The Adelaide Review May 2013

THE ADELAIDE

REVIEW Issue 399 may 2013

adelaidereview.com.au

Life begins at 40 The Adelaide Festival Centre celebrates 40 years by looking to the future

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Get activated

Holden on the brink?

Bloom and Blush

Is Peel St set to become the new city hotspot?

John Spoehr writes that we should hope for the best and plan for the worst in regards to Australia’s car industry

Local jewellery designer Peta Kruger’s star is on the rise

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WELCOME

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ISSUE 399

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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 Production & Distribution Karen Cini karen@adelaidereview.com.au

Lisa Tomasetti

National Sales and Marketing Manager Tamrah Petruzzelli tamrah@adelaidereview.com.au

Photographer Lisa Tomasetti’s exhibition of the Australian Ballet on tour is a surprising and engaging series of photographs that features photos of the dancers in unexpected locations

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

INSIDE

Managing Director Manuel Ortigosa

Features

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Business

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Science

18

Books

23

Fashion

24

Performing Arts

25

Visual Arts

32

Travel

41

Food. Wine. Coffee

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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

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sa architecture awards

voice

The annual awards showcase the best of local architecture

Local graphic design company Voice is one of the most dynamic design firms in the country

Contributors. Leanne Amodeo, Annabelle Baker, David Bradley, John Bridgland, Michael Browne, Petra Churcher, Mark Coleman, Derek Crozier, Helen Dinmore, Alexander Downer, Robert Dunstan, Stephen Forbes, Andrea Frost, Charles Gent, Paul Greenaway, Andrew Hunter, Stephanie Johnston, Stephen Koukoulas, Jane Llewellyn, Kris Lloyd, John McGrath, John Neylon, Nigel Randall, Kristy Sander, Margaret Simons, Lisa Slade, John Spoehr, David Sornig, Shirley Stott Despoja, Leigh Vlassis, Matt Wallace, Chris Watkins, Duncan Welgmoed, Paul Willis, Jock Zonfrillo Photographer. Jonathan van der Knaap

The ADELAIDE Review may 2013 7

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FEATURE

off topic: Leigh McClusky Off Topic and on the record as South Australian identities talk about whatever they want... as long as it’s not their day job. Former journalist and Today Tonight host Leigh McClusky is the Principal of the public relations and communications company McClusky & Co. Growing up in Victoria she left home at 16 to couch surf with no plans in mind.

by David Knight

“

At the time I thought I had been seriously wronged by my parents. In reality it was just that I was headstrong, my father had a very strong personality, and I took great delight in baiting him and clashing with him,” McClusky begins. “He barracked for Collingwood, I went to the other extreme and I barracked for Footscray.

He was Labor, I argued Liberal. It was during that tumultuous hormonal red flag to a bull stage.

“Leaving home when you’re 16 does present itself with some challenges. I reenrolled at school (looking back, at least I had the sense to know I needed more education). To stay in school I worked two jobs. One was a checkout chick at Safeway during the week and then a couple of mornings I would be out knocking doors selling Avon in Moorabbin.

“I didn’t have any great plan of attack, so I was

couch surfing there for a while, which had its issues. The last time I couch surfed I was paying a small amount, literally, to use the couch at night. This meant you couldn’t go to bed until everybody else in the share house had decided they had had enough of the lounge room but I remember very clearly waking up to find one of the housemates sitting naked and cross-legged at the end of the couch, strumming a guitar and calling me his Siddhartha. At that point I decided it was probably time to try a bit harder to actually rent a bedroom rather than couch surf.”

with a nice herd and a new ute. Not that there’s anything wrong with that. It just didn’t feel right and I knew that there had to be more out there and I just had to have a go. I just had to get out.

And that’s not to be unfair to my parents. In hindsight, and with four children of my own, I look at things a little differently. A mandate that has stayed with me my whole life is that I’ll never die wondering. Whenever there’s been an opportunity to take a job, to move interstate, I did it. I moved interstate five or six times because my theory is always, ‘Bugger it, why not? What’s the worse thing that can happen?’

“The one thing I can say for my parents is that they both had a really strong work ethic, because I didn’t come from a privileged background, we were working class. There was never an expectation that life was going to be easy. It was always made very clear that if you wanted it, you had to work hard to get it but if you worked hard there was no reason you couldn’t get it. You were equally in the game as everyone else having a go.”

The former 7.30 Report host was living in country Victoria when she decided to leave home.

While at school, and working two jobs, McClusky met with a careers teacher who asked her what she wanted to do with her life.

“I looked around and thought that I didn’t want to live my parents’ life. I thought if I didn’t get out of there that’s what I’d end up doing. I would end up married to the local dairy farmer

“I remember distinctively saying to her, ‘I’m tired and I need money. I need a job that pays money now.’ She said, ‘Oh, you can do a bachelor of arts or you can do language and literature at...’

Leigh McClusky

I said, ‘No, no, no, you’re not hearing me – I need a job. Now! She sent me along for a day’s work experience at the Herald and Weekly Times and there was an old bloke there Bill. He was the editor of Who’s Who, so I went along for a day’s work experience and the copy editor at the time was a woman called Caroline Wilson, now a preeminent football writer. I met Caro.

And by lunchtime dear old Bill had taken us to the Hotel Australia for champagne cocktails. I remember thinking, ‘Journalism, this is it. You beaut. I’m in.’ That’s where it all began.”

mccluskyco.com.au

8 The ADELAIDE Review may 2013

FEATURE

Get activated Peel Street used to be a typical, grungy, off-Hindley laneway but big plans are underway to ‘activate’ Peel Street.

by Jane Llewellyn

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his activation is happening thanks to the vision of property owner George Ginos of the Ginos Group, who owns Leigh Street and has acquired property on Peel Street, and a couple of hospitality entrepreneurs and seasoned property developers to realise the street’s potential and position it as the city’s next hotspot.

Peel Street’s eclectic mix of heritage buildings and other less aesthetic 70s architecture gives the laneway an inner-city feel and is part of the attraction. “We think it’s thoroughly urban. It’s almost its own little city within a city,” says Crispian Fielke, one of the owners of Clever Little Tailor, the first of the new wave of businesses to open on the street.

Fielke and co-owners Josh Baker and Dana Whyte felt Peel Street was the ideal location

for their bar venture. “The laneway feel is very alive here. Given there are still some cars rolling down the street and there is a mixture of workers, young folk and weekend folk. It has its own community,” Fielke explains.

Clever Little Tailor has been an instant hit since opening its doors a couple of weeks ago.

It’s a small bar (fits about 70 people) but the building, which used to be the loading dock for Fletcher Jones, has high ceilings with exposed beams creating a sense of space. The bar focuses on quality liquor served in an intimate setting.

“We are trying not to theme or pigeonhole it.

We want to show off good liquor. People can expect a really nice fit out and a service-driven mindset,” Fielke says.

“It will be a casual dining experience that brings the relaxed Aquacaf feel to the city,” Theodoros says. “We wanted to place ourselves in an area that’s growing and be surrounded by like minded people. It will be nice to be back in the city.”

It’s not just hospitality businesses that are taking advantage of the laneway vibe, coworking giant Hub Adelaide is set to open in September on the first floor of the Fletcher Jones building on the corner of Peel Street and Hindley Street. Part of Hub Australia (which is linked to the global Hub brand) Hub Adelaide joins the wave of co-working spaces popping up around Adelaide – The Mill, Majoran Distillery, Co-West and That Space.

The changing face of Peel Street is not without consequences. Art collective Format, who occupied their space on Peel Street since 2010, had no choice but to vacate because of increased rents. Stan Mahoney, Managing Director of Format says: “The rejuvenation of the Peel Street precinct is well over due. It’s

just a shame that artist run community based groups are not part of the vision for the street.

We’ve had a lot of support and we are confident that Format will continue in the CBD.” Also readying for completion is Peel Chambers a mixed-use building being promoted by Peter Buchan (Buchan Lee Property Group). The 1897 building has been revitalised and offers shells, which can be converted into either an apartment or office space. Buchan says: “Bringing people to live here is also important and that’s what we do.

It’s one thing to have people visiting the street and then going back to the suburbs but you need people living here.”

With all this development underway Peel Street will look very different by the end of the year as it’s transformed into a vibrant strip of diverse businesses. The plans also include a knock through to join Peel Street and Leigh Street adding to the potential for further development and creating what looks to be the beginning of Adelaide’s laneway network.

While there seems to be a laneway culture developing in Adelaide Fielke believes it’s about “tapping into space”.

“I don’t think the laneway trend is something that is driven necessarily by fashion but rather good use of space, clever use of space.”

The laneway popularity coincides with changes to small bar licensing earlier this year. Ross Stanley’s Chihuahua on Peel Street will be the first bar to benefit from these changes. The South American inspired bar is set to open in July after Stanley’s reconnaissance mission to South America to source boutique products and decor. “All the businesses on the street are offering a boutique product. They have a bit of a story and personality behind them,” Stanley says. The location appealed to Stanley because of the proximity to Leigh Street and the fact that Peel Street was “creating a bit of a precinct within a precinct”.

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Also opening in the next three to four months is Peel St, the latest offering from the team behind Goolwa’s Aquacaf – Jordan Theodoros, Ben McLeod and Martin Corcoran.

Peel St will offer what Theodoros describes as “really simple fresh food with a focus on Middle Eastern flavours”.

English Language 22-26 Peel Street Adelaide Ph: 08 8212 4990

CRICOS No. 02779K

RTO No. 456 6

I don’t think the laneway trend is something that is driven necessarily by fashion but rather good use of space, clever use of space.”

Peel Street

The ADELAIDE Review may 2013 9

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OPiNION in community engagement in Australia.

The decline of volunteerism in Australia threatens the community club model on which Australian sport was built.

Governments are keen to stress the value of participation in the economy, draining the traditional pool of volunteers. Dual-income families are encouraged, and older workers are asked to remain longer in the workforce.

Australians are now working longer hours and are time poor.

Traditional sources of volunteers no longer have time to umpire junior cricket matches, participate in community club committees, or sell raffle tickets for their child’s netball club. Volunteerism is the blood that pumps through the veins of community sporting clubs. Without it, they will cease to exist and opportunities for participation will disappear.

MODERN TIMES Bread, Circuses and Sport in Australia

BY ANDREW HUNTER

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olitical discourse is focused on the economy, while popular conversation centres on dissecting every minutia of professional sport. The descent of the Roman Republic into autocratic monarchy was apparent when public policy was reduced to a gambit about retaining power by providing panem et circenses. Has modern life in Australia been similarly reduced to bread and circuses?

Australian sport is now a monument to the gladiatorial experience of a Roman colosseum.

The social context that once allowed community sporting clubs to thrive is disappearing, and participation has dramatically fallen in recent decades. Sport is now understood to be a series of public spectacles, observed by masses intent on simple amusement.

The sight of 50,000 Romans packed into the Colosseum represented the sense of triviality that poisoned the Roman Republic, and contributed to its decline into autocratic rule. Juvenal, Roman poet and author of the Satires, asserted that the “minds of men were gradually reduced to the same level, the fire of genius was extinguished, and even the military spirit evaporated”.

Sport in modern times has a wonderful capacity to bring people together but it now also captures the attention of an audience who decline the communal experience offered at modern colosseums like the MCG and, soon, the Adelaide Oval. Sport is now an experience principally enjoyed in the living room, where it is possible to view almost every major sporting fixture on television, or privately on any number of portable devices from which the internet can be accessed.

Sport should be more than a vehicle to provide banal entertainment for the masses.

The principal value in encouraging greater participation in sport is clear. Australia faces an obesity epidemic that has two primary causes: poor dietary habits and inactive lifestyles. A sporting life can help to remedy both modern ills. The increasingly sedentary habits of most people during working hours should be balanced with physical activity if we are to avoid the costly consequences of becoming the most obese nation.

Sport has traditionally played a role

The issue of declining participation in sport has long been understood. Soon after taking government, Labor appointed an Independent Sport Panel which in 2009 published the Crawford Report. This report recommended that government place greater emphasis on increasing the number of people who participate in sport, and redirect funding to community and grassroots sport, rather than to elite sporting bodies. Unfortunately, interest groups such as the Australian Olympic Commission exercised its significant influence to ensure that the government did not act on the report’s recommendations.

This episode provides further evidence that interest groups too often overwhelm policy that is in the public interest. As Cicero once asked: “Whv people has not been very perceivable?”

What value does elite sport actually bring to Australia? Our national sporting teams can satisfy latent (and sometimes less latent) feelings of nationalism but is this sufficient reason for vast allocations of government funding?

It is also often said that success at an elite level will inspire younger Australians to participate in sport. There is little evidence to support this argument. The unprecedented success achieved by Australian teams at

the Sydney, Athens and (to a lesser extent) Beijing Olympics did not inspire Australians to spend more time playing sport. According to the ABS, the time spent playing sport fell during this period.

A series of incidents involving our national swimming and cricket sides, as well as some AFL football clubs, has made it apparent that our most loved athletes are not necessarily champions of the values we hope to inspire in our young people. Sport was, for a century, understood to be a carrier of values important to the formation of young Australians. Community sporting clubs instilled in younger members the importance of cooperation, loyalty and hard work. Our elite athletes championed the value of commitment to excellence.

Does Australian sport still serve as a carrier of values? The phrase bread and circuses has come to represent the erosion or ignorance of civic duty in favour of more trivial concerns. Does Australian sport, which now favours the spectator experience over the profoundly richer experience of participation, have a similarly corrosive effect on our society?

There is also reason to be concerned for the elite athletes. The Roman writer, Seneca, wrote that for a gladiator “the only exit is death”.

Too often, our elite athletes are terrified of the great unknown of sporting retirement.

Awash with money and attention during their careers, our sporting heroes are led to believe that they are the exceptions to almost every rule. When their careers are over, and the attention of adoring masses is no longer, the well-being and security of many of our modern gladiators decline sharply.

The people ceased to play an active role in the life of the Republic, as their needs were reduced to bread and circuses. Are we revisiting a period where a combination of economic opportunity and simple entertainment is used to satisfy the masses – a situation conducive to minds “gradually reduced to the same level,” and where “the fire of genius [is] extinguished”?

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10 The ADELAIDE Review may 2013

OPINION

LETTER FROM cyprus

BY ALEXANDER DOWNER

T

here’s a simple economic equation which goes to the heart of economics: savings equals investment. An economy can’t grow if there is no investment.

That’s obvious. And what do you invest? Money which has been earned but hasn’t been spent on consumer goods. That is, savings. When the public save, they put their savings in a bank. They assume their savings are safe there. Safer than putting cash under the mattress or in a cupboard. The bank then lends that money out. That drives investment.

Imagine what it means to an economy if the government comes along and says it’s going to confiscate some of those savings. Not only are the hard-earned savings stripped away but money which can drive investment is lost.

Well, welcome to modern Cyprus. It wasn’t the government that launched an attack on people’s savings but the troika of the IMF, the European Commission and the European Central Bank.

The Cyprus story is a story of huge bad luck. As a result of the war in 1974, the Cypriot economy declined by around 30 percent in two years. It was a terrible blow. But an industrious and business

savvy people rebuilt their lives – the Turkish Cypriots being heavily assisted by Turkey. The Greek Cypriots prospered by promoting their sundrenched island as a tourist paradise. But they also encouraged banking and finance using two tools: a sound legal system partly inherited from the British and low taxes.

While income taxes in Cyprus are not too dissimilar from the generality of European taxes, company tax is only 10 percent. This formula attracted foreign capital and the trend accelerated after Cyprus joined the European Union in 2004.

The banks, as banks do, lent out the deposits and given the affinity between Greek Cypriots and Greece, lent plenty of money to Greek businesses.

And what is more, the Cypriot banks bought Greek government bonds.

The Global Financial Crisis and a long history of government profligacy in Greece led to the near collapse of the Greek economy. It had to be bailed out. That had two effects on Cyprus.

First, as Greek borrowers went to the wall, so the Cypriot bank loans transformed into bad debts.

And secondly, the terms of the Greek bailout meant that Greek government bondholders were told to

take a “haircut” – that is to lose half the face value of their bonds.

For two Cypriot banks in particular, this was devastating.

For the government in Nicosia, the cost of bailing out the banks was way beyond their means.

The troika had to come to the rescue. And apart from a very severe austerity package coupled with a suite of economic reforms, the troika demanded Cypriot depositors contribute to the bailout.

How Australians would squeal if our government had to borrow to survive but only on terms that would cut pensions and public sector wages by, say, 20 percent and impose a restructuring of our social security system denying some beneficiaries their benefits altogether.

But look at it the other way: what would Australians say if New Zealand and Papua New Guinea went broke and our government told us we had to spend $50 billion bailing them out?

It’s quite a dilemma.

Obviously this will impose hardship on depositors and be a further setback for the Cypriot economy. But the issue is a bigger one than little Cyprus. It raises real questions about the management of the eurozone itself.

Here are the dilemmas. The Cypriot bailout will be financed significantly by other countries in the eurozone, above all Germany. This bailout comes on top of the bailouts already costing tens of billions of euros for Ireland, Portugal, Spain and Greece. These bailouts have to be approved by each of the parliaments of the 17 eurozone countries. So on the one hand you have the inevitable anguish and pain from the conditions imposed on the borrowing countries.

But on the other, you have taxpayers in the lending countries smarting that they have to finance what many of them see as the financial recklessness of lands far away.

This tragedy in the eurozone should encourage the EU to restructure the euro. If it is to survive as a single currency, then there will have to be much more coordination of EU fiscal and broader economic policy. And government debt in the eurozone will have to be mutualised.

Europe is at a crossroads. Either the EU integrates further and the individual member states surrender a lot more of their sovereignty, or it will atomise and the euro will eventually collapse. The European project will then be at an end. I’m not sure European voters quite want to make either decision.

Well, democracy requires that all the people take responsibility for their decisions. In Europe they’re going to have to think very hard about what to do next.

The ADELAIDE Review may 2013 11

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OPINION

NDIS: State collaboration is key

by Kristy Sander

A

s a result of the Productivity Commission findings in August 2011 that Australia’s disability system is “underfunded, unfair, fragmented and inefficient”, the National Disability Insurance Scheme (NDIS) has been created.

The scheme is for the benefit of those people with a “significant and permanent disability that affects their communication, mobility, self care or self management”. Eligibility is based on ability to function rather than diagnosis.

The age group will eventually include those from birth to 65 years across Australia and will be tailored to the needs of the individual on a long-term basis. This will allow people with disabilities to live with “dignity, choice and control”. It’s cited to be a revolution in the way Australia deals with the disabled community, born from years of underfunding, long wait periods and current system inefficiencies. The NDIS should ensure people with a disability wherever they are located, receive care and support based on their individual needs over the period of their lifetime.

