red but are still just as effective across both small- and large-scale applications.

It may be very well to be told what colours we should be upholstering our furniture in, dressing in or even painting our walls, but there’s still something to be said for a personal style that is best served unaffected by fads or trends. It’s why the classic Thonet no 18 chair comes in a number of stains and tints as well as custom colours, not just the one nominated hue; although it would be quite something to see it in Emerald.

With the recent announcement of Melbourne’s Atherton Gardens Hub Development as the winner of the Grand Prix prize at the 2013 Dulux Colour Awards we are once again reminded that when it comes to colour, there are no restrictions. A broad colour palette, whether understated or bright, can be unleashed to enliven any design. That the Hub also features Emerald-coloured details may be purely coincidental. But for those taking note, it is also completely on-trend.

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the colour issue enoki

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the colour issue

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Metallix offers a unique new look for contemporary architecture.

The premium, metallic finish of these clay bricks will add a subtle sheen to your project. Presented in five lustrous colours, Metallix allows bold statements when used in large expanses of brickwork or fantastic contrast when used as a feature material.

Created in response to demands from architects for clay bricks that would look superb in their own right and be able to work visually alongside other construction materials. The glistening sheen and quartz-like effect when the sun hits the brick provides an iridescent appearance depending on lighting conditions and the complementary colour elements selected.

Metallix contrasts well with materials such as metal, timber and glass in both façades and as a feature element.

The Metallix range of bricks is suitable for internal and external uses and is rated for use in coastal environments where the effects of wind borne salt spray can affect other products. The range offers benefits such as longevity, strength, thermal/acoustic insulation and a strong sense of style and form.

Colours (from light to dark): Platinum Nickel (greenish tinge) Lava (red) Bronze (dark but not quite black) Emery (glossy black)

» Austral Bricks 392 South Road, Richmond SA

australbricks.com.au

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aptos cruz

PAINTING ‘Unfurl’ by Waldemar Kolbusz. Oil on canvas 183 x 122cm

CHAIR ‘369 Black Series’ by Walter Knoll, Germany. Fully upholstered black perforated leather seat with black plastic back and a highly polished black powdercoated steel frame.

770W x 760D x 430SH x 700mm H COFFEE TABLE ‘369-T Black Series’ by Walter Knoll, Germany. Highly polished black powdercoated steel frame with black coated safety glass top. 650 dia x 410mm H SIDEBOARD ‘Reflect’ Sideboard by Muuto, Denmark.

Board with oak veneer and solid oak legs in natural finish.

1797W x 400D x 694mm H FLOOR LAMP ‘Hunter Grand’ Floor Lamp by Ruben, Sweden. Metal frame with brass fittings and disc base. 1460mm H (stand height).

WATER JUG Geo’ Vacuum Flask by Normann Copenhagen, Denmark.

GLASSWARE Simply Glass’ by Klaus Rath for Stelton, Denmark. 0.4L Aptos Cruz

» Aptos Cruz 147 Mt Barker Road, Stirling SA

TALL WOODEN FIGURE ‘Female Senufo Rhythm Pounder’ Ivory Coast, West Africa

aptoscruz.com

BLUE GLASS SCULPTURE ‘Curled Leaf with Seed’ - Blue Battuto Glass Form. Edols Elliot

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printed cushion ‘Tension 3’ - Limited edition cushion by Artist Annette Bezor : 46 x 46cm Edition of 200. Priced at $245.00ea BLACK AND CREAM BOX Bone Inlay Box from India

enoki

Bean Stool A relative of the Ben + Flo table, the quietly confident and versatile Bean Stool will liven up any interior or exterior space with its quirky yet elegant lines. Use the Bean Stool as a bedside table, stool or side table in your living room and customise colours to suit your taste.