Central to the success of the scheme is a collaborative approach between states, territories and the national government. The federal budget has committed $1 billion to support the first stage of the NDIS starting from July 2013. Where previously disability has been dealt with on a state by state basis

creating a singular system of discrepancies, the new national approach enables those using the system to have the flexibility and consistency to transfer to other states around Australia.

A Launch Transition Agency has been established as an independent body, “working with people to identify their goals and aspirations, and providing them with the support they need to help them reach their full potential”. The Agency will also work with existing service providers, many of whom still have contracts with state governments, to make sure people with a disability can access the kind of care and support they need to pursue their goals. This may also include the support of carers in their role.

Although eventually a national based scheme, the five states entering the launch phase have all taken a slightly different approach. Tasmania will focus on the 15-24 year old age group, Victoria will target birth to 65 years in the Barwon region, NSW will roll out to birth to 65 years in the Hunter region, those in the 1524 year age group will initially benefit in the ACT and SA has chosen to focus on children aged birth to 14 years.

The reasoning behind South Australia’s decision to focus the launch phase on children is to provide them with the best possible start in life through early intervention, therefore having the greatest potential to make a difference in that child’s life. There are still many unanswered questions, rules to be set, planners and local area coordinators to be employed and offices to be opened; however from July 1, 2013 the first stage of a three year launch will be rolled out in South Australia. Starting with birth to five years in the first year, followed by six to 13 years from July 2014, it is expected that all remaining children with a disability up to 14 years of age will be included from July 2015. It

is hoped that early intervention will essentially maximise the potential for this age group to participate and function in their future lives.

One of the underlying factors of the scheme is the understanding that it is an insurance based approach with a shared cost across the community that supports economic and social participation. Resource allocation is based on managing the long term costs across the life of an individual as opposed to focusing on immediate needs or taking a reactive approach to crisis situations. The scheme is intended to provide choice and control over support for each individual situation – control over planning and delivery of services, control over managing of funding.

The scheme finally gives effect to some of the obligations under the Convention on the Rights of Persons with Disabilities.

Another key aspect of the NDIS is that it interfaces with other systems already in place. It is not the intention to duplicate or replace current mainstream services and community supports. It will work alongside the current housing, education, transport and health services, which will ensure the longterm sustainability of the scheme. Building community awareness of disability and understanding the issues faced will also play an important role.

There are safeguards that will be put in place to determine the most important needs for the person with a disability and what will best support their participation in life. Unaccounted for spending of lump sum payments is not the intention of the NDIS. Only reasonable and necessary supports will be funded with the focus on early intervention and a planner will be assigned to work with families to achieve this outcome.

At a Council of Australian Governments (COAG) meeting late last year, an

The new national approach enables those using the system to have the flexibility and consistency to transfer to other states around Australia. ”

Intergovernmental Agreement for the first stage of the NDIS was signed, providing the foundation for all governments to work together to support and implement the scheme.

Should there be a change in government later this year, bipartisan support of the NDIS has already been established to ensure there is continued and ongoing support.

In March 2013 the National Disability Insurance Scheme Bill which lays out the legislative framework for the national scheme was finally passed through parliament. On its passage through parliament the Bill, along with the agreed amendments, was “shaped by the feedback the Government received from people with a disability, their families, carers and service providers, through consultations across the country”. It is the intention that this consultation process continues as the scheme, recently re-named DisabilityCare Australia, commences its roll out from July 1 this year.

» Kristy Sander is a Human Resources Manager based in Adelaide

It’s never too late to follow your passion…

Associate Degree of Visual Art | Bachelor of Visual Art | Bachelor of Visual Art (Hons) Enrol and commence mid-year for our accredited tertiary degree programs. Part-time and full-time study options, day and evening classes, single subject enrolments, deferral of tuition fees through FEE-HELP, small classes and one-on-one mentoring by lecturers who are all leading practitioners in the field in which they teach. Semester 2 commences on 15 July 2013.

Applications due by 11 June 2013. Call (08) 8299 7300 for a mid-year entry application package.

Secondary School Short Courses

Opening of Adelaide Central Gallery

After school art courses for Years 10 – 12 secondary students and teachers commencing in May.

At our new campus at Glenside Cultural Precinct. In the Beginning… 30 Years of Adelaide Central School of Art: the first six years Bloor Court 1982 - 1988.

Opening 3 - 5pm Saturday 18 May 2013

Term 2 Short Courses An exciting new range of short courses are commencing throughout May. Contact the School for a brochure.

All classes will be held in the School’s new campus within the Glenside Cultural Precinct

Visit our new facilities Scheduled tours on 27 May and 1 June at 1.30pm or call us to book a more suitable day. Call Andrew on 8299 7300 to make a booking, places on scheduled tours are limited.

Image One of five drawing/painting studios in the new Teaching and Studio building. 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

12 The ADELAIDE Review may 2013

columnists

THIRD AGE When Canberra and I were very young

BY SHIRLEY STOTT DESPOJA

C

anberra and I didn’t grow old together – and in many ways I am sorry about that. I would like to enjoy Canberra’s centenary this year as a resident, my memories going back to the 50s. I was there again in the 70s, with a family, some of the time looking over the city from a grazed-out hill in NSW. I returned to Adelaide permanently at the end of the 70s, but kept an eye on the bush capital. My best friend lives there and, believe it or not, we snail mail each other three or four times a week, sustaining Australia Post and keeping me up with Canberra’s growth towards maturity.

In the 50s Canberra was like a flash boarding school. In a population of 44,000, there were hordes of young people living away from home in hostels of varying quality. Fresh from Sydney I started off in a timber hut in the heart of Civic, grandly called the YWCA hostel, moved for a while into a hostel with an interesting intake of young migrants, and on to Havelock House, then the hostel of choice for those waiting for a nice, new government flat.

In the Havelock of my day, there were public

six square metres

servants at the beginning of their (in many cases) starry careers, academics, field scientists, a few people from the armed services, a few in the building industry or removalist businesses, a press photographer and one C grade reporter, yours truly, on The Canberra Times owned by the Shakespeare family. It was a fairly representative mix of the Canberra at that time.

I fell in love with Canberra in the 50s because it lacked menace. Sydney had come up with too many scary situations for a young woman using public transport in the out-of-ordinary working hours of journalism. I did not feel entirely safe at work, and I could not see a future. Canberra’s pretty, wide streets and gardens gave me the space I needed to work out why I could not see my future as plainly as young men did. Canberra was to help bring about my social and political awakening.

Eventful, exciting, always something to do, the High Country close for skiing or bushwalking, a rackety DC 3 to get to Melbourne or Sydney for a weekend… it was a young persons’ city full of life and promise. For a young female reporter it was experience that I could not easily get in Sydney: courts, police rounds, but also writing about ideas, covering the regular lectures in the Canberra University College and St Mark’s Library, meeting almost every important stranger who arrived at the Nissanhut airport. A 50s Soviet delegation, Alfred Hitchcock, Kingsley Martin, embassy people… but I didn’t cover politics, or the National Capital Development Commission. They were for the men. Of course I pushed my luck, and was told, with some savagery, that I was encroaching on boys’ territory. So I packed my bags for Adelaide.

I thought of it as a place of cathedrals in paddocks, strange and beautiful. Golden poplars along the bridges before the Lake was there thrilled me. Reporting functions at night before I could drive meant I was dependent on strangers for a lift back to the office, yet I felt safe under

It took me a long time to recover from a sense of loss – not only of the physical beauty of Canberra but from discovering that Canberra had its menacing side after all. In Adelaide at first, I knew no other young woman who lived away from parents. When a boyfriend’s mother met

and golden arches on the illuminated drive through menu.

miracles. Plants that sulked through the heat suddenly put on a surge. The gardening world briefly stands on tiptoes before hunkering down for winter.

ore than a year ago I planted a vine called a Happy Wanderer against the back fence in the lane that lies between the rear of my home and the car park of a McDonald’s Restaurant.

M

I chose this species of vine (Hardenbergia Violacea for the technically minded) because in my previous garden – off the beaten track far, far away – it went nuts in the harshest conditions and cloaked all kinds of ugliness, such as an old shipping container used as a garden shed, and a rusty half buried water tank that sheltered my goats. I thought it was indestructible, and so imported it to this inner urban brick paved chapter of my life

I hoped it would grow to screen what I call my Andy Warhol view – multiple burgers

The Happy Wanderer did not live up to its name. It died. I am sure it really was dead.

BY Margaret Simons

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those huge starlit skies. We had theatre, music, and a world of big ideas. I covered the opening of the Australian Academy of Science dome in 1959, and believed that architecture in Canberra would only become more and more exciting. Flying in a Tiger Moth I watched the consecration of All Saints, Ainslie (some of its stone building from a Sydney mortuary train station).

I put the failure down to the towering gum trees that McDonald’s planted on the other side of the fence many years ago, in theory as a screen. They grew rapidly, leaving bare trunks at eye level and growing tossing, messy heads of leaves far above the Golden Arches. They sucked the water out of the soil for metres around. This, I concluded, together with my culpable neglect, was why my Happy Wanderer carked it.

All through winter, and then through a baking summer, the corpse of the Wanderer reproached me. Dead tendrils clung to the silly little white plastic trellis. I was too lazy to pull it out, and I didn’t give it a drop of water. I gave up on the back lane.

We are now living through the autumn flush, second only to spring as a time of everyday

me for the first time she asked her son, “But who are her pipple?” Canberra, for all its reputation for snobbery, seemed to have left that sort of stuff behind.

I kept 50s Canberra in my heart. Whenever I see cotoneasters I think with sharp pleasure of the starlit walk home alone around midnight from the ratty old newspaper building in Mort Street, Braddon, picking sprays of the berries for my copper jug; the feeling of small town safety along with the stimulating, ever moving congregation of young people I lived among and who got each other’s jokes; and the high hopes that come with being part of something new and developing. Alas, the architecture did not become more exciting after the science dome, not much of it, anyway. Canberra may not be as safe as it once was, but it is a place still safe for ideas.

Paul Daley, being younger, has had a different experience of Canberra. He has written a small, neat book* about it. His story of its earliest days filled gaps in my knowledge.

He is diverted too often by what the rest of Australia (or its media) thinks about Canberra.

You don’t capture a city’s essence by repeating what heedless people say about it – and a great deal of rubbish is written about Canberra. But it took me back and made me wish I was there – and young – again. *Canberra, by Paul Daley. NewSouth Press, Sydney.

Yet I was shaken when two weeks ago, as I pushed my bike down the back lane, I saw a leaf on the Happy Wanderer. It had come back to life, somehow surviving the bone dry dirt, the lack of care, the baking temperatures.

Each day now, there is a new leaf.

What does not kill me makes me stronger, said Friedrich Nietzsche. He is not my favourite philosopher, and I’d be prepared to bet he wasn’t a gardener.

What he said is clearly not true for cucumbers and aphids, for example. My fingered cucumber plants have survived a severe aphid outbreak this week with the help of my homemade garlic potion, but they are much weakened. No super cucumber has emerged from adversity. I’ll be lucky to get any cucumbers at all before the cold brings an end.

But the Happy Wanderer? It has no right to be alive. I am sure that it was in fact dead. Yet without the benefits of any photosynthesis or other means of support, its roots must have twined their away around those of the monster gums, burrowed under the McDonald’s drivethrough bitumen, travelled far, and found water.

I don’t know if it will ever block my view of drivers ordering their thickshakes and fries.

I no longer really care.

As I coddle my weakened cucumbers, spraying them each morning, smearing my fingers with aphid corpses, I can see the Happy Wanderer (what an anodyne name) ascending tendril by tendril.

I hardly dare to water it in case my care disrupts some crucial element of the miracle. I am a little frightened of it. It doesn’t need me at all.

» Margaret Simons is a freelance journalist, writer and academic. margaretsimons.com.au twitter.com/margaretsimons

The ADELAIDE Review may 2013 13

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columnists

Dr K’s Curious Chronicles: Monsieur Peron’s Mollusc

by Kiera Lindsey

T

his common lined chiton was prised from a King Island rock by François Péron, a half-blind French zoologist in 1802, to become part of the most comprehensive collection of Australian natural science in the world. Peron gave the mollusc to a French scientist, who gifted it to Edwin Ashby, an Englishman who migrated to Adelaide in 1888, bringing with him the best collection of chitons and fossils in the world. Ashby donated this to the South Australia Museum where the mollusc remained until 2012, when it was united with sextants and stuffed parrots from the South Australian Maritime Museum’s exhibition, First Voyages: Exploring the Southern Coast Expedition.

Now the chiton serves as a portal into a world where the French Revolution was fundamentally changing the boundaries of the world, and the ambitions of the Enlightenment Age inspired episodic war between England and

France as well as the pursuit of land, knowledge and power. Monsieur Peron’s mollusc also takes us to early New South Wales where the third Governor, Phillip Gidley King, was struggling to feed the fledgling colony, quash the illicit rum trade of the New South Wales Corps and put down insurrectionist Irish convicts.

Less than a year after Napoleon Bonaparte became the First Consul of France, Nicolas Baudin, received orders to lead the expedition to beat the British in charting the unknown south coast of New Holland. In contrast to the Investigator, said to be the leakiest boat in the British navy, and used by Matthew Flinders to circumnavigate the continent at precisely the same time, Baudin left France with more than 20 scientists on board and two fast and vast floating laboratories called Geographie and Naturaliste. Half of these revolutionary scientists baulked at Baudin’s naval discipline and jumped ship at Mauritius. Their departure resulted in the promotion of Péron, who was to slip this chiton into a sample bag during the expedition’s King Island ‘reconnoitre’.

Peron had been blinded in one eye and invalided out of the army, joining Baudin’s expedition after an unhappy love affair. His ‘extreme enthusiasm’ infuriated Baudin, whose attempts to chart the Australian coast were constantly hampered by the curious zoologist, who was in the habit of wandering into the coastal scrub, getting hopelessly lost, and

returning days later, half crazed and starved.

The French and English expeditions met at what is now Encounter Bay. Flinders shared his charts with Baudin, who realised he had been ‘pipped’ at almost every post by the British sea captain. There was little more to do, so the scurvy-ridden French party headed for Port Jackson desperate to replenish stocks and spirits before returning to France. During the five months Baudin’s party recovered in Sydney, the British Governor and Baudin forged a frank and fond bond, pledging to reunite in Europe and reminisce upon their time in the region they variously described as New Holland or Terra Napoleon. This was not to happen, for Baudin was taken by Tuberculosis on the voyage home, and King, who was forced to resign as Governor, died within a year of returning to England in 1808.

In Sydney, the loose-lipped Peron boasted of French designs upon King Island, which represented a strategic landfall for both countries in the Tasman seas. No sooner had the French ships sailed out of Port Jackson, than the British Governor despatched a schooner with a surveyor on board to the island that bore his name. Within hours of the French party establishing camp upon Isle de King, a British soldier appeared and hoisted a billowing Union Jack in the centre of the French tents. To Baudin, this ‘childish ceremony’ was ‘ridiculous’, and made even more so by the ‘way in which the flag was hung, ‘upside down’.

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For over a fortnight, the two great European powers of the age maintained their uneasy coexistence in this obscure wind-blustered portion of the world. We might imagine Citizen Peron scrambling through rock pools in search of chiton and crab, as the French captain battled with bad weather, lost a longboat, and despite being the first to circumnavigate, fix position and outline the island, was daily reminded that it had been for naught by the ‘ridiculous’ flag billowing upside down in the middle of his camp.

In less than a year, Baudin was dead. Peron returned to France, bestowing gifts of kangaroos, emus and wombats upon the first Consul’s wife, Josephine, who released them into the gardens of Malmaison. There they roamed among her rose gardens — although she had to keep an eye on the black swans, which Napoleon liked to shoot from his study window. Our hard-cased and humble chiton was protected from the violent moods of the future Emperor of France and is now the only survivor of this ill-fated attempt to name and claim Australia ‘Terre Napoleon’.

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

Terre Napoléon - Land of Napoleon continues at the South Australian Maritme Museum until Friday, June 21

14 The ADELAIDE Review may 2013

BUSINESS

Holden on the brink?

by John Spoehr

I

industry assistance package provided to GMH (General Motors Holden) was like, “continuing life support for a patient that is dying”. It is hard to be optimistic when those in the know are pronouncing the imminent death of the industry.

So, do the recent job and production cuts at Holden mark the beginning of the end for South Australia’s remaining automotive manufacturer?

Former Ford Australia Chief Executive, Jack Nasser, thinks so. He recently said that it “could be inevitable”. Late last year ex-head of Mitsubishi Motors Graham Spurling bluntly claimed that the

While I share their view to a large extent the reality seems to be that GMH will continue its operations in Australia over the short term, so long as government financial assistance remains attractive and available. The question that government is forced to face in all of this is whether the benefits of government assistance to the industry outweigh the costs. Many people feel outraged that soon after it received a multi-million assistance package, GMH announced it would cut 500 jobs from its workforce. Attention soon turned to whether the agreement in place between GMH and the federal and state governments

t would be wise for us to hope for the best and plan for the worst as we reassess the future of the automotive industry in Australia.

We should assume that General Motors in Detroit is very likely to be considering winding down its Australian operations and consolidating in China, Thailand or India. This means that we must urgently explore how government assistance to the automotive industry in Australia can help to diversify component suppliers and reduce their dependence on the major car producers, so that they don’t sink along with the automotive ship.

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

contained any commitments to employment levels. Not surprisingly there were no binding commitments. Few companies agree to exclude the possibility of job cuts but they often play up the prospect of higher levels of employment in exchange for assistance.

The politics of this is diabolical, as Premier Weatherill has discovered over recent weeks.

South Australians are rightly cynical about the benefits of industry assistance and want to see some assurances that the spinoffs from taxpayer support for the automotive industry translate into employment outcomes.

Expectations are high on both sides. GMH have made no secret about the need for industry assistance to continue their operations in Australia. Managing Director Mike Devereux has been unusually candid about this over recent years, making it clear that Australia must compete with other nations if it wants to retain an automotive industry. This shouldn’t come as a surprise. It has always been the case that the auto industry has been the beneficiary of government assistance. It is not alone. Other industries have access to direct and indirect forms of support. What is changing is the global environment in which government assistance to industry is being negotiated.

The rise of China and India as manufacturing powerhouses is creating mountainous terrain on the mythical level playing field. So many of the goods that we consume now come from China, a nation that can mass manufacture almost anything you might want to imagine, much more cheaply than we can. Lower wages, poorer working conditions and environmental degradation help to make all of this more possible. The high Australian dollar is simply the tipping point – so long as it remains well above 80 cents, the future for the automotive industry in Australia will remain bleak.

Another reality that Australia faces in securing automotive industry investment in Australia is the level of direct and indirect financial assistance being provided by other nations. The stakes are high these days with some nations reverting to raising tariffs on imported cars. In 2011 Brazil introduced a 30 percent tariff while China has imposed tariffs on the importation of some large size cars from the US and Europe. Other nations are offering tax holidays and incentives to lure large manufacturing firms to relocate.

Any sudden loss of GMH would be incredibly harmful to South Australia’s social and economic fabric. The South Australian economy is less robust than it was when Mitsubishi closed its operations back in 2008, so the 400 people who lose their jobs over coming months will find it more difficult to find work than their colleagues.

What is needed is a smart and pragmatic automotive transition plan to reposition the industry if that is possible or manage decline in a way that provides dignified alternatives for all those who lose their jobs and businesses.

If the closure of GMH was to coincide with a period in which unemployment in South Australia was steadily rising and public investment constrained or sharply cut, the state might face recessionary conditions. This is food for thought for policymakers on both sides of the political fence.

» 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 may 2013 15

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Business CEO that the AFL’s penalty on the club’s new Assistant Coach for transgressions at his most recent club was ‘unfair to the Crows’.

Well…I just don’t get it!

If I, for example, was the highly important CEO of XYZ Corporation, happened to be found guilty of an offence, and was penalised in such a way that I could no longer be the CEO of XYZ Corporation for a period, that is just how it is. Maybe the Board of XYZ Corporation should have done more due diligence on me prior to my appointment. The Board is in any case accountable for whom they appoint, and keep appointed.

Governance – Adelaide Football Club style

by Mark Coleman

A

t first, my feeling was one of bemusement when the Adelaide Football Club’s CEO (and another senior manager at the club) were found to have engaged in salary cap abuse, yet they were penalised by the AFC Board with no worse than ‘gardening leave’.

Bemusement however turned to real concern, and then to wide-eyed and open-mouthed disbelief, with the more recent revelations about players of various Australian football codes apparently taking performance-enhancing drugs, as well as possibly being involved in match-fixing.

Then of course came the business of a ‘bonding’ session between taxpayer-funded Olympic swimmers that involved the knowing consumption of a banned pharmaceutical by some swimmers, and subsequent behavior that would do justice to 14-year-old bad boys.

Finally, and taking the gold medal in this sad series of events for sport (actually, if you read the Oxford English Dictionary, what we are talking about doesn’t qualify as ‘sport’ anymore, rather as ‘business’…which is what I think is the root of the matter here), was the public statement by the Adelaide Football Club’s Chairman and acting

I have heard it said in defense of the minimalist ‘gardening leave’ penalties given to the AFC senior managers that these senior executives didn’t actually break any laws. I accept this as being true. But transgressing – very seriously, as evidenced by the AFL-imposed penalties – the well known rules, codes and ethos of the game, even if not actually formally illegal, has major risk of severe reputation damage to the club.

Double-standards are never a good look – Matt Rendell didn’t break any laws either.

Organisations – in all sectors, including sporting bodies – are well governed when amongst other things the right tone is set by the Board. In such organisations it is well-recognised that the law is indeed the bare minimum of standards to be observed. Formal laws and regulations only represent past agreement on standards. We should be looking to our high profile sporting bodies and sports people to be true leaders, and aspire to and achieve higher standards.

Further to the issue of the ‘gardening leave’, at the time I questioned a number of colleagues, all well experienced in governance roles from both for-profit and not-for-profit sectors, on their views. The overwhelming majority (in fact, all but one) said that, on the basis of the available

information, the AFC’s Board was in great error in not dispensing with their CEO. Some of these colleagues went on to suggest that the logical explanation for the Board’s (in) action is that somehow some/(all?) directors were somehow complicit. Noting that I naturally tend to see the best in people, I don’t believe that the Board was in any way involved.

However, the Board is ultimately accountable – to the law, to the AFC’s members, to sponsors, to the greater football community and South Australia’s community, not to mention its players and other staff. With apparently no one taking ultimately accountability for the actions under discussion here, the reputation of the club is under great question.

» Mark Coleman, Adjunct Professor in the Adelaide MBA at the University of Adelaide adelaide.edu.au/mba

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16 The ADELAIDE Review may 2013

Business

Cost of living?

by Stephen Koukoulas

T

here’s a perception among many Australians that they are doing it tough, that they are being squeezed by cost of living pressures and that their financial position is fragile.

A recent poll from Essential Vision found that of those who thought the economy was “poor”, 27 percent of respondents judged that “increasing cost of living” was the main reason for that assessment. In similar surveys, a significant proportion of the respondents highlight cost of living issues as reasons for their voting intention or degree of (dis) satisfaction with the government.

Cost of living also features prominently in the rhetoric of politicians of all colours as they tap into the insecurities of voters ahead of the September 14 election. It is a high profile issue.

While no doubt there are some people who are genuinely confronting financial difficulties, for the country as a whole there is scant macroeconomic evidence to even vaguely justify this assessment.

For there to be legitimate cost of living pressures, general prices need to be rising more than incomes. This would be the case in the following stylised example where someone starting on an income of $100 a day spends $100 a day on a range of goods and services.

If over the next two years, for example, their incomes rise by five percent to $105 but the basket of goods and services they buy rises 10 percent to $110, there are genuine cost of living pressures. In this example, the person will have to cut consumption to move back

to break even on their finances, or dip into their savings or borrow money if they want to maintain their consumption levels.

It is that simple.

The data on income growth and price increases over the past decade show something vastly different to the example above. The facts completely sink the notion that the general population is being dogged by increasing cost of living pressures. Whether a five or 10-year time frame is used, wages growth has exceeded the rate of consumer price inflation by a wide margin.

In the last five years, average earnings have increased by 23.6 percent, a figure that has been boosted, in part, by the mining industry boom and solid wages gains for mine workers and in related sectors. Over the past five years, the consumer price index, which measures the price change for the basket of goods and services purchased by the average household, has risen by 14.5 percent. In other words, the purchasing power of someone on average weekly earnings has increased by close to 10 percent over that time.

In this example, a person on an income of $100 five years ago is now earning $123.60, while the cost of their basket of goods and services has risen to $114.50. They are clearly better off, having $9.10 more to buy extra or better things, with the cost of living easing quite markedly.

Over the past 10 years, the gains are more marked. Average earnings have risen by 54.2 percent while the consumer price index has risen by 31.4 percent, which means that the purchasing power for someone on average earnings has risen by over 20 percent in that time.

Over the past decade, household finances have also been boosted, quite massively, with some of the largest income tax cuts ever seen.

These income tax cuts were delivered by both the Howard and Rudd governments and have injected tens of billions of dollars per annum into the pockets of householders.

Reinforcing the case that shows that the cost of living has been falling has been a

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rise in household savings rates at the same time growth in household consumption expenditure has been growing solidly.

Furthermore, the growth in household credit has slowed to a 35-year low, so borrowers are improving their balance sheets with lower debt and lower leverage.

These indicators do not fit with tough financial times for consumers.

The perception of the cost of living pressures appears to be more of a problem of the cost of consumption, which is a bias of consumers to spend money on what could be termed luxury items, indulgencies and non-necessities. If people become used to having an overseas holiday every year, or upgrading to a $50,000 car every few years, or decide that private schooling for their children is preferable to public education and then find they are having cash flow issues, they might feel times are tough and have cost of living pressures.

This is also the case if you voluntarily go to a bank and borrow an excessive amount to buy a house that is big, well appointed and geographically desirable. Any cost of living pressures from servicing a large mortgage is self-inflected pressure when a smaller, less fancy and geographically inferior house would lower your debt burden.

Business success and confidence in South Australia

by Petra Churcher

C

onfidence is vital across many areas of everyday life. From performance in the workplace to sporting success to even how a state performs in general, confidence reigns supreme. Sometimes South Australians underestimate that confidence tends to have a much more significant impact in their own state than other places around Australia. Sometimes confidence goes missing completely and this is understandable given some of the setbacks the state and city has endured over the years.

While confidence is obviously determined by outside influences, it is also a state-of-mind and I strongly believe that as a collective we often dent our business and economic performance with a lack of outward confidence. While it may be too strong to say that we as South Australians often play the victim we could do with a shot of confidence even in the way we communicate the benefits of our state to the outside world.

We tend not to ‘blow our trumpets’ as we feel it

While no doubt there are some people who are genuinely confronting financial difficulties, for the country as a whole there is scant macroeconomic evidence to even vaguely justify this assessment.”

impolite to do so and continue to view our eastern neighbours with awe.

In 2008 the Global Financial Crisis had a huge impact on markets around the world. Personally speaking it rocked the foundations of our business but I will say that as a group ipac made a conscious decision not to get caught up in all the ‘Glitz and glamour’ surrounding the GFC, which protected us well post-GFC. This could easily be said for South Australia as well and our lack of ‘Glitz and glamour’ acted as a good barrier to the global turmoil. We came out of the GFC pretty well all things considered yet still not well enough to feel confident in our state.

Our conservatism in this instance was a positive, but is it time to let go, just a little?

The South Australian business landscape has no doubt changed and we all need to make some tough decisions on how we move forward. Most of us want South Australia to grow and perform more effectively on a national scale but I think we underestimate how much our own actions and state-of-mind influences the performance of the business community. Just one sarcastic comment or one overreaction to a government decision adds to the growing lack of confidence in the state.

In the financial services industry I often hear businesses attribute a lack of success to the economic climate and flagging support from the government. While this obviously has an effect, I believe it is time for South Australian business to take more responsibility to ensure their success.

Business success does not happen overnight and

The ADELAIDE Review may 2013 17

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Business

Dealing with disruption expect the unexpected

by Michael Browne

G Caption

All of which suggests that the cost of living issue is a big furphy. There is no widespread financial pressure on consumers from weak wages growth or high inflation or a poorly performing economy. This, unfortunately, won’t stop the issue dominating the discussion in the upcoming election campaign.

» Stephen Koukoulas is Managing Director of Market Economics

marketeconomics.com.au

failure is a reality. This is uniform no matter where your business may be.

Forward thinking and calculated risks need to be taken in order to succeed as a State and we certainly need to get over our fear of change.

We need effective leadership, innovation and simple positive thinking to get Adelaide out of its negative mentality. It is no use sitting around whinging about failed projects and a lack of focus on our state from a federal level. In order to garner this attention we need to get off our collective behinds and make it happen, after all, no one is going to do it for us (especially not Victoria or New South Wales).

We live in an incredible place and Adelaide has the potential to be one of the great small cities of the world but there is no point spruiking the potential of a place. Unless we can all make it happen I fear we will never get off this roundabout of infighting, whinging and, most importantly, a lack of confidence.

And our new state logo? Love it or hate it is ours. Be positive and embrace it. Be proud of it.

Get over your inhibitions and move on.

» Petra Churcher is the General Manager of ipac SA ipac.com.au

lobal CEOs are saying that the key to survive and thrive in today’s business world will be dealing with disruption. This was the view of the more than 1300 CEOs from all over the world, including Australia, who responded to PwC’s 16th Global Survey of CEOs. CEOs believe that the mantra now, and into the future, will be “expect the unexpected”.

Agility, adaptability and a business model that can cope with catastrophe will all be key features for survival, and a strong resilient business. Interestingly, they also highlighted the importance of rebuilding societal trust in turbulent times.

When you take a quick look at the last decade it becomes easier to see why CEOs have adopted this view. Major global events including the Iraq War, SARS, the Lehman Brothers collapse (which heralded the GFC), Swine Flu, the Euro zone sovereign debt crisis and US weather events, Katrina and Sandy, have had a major influence.

In addition we have also had to deal with the Boxing Day Tsunami, Indonesian, Japanese and New Zealand earthquakes in our own region.

Notwithstanding these events the pace of change has remained constant and it is of no surprise that business leaders are expecting the unexpected as they formulate plans for growth, attracting more customers and improving operational effectiveness. These are all seen as critical factors in building a strong and resilient business.

Growth will, in their eyes, come from a specific focus on seizing opportunities for organic growth.

The need to attract customers has brought with it a realisation that the traditional sources of data through which they have assessed their customer base is quickly being overtaken by the ability to “mine” social media, blogs, and customer reviews. All of this data is readily available in today’s digital world and is being used by their own customers as they make their buying decisions. CEOs are saying their businesses must also use this data to ensure they understand their customers.

With a continued focus on customers, CEOs have highlighted the importance of adopting strategies to stimulate demand, loyalty, and innovation in their customer base as they look to sustain and build their businesses. They see this being achieved through the adoption of fewer not more strategies.

They are cognisant that their customer base is shifting its buying patterns, choosing to buy online, or only when on sale, to name just two. To survive CEOs are acutely aware that they must respond quickly to these changing behaviors to ensure the businesses they lead survive and prosper. Organisations will need to become more actively involved with their customers.

This may involve co-creating with them and certainly enhancing the way their customers interact with them and use their products.

As well as addressing these challenges, nearly half of the CEOs surveyed believe their business must also address the genuine loss of trust in business which the GFC and the actions of some companies have caused. Participants in the survey acknowledged that this loss of trust has led to a drop in brand value and performance, which they see as impacting on business as a whole and their own business. Specifically, they see that a failure to address this more general community issue may impact their company’s ability to grow.

In tackling the challenge of building public trust they understand that they must be aware of the broad stakeholder group, acknowledging that today the advent of social media means the community has a power not seen before.

CEOs see the need to focus on the promotion of an ethical culture, and a more diverse and inclusive workforce as they embrace strategies to rebuild trust.

There is also an understanding that business can no longer hide behind its legal right to operate, but must be a reliable and honorable member of the community.

In dealing with an era of unprecedented disruption CEOs must remain resilient. They can do this through a focus on initiatives that will enable them to grow through truly understanding and engaging with a growing customer base, whilst not losing sight of the importance of the broad stakeholder groups who directly interact with the company and the broader community.

» Michael Browne is a Partner at PwC pwc.com.au

18 The ADELAIDE Review may 2013

science

Antarctica

by Paul Willis

H

ow often do you think of Antarctica?

My guess is, probably not very often.

If you think of it at all, I would bet you conjure up romantic and cruel visions of the exploits of Mawson, Shackleton and Scott or vast, icy landscapes. I would be very surprised if you thought about our national and international responsibilities as claimant to almost one fifth of that frozen continent. But perhaps now it’s time to do that.

Antarctica is divided up and managed under the 1961 Antarctic Treaty which sets aside the continent as a scientific reserve. The Treaty bans military and mining activity. Call me cynical but it’s not a very effective system of management.

The treaty is up for renewal in 2050 and every nation with an interest is jockeying for a position to claim what they can when the treaty ends.

This is most obvious on the Antarctic Peninsula, a long, curved promontory below South America. There are ‘research stations’ everywhere representing more than a dozen nations. Many are abandoned and consist of a shipping container daubed with a nation’s flag or a broken-down dwelling battered by the elements. The point of these ‘research stations’ is to demonstrate a long-term interest in the area and thus bolster any future territorial claim.

The Peninsula has three competing claims from Britain, Chile and Argentina. The Argentine claim often appears on their national maps along with the Malvinas (The Falkland Islands). To further their claim Argentina built a maternity ward at Hope Bay where any expecting Argentine mother-to-be could

May 2013.indd 1

go and deliver their child on Antarctic (destined to be Argentine) soil. I’m told the Chileans have built a hotel that has never been used to further their claims of sovereignty, while British sovereign activity consists of selling stamps.

Why is there such interest in owning bits of this frozen wasteland? I’ve seen copper leeching from the rocks in several places. There are unknown but probably very large reserves of oil, mostly off the coast. Coal deposits have been found as well as potentially economic deposits of several other minerals. The rock unit that contains the Olympic Dam ore body and numerous other copper, gold and uranium deposits across our state continues on the other side of the Southern Ocean, deep into the Antarctic continent – almost certainly carrying yet more mineral riches. One-hundredand-one years ago this month Douglas Mawson set off to Antarctica with the principle objective of economic exploration. There’s a fortune down there and much of the riches are in currencies that are dwindling in the rest of the world.

A recent report in Nature claims that visiting scientists has trashed part of Antarctica. I’ve been to King George Island and it is a spectacular place: its grandeur is imposed by its remoteness and rugged beauty. The Fildes Peninsula is perhaps the most heavily populated part of the whole of Antarctica with six research bases operated by four nations.

It’s also home to some of the highest diversity of wildlife on the whole continent.

The report by Germany’s Federal Environment Agency chronicles waste dumps and other abuses of the environment. The report identified

The Science Exchange, 55 Exchange Pl Adelaide.

Bookings: riaus.org.au.

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numerous and systematic violations of the Antarctic environmental protocol, which sets out basic principles for human activities. This news saddened me but I’m not surprised. While all the bases I’ve visited spanning several nations are well-run and organised, much of their impact on the environment is managed only on the whim of the base personnel. The military presence on some bases adds a menacing air and if a base did decide to ignore the guidelines set out in the Antarctic Treaty, there’s really not much that can be done about it.

Some years back the French built a runway through the centre of a penguin colony with complete impunity. The global public outcry was ignored. In an act of delicious irony, the runway was washed away soon after completion when a nearby glacier calved sending out a mini tsunami.

The management of human activity in Antarctica is governed by little more than a gentleman’s agreement, and some players are definitely not gentlemen. So spare a thought for our ambitious Antarctic claim. It’s an area two thirds the size of Australia and, while we have three active bases there, the Russians, Chinese and Romanians also have another 12 bases on our patch as well as another jointly run by the French and Italians.

What does this territorial claim mean to us and what are the costs of defending and maintaining it?

What is the point of our claim if it is not recognised by other nations? Would we really do anything to enforce good, ethical behaviour in our Sector or will we just turn a blind eye to any transgressions, impotent to do anything other than complain?

If we have the right to claim territory, we have a responsibility to protect it. But I wonder if we are seriously up to meeting that obligation?

» Dr Paul Willis is the Director of RiAus

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

THE SCIENCE EXCHANGE: AN HISTORIC TOUR May 3, 10, 17 & 24, 5.30–6.15pm The Science Exchange $5/$3 RiAus Members free Before becoming the home of RiAus, The Science Exchange had an exciting history as the Adelaide Stock Exchange. Take a tour to hear some fascinating stories and see the Federation window, as part of About Time 2013.