Designed and made in Australia Size: 300mm W x 300mm D x 450mm H Upholstered pad seat available upon request Cumulus Pendant There is a time when you look up into the sky and imagine the possibilities of a cloud’s form. It could be a ship, then a horse, then a sheep, but at the same time it is still a cloud. Our Cumulus lights are a contradiction of themselves. At first glance they are a simple and elegant shape, but with closer inspection they are complex structures with the guise of a simple veil.

Shade frames are made from solid Tasmanian oak.

Fabric shades are made from natural fibre fabrics and have a concealed zip.

Shades can be made from custom fabrics that are pre-approved by Enoki.

Fabric pendant cord is available in grey, white, red and black.

Unless otherwise specified, pendants come with a grey cord.

Pendants are supplied with 2.5m of cord. Longer cord is available upon request.

All electrical components are approved for use in Australia and many other parts of the world.

Broth Cushions Broth cushions are a playful way to brighten up any space with some colourful iconic imagery. Part of the Soup family, Broth Cushions are available in a range of icons and colours and can be mixed and matched to create maximum impact. Broth cushions are locally screen printed on 100% natural fibres.

Designed and made in Australia Available in 45cm x 45cm or 65cm x 65cm H Filling made from 100% recycled plastic bottles

enoki.com.au

The ADELAIDE Review april 2013 53

ADELAIDEREVIEW.COM.AU

the colour issue

Interior Trends Photos: Jonathan van der Knaap, Mike Baker and Matthew Wren.

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zuster

Sabrina Turn Stools Solid American Oak Natural Finish 350mm diam x 450mm high Echo Buffet Solid American Oak Frame 7 x Drawers in your choice of Dulux Colours 1500wide x 500deep x 900h Sabrina Armchair Upholstered Arm chair with Solid American Oak Tapered Leg. 800wide x 800mm deep Jade Stool Solid American Oak 300mm diam x 450mm high

» Zuster

370 Swan Street, Richmond Victoria

As the Milan Furniture Fair approaches, we watch nervously as to what the fashion world will release with its 2014 season, as it sets the benchmark for interior design trends

by Carmel Siciliano

F

ashion, being a guide to the general mood and the social context of what is happening in terms of the European economic financial conditions, chose to express a positive outlook in terms of very commercial minimalism, and some unconventional treatment of classic styles.

As we experiment with this general feel of financial stress and social economical change, we look at ‘recycle’ and rejuvenating the ‘old’. Pattern is making a comeback. Let’s not focus heavily on colour blocking as historic patterns are being recreated with the strongest new trend: a white background. Fabrics and wall coverings bringing small and massive floral with white backdrops, vintage prints with a twist of white, bold colours and patterns thrown onto a white canvas - you get the gist! Whatever it is, do it on white to make it in style.

With minimalism we look at the return of tweed, wool, woven and almost

hessian type materials with detail stitching. ‘Handle’ is the biggest sense to focus on. Fabrics and finishes should all be touchable. Textures with warmth and depth are preferred tp engage the user into the space with all their flesh.

The colours of sand and stone will prevail. Be inspired by your morning whole meal bread with the warmth of beige and neutral. These colors mixed with white will allow the texture and touch of materials to be at the forefront.

This year will be about experiencing and engaging in your home rather than passing it by. This trend is brought about by a need for the caring of others with the natural sense of touch and tactile qualities, the color of flesh and nail and the softness of suede. Think of natural materials with texture and neutral tones like roots and washed up wood.

In keeping with the minimalist overarching trend of the season, grey is the main colour, with some elegant accents like burgundy, blue and teal, and more fashion forward oranges and electric blues.

Last year we saw lots of yellow, limes as accents, but as 2014 arrives we will see a spectrum of teal blues to deep burgundy arrive in our furniture. This mixed in a monochromatic palette; we arrive to a sophisticated elegant tailored look that is slightly more structured – a look we haven’t seen in a while.

» Carmel Siciliano is the Director of Stile Interiors. stileinteriors.com.au

zuster.com.au

NEW CENTRE LOCK RELEASE Simply the best track guided blind system.