THE CLOCK May 7, 9 and 10, 7.30pm Community Centres: Port Augusta, Mount Gambier, Goolwa June 6, 6-8.30pm The Science Exchange Free, booking required Age is just a number isn’t it? Find out in award-winning writer, Emily Steel’s latest play The Clock. RiAus Free Range Science and ActNow Theatre present this new piece of interactive theatre. In Adelaide, join the Q&A panel to discuss the biological and social aspects of ageing.

RIAUS BOOK CLUB May 15, 6–7.30pm The Science Exchange Free, booking required Leading up to the World Fascination of Plants Day, is a book, Flower Hunters, which follows the story of 11 remarkable men and women whose dedication and discoveries laid the foundation for the study of botany as we know it today.

19/04/13 12:37 PM

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opinion

Botanic Park tree root

Trees in Adelaide

Royal Botanic Gardens, Kew died after being hit by a falling tree branch, and earlier this year a five-year-old girl had a narrow escape from a massive branch that fell from a Casuarina in the Adelaide Botanic Gardens.

by Stephen Forbes

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he tragic death of 20-year-old Rebecca Jolly in 2010 resulting from a falling Grey Box branch on Greenhill Road was likely one factor in the Local Government Association commissioning an Independent Inquiry into Management of Trees on Public Land. The inquiry was chaired by Brian Cunningham and resulted in a number of recommendations aimed at improving tree management on public land. Last year Coroner Mark Johns presented his findings into this tragedy underscoring the inherent challenges of working with trees. Both inquiries provided a balanced view of the difficulties of ensuring tree safety in public areas and endeavoured to ensure that the lessons that could be learned from Rebecca Jolly’s death would be applied to tree management in South Australia.

As director of a botanic garden such issues are top of mind. Last September a visitor to the

None of this is supposed to be a criticism of trees.

Visitors to botanic gardens come in search of beauty, peace and tranquillity and it’s the trees that are the star attraction. I’ve worked in botanic gardens in Melbourne, Perth, Sydney and Adelaide, each with between 1.5 and five million visitors each year (with visits in the order of two to three hours), for over three decades and while there have been a couple of near-misses such as the one mentioned here, fortunately such incidents remain extremely rare.

Nevertheless the public debate on tree selection rarely strays beyond exaggerated exposition of tree hazards – a largely one-dimensional and one-sided analysis. The selection of trees in public and private landscapes remains driven by preoccupations with risk and cost rather than being balanced by an examination of the benefits and opportunities trees provide in an urban environment. It’s a depressive outlook that would be anathema to the founders of Adelaide.

Early South Australian plant nurseries and directors of the Adelaide Botanic Gardens began with some appreciation of climate and soils but

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no data on tree performance in this place (beyond observations of the indigenous flora and even here the landscape character was confounded by the systematic management of the landscape by the Kaurna people). While some knowledge was transferable from experiences elsewhere, trial and error was likely the basis of early tree planting in Adelaide. The 3500 trees that dominate the landscape of Adelaide Botanic Gardens represent the richest tree collection in South Australia, and to a significant measure, are the result of trial and error. Adelaide Botanic Gardens’ trees were planted for their botanical interest and beauty as much as for their performance and sound structure. Of course the trees that remain are the successful ones – the unsuccessful ones having died or removed along the way.

Over the past 175 years there has been a great deal learned about tree performance in Adelaide and so why is the quality of the debate around the use of trees so derisory? Tree selections in public open space seem to be considerably less imaginative that those of the 19th century. This isn’t to say that there aren’t informed proponents of a wider palette of trees and a clear understanding of the values that trees offer the community.

The recent decision to plant Plane Trees and Spotted Gums in Victoria Square illustrate the challenges for plant professionals working in an environment where their professionalism is often cursorily dismissed by amateurs. Gifted garden designer and landscape architect Kate Cullity from TCL landscape architects and David Lawry OAM, the founder of TREENET, a non-profit group dedicated to improving our urban forests, promoted Lemon-scented Gums as beautiful trees with a distinctly Australian appearance. Lemonscented Gums line the main boulevard of Kings Park in Perth where they have provided great service but were derided by opponents on the City Council as too dangerous for Adelaide. As the Lord Mayor observed, lowering speed limits in the city would have a greater benefit for public safety.

Leadership, respect for professionals working with trees and respect for professional advice underpin the effective use of trees. Paris and Singapore illustrate what’s possible.

The City of Paris is the most densely wooded capital in Europe – a visit to Paris is likely to be more fun but an analysis of the statistics might do – Paris’s 10,539 hectares include 478,000 trees comprised of 120 main species, two woods (the Bois de Boulogne and the Bois de Vincennes of 852 and 995 hectares respectively), four city botanic gardens as well as the national Jardin des Plantes, over 400 parks and gardens and, of course, the famed tree-lined boulevards.

In Singapore Lee Kuan Yew has provided leadership with a vision of Singapore as a city in garden since independence in 1959 – there’s more green space in Singapore per person today than at independence. LKY delivered his vision through an unwavering commitment to a tree cover for Singapore that required a significant shift and reconciliation in government and urban development cultures, substantial innovation and a major investment in capacity building for the landscape industry (including the construction of a horticulture school in the Singapore Botanic Gardens). Formally retired for two years and now close to 90, LKY continues to share his passion for trees and their effective management with calls expressing concerns with individual tree performance!

The benefits to people in terms of environment, well-being, innovation and livelihoods of the effective use of trees is apparent in great cities such as Singapore and Paris – why not Adelaide?

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

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National Wine Cente of Australia | 7:30 to 9.00 am $50 per person; $40 per person for University of Adelaide Alumni & Australian Institute of Company Director members Bookings & payment essential by 5pm Monday 3 June 2013. Places are limited.

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20 The ADELAIDE Review may 2013

education advertising feature

Connecting with Syndeo

by Stuart Austin

A

mentor once told me one must `fail forward’ to move on.

By learning the hard way from our mistakes, we find the path of progress and growth; we become streetwise and are better equipped to tackle complex problems.

Having experienced people to guide us along the way is a crucial part of this process. By drawing on their knowledge – and mistakes – we can move ahead with confidence and are less likely to become disillusioned and give up.

The new online system, Syndeo, has been created with this in mind. Its aim is to connect learners with organisations and mentors, so learners gain real-life experience – through both success and failure – and employees find the right people.

Unfortunately, as a society, we have become impatient in the pursuit of perfection. We expect much, shun failure and insist perfect records are necessary to get to the next stage both in education, where academic classing systems are rife, and across industries where risk aversion is snuffing innovation and opportunity.

Mentoring is something we traditionally outsource, in the hope that someone else will spend the energy on a particular person because we would rather be doing something else.

Meanwhile, expectations are growing: business expects perfect graduates; graduates expect perfect jobs; universities expect graduates to be self-sustainable, parents expect schools to help their children achieve perfect results and schools expect the government to put perfect academic systems in place.

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The reality is, we are seeing not a failure of any one system, as each party involved means well. Rather, the net effect of systems that don’t quite hit the mark.

A dissonance exists between education and industry, and opportunities to engage with meaningful projects and people are sparse.

We often hear the phrase, ‘It’s not what you know, it’s who you know’. If indeed this is the case, why is our whole education system – from pre-school to tertiary to

career – based around ‘what we know’?

There is no such thing as a `normal path through life’, and we thrive on exploration.

Connections with other people give meaning and context.

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CIC focuses on creating an educational environment which is very student friendly, understanding that the essence of a quality education provider is the quality of the academic services, the enthusiasm, experience and qualifications of academic and support staff and the ability to respond to the needs and expectations of students, industry and business.

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The ADELAIDE Review may 2013 21

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education advertising feature

Preparing for journalism’s new world

lecture in the Indigenous Art Course and will be drawing on the Aboriginal art included in HEARTLAND to deliver the program.

Lectures are also presented at the University of Adelaide by resident academics and guest presenters in the field.

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he media landscape has undergone a radical change thanks to the decline of traditional newspapers and the rise of instant news, social media and citizen journalism. The University of South Australia’s Undergraduate Program Director for Journalism Kathryn Bowd explains how to prepare for this ever-changing landscape.

What is your background?

Like all of the UniSA Journalism staff, I have been a practising journalist myself. I worked for newspapers in Australia and the UK for around 17 years before moving into teaching and researching journalism. The professional experience of other UniSA Journalism staff covers newspapers, radio, television and online.

What are some of the challenges facing today’s journalists?

Declining public trust in the news media; pressures of instant communication; the need to be multi-skilled; adapting and using social media; the rise of citizen journalism; competition from social media which has undercut the financial viability of newspapers, in particular.

What is your favourite aspect of being a journalist?

It provides an opportunity to meet a wide range of people from all sections of society, to shine a light on some of society’s problems and to help do something about them. The capacity to have an influence on life in Australia. But with this ability to influence comes great responsibility.

How has technology and the demand for 24/7 news affected journalism?

Technology has given journalists vastly improved access to information, partly by making people more readily available for comment/ interview, and partly through providing a greater array of information via a variety of datasets.

At the same time, the pressure to provide news around the clock adds another layer of complexity to the way journalists go about their work.

What do you see as the future of journalism?

The future of journalism lies in journalists’ ability to interpret the world for audiences.

People want and need journalists to report on and analyse the things that are happening around them and, with the avalanche of information now available, those functions become ever more vital to society. The forms of media may change, but the role of the journalist remains similar.

What advice can you offer for aspiring journalists?

Write! Communicating with others is a major part of what journalists do and – even when that communication is via the spoken word – writing and recording is the process

Nici Cumpston

The Art Gallery as a classroom

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his year Indigenous Art returns as an on campus offering in the University of Adelaide’s Art History postgraduate program. Run in collaboration with the Art Gallery of South Australia, the Art Gallery is the classroom and its curators are educators. The Indigenous Art course draws from the Art Gallery’s renowned holdings of Aboriginal Art that were initiated in 1939 with the first state gallery acquisition of work by Arrernte artist, Albert Namatjira,

by which that communication occurs. A large and impressive portfolio is proof that you’re committed to that form of communication.

Does traditional journalism have a place today?

Yes. Despite the rise of social media, traditional journalism in many ways still dominates the public sphere. In times of crisis (eg Boston Marathon bombings) people turn to traditional media – such as the ABC or BBC - as they are still considered to be the most reliable and trustworthy. The difference is that now people are just as likely to obtain news and information from these organisations’ websites as from traditional TV, radio or newspapers.

What do students learn in the Journalism program at the University of South Australia?

A broad range of journalism and communication skills across print, broadcast and online media, as well as understanding of the context in which the news media operate in Australia and globally.

Course content ranges from news writing for newspapers, radio, TV and the internet to media law to specialist skills in areas such as digital journalism and sports journalism.

What makes UniSA a stand-out?

Applied focus of assessment work. Much of the assessment in practical journalism courses is built around putting professional skills into practice to produce news stories, features or news/current affairs packages. Industry standard facilities such as an on-campus TV and radio studio that incorporate high-end production technology allow students to develop their skills through practice.

and subsequently expanded to include early works from Papunya in the Central Western Desert and significant Arnhem Land barks.

A vibrant backdrop for the course this year will be the exhibition HEARTLAND, an exhibition of contemporary art from South Australia that includes new work by artists from Amata in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the state’s north west. The exhibition curators, Nici Cumpston and Lisa Slade, both

Other courses on offer in 2013 include Modern Australian Art and Curatorial and Museum Studies. Online offerings include European Art and Australian Art for rural, remote and time poor students. All of these courses are informed by the Art Gallery’s collection and exhibition program.

» For information about the Graduate Diploma/MA programs in Art History and Curatorial and Museum Studies, the ‘study for pleasure’ audit program, FEE-HELP and Austudy, phone Associate Professor Catherine Speck on 8313 5746, email catherine.speck@adelaide. edu.au or visit arthistory.adelaide.edu.au

HEARTLAND: Contemporary Art from South Australia will be presented FREE to the public from Friday, June 21 to Sunday, September 8 in the temporary exhibition spaces at the Art Gallery of South Australia.

22 The ADELAIDE Review may 2013

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The Hunt Palace Nova Eastend Cinemas, Rundle St From Thursday, May 2

A teacher lives a lonely life, all the while struggling over his son’s custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie. Directed by Thomas Vinterberg. Stars Mads Mikkelsen, Thomas Bo Larsen and Annika Wedderkopp.

Camille Rewinds Palace Nova Eastend Cinemas, Rundle St From Thursday, May 2

Camille was only in high school when she fell in love with Eric, another student. They later married, had a child and were happy for a while. But 25 years later Eric leaves her.

Bitter and desperate Camille drinks so much liquor at a party that she falls into an ethylic coma and finds herself propelled into her own past! Will she try to change the course of their lives? Directed by Noémie Lvovsky.

Stars Noémie Lvovsky and Samir Guesmi.

Audi Festival of German Films Palace Nova Eastend Cinemas, Rundle St Wednesday, May 8 to Monday, May 13

The annual Audi Festival of German Films is a creative, cultural and transformative journey into the heart of German filmmaking.

The Palace Nova Cinemas will present an impressive array of the latest films from Germany as part of the 2013 program.

World Music Series Run to the Hills Nexus Multicultural Arts Centre Corner Morphett St and North Tce Friday, May 10

Selected cinemas From Thursday, May 16

William is an acclaimed author who hasn’t written a word since his ex-wife Erica left him three years ago. In between spying on Erica and casual romps with his married neighbour, Bill deals with the complexities of raising his teenage children. A clever and touching tale of family, love (lost and found) and how endings can make new beginnings. Stars Greg Kinnear and Jennifer Connelly.

Musical Reflections Capri Theatre, 141 Goodwood Rd Sunday, May 19, 2pm

Donnie Rankin first took an interest in the theatre organ at the tender age of three when he first heard the sounds of the Mighty Wurlitzer at the Civic Theatre in Akron, Ohio. Following that introduction, he frequently played on his great-grandfather’s home organ. Later, Donnie acquired an instrument and began taking formal lessons and his budding talent quickly blossomed into first-rate musicianship.

How to Succeed in Business Without Really Trying Adelaide Arts Theatre, 53 Angas St Friday, May 24, 8pm

How to Succeed in Business Without Really Trying follows the rise of J. Pierrepont Finch who uses a little handbook to climb the corporate ladder from lowly window washer to high-powered executive, tackling such familiar but potent dangers as the aggressively compliant ‘company man’, the boss’ whiny, nepotistic nephew, the office party, backstabbing co-workers, caffeine addiction and, of course, true love.

Tales of Two Cities St Peter’s Cathedral, King William Rd Saturday, June 8, 6.30pm

Adelaide Chamber Singers and Sydney Chamber Choir join forces for performances of some of the great showpieces of the choral world including 40-part motets by Gabriel Jackson and Thomas Tallis.

Featuring two of Adelaide’s greatest musical Baroque Relations talents, The Bearded Gypsy Band and Tim Moore, Run to the Hills showcases the best of Adelaide’s new gypsy and folk movements. Elder Hall, North Tce

Vitalstatistix - Opal Vapour Waterside, 11 Nile St, Port Adelaide Sunday, May 12, 6pm

This riveting contemporary dance work is set against a shimmering terrain of shadow and sand, a contemporary ritual inspired by ancient Java. Jade Dewi Tyas Tunggal moves fluidly between powerful physical states that balance graceful Javanese classical traditions with adventurous contemporary dance - accompanied by Ria Soemardjo’s pure voice and evocative score.

MONTEFIORE

A Place for Me

Sunday, June 9, 3pm

Adelaide Baroque and guests present sonatas, suites and arias by JS Bach, CPE Bach and GP Telemann.

Tokyo String Quartet Adelaide Town Hall, 128 King William St Wednesday, June 12, 7.30pm

After more than 40 years the grand masters of the string quartet now bid farewell. In their final visit to Adelaide the Tokyo String Quartet will perform great works by Sculthorpe, Bartok and Beethoven.

Labor’s Weatherill government has primed a city parking-tax hand grenade – but is it just a pre-poll diversion?

BY MONTEFIORE SCUTTLEBUTT

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ews that the state government has set up a Consultative Committee to manage protests over its new city parking tax proposal has quickened Adelaide’s pulse. The December proposal to float a new tax only 14 months shy of a state election – now only 10 months – would have direct effect on thousands of city-edge homeowners and city commuters, workers, property owners and small businesses. As the details percolated down the lift wells of the State Administration Centre, minister Jack Snelling was never more relieved to be relieved of his Treasury portfolio. On feeding the media chooks at the tax announcement the government was able to draw on an exquisite excuse – the idea had actually come from those bicycle-friendly, lowtraffic-congestion policy planners at Town Hall.

point. Town Hall also will have to cop some of the $6.4 million revenue target baggage because the tax would apply to its 10 car parking stations – regardless of whether the parking spaces are used or not. To maintain the crucial revenue flows from these car parks, it would have to hike commercial and residential rates to cover any shortfall. People who rarely drive a car will end up feeling the pain.

Talk about ripples in the economic pond!

Embedded in its Smart Move city transport plan of late 2012, the idea had, however, come with an important caveat – that any new tax revenue must be invested in pedestrian, cycling and public transport facilities and infrastructure in the city. Within a few weeks of reading the transport blueprint, a government desperate for cash had pounced on the idea, tagging it as a ‘Transport Development Levy’. The $25.7 million 2014–15 windfall that would arise from safe parliamentary passage of a $750 per annum slug on every city off-street and ticketed on-street car parking space would be spent on new Park ‘n’ Ride car parks at Paradise, Mount Barker and the former Mitsubishi site on the Tonsley rail line, at Clovelly Park. Astute readers will note that these facilities are all outside the city.

On the matter of the revenue addressing crucial needs, Town Hall’s close reading of various studies in other states confirms that the idea might only work if the money raised is spent in the area in which it is collected and on specific public transport. Fail.

What is the difference between a three-letter word and a four-letter word? At Town Hall, the response was almost certainly a slew of four-letter words.

Tax might only be a three-letter word but, like poo, it’s a smelly concept that very quickly prompts a footpath hop ‘n’ step when you think it might stick to you. And if you haven’t lingered in city streets lately, there’s been some a-hoppin’ and a-steppin’ among some powerful people, many of whom slope along the footpath of life in very expensive shoes.

The influential property lobby can see that the new tax demand will have to be paid by them, in the first instance, until property rate levy legislation is amended so that they can deftly pass on the poo, sorry, the tax, to small office lessees.

There’s also a real fear that Adelaide city property values, already faltering among the B- and C-grade buildings, might fall further. The small-business lobby – the traders in their tribal street precincts – perceive disaster as drive-in shoppers eschew a 20 percent hike in street car parking fees and decide to shop locally or online. Valuations of established city businesses would be at risk. The big retail lobby – the city stores – perceive a similar Rundle Mall disaster as city parking stations seek to suck an additional $6.4 million from shoppers who drive in. Their online habits are already well entrenched and a tax like this might prove to be the tipping

Two fundamental ‘new tax’ questions apply – would the revenue develop something crucial to and practicable for the state, and would its attempted collection kill the golden goose? One suspects we already know about the Town Hall goose who thought up the idea.

Moreover, the Park ‘n’ Ride concept, which South Australians can already see in operation – and expanding – at the Entertainment Centre at Hindmarsh, is demonstrating that behind the government’s public-transport-induced spin inherent in the idea, there are some significant negatives. All facilities capacity is finite, and when full, as in the case of this example, excess cars merely spill over into parking spaces in nearby suburbs. As Town Hall research concluded: “This experience demonstrates the concerns expressed by transport industry experts about most Park ‘n’ Ride facilities; that they are unsustainable in the long term – their capacity is finite, they create additional pressures on road systems, they detract from existing public transport services, and that they in fact generate additional vehicle use.” There was no mention of this expert evidence in the government’s bubbly news release.

Setting aside the concept of multi-level Park ‘n’ Ride facilities with which this new tax claims to be so deeply preoccupied, there is also the well known phenomenon where city-bound drivers simply park their cars where transport hubs and terminus points exist – outside the city. Right now – long before the tax becomes law – this is already happening, for example, at the city tram terminus near Unley, where suburban streets are filling with commuters’ parked cars. Imagine what will happen when that three-letter word settles on the city and those still using city parking spaces decide to do the same.

Of course, the whole tax idea may be simply a pre-poll diversion, primed to be retracted after much protest by a suddenly enlightened premier close to the March 2014 polling day. Labor has long-established form with these antics. But if not, Monty’s money is on Adelaide bicycle equities. Buy now and buy long.

The ADELAIDE Review may 2013 23

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books In true Coetzee style, things aren’t quite what they seem, and the reader is never sure what they should be/are thinking. It’s like a spiral that keeps on unfurling until it forms a giant question mark.”

The Childhood of Jesus J. M. Coetzee Text

by Tali Lavi

The equation of two plus two, for those familiar with George Orwell’s Nineteen Eighty-Four, is a potent symbol, for Big Brother’s subjugation of Winston is practically complete when he professes, amongst other things, that ‘TWO AND TWO MAKE FIVE’. The Childhood of Jesus has its own ‘two and two’ moments.

In an inversion, Simón, the character who accompanies us through this surreal journey, laments, “What kind of crime is it for a child to say that two and two make three?

How is it going to shake the social order?”

Whilst Orwell’s dystopic novel was set in an unrecognisable London, J. M. Coetzee’s Novilla is distasteful in the same way the notion of the benevolent dictator is, for it is a dystopian utopia. Refugees who arrive to the city are given refuge, jobs, accommodation, employment and money. Some readers may find themselves lamenting, ‘if only it were so!’ As newly named arrivals, Simón and David, find, most people demonstrate goodwill. The rub? People are devoid of memories (in David’s case his parents are unknown), desire of any kind is virtually extinct and there are powers that be, albeit amorphous ones.

Is this, as signposted by the title, a reimagining of Jesus’ childhood? In true Coetzee style, things aren’t quite what they seem, and the reader is never sure what they should be/are thinking. It’s like a spiral that keeps on unfurling until it forms a giant question mark. Some will be befuddled and alienated, others will either willingly surrender to the writer’s hypnotic prose, rhythmic in its coolness, or partake in the book’s mischievous nature. Religious motifs abound: loaves and fish, people are ‘washed clean’ of former lives, David is seen and thinks of himself as ‘special’; the infuriating Inés to whom Simón ‘delivers’ David, is seemingly a virgin.

Also frequenting the narrative are doubleness and ambiguity. Visionaries and charlatans are difficult to differentiate and an unsettling affinity between David and the sinister Señor Daga forms. Simón is another conundrum. A zealot, he is dogged in his quest to ‘find’ David’s mother – Don Quixote captures both his and the child’s imaginations and acts as a vehicle for exploring ideas of the real and fidelity – and guided by a faith – although never phrasing it as such, the language he uses is highly mystical – that he will recognise her, although he has never met her. Whilst his sexual frustration is reasonable, his behaviour and attitudes to women are repugnant. Countering all this is his love for David, although he is constantly at pains to disabuse anyone of the notion that he is the boy’s father.

Somewhere along the way, David sings from Goethe’s ‘Erlkönig’. As befits a child, he slightly bastardises it. The unabridged version tells of a father on a journey discounting his son’s fears of an evil spirit.

When they arrive at their destination, the child is dead. Is this a sideways allusion to David’s fate? Once again, we can only theorise. One imagines that as we do, both publicly and privately, Coetzee will be assuming one of his enigmatic half-smiles.

Waiting for Sunrise

Letters to the End of Love

William Boyd Bloomsbury

Yvette Walker UQP

by William Charles

by Helen Dinmore

William Boyd has often been an overlooked and under-rated writer in comparison to the more glamorous of his generation (Amis, Barnes, Self, McEwan et al) – quite undeservedly. Waiting for Sunrise begins in Vienna, 1913 – and how could any such opening not involve spy games and psychoanalysis?

Innocent Brit abroad Lysander Rief is seeking a cure for his anorgasmia (inability to orgasm) via new psychoanalytic methods, and in the doctor’s waiting rooms meets fellow Brit, the alluring (though not perhaps in name) Hettie Bull. An affair begins, anorgasmia vanishes, but it all (inevitably) ends badly.

Very badly. Back in England in 1914, as the country heads to war, Rief’s messy Viennese past comes back to entangle him. Dragged into an undercover code-breaking mission, Rief finds himself a puppet at the mercy of an increasingly curious cast of characters many of whom had appeared, at some point, during his earlier Viennese days. Waiting for Sunrise guarantees a thrilling night or two by the winter fire.

Walker’s debut novel explores crises in three relationships – in post-war Bournemouth, 1960s Cork and contemporary Perth – through a series of intimate letters. The letters themselves are a folly: between a husband and wife living in the same house; from a doctor to his dead lover; and between two women who could email or Skype. But in each case, the contrivance is a knowing one, premised on the hope that the process will yield some poetic insight or healing. What all of the correspondents want to create and read are love letters, missives that transcend the ordinary and speak of the ineffable.

To an impressive degree they succeed; the novel is a billet-doux to that lost art, as well as a rumination on art as a love-letter to life.

Story is unearthed, rather than imposed; themes of war, grief, foreignness, homosexuality and its persecution link narratives that, at times, grow ponderous with silence and prosaic detail.

Walker’s genteel letter-writers have privileged access to literature and art and their meaning, so while there’s no grit here, at its best Letters achieves a breath-taking lyricism worthy of the loss that any love has entangled within it.

Friends of the University of Adelaide Library

Jane Sloane

Global advocacy for women’s rights: stories and solutions Jane Sloane will share her journey from being a student at the University of Adelaide to being a global advocate for women and girls. Hear how the advice given to her by Nelson Mandela helped shape her path and career, and about the many twists and turns her journey has taken. Jane will discuss the people and organizations that have influenced and inspired her and will provide her perspective on the interventions that are making a difference to women and girls realizing their universal human rights. She will also talk about the rise of a global women’s movement and a global citizenship movement and the opportunities and challenges inherent in this momentum for social change.

Thursday 23 May 2013 at 6.00 for 6.30pm Ira Raymond Exhibition Room, Barr Smith Library, University of Adelaide Bookings by Tuesday 21 May 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

24 The ADELAIDE Review may 2013

Fashion at just exploring openly,” she admits. “I need to solve the technical and practical problems and each piece has to fit the brief, so to speak.”

Bloom and Blush To suggest that she is the new name to watch would be enough to make Peta Kruger blush. But it’s a fact the Adelaidebased emerging jewellery designer may just have to accept.

by Leanne Amodeo

C

urators have already started to include her in a number of group exhibitions and the JamFactoy recently selected her work for the cover of its 40-year commemorative catalogue. In a city long revered for its jewellery design, Kruger is one of the new designers turning heads.

once again to start using it after returning from a recent museum tour of Germany. It’s a relative inexpensive material, which means that Kruger doesn’t have to be precious. “It was a real turning point using brass again because I can just fold it and hack it and not worry about having scraps,” she explains. “And it means I can be more inventive.”

It’s almost too easy to forget that her jewellery is actually wearable because each piece is its own work of art. That her practice shifts effortlessly between craft, contemporary art and fashion design may also fuel the oversight. Being crossdisciplinary certainly adds to her appeal. Though it has to be said that the reason her jewellery garners so much attention is because it is so unabashedly drop-dead gorgeous.

This deliciously hands-on approach is particularly evident in the collection she produced for the Designing Craft/Crafting Design: 40 Years of JamFactory exhibition.

“I try to work in the moment, so I don’t make a model beforehand,” Kruger says. Her Geranium brooch boasts voluptuous cuts and folds to the point where the piece looks like it will topple over. This top-heavy appearance is deliberate as Kruger continued to extend and expand the brooch’s form to achieve its compelling sculptural properties. Geranium especially reveals her hand painting technique, achieved using water resistant paint that is baked on.

There’s something about the precise combination of colour and composition in all of Kruger’s pieces that makes for an alluring proposition. Her metal of choice for the past year has been brass and, although she’d used it in her first year of jewellery studies at Adelaide College of the Arts (AC Arts), she was motivated

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All of the five pieces in the collection are based on different flowers or weeds that Kruger has come across on her walks through the city. She doesn’t photograph them though and prefers to create the pieces based on memory. “The colours are completely wrong, but it would be kind of boring if they were just an actual representation,” Kruger laughs. “I like the image in my mind of what it should look like.” This accounts for Geranium then, which is a multi-coloured explosion of fluorescent reds, pinks and yellows.

It may not come as a surprise that prior to graduating from AC Arts in 2008 Kruger actually studied graphic design five years earlier at the University of South Australia. Her jewellery pieces have a strong graphic quality to them and many of them possess illustrative sensibilities not commonly associated with threedimensional form. But it’s Kruger’s approach that has been particularly influenced by her graphic design background. “I’m not very good

In February of this year Kruger exhibited alongside Kath Inglis in Bloom and Blush at Canberra’s Bilk Gallery. After initial discussions the two designers went their separate ways and each produced a body of new work that responded loosely to a floral theme. Kruger’s neckpieces, brooches and earrings are based on the patterns, fabrics and glassware of her home. Each individual piece in the exhibition is a masterful assemblage of flat geometric or curved shapes. Some of the earrings and brooches are mosaic-like in appearance.

While the small clusters of shapes in some of the neckpieces resemble the petals of a flower.

Kruger’s influences are nowhere more clearly articulated than in her collection for Bloom and Blush. Her love of costume jewellery is reflected in the painting of each individual shape giving them the appearance of abstracted, flattened gemstones. It’s a love that was no doubt nurtured when in 2007 she worked in London for fashion jeweller Scott Wilson, whose clients at the time included fashion designer Matthew Williamson.

An Art Deco influence is also clearly evident although Kruger maintains it’s not entirely deliberate. “These are just the shapes I really like and respond to,” she says. Triangular forms, stepped shapes and angular patterning are a definite nod to the era’s graphic motifs as is her colour palette, which is dominated by pinks and black. This Art Deco sensibility is what adds elegance to her otherwise youthful, fun aesthetic.

The year ahead sees Kruger undertake further jewellery studies while maintaining her studio at the JamFactory, where she has been based since graduating from its two-year Associate Training Program in Metal Design in 2010. Considering her

Fashion Rendezvous

GILLES STREET MARKET Sunday, May 19 10am to 4pm 91 Gilles Street, Adelaide

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

recent successes, Kruger is refreshingly modest for someone whose star is well and truly on the rise. “I’m always really chuffed when I see people wear my jewellery,” she smiles. “And I always glow bright red when people say they like it.”

petakruger.com

The ADELAIDE Review may 2013 25

ADELAIDEREVIEW.COM.AU

PERFORMING ARTS Life begins at 40 As the Adelaide Festival Centre celebrates its 40th birthday, not only does Adelaide’s premier venue and cultural heart of the city pass an impressive milestone, an even brighter future is anticipated.

by Nina Bertok

P

re-dating even that other Australian arts icon – the Sydney Opera House – by four months, ever since the Festival Centre’s establishment in 1973 the venue has hosted major events, including the OzAsia Festival, the Adelaide International Guitar Festival and the upcoming Adelaide Cabaret Festival. Throughout the last four decades the centre has come to be the home of leading professional theatre companies such as the State Theatre Company of South Australia, Windmill Performing Arts and Brink Productions, and according to those who have watched it evolve from the start, there is set to be plenty more in store in the next 10 years for our city’s heart of the arts.

Adelaide Festival Centre

“For me, it’s been a huge privilege to have been the management head of this group,” says CEO and Artistic Director of the Adelaide Festival Centre, Douglas Gautier. “I think we’ve come a

long way – the whole of the last 40-year history of this place has been astounding. When you consider the achievements, it’s amazing. It is Australia’s first capital city arts centre, it opened before the Sydney Opera House, it’s been supported and celebrated and performed in by some of the world’s greatest artists, theatre companies and individuals both local and from overseas. Over the years, audiences have loved it and some of them have grown up with it – many artists started out here very young and went on to do great things.”

Although the venue has played host to countless performances and attracted some of the world’s finest artists, for those such as Gautier – who also performed on the centre’s official opening night 40 years ago – some memories remain particularly fond decades on. (continues next page)

FInAL FAReWeLL TOuR International Concert Season 2013 After more than 40 years, the undisputed grand masters of the string quartet now bid a graceful farewell. Program repertoire includes a Sculthorpe quartet written especially for them; Schubert’s last, great quartet and Bartók’s ultimate work in this genre, played on a famous collection of Stradivarius instruments. Do not miss this opportunity to celebrate the final performances by a landmark ensemble of our time.

Wed 12 Jun 7.30pm Adelaide Town Hall 128 King William St

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

26 The ADELAIDE Review may 2013

PERFORMING ARTS about the past. The current 40 year celebrations may make for an exception for the time being, but the Artistic Director insists that the Adelaide Festival Centre is already planning the next 10 years and looking forward to another decade of world-class entertainment – and beyond.

There is so much inspiration and ambition here – aspiration, as well.

These are all great things for our city, a city that is considered Australia’s preeminent ‘festival city’.”

“The venue does need some upgrading, technically and facility-wise, so we have been in discussion about fulfilling those things. There is no shortage of creativity and energy in making that vision come true but we also have to consider the current economic situation and resources. We have good theatre spaces – the place was really well designed and built, the spaces are quite remarkable and the Dunstan Playhouse is one of the best drama theatres in the country.

We’d love to see a range of new attractions added to the Festival Centre, we’d like to see a moving image gallery here with things like the Disney and Harry Potter exhibitions that we see in places like Federation Square. We’d love to see an upgrade of the Festival Centre to reinforce the venue as the platform for Australia’s festival city.”

“At the time I was a student at Flinders University and my first paid job was at the opening night of the Festival Theatre on June 2, as an extra in Beethoven’s Fidelio,” Gautier recalls. “It was many years ago, but getting to be a part of the opening performance, under the then-director Anthony Steel, that was just such a huge privilege to share the stage with those involved. But, you know, every day is a highlight, really. Having the chance to work with amazing artists, that’s what propels me daily and it’s both a great labour of love and a privilege to be a part of it all. There is so much inspiration and ambition here – aspiration, as well.

These are all great things for our city, a city that is considered Australia’s preeminent ‘festival city’.”

Gautier’s focus is squarely aimed at the future, however, as opposed to reminiscing

The Regal Theatre Presents:

LEADING LADY An intimate performance with

MARINA PRIOR Australia’s best loved musical theatre star Thurs May 23, 8pm Fri May 24, 8pm Sat May 25, 2pm and 8pm Tickets on sale now through The Regal Theatre and VenueTix. From $37.20.

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The Festival Centre’s Head of Sound and Production, Jane Rossetto, adds that what makes the venue unique is its accessibility.

Adelaide Festival Centre under construction

“I was lucky enough to do the open house tour with Mr John Morphett last year where I found out how they really saw into the future at the time of design. They made some key decisions that would benefit South Australia by a hundred percent, for example, by making the centre a walking distance from the city. We can offer a lot, we’re accessible, we’re near transport, and we have a great view.

They went way beyond coming up with just a square box of a venue – the Festival Centre is more of an ‘experience’ rather than a place.”

On the eve of its 40th birthday, the Festival Centre will continue to reinforce its incredible history, but will also concentrate on developing new projects, according to Gautier. “We have to make sure that it’s updated for the 21st century.

For example, one of the things we are doing is taking an approach to make this a centre for Asian-Australian cultural engagement, not just with the OzAsia Festival but also through the Hawke Fellowship which brings over interns from Chinese art centres and we’re putting in a reciprocal program for young Australians to be them in those centres. Our sister province of Shandong, the birth place of Confucius, will be the focus of the OzAsia Festival, but more importantly, it will serve as the basis to ramp up our cultural engagement between our state and the Chinese province. That’s just to give you an example. This is a watershed period, we’ve turned 40 years, but we’re definitely looking at the next 10 years and we’ll be looking at the next 40 years too. We should take that audacity and courage the planners had 40 years ago, imbued with enthusiasm and engagement with the community. We need to stay in shape in order to do the same, and not just well, but fantastically well.”

adelaidefestivalcentre.com.au

The ADELAIDE Review may 2013 27

ADELAIDEREVIEW.COM.AU

Celebrating the ordinary It will last a mere seven minutes, but Graeme Koehne’s Fanfare for the Next Forty Years promises to celebrate much about what he believes is timeless in art.

by Graham Strahle

T

he Adelaide composer’s newest orchestral score, commissioned by the Adelaide Festival Centre to mark the opening of the Festival Theatre 40 years ago, will shirk all traces of modernism and embrace the same values which he says inspired Beethoven’s Ode to Joy. But don’t expect anything exalted or preachy on themes of universal brotherhood. Koehne intends his Fanfare to be uplifting but also rollicking good fun, similar in spirit to the “giant drinking song” that he says Beethoven meant the choral finale of his Ninth Symphony to really sound like.

Koehne says he wants his new work to celebrate the ordinary, the familiar and the everyday in people’s lives – which he believes is

the purpose of art. So just as he says Beethoven used pop music in Ode to Joy, in the form of a Turkish percussion and brass Alla Marcia in the middle of the finale, he will use contemporary pop in his Fanfare for the Next Forty Years.

“It is a very pop-based piece,” he says. “It takes a standard pop chord sequence, consisting of eight bars, and builds continuous variations on this very banal progression. It is in G all the way through. But the treatment is a classical process. I want to elevate it poetically and create something festive and celebratory, even fun hopefully.”