The new centre release mechanism makes the operation of Ziptrak® blinds easier than ever.

Additional handle optional;

Lift handle to activate release latches on both sides of the bottom bar. You may also use a pull stick – no need to bend down.

Optional: An additional handle on the reverse side of the bottom bar to allow for unlocking your Ziptrak® blind from both sides.

NO ZIPS • NO ROPES • NO STRAPS • NO BUCKLES Electric motors can be solar powered with remote control to help reduce your global footprint. Ziptrak® is now offering the amazingly simple and environmental SolarSmart™ automation solution for your Ziptrak® blinds.

For product information and contact details of your nearest Authorised Ziptrak® Dealer please call:

Phone +61(8) 8377 0065 ziptrak@ziptrak.com.au www.ziptrak.com.au Ziptrak® blinds can only be sold through Authorised Ziptrak® Dealers. Ziptrak® Dealers are carefully chosen for their integrity and quality workmanship to ensure customer satisfaction.

54 The ADELAIDE Review april 2013

FORM meet the architect The Adelaide Review and the Australian Institute of Architects held a VIP preview of the AIA Awards at Nexus Hub on Friday, March 22 with guest speaker Ben Hewett. The 2013 AIA Awards program will be launched in the May edition of FORM.

Photos jonathan van der knaap

Joan Holden, Natalie Di-Sisto.

Helga Cucchiarelli, Justin Cucchiarelli, Peter Cucchiarelli.

Nicole Prime, Don Prime.

Gerald Matthews, Douglas Alexander, Mark Whiltshire.

David Ey, Kishan Sidhu, David Dawson.

Ben Hewett, Paul Boyce.

Nathan de Leeuw, James Dujmovic.

Edwina Shannon, Sue Phillips, Mick Rix.

» TO SEE MORE SOCIAL IMAGES VISIT ADELAIDEEREVIEW.COM.AU

Recharge & Move Forward…

According to the world's leading colourexperts, Pantone’s colourof the year 'Tangerine Tango’marries the vivaciousness of red with the friendliness and warmth of yellow, providing the energy boost we need to rechargeand move forward.

Dane Arm Chair

Jensen Sofa

A perfect burst into spring, Design Furniture presents this uplifting colourin an exciting new‘Danish Retro’ collection.

Our award winning collection is beautifully complimented with a retrospect look at the Australian legendary designer Florence Broadhurst, whose life crossed over with the Danish Retro Period.

Florence’s work is in increasing demand as a new generation embraces the talents of such a captivating woman whose legacy will no doubt live on for many years to come.

Visit us at www.designfurniture.com.au.

Matisse Chair

Klein Sofa

MORE THAN BEAUTIFUL FLOORS

FLOORS & FURNISHINGS

DIA/NAG Rug Design Competition 2013 Terrace Floors & Furnishings is teaming up again with the DIA, NAG and Danish carpet manufacturer ege for the only South Australian based rug design competition.

It is a competition for design professionals to explore the total freedom of custom rug design using innovative dye injected prints on textile flooring. The possibilities are sure to amaze you!

The theme this year is getting back to basics – rethinking core design principles and collected ideas to create a changing space.

The three finalists will have their rug designs made with the winner presented with their winning rug at a DIA/NAG/ege and Terrace Floors Awards Night in July 2013.

For full details and to register go to: www.terracefloors.com.au or email us: info@terracefloors.com.au

F I N E ST WA L L -TO - WA L L C A R P E T • B E AU T I F U L R U G S • T I M B E R & R E S I L I E N T F LO O R I N G

H O M E A C C E S S O R I E S • C O M M E R C I A L P R O J E C T S • C U S TO M R U G & C A R P E T D E S I G N 51 Glen Osmond Road Eastwood SA Ph (08) 8274 1125 www.terracefloors.com.au Open Monday to Friday 9am–5pm Saturday 10am–4pm