This is hardly the first time Koehne has employed popular elements. His interest in cartoon music of Carl Stalling, soundtracks, and ‘easy listening’ music of the 50s and 60s, goes back over two decades.

Unchained Melody (1991) and Powerhouse (1993) were his first two works to thoroughly embrace these influences, and they placed Koehne firmly in the anti-modernist camp. Some found his newfound populism at the time “ingratiating”, but he says that never deterred him: “I’ve long since ceased to be concerned about comments like that.”

Koehne says his realisation that modernism was a false path first came when he attended the Festival Theatre’s inaugural concert in 1973. At that event, a fanfare by his composition teacher, Richard Meale, was performed. “It was a grating, atonal brass piece which mystified the audience of course,” recalls Koehne. “I was also writing a fanfare

at the same time, and we got talking. Richard said he wished he’d had the common sense to write something more festive that communicated better with the audience, but he couldn’t let go of the modernist thing. For me, it came as a realisation that modernism’s cold, cerebral, disengaged sound really didn’t represent me.”

Being asked to write a fanfare for the Festival Theatre’s 40th anniversary, he says, is particularly meaningful, because that opening concert happened just when he was beginning to immerse himself in classical music. “It was at this time that my passion for classical music was igniting. My family background was pop music of the day; for me it was the Beatles, Rolling Stones, Cream and Jimi Hendrix. I’d also been hearing pop versions of classics including Ode to Joy, and wanted to find the real thing, which I did in that concert.”

The one thing Koehne has never felt comfortable about in the classical world, though, is what he describes as a “protectors of the sacred flame” mentality that segregates classical music from ordinary people and ordinary experience. “That mentality disturbs me,” he says. “It perpetuates a mystique of seriousness; it constipates music’s directness as a language. That’s what I miss most, the engagement, that sheer joy going back to my first experiences of hearing classical music.”

It is for this reason that Koehne does not regard himself as a ‘new music’ composer. He explains:

Photo: Melinda Parent Creative

PERFORMING ARTS

Graeme Koehne

“Today there are many styles, but my position is that an orchestra is an expensive proposition, and that people go to orchestral concerts for a particular reason. The composer therefore has a responsibility to speak some sort of language that is familiar. Tonality is what makes the language common, and music that moves outside that language loses touch with people.”

“Do I want people to respect my music?,” he asks. “No, I want them to love my music, or at least some of it. I’m not saying I succeed, but all I want to see in a few years is that I’ve written two or three pieces that people say they love.”

The Adelaide Symphony Orchestra Fanfare for the Next Forty Years and Beethoven’s Ninth Symphony Festival Theatre Friday, May 31 and Saturday, June 1 adelaidefestivalcentre.com.au

28 The ADELAIDE Review may 2013

PERFORMING ARTS

Memories

by Robert Dunstan

M

arina Prior, one of Australia’s bestloved ladies of musical theatre, will perform her new show, Leading Lady, in Adelaide in late May. “It’s a brand new show featuring the songs I’ve performed in concert for a long time,” Prior says.

“But it’s also a combination of my last album (2012’s Both Sides Now) which were the songs I used to sing when I was a young kid such as Joni Mitchell’s Both Sides Now, Kate Bush’s Man with the Child in his Eyes and Maria Muldair’s Midnight at the Oasis. They were the songs that taught me how to be a singer. And the show will also feature songs from my brand new album, Encore, which are very stripped-down versions of show tunes such as Memory from Cats and Edelweiss from The Sound of Music.”

Prior, who will be singing and playing guitar accompanied by her musical director David Cameron on grand piano, says she decided to mount Leading Lady purely as a new adventure. She is also looking forward to presenting it at The Regal Theatre (formerly

Nexus Multicultural Arts Centre presents

Chelsea Theatre at Kensington) as it will feature a cabaret-style setting with a full bar service.

“I’ve only ever performed at Festival Theatre in Adelaide,” Prior reveals, “so it’s going to be great to do something like this in such a relaxed, intimate setting. I’ll also be telling some stories about being in the musical theatre business for the last 30 years. I have lots of backstage stories to share and will also talk about my early life. It will be quite a lovely evening.

“And doing a solo show I get to be me – I’m not Christine in Phantom of the Opera gazing up into the lights – and songs I will be singing are all songs that mean something to me. I’m also at that age of life where I don’t want to be locked into a musical doing eight shows a week. And I do feel I now have a lot to share after 30 years.”

I’d started at age nine, and I was singing a lot of the songs on Both Sides Now. I’d started busking because there weren’t many opportunities to perform live and I didn’t really take to waitressing.

I was pretty hopeless at that but I found I could make pretty good money from busking.

“Maybe it was because, as a soprano, I was pretty different to all the people doing Bob Dylan songs,” Prior adds with another chuckle.

“My high, ringing voice could easily cut across the noise of the trams as they went past.

“Oh golly,” she says when asked about a career highlight. “It’s like being asked to name your favourite child. Everything I’ve been involved in has been wonderful. Phantom was just fantastic and Les Miserables was a defining moment for me, while Guys and Dolls, Showboat and The Sound of Music were great fun. West Side Story was beautiful and so I’ve loved them all.

Prior worked as a busker in Melbourne’s Bourke St Mall in her early days.

“That was when I was studying performing arts,” she laughs. “It was just me and my guitar, which

Martha Wainwright

Come Home to Mama

A

delaide Cabaret Festival, now in its 13th year, comes to the various Adelaide Festival Centre venues from Friday, June 7 until Saturday, June 22 and boasts a strong program that has been curated by current Artistic Director Kate Ceberano.

June 14 $20 full price $15 members/concession For full program details visit nexus.asn.au

concludes, “because I’ve learnt something from every musical I’ve been in and have worked with some extraordinary people over the years.”

Marina Prior The Regal Theatre, 275 Kensington Rd, Kensington Thursday, May 23 until Saturday, May 25 at 8pm with a 2pm matinee on Saturday, May

“It’s too hard to pick a highlight,” Prior

by Robert Dunstan

New collaborative work commission, featuring Mark Ferguson & Julian Ferraretto.

An exploration of Scottish ancestry through new original music.

Marina Prior

Heading to the festival from overseas will be artists such as jazz singer Cassandra Wilson, Wicked star Kristin Chenoweth, Broadway star Idina Menzel, spellbinding songstress Barb Jungr and New York cabaret star Joey Arias, while Australian artists such as Tom Burlinson, Robyn Archer, Virginia Gay and Darren Percival have also been invited to perform at the 16-day event which also boasts Shane Warne The Musical at Her Majesty’s Theatre from Wednesday, June 5.

Also taking part will be Canada’s Martha Wainwright who is brother to the outrageous Rufus Wainwright and daughter of Loudon Wainwright III and the late Kate McGarrigle.

Wainwright will be touring Australia with her new album, Come Home to Mama, which features musicians such as Wilco guitarist Nels Cline and Dirty Three drummer Jim White.

The singer says she is heading down with her bass-playing husband, Brad Albetta, Brooklynbased drummer Matt Johnson and engaging the services of Australian piano player Ben Grayson, of Pseudo Echo. She admits, however, that she is not quite certain what audiences can expect when she hits Adelaide Cabaret Festival.

“I’m not exactly sure what we’ll be doing but I can do cabaret-style things having done Kurt Weill at Royal Albert Hall for the Piaf album,” Wainwright says of her live album, Sans Fusils, Ni Souliers, à Paris: Martha Wainwright’s Piaf Record, a tribute to the French singer.

“So I guess we’ll be altering our set to suit Adelaide Cabaret Festival, but it’s always good to be malleable and in the moment,” she adds.

Wainwright’s Facebook page, which is maintained by husband Brad, features a very recent photograph of the singer with members of the singing von Trapp family who were the inspiration for The Sound of Music film.

“I often felt, growing up, that my family was a bit like the von Trapps,” Wainwright laughs.

“I met them through Thomas Lauderdale, the pianist with Pink Martini, whom I’ve known for about 15 years. And Rufus has only just recorded the beautiful song Kitty Come Home, which my aunt Anne (McGarrigle) wrote about my mother Kate when she’d just divorced Loudon.

“And Rufus has used the von Trapp family singers on that,” she concludes.

Martha Wainwright Dunstan Playhouse, Adelaide Festival Centre Thursday, June 20 adelaidecabaretfestival.com.au

ADELAIDEREVIEW.COM.AU

The ADELAIDE Review may 2013 29

PERFORMING ARTS

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

Audi Festival of German Films Palace Nova Eastend Cinemas Wednesday, May 8 to Monday, May 13 goethe.de/ozfilmfest The 12th annual Audi Festival of German Films returns to the Palace Nova this month with a diverse selection of film from Germany and Austria. Highlights include festival guest Georg Mass’ new film Two Lives, Bliss (directed by Doris Dorrie), Breathing (directed by Karl Makovis) and the Drieleben Trilogy, which is directed by a trio of German filmmakers (Christian Petzold, Dominik Graf and Christoph Hochhausler).

Morgenstern Trio and Christopher Moore Adelaide Town Hall Thursday, May 2 musicaviva.com.au One of Europe’s most exciting new ensembles, the Morgenstern Trio, joins Australian violist Christopher Moore to perform masterpieces by Mahler, Schumann and Beethoven.

Coriole Music Festival Coriole Vineyards, McLaren Vale Saturday, May 4 and Sunday, May 5 Coriolemusicfestival.com With the theme Clash of the Romantics, the 15th Coriole Music Festival will focus on two opposing streams of German Romantic music from the 19th and 20th centuries featuring the works of classically influenced conservatives (Brahms and Schumann) and the radicals (Liszt and Wagner). Performers include the Tinalley Quartet, Greta Bradman and Daniel De Borah.

Hedda Gabler Dunstan Playhouse Continues until Saturday, May 18 statetheatrecompany.com.au Joanna Murray-Smith (The Gift, Songs for Nobodies) adapts Henrik Ibsen’s infamous play for the State Theatre Company. Alison Bell performs the title role for the Geordie Brookman directed adaptation of one of Ibsen’s most powerful dramas.

Seraphim Trio The Illusionist Elder Hall Sunday, May 5 seraphimtrio.com Seraphim Trio’s (Anna Goldsworthy, Helen Ayres and Timothy Nankervis) upcoming Elder Hall concert will be a rare chance to hear the members perform in a variety of musical configurations (solo, duet, trio). The trio will premiere a new work by Benjamin Martin and conclude with Ravel’s Piano Trio.

30 The ADELAIDE Review may 2013

cinema

THE HUNT (JAGTEN)

by D.M. Bradley

Thomas Vinterberg’s Danish-language latest mercifully isn’t a ‘Dogme 95’ movie like his Festen (The Celebration) (1998) but does feature the same emotional intensity, distinctly uncomfortable edge and even gallows humour, with toplining star Mads Mikkelsen offering surely his best performance yet in a role from which many other international players might have run screaming.

In a small, close-knit community we find Lucas (MM), a divorced kindergarten teacher who’s had to seriously fight not to have his son Marcus (Lasse Fogelstrøm) taken away by his vengeful ex, and only recently has begun to heal by way of a new relationship with Nadja (Alexandra Rapaport, whose

funny mangling of the Danish dialect somehow shows that she’s a perfect partner for him). When the very young Klara (Annika Wedderkopp), the confused and upset daughter of Lucas’ best friend Theo (Thomas Bo Larsen, a Vinterberg fave), feels spurned by Lucas in a rather confronting scene, she, of course, claims that he has behaved inappropriately and, somehow and somewhere, shown her his penis, and the stage is set for trouble, especially when a child psychologist from the city arrives to ask some strikingly leading questions and the word properly starts getting out. And the adults of the town grow angry and want answers or just plain revenge: after all, Lucas has often been alone with their kids in the classroom, the playground and even the toilet – and hey, maybe his pedophile ways are the reason why his wife left?

You never know…

While the ugly (in more ways than one) Festen studied the impact of child sexual abuse in a large family, The Hunt (a title with more than one meaning, naturally) daringly examines the hysteria that surrounds issues of child protection in (supposedly) dangerous contemporary times, and doesn’t take sides, with Lucas descending into hopeless despair as his life falls apart and the population of good, moral people around him virtually driven to turn into a torch-bearing mob straight out of Frankenstein. And while there’s, perhaps, one too many ‘blow-up’ scenes here, Mikkelsen’s characterisation is, nevertheless, just about brilliant anyway: quiet, nuanced and never opting to play Lucas ‘cute’ or as some kind of martyred saint, and light years away from his other, scarier roles in Casino Royale (as the blood-crying villain ‘Le Chiffre’), Valhalla Rising (as the Viking warrior ‘One Eye’) and, indeed, TV’s new series Hannibal (as, well, you-know-who).

» Rated MA.

Adelaide Symphony Orchestra Masters 2

Thursday 9 May 6.30pm Friday 10 May 8pm Saturday 11 May 6.30pm Adelaide Town Hall

Buy your ticket as part of a package (as few as three concerts) and SAVE! Find out more www.aso.com.au

Spring Breakers

by Nigel Randall

It’s interesting that former Disney teen queen Selena Gomez has stated her concern about her tween-aged fan base seeing her latest film Spring Breakers. Aside from the inappropriate nature of the R-rated material, could it be she is worried about the film’s ambiguous position to its debaucherous subject matter? Writer director Harmony Korine (screenwriter of Kids) seems to be hedging his bet both ways in what is part-fairytale, part-fable about the annual pilgrimage to Florida undertaken by vacationing American college students in a quest for bacchanalian endeavours.

For the gang of gal pal protags here, Faith (Gomez), Candy (fellow Disney-ite Vanessa Hudgens), Brit (Ashley Benson) and Cotty (Korine’s wife Rachel), theirs is a burning desire to escape their small town confines “to see something different” and “find themselves”.

These mantras are voiced-over to the screeching dubstep of Skrillex and the endless “chk-chnk” of a bullet loading into a gun chamber to form a soundscape as repetitive and hallucinatory as the images they accompany. The repetition becomes tedious at times, but perhaps that’s Korine’s point. The saturation of breasts and bikini-clad booty (literally in beer) is simultaneously repelling and hypnotically

Weber Oberon Overture Beethoven Piano Concerto No 2 Rachmaninov Symphony No 2 Michal Dworzynski Conductor Yevgeny Sudbin Piano Rachmaninov’s hyper- romantic Second Symphony - music which dazzles and delights with blazing orchestral colours and unforgettable melodies.

Book at BASS 131 246 www.bass.net.au

alluring. The camera leers and peers whilst girls jiggle and boys sneer. It dips beneath the water for a glimpse of what’s going on as if daring us not to be titillated or at least complicit.

When the girls hold up a diner early on to raise money for their plight, the camera views their adrenaline-fuelled caper from the getaway car that cruises slowing past the front windows. As a framing device it compliments the overlaying sound bites replaying their prior pep talk perfectly - “just pretend you’re in a video game, act like you’re in a movie or something”. It also puts us in the passenger seat as an accomplice to the crime. And if the acting is bad sometimes then maybe that is another point; for it’s precisely what all these white middle class teens with beautiful teeth and writhing, pulsating bodies are trying to do – act bad (ass, that is). The baddest of all bad asses but who acts up a storm is James Franco as Alien, a self-proclaimed gangsta with beaded cornrows and a mouthful of shiny metal. When he entices the girls into his seedy world you just know things are going to go bad. The pointedly named Faith even mutters that classic line “I’ve got a bad feeling about this”. Whatever feelings this trashy, poignant, arty, horrifying, inspired, wearying film conjures, it’s sure to be strong y’all.

» Rated R.

DinneR WiTH THe ARTiSTS sponsored by Tim Adams Wines

Join the ASO for a special Thursday night concert experience at the Adelaide Town Hall. After the concert, wine and dine with conductor, Michal Dworzynski and pianist, Yevgeny Sudbin in the intimate setting of the David Spence room. $150 dinner plus ticket (A Reserve ticket price normally $88) $85 dinner only (Dinner is two courses and wine)

To book, please phone Tom Bastians at the ASO 8233 6243

The ADELAIDE Review may 2013 31

ADELAIDEREVIEW.COM.AU

cinema A Place for Me

by Christopher Sanders

Titled Stuck in Love in the US (after the working title of Writers), A Place for Me is the debut film from writer and director Josh Boone.

An indie romantic comedy with a formidable ensemble cast (Greg Kinnear, Jennifer Connelly, Kristen Bell and Lily Collins), the film tells the story of a family of writers who find love while discovering themselves in the process. Kinnear plays William Borgens, a successful writer who

has been suffering from writer’s block ever since his wife Erica (Jennifer Connelly) left him for another man. Both William’s children are wannabe writers and he is supporting them to follow in his footsteps and to discover life (although bizarrely this doesn’t include them finding McJobs). His promiscuous daughter Samantha (Lily Collins) doesn’t want to find love, just one-night stands as she teases her prospective bedding partners with her intellect before jumping into the sack with them. Then there is the son Rusty (Nat Wolff) a reserved student who has a crush on the rebellious high school hottie Kate (Liana Liberto). The family dynamic changes when Samantha hooks up a book deal to publish her debut novel, which wasn’t the one that was edited by her dad, much to William’s annoyance. William decides to move on from his wife, after two years of stalking her, Samantha finds love with a fellow writer and Rusty gets its on with the high school hottie after punching out her jerk of a jock boyfriend.

A predictable, yet solid, romantic comedy, A Place for Me suffers from generic character developments, which stifles it from being an indie treat rather than a dependable rom com.

» Rated MA.

Camille Rewinds

by Christopher Sanders

Camille (Noemie Lvovsky) is an unsuccessful 40-year-old actress who spends her working life screaming for the camera while her throat gets cut in cheap horror films. Her private life isn’t much better. Her husband Eric (Samir Guesmi) leaves her for a younger woman and the mother of one passes her time drinking whiskey. One New

Year’s Eve Camille goes to a party to meet her old high school friends, dances to 80s pop classics and then passes out. She wakes up in the 80s to find her parents still alive, and even though we see her as a 40-year-old, Camille is 16 again.

Written and directed by the lead actress, Lvovsky, Camille Rewinds features a similar premise to Francis Ford Coppola’s 80s film Peggy Sue Got Married, as Camille returns to school to live that strange, scary and exciting time of life again to tackle the issues of death, love and friendship as well as her future choices.

At school she meets her husband-to-be Eric and even though there is chemistry there, and Eric is charming (in a wonderful performance

by Guesmi), should she fall in love with a man who will eventually leave her? Lvovsky, who looks extremely depressed and worn out in the present before she time travels, has a wonderful youthful energy when back in the 80s, a time which is beautifully recreated for the film.

A crowd-pleasing comedy that tackles serious issues in a light hearted manner (the scenes where Camille tries to save and connect with her mother before she dies are especially moving) Camille Rewinds reminds us that we should follow our heart and live life with a smile on our face.

» Rated M.

WINNER BEST ACTOR CANNES FILM FESTIVAL

WINNER

NomINatEd

BEst INtERNatIoNal INdEpENdENt FIlm BRItIsh INdEpENdENt aWaRds

BEst FoREIgN laNguagE FIlm BRItIsh acadEmy aWaRds

HHHHH IndependenT “I”

HHHHH The Telegr aph

HHHHH

“WILDLY FUNNY” “DEEPLY TOUCHING” Toronto International Film Festival

A PLACE FOR

CITy aM

HHHH eMpIre

me

HHHH

ToTal FIlM

a story about first loves and second chances.

A clever and touching tale of family, love, and how endings can make new beginnings.

HHHH Q MagazIne

krAut pleAsers

germAn currents

academy award® nominee

The gUardI an

academy award® winner

JENNIFER CONNELLY LILY COLLINS LOGAN LERMAN and KRISTEN BELL

TORONTO INTERNATIONAL FILM FESTIVAL 2012

The TIMes

HHHH

GREG KINNEAR

OFFICIAL SELECTION

HHHH

HHHH

The IndependenT

eAstern promises

Adelaide 8–13 May Palace Nova Eastend Cinemas

“ONE OF ThE yEAR’S BEST FILMS” The Telegr aph thehuntmovie.com.au

IN SELECT CINEMAS MAY 16

IN CINEMAS MAY 2 PALACE NOVA EASTEND

32 The ADELAIDE Review may 2013

Visual Arts

Urban ballet

by Christopher Sanders

L

isa Tomasetti’s photographic exhibition of the Australian Ballet on the international stage isn’t the usual behind the scenes look at a company on tour. No shots of rehearsals and intimate studies of dancers getting their game face on here, as Tomasetti took the dancers to the streets, literally.

The tour and publicity photographer for the Australian Ballet shot the dancers in costume on the streets of Paris, Tokyo and New York for an engaging, lighthearted and stunning series of photographs, as the performers are out of their stage element pirouetting to differing reactions from people on the street.

“I dreamed up this project on the side,” explains Tomasetti, “of taking shots of the dancers out in the streets of these iconic cities to show the other side of the dancer’s life and hopefully to create humorous, quirky images that juxtapose the classical form against the urban landscape.

INSPACE An exhibition of paintings by INGROUP

3 - 31 May 2013 Hannah Bushaway, Maggie Cecchin, Sue Colyer, Rae Kempe & Helen Sidoryn

“I was interested in the juxtaposition between the delicate finery of the theatrical costumes against the grey hues of the city streets, as well as the day to day reality of city living against the high gloss unreality of theatrical performance.

I wanted the oddness/quirkiness of removing the ballerinas from the controlled interior environment of the theatre and letting them loose to leap and pirouette on the streets.”

Tomasetti had a maximum of an hour to complete each shoot. She grabbed the dancers between rehearsals to photograph on locations close to the theatres. Most of the shots were spontaneous.

“The cygnets on 6th Avenue were a spur of the moment thought and literally took two minutes to shoot and it stopped traffic. And the photo with the NYPD cop was thought up on the spot when I saw him and asked him to pose. He was like something out of central casting and totally uninterested in the ballerinas!”

Tomasetti, who also works as a film photographer and is a visual artist, has photographed the Australian Ballet for eight years and will soon undertake work with Opera Australia and the Sydney Theatre Company.

She says the dancers were adventurous and generous with their time for the shoots.

Helen Sidoryn, Love Birds #1 (detail)

Lisa Tomasetti, cygnets on 6th Avenue

“Over the years I’ve developed a strong friendship and trust with them, they know what the shots involve and that the selection process for the final image will be approved by the artistic director. I aim to respect their brilliance and perfection as much as possible with my skills so they can be happy with the result.”

The spur of the moment urban shoots had differing public reactions across the globe.

Opens: Friday 3 May at 6 pm Opening Speaker: Denise Picton Managing Director, OzTrain

Anne & Gordon Samstag Museum of Art University of South Australia

Free Artist Demonstrations will be held on Saturdays 4, 11,18 & 25 May 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

“In Tokyo the Japanese are very respectful so they don’t stare and instead get out of your way, when sometimes you want them to be part of the image. However, in New York they loved it and wanted to be in the shot or interact with the dancers... it was wonderful and crazy at the same time. In New York we had a taxi driver call [to say] how happy we’d made him and a truck driver who helped stop the traffic for one of the shots.”

Lisa Tomasetti Behind the Scenes: The Australian Ballet on the International Stage Saturday, May 11 to Saturday, June 8 Hill Smith Gallery hillsmithgallery.com.au

3 May – 5 July 2013

UnDisclosed: 2nd National Indigenous Art Triennial Simon Terrill: Crowd Theory Adelaide

MARIJANA TADIC A PLACE WITHIN....

17 May – 8 June 2013 www.bmgart.com.au

An arts & cultural initiative funded by the City of Burnside

55 North Terrace, Adelaide T 8302 0870 Open Tue – Fri 11– 5pm, Sat 2 – 5pm

www.pepperstreetartscentre.com.au SMA TAR May 13.indd 1

19/4/13 9:57:42 AM

The ADELAIDE Review may 2013 33

ADELAIDEREVIEW.COM.AU

VISUAL ARTS

State of the Arts: Can sharing a meal be art?

by Paul Greenaway

I

n the current issue of Artforum there is a double obituary for the late Australian critic Robert Hughes and United States critic Hilton Kramer. The author, Mira Schor, rehearsed the history of both men, noting their differing approaches and styles of writing. She made a point of observing that they loved painting and traditionally understood aesthetic values. Hence both balked at the changes that took place in the art world in the late 1970s and early 1980s when high modernism lost primacy to more contingent, political and interdisciplinary art movements, with a shift in aesthetic values from visuality, process and form to identity, ideology, social history and the primacy of language.

I was then moved to revisit Hughes’ 2008 television documentary The Mona Lisa Curse, the frank, if ultimately negative, ramblings of the then 70-year-old critic. Hughes argued that when Da Vinci’s Mona Lisa was sent to the US in 1963 – where President Jack and Jackie Kennedy and a million visitors to the Museum of Modern Art went to see it – the painting was immediately transformed from a work of art to a celebrity icon, thus marking the beginning of the current era of art as commodity.

exhibitions gallery shop

Nura Rupert, Mamu (Spooky spirits), 2003, ink on paper, 30.5 x 30.5 cm, FUAM 4437, © courtesy the artist and Ernabella Arts Inc

Hughes is scathing of Thomas Krens (the recently retired Director of the Guggenheim, New York), who states in the documentary, “Museums have an obligation to be populist”.

If we see populism as anti-elitist then fine, but Hughes argues that celebrity masterpieces and spectacular blockbusters increase numbers into the museum only to risk a loss of meaning and the ability of the viewers to see and think for themselves. Let’s face it, Guggenheim’s Armani show, GOMA’s Valentino gowns and even Kylie Minogue’s costumes can bring people into a museum but do the visitors leave with an enhanced level of art literacy? Hughes states: “Art should make us feel more clearly and more intelligently, providing a coherent sensation we would otherwise not have had.” Hughes concludes with the big questions, “What good is art, who is it for, what does it do, if not to tell us about the world we live

Korogo village

in”. Perhaps some of the artwork produced today that invites participation from the viewer (e.g.

Rirkrit Tiravanija’s works involving a shared meal or Carsten Holler’s giant slide recently seen at GOMA) loosely grouped under the French curator Nicolas Bourriaud’s term ‘relational aesthetics’ can offer a glimmer of hope.

Like most South Australians interested in visual arts I want to see vision at government level, from educational institutions and from our state museums. Under Nick Mitzevich our state gallery has for the first time in years come alive. Mitzevich has a vision for the gallery and he has galvanised ‘true believers’ behind him. The gallery has never looked better and the recent purchase of We are all Flesh by Belgian artist Berlinde De Bruyckere is nothing short of inspirational, as was the purchase of the Chapman Brothers work that sits so well with our great Goya etchings. Museums are no longer autonomous agents, they are often cash strapped and under pressure from governments to justify their very existence, balancing entertainment with scholarship, education with commerce and the wishes of the benefactors with those of the artists.

Mitzevich is aware of the difficulties and is rising to the challenge.

Turner from the Tate – The Making of a Master, currently on display, is a handsome exhibition and can rightfully be seen as a coup for a small city like ours. If you have not seen it do make the trip, not to see the celebrity guest but to engage with the art. Notwithstanding the fact that the axis of the world is shifting from the North Atlantic rim to the East and Far East, and the Australian population shifts from Anglo and Saxon to Asian, I hope we don’t have our eyes looking back over

the shoulder to mother England forever. Art is inseparable from the concentrations of wealth, capital, human resources and education in the world’s major urban areas, or centres aspiring to momentarily strut that stage. But Turner truly was a great artist and naturally we need to concentrate on the art and not the nationality or ‘brands’ of Turner and Tate.

Over the Christmas /New Year period I was in Kerala, southern India, for the first KochiMuziris Biennale, India’s first such event. Of the 152 biennales in the world this has to be one of the best. Okay, it is not as big as Documenta in Germany, not as well funded as Sydney, nor as international as Venice, but artists organised it for other artists and the public. The 83 artists involved (including Adelaide-based artists Hossein Valamanesh and Ariel Hassan) all rallied to the call and made some of their best works in the most extraordinary venues, including Dutch and Portuguese warehouses from the spice trade of centuries ago.

Twenty-five years ago I lived in a small village in the middle Sepik River region of Papua New Guinea. The village is Korogo and back then it had a population of about 600 people. Malaria was common and several children would die each year. At that time, indeed until eight years ago, fresh water for dehydrated children suffering from malaria was taken from the backwater lakes near the river. Local fish provided protein and a commodity to trade with the villagers from the mountains or grasslands. About eight years back, it is believed, a cook from a mine up stream had brought domestic fish from

Hong Kong and when they grew too big for his tank he released then into the Sepik.

The introduced fish eat the eggs of the local fish that would also normally clean the waterways. Further, the introduced fish are full of bones and are not edible. The waterways are polluted and the children are dying from dysentery and diarrhea, and infant mortality rates are now the highest in the world. An Australian has invented a ‘life straw’ that lasts three years in use and filters out 99.9 percent of all water borne bacteria. I have started a fund through Rotary to buy enough straws for every one living along the middle Sepik, which will give us three years to tackle the bigger issue of what to do with the introduced fish. We need to help our neighbours. (Kindly go to https:// donations.rawcs.com.au/Default. aspx?ProjectID=649&ReturnTo=4 to contribute.) I wonder if the efficacy of Tiravanija’s ‘coming together’ actions should be put to the test in real time with real people who need us to share a meal with them.

What does this have to do with art? Nothing and everything. If Hughes was right and good art is dense with meaning, and born of experience and not market, or if Bourriaud’s advocacy of ‘relational aesthetics’ holds any value, then let’s see the Korogo project as art.

» Paul Greenaway is the Director of Greenaway Art Gallery and GAGPROJECTS (Berlin)

10 May - 7 June 2013 TWO EXHIBITIONS

Ernabella in Print limited edition prints from the Ernabella Arts Archive and Flinders University Art Museum Collections

[E = gm2]  ‘square’ artwork by members of the Red House Group images (right) by Jeremy G Paddick and Sue Double

Gallery M Marion Cultural Centre 287 Diagonal Rd Oaklands Park SA P: 08 8377 2904 E: info@gallerym.net.au

www.gallerym.net.au

34 The ADELAIDE Review may 2013

VISUAL ARTS

Pan troglodytes / chimpanzee, Equatorial Africa 2012 (detail) IUCN threat status: endangered Belgian military camouflage jacket (also worn in the Belgian Congo, ‘jigsaw’ pattern), aluminium, leather gloves, teeth, medical model heart, plastic toy, mobile phone, nails, bottle caps.

Big Game Hunting

by John Neylon

A

merican academic and author Ellen Dissanayake recently shared with Australian audiences her perspectives on the nature of art.

When thinking about what distinguished art from other forms of adaptive human behavior she concluded that art, through ritual, is essentially is concerned with ‘making things special’. Dissanayake’s worldview has ‘now’ written all over it. We are currently living in a period of human history in which the world as a geo-political entity is fraying but in terms of interconnectivity is creating new systems of collective behaviour. In this, Dissanayake contends, the arts have a key role to play in reinforcing common bonds within communities and coping with change.

To adopt such a framework involves, as it has for Dissanayake and many artists, a crossdisciplinary approach to an understanding of art and its capacity to shape lives. The happenstance of listening to Dissanayake then, a few days later meeting with Fiona Hall, who was engaged in setting up her Big Game Hunting Heide exhibition, was the usual case of the stars aligning. What struck me was the overlap between Dissanayake’s focus on the importance of ritual in times of transition and Hall’s prescient engagement with aspects of global and regional issues.

The visual and conceptual impact of Hall’s work is not simply that it deals with such things as environmental destruction, materialism and moral decay but that it uses an intriguing visual language of symbols and materiality to draw its audience closer for a lengthy conversation.

Meghan O’Rourke, Transitions Brooch Titanium, Niobium, oxidised sterling silver

Adelaide College of the Arts

This sustained kind of magnetism between artwork and viewer is rare. But from the first time Hall exhibited her The Seven Deadly Sins Polaroid photographs series then followed with the Paradisus terrestris ‘sardine can’ series of 1989-90 a growing audience became fixated on the artist’s ability to weave meaning and create connections between different systems and filters for

Fall Prey has been described as a 21st century hunter’s den or a menagerie of ‘trophies’ of species which are on the International Union for Conservation’s ‘Red List’.” organising and making sense of the world.

Add to this the artist’s inspired strategy of playing with Linnaean taxonomy to blur the distinctions between the sex life of plants and humans. Some viewers could not look a daffodil straight in the eye again. Hall has continued to ply the uncertain boundaries between the natural world and social life, as seen for example in the series Tender (2003-05) which essayed the outcomes of

Light Square Gallery 8

23 May

ALUMNI FROM ADELAIDE COLLEGE OF THE ARTS AND THE JAM FACTORY ASSOCIATE PROGRAM EXHIBIT AS PART OF JAM FACTORY IN THE CITY

OVER THE ROAD 39 Light Square Adelaide Monday to Friday 9am to 5pm T +61 8 8463 5032

acarts.edu.au

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VISUAL ARTS contemporary arts centre of sa

Such concerns frame recent work currently presented as Big Game Hunting at Heide Museum of Modern Art. The exhibition is built around two bodies of work; Fall Prey, which was originally created for dOCUMENTA (13) in Germany in 2013, and work from the ongoing Kermadec project.

Fall Prey has been described as a 21st century hunter’s den or a menagerie of ‘trophies’ of species which are on the International Union for Conservation’s ‘Red List’. Curator Kendrah Morgan, in discussing this work in her catalogue essay, observes that the wunderkammer analogy has often been used to describe Hall’s work, particularly those that employ the vitrine to imply some quasiscientific probity or control.

Such is the free-ranging nature of Hall’s extrapolations of scientific facts (yes there is a Belgian Congo chimpanzee whose habitat is being destroyed by mining) with painstakingly crafted manipulations of recycled objects and materials to create effigies which, unlike movie merchandise ‘critters’, are charged with invoking a sense of urgency about what is really happening to the natural world. Perhaps they are the ghosts of a mutant future, holding out their plaintive paws in mute supplication or pleading with sightless eyes to be taken out of the red zone.

Hall’s cross-disciplinary practice has constantly been enriched by exchanges and experiences shared with scientists. In 2011 she undertook a voyage with other artists and scientists to get a little closer to the Kermadec Trench. This Trench, which is in New Zealand waters, is the second deepest trench on earth.

Unfortunately for this environment and its various organics and denizens it is rich in mineral resources which could mean that the

Ailuropoda melanoleuca / giant panda, China 2012 IUCN threat status: critically endangered.

Chinese military camouflage trousers, dominoes, mesh purse, US dollar bills, electrical plugs, light bulbs, steel, wooden Buddha figurine.

mining runoffs from Australia’s eastern seaboard will eventually consummate with whatever digging up underwater volcanoes is likely to produce. Hall’s response to the experience of being there has been to ‘adopt’ barkcloth (made from the inner bark of the paper mulberry tree and known variously as ngatu, tapa, siapo and masi) as the material to carry ideas about the region and its uncertain future. A large work, Bowline on a Bight is made from a seven-metre strip of barkcloth cut in two. It may be, as Morgan suggests, a political banner or a map of the two tectonic plates, which define the geology of the region. Drawings and designs, applied in traditional dyes, convene a host of symbols to propose that this area, like everywhere else, is a battlefield. But, as with so much of Hall’s practice, things are camouflaged. You have to go hunting.

Roy Ananda’s Manifest exhibition launched on Friday, April 26 at the Contemporary Arts Centre of SA.

Photos jonathan van der knaap

Roy Ananda

Paul Greenaway, Kate Quigley, Michael Schaefer

Yoko Kajio, Alison Main

Steph Bromley, Jimmy Christo

Ingrid Kellenbach, Amy Joy King

Heidi Kemyon, Adrian Kemyon, Carla Liesch, Anna Horne

Plastic Fantastic Annabelle Collett 5 May - 23 June 2013

Fiona Hall Big Game Hunting Heide Museum of Modern Art, Melbourne Continues until Sunday, July 21

1 Thomas Street (cnr Main North Road) Nailsworth Tel 8342 8175 prospect.sa.gov.au

heide.com.au

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

w w w. f l i n d e r s . e d u . a u / a r t m u s e u m

NOT DEAD YET Th eres e R i tchie an d Ch ip s Mac kin o lt y a retro sp ecti ve exh ib it io n

4 May - 14 July 2013

Miss Pink (detail), Plastic plates, toys, flippers, cones 100x95x10cm

global economic systems which cause Third World communities to scrabble for the dollar at great social and environmental cost. Central to this and other recent bodies of work is the proposition that the exploitative nature of humanity’s relationship with natural systems and resources has produced a new ‘species’ of hybrid desires and unforeseen consequences.

GeorGe raftopoulos New works 11 May – 8 June 2013 www.hillsmithgallery.com.au

36 The ADELAIDE Review may 2013

VISUAL ARTS

Down in the woods today

by John Neylon

Thirty years later and that snake looks in rude health. What happened? How is it that by-the-sea sculpture projects are big and getting bigger, no self-respecting freeway is complete without some funky sculptural ornamentation and installation art is the weapon of choice for countless artists?

The trick was to keep an eye on that snake. It didn’t die, just changed its skin and address. American art critic Rosalind Krauss nailed it in 1979 when she introduced the idea of ‘sculpture in an expanded field’. Through this new deal sculpture got to keep its brand name but it did have to concede territory.

Sculpture could keep on calling itself sculpture provided it was also about everything else. Like, somehow the spacy bits between object, artist and viewer were sculpture too. Couldn’t be simpler.

Talking of expanded fields, the fifth McClelland Sculpture Survey is currently reaping the benefits of expanding into some of its ‘new’ territory, adjacent to the Gallery and existing Sculpture Park. This area heavily wooded, ti tree scrub.

There are paths and the odd clearing but there is a sense that, once on the Survey trail, you are being swallowed by the bush. Most works are visually isolated from each other. They just appear. This dynamic works a treat for sculptures such as Christopher Langton’s Away with the fairies, a group of sexed up animatrons who look like runaways from a teen party teleportation caper gone wrong. Likewise for Troy Emery’s Golden Beast which blocks the path like a spangled Gay Mardi Gras Yeti which everyone knows must be

obeyed. Add to this Matt Calvert’s cookie cutter kid, Boy pointing down, which commands a clearing with the kind of purposeful gesture I thought only Flat Stanley was capable of. So many works feed off this peek-a-boo dynamic. It fires at the getgo with Anton McMurray’s Seed which greets Survey trekkers while they are still putting on the sunblock. The McClelland Survey team must have Seed high on its praise the lord list because it has ‘enter’ written all over it from its gonzo-gothic tips to its stolidly classical roots.

The Valley, oil on canvas (detail),

by Irina Ozolins

The McClelland Sculpture Survey & Award McClelland Sculpture Park + Gallery (Victoria) Continues until Sunday, July 14 mcclellandgallery.com

The Survey Award has gone this time around to Adelaide artist Greg Johns for his At the centre (there is nothing). Johns is a determined survivor of the 1970s-1980s turf wars, which (in Adelaide at least) cast object makers against ideologues. These were testing times in which artists committed to making welded steel sculptures were type cast as patriarchal, knuckle-dragging formalists. But Johns is old school, who took from his mentor, Bert Flugelman, the lesson that nothing beats time in the studio. So he just kept working and thinking and in the process transformed his work from heeding the sirens’ call to geometric cadence to embracing elements of paradox and duality which give his current work, and At the centre (there is nothing) in particular, poetic presence. When engaging with this work be alert to the sudden visual ‘flip flops’ which in a handful of steps can translate a circle into a square and a cluster of subatomic protons into a medieval rose window.

The survey continues to be successful in attracting the participation of artists who have variously taken on board the idea that sculpture today does work within broader frameworks.

The fact that works are required to function in an outdoor setting and survive for an extended length of time in all kinds of weathers is a

ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC.

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

There are other works which hopefully will stretch the imagination of Survey trekkers; John Kelly’s implacable The weight of words, Bozo Ink’s (Cameron Bishop and David Fitzsimmons) Bunker-de-bunk and for reasons I’m not quite sure of, Will Heathcote’s Synthesis which basically consists of blackened tree sections.

It was this work with its pitch-black surfaces suggesting tree victims of yet another oil spill which spoke of materiality and surfaces as the entry point for so many works in this exhibition.

There’s a lot of skin in this show. Focus on that and you may find where the snake is headed.

Retrospective artworks of Irina Ozolins, FRSASA 28 April – 19 May 2013 An exhibition of mainly oil paintings, Australian landscapes, still life & abstracts,

by RSASA Fellow Member Irina Ozolins, originally from Latvia.

2013 Inaugural RSASA Portrait Prize 23 June – 14 July – Entries due 31 May 2013 – open to all artists in all mediums Download entry form from www.rsasarts.com.au (Exhibitions) or email rsasarts@bigpond.net.au $5,000 in Prizes to be awarded Also: Write up to 200 words on “Why you would like to have your portrait painted, or that of someone else” for Portrait demonstrations by professional artists.

Students of all ages are also encouraged to submit drawings, paintings of their favourite character from a story/novel. Send in by 31 May...to be included in this section.

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.

Photo: John Gollings

R

emember when modern sculpture began to resemble a snake hung on a fence to die? Everyone knew that it wouldn’t die until sundown but by the later 1970s the light was fading. Conceptual and post-object art looked to have delivered the killer blow.

practical consideration not faced by installation preferencing free spirits. Despite this, and the ever-present threat of succumbing to the artand-nature default position, there are signs that the Survey is settling into its own skin without becoming overly risk averse. Strong works give it backbone and bite. These include Isaac Greener and Lucas Maddock’s Apostle no. 2, a ‘replica’ of a member of the so-called 12 Apostles off the Western Coast of Victoria, which fell into the sea in 2005. It ticks a lot of boxes. Incongruity (so what’s an Apostle doing on the outskirts of Frankston?). Spooky factor (this big hunka hunka fibro rock really glows). Big (size isn’t everything but when referencing Australia’s penchant for big sculptures it does matter). Karleena Mitchell’s bird boxes (Cacophony) have novelty and conservation concerns on its side. Tick entertainment and social engagement. But factor in the clever use of sound (ambulance sirens, hooning cars and bash the bush parties) and the enveloping bushland suddenly looks very vulnerable.

Greg Johns, At the centre (there is nothing), 2012

The ADELAIDE Review may 2013 37

ADELAIDEREVIEW.COM.AU

VISUAL ARTS

Review: Troy Innocent and Tim Sterling

by Leanne Amodeo

I

f there is a curatorial rationale for showing the work of Troy Innocent alongside the work of Tim Sterling it has been lost on me. Not that it matters, however, because the overall appeal of these concurrent solo exhibitions (Hugo Michell Gallery Thursday, March 21 to Saturday, April 27) is that they are, upon first impression, so dissimilar. Where Innocent’s video work is hi-tech, Sterling’s plywood installations and works on paper have a wonderfully lo-tech robustness to them. It makes for an engaging gallery experience in which alternating between both spaces proves to be especially satisfying.

Innocent’s three channel video work is compelling for the curious nature of its content. And the screens’ suspension within the claustrophobic confines of the second gallery simply adds to its curiosity.

The colourful marks, scribbles and gestures

that litter each screen are an asemic writing system that Innocent has titled autograf.

Watching their movements as they multiply, disappear, reappear, morph and replicate is engrossing. How fascinating it is (or somewhat confusing) that these marks are at once familiar and alien. autograf takes segments of graffiti tags that inherently reference their urban provenance. By reconfiguring them, Innocent has in essence created a new language that resembles musical notes, though remains indecipherable. Like Sterling’s markings on paper, Innocent’s relentlessly repeated gestures beg for closer inspection. Both artists’ works are frenetic in their use of repetition and this motif results in a deliberate sense of anxiousness.

Innocent and Sterling employ creative systems that ultimately engage gallery visitors. Whether markings on paper, moving lines across a video screen or assembled plywood compartments, each is to be read according to interpretation. Innocent intends to further develop his language as his ongoing investigation into the history of writing systems continues. While Sterling’s work references architectural plans and models, which also take their cue from urban environments. Turns out their work are not so dissimilar after all.

Troy Innocent, autograf

turner from the tate

the making of a master

Open from 8 am on weekends. Exhibition closes 19 May 2013

art gallery of south australia Book at

Presented by

bass.net.au 131 246 or in person at the Art Gallery

PrinciPal sPonsor

organised by

exhibition and media Partners

Part of the 2013 adelaide festival

detail: J.M.W. Turner, A Disaster at Sea, c.1835 © Tate, 2013

38 The ADELAIDE Review may 2013

VISUAL ARTS

BMG on the move

by Jane Llewellyn

R BMG Gallery’s current home

We are really thrilled with the project coming up – one of the upsides of living in a small town like Adelaide is that you can find a 1934 Art Deco hall, a building of immense character and potential, within 4kms of the CBD!”

Tridente, has served them well the area has changed a lot over the years. “We have thoroughly enjoyed living in the city for the past 12 years but the increasing development in the West End has almost obliterated any parking facilities for our clients and artists,” says Brown. Tridente has again been employed to revamp the new space and convert the former RSL Hall into a contemporary art gallery.

umours have been circulating ever since a ‘for sale’ sign appeared on the BMG gallery on North Street a couple of weeks ago. Another gallery bites the dust, retirement, illness, you name it but in this instance none of the above is true. Instead it’s about timing and embarking on a new project for owners Trudyanne Brown and Horst Kloss.

It will be business as usual and Brown and Kloss hope it will be a seamless move in September ­with little interruption to this year’s exhibition schedule.

The move is by no means a downsize, as the new gallery occupies a larger space. Brown suggests that with the new amount of gallery space available to them they are “looking forward to running two to three exhibitions simultaneously”.

While it appears to have happened suddenly it is something Brown and Kloss were considering if the right space presented itself so when they came across an incredible building on South Road, Marleston, and managed to sell the North Street gallery quickly, everything fell into place. Brown says: “We are really thrilled with the project coming up – one of the upsides of living in a small town like Adelaide is that you can find a 1934 Art Deco hall, a building of immense character and potential, within 4kms of the CBD!”

“Or it may be that we simply have one exhibition space changing on a monthly basis, and another distinct area dedicated to new work as and when it arrives. We can change the stock on a weekly, or even daily, basis entirely at our discretion.”

With so much doom and gloom in the current art market and many commercial galleries across the country closing their doors it’s inspiring to hear of BMG’s plans for the future indicating they will be around for some time to come.

While their purpose-built, live-in gallery on North Street, designed by architect Nick

bmgart.com.au

T’Arts Collective Gays Arcade (off Adelaide Arcade)

Robyn Zerna-Russell, Just For You (detail)

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

T’Arts is the place to get that perfect gift for your mum this mothers day.

Come and see our beautiful window full of ideas that mum will love.

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Now at Glenside Campus www.centralartistsupplies.com.au

lisa tomasetti Behind the SceneS: the AuStrAliAn BAllet on the internAtionAl StAge 11 May - 8 June 2013 www.hillsmithgallery.com.au

Bruce Earles

Window runs from April 26th to May 25th

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Everyday Jungle, (detail), oil on canvas, 100cm x 150cm

artimagesgallery.com.au Mon-Fri 9-5.30 Sat 10-5 Sun 2-5

32 The Parade Norwood

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MANIFEST1 In conjunction with the Qantas Foundation Encouragement of Australian Art Award

Roy ANANDA the devourer 26 April–26 May Contemporary Art Centre SA 14 Porter Street Parkside www.cacsa.org.au

Adelaide Review June.indd 1

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VISUAL ARTS occasions has been selected for the Salon des Refuses (the Archibald off-shoot held at Sydney’s SH Ervin Gallery). Last year’s entry was acquired by the iconic Barry Humphries. “That just kick started it for me. It was really encouraging having such a positive response,” Tsering says.

Portraiture is a large part of Tsering’s practice and with a number of commissions last year it will continue to be. “Portraiture is a steady income for artists. There is still a demand for portraiture even though it’s a traditional genre,” she says.

Tsering Hannaford, Portrait (detail)

Looking at Tsering’s work she is obviously influenced by her father’s work. “Just growing up around his paintings it’s hard not to be influenced. My aesthetic has developed because of my dad so yes, my artwork is similar but having said that I also think my painting style is completely different.” She lists masters like Goya and Rembrandt as influences and the Australian tonalists: “I like a darker style of art. The tonal artists and dramatic lighting, that sort of feel.”

Tsering Hannaford, Budding Camellia (detail)

Profile: Tsering Hannaford

Tsering believes the fact that “I paint from life where ever I can” is a distinguishing feature of her work and is inspired by her father who told her to “paint what you see”. This is something she has adopted in her portraiture work where she might have around six to seven sittings with the subject. “The process of painting from life with the sitter allows them to let down their barriers and you can catch idiosyncrasies you might not see

if you just do a photo session,” Tsering explains.

As well as her work in this year’s Salon des Refuses (which is showing until Sunday, May 19) Tsering will continue to enter as many prizes as she can, like the A.M.E Bale prize in which she was a finalist last year.

While many Adelaide artists move away to establish their career interstate Tsering has no plans to move and speaks fondly of Adelaide, “People often ask why don’t you move to Sydney or Melbourne, somewhere bigger, but Adelaide is a really good city for artists. There is a hub of creative people in Adelaide. I feel well supported here.”

tseringhannaford.com.au

E

ven though Tsering Hannaford grew up surrounded by art, as the daughter of well-known South Australian artist Robert Hannaford, the plan wasn’t always to be an artist.

Tsering studied Psychology before taking a gap year

to Europe where her passion for art was ignited.

Like her father, Tsering’s focus is portraits, still lifes and landscapes. She has entered the Archibald for the last two years and on both

THINKING OF A HOLIDAY ON KANGAROO ISLAND?

TAKE IT AT ART FEAST TIME.

ALISON MITCHELL

by Jane Llewellyn

celia gullett NEW PAINTINGS 11 May – 8 June 2013 www.hillsmithgallery.com.au

0405 289 911 | rivertonlightgallery.com | alisonmitchell.com.au HSG_TAR_Gullett_DRAFT.indd 1

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40 The ADELAIDE Review may 2013

THIS MONTH Claire Foord Colour Theory

Roy Ananda MANIFEST 1

Urban Cow Studio Continues until Saturday, June 1 clairefoord.com

Contemporary Art Centre of SA Continues until Sunday, May 26 cacsa.org.au

Claire Foord’s latest exhibition investigates chromotherapy (where colour is used to balance energy) and synesthesia (a neurological condition) through a visual art representation of colour theory. This will be Foord’s final exhibition before heading to exhibit in Germany.

The MANIFEST series celebrates South Australian artists who have been awarded the Qantas Foundation Encouragement of Australian Art Award (Roy Ananda 2010, Sue Kneebone 2011 and Heidi Kenyon 2012). MANIFEST 1 focuses on Roy Ananda while Sue Kneebone will be celebrated with an exhibition in June.

Claire Foord, Dipping

Eleftherios The Aphrodite Collection

Photo: James Field

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

Roy Ananda, The abomination of abominations, 2012

Simon Terrill Crowd Theory Adelaide

The Governor Hindmarsh thegov.com.au

Samstag Friday, May 3 until Friday, July 5 w3.unisa.edu.au/samstagmuseum

The goddess Aphrodite inspires Eleftherios’ new exhibition, The Aphrodite Collection, as the Greek-Australian artist’s collection of painted canvases is homage to the wonder, power and mystique of women.

Samstag will host a selection of Simon Terrill’s images from the recent ‘Crowd Theory Adelaide’ performance held in Victoria Square/Tarndanyangga.

This is part of an ongoing series of international photographic performance events by Terrill.

Eleftherios

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

Simon Terrill, Swarm 2008

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travel prepare nibbles, occasionally served on a balcony showcasing stunning views.

The Overland Track

The Overland Track the Posh Way

by Stephanie Johnston

T

he message from Nat landed the night of Mum’s 90th birthday celebrations. Someone had pulled out, so there was a spot left as her ‘roomie’ on the Cradle Mountain Huts Overland Track Walk, leaving in three weeks: “Just thought I’d check, in case anything has changed and you are able to come.”

Apart from a hiccup on day one, when guide Matt neglected to make sure a couple of us had packed our lunches, (and another hungry moment when said Matt forgot to pack the daily ration of scroggin), the catering was exceptional. Each night the two guides would prepare an inspired three course dinner and bake fresh bread, scones and muffins for the following day, while we all relaxed with a glass or two of Tamar Valley wine. One guide would always travel ahead to light the fire, put on the kettle and

RETURN TO THE GRAND DAYS OF TRAVEL whatever your choice of luggage

Nat had invited me to join her and eight other school mums on the classic Tasmanian wilderness walk a few months earlier, but I had been unable to commit, not least of all due to the rather hefty price tag of doing it “the posh way”, as my intrepid Tassie-based bushwalking sister would later describe this catered version of the walk. As it happened, Mum had handed out a bunch of birthday cheques to family members the very afternoon Nat messaged me, so when a quick look at the diary miraculously revealed no commitments that week, I was in!

We started the trek appropriately at Waldheim, a replica of the original chalet built in 1912 by Austro-Hungarian Gustav Weindorfer, who was instrumental in having the area declared a scenic reserve and wildlife sanctuary in 1922. From there we followed a boardwalk over fields of button grass, then climbed through a primeval gully of deciduous native beech trees – evidence of the prehistoric supercontinent of Gondwana – to Cradle Lake,

We stopped for lunch at Kitchen Hut, a chance to warm exposed frozen limbs and don some warmer, dryer gear before continuing around the base of the mountain. That path took us along the edge of a spectacular glacial cirque, and over an exposed alpine plateau displaying an exquisite fairy garden of pines, shrubs, mosses and delicate flowers interspersed with magical miniature tarns and lakes. We then progressed downwards through the traditional lands of the Larmairremener, making way on the boardwalk for a wombat and a pair of wallabies before arriving at our hut at the base of the towering Barn Bluff.

Subsequent days took us through an incredible range of terrain that encompassed spectacular and singular mountain views, fossil-rich riverbeds, ancient shadowy forests, dramatic waterfalls and sunny open plains.

Summiting Mount Pelion East (aka ‘the Nipple’) at 1461 metres was a literal highpoint.

Finally, in celebration of our completion of the 65km hike, all 12 of us jumped off the jetty into the chilly waters of Lake St Clair, Australia’s deepest freshwater lake, before boarding a ferry back to civilization. Way to go!

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The girls gathered the night before the walk at a riverside hotel in Launceston. Free of family encumbrances the 10 of us managed to turn a few heads when strolling along the old seaport wharf to the award-winning Stillwater restaurant. There, solicitous staff did justice to the relaxed ambience of the historic mill setting on the banks of the Tamar River, and served up a storm of delectable dishes and local wines that were noisily devoured as our group anticipated the next six days’ adventure.

Members of the party who had previously undertaken the Bay of Fires Lodge Walk (managed by the same company) assured the rest of us that high culinary standards could be expected throughout the trip.

Creature comforts in the Ken Lantona designed lodges included odour-free inside toilets, hot showers and a drying room that made the whole experience feel a bit like a skiing trip. Mattresses were provided in the small but functional attic bedrooms, while the large common area sported a table for 12, cushioned bench seats, a thick rug ideal for stretching and lounging, and an acoustic guitar of varying quality. A clever touch was an identical library in each hut, which meant you could continue reading the same book – Julia Leigh’s The Hunter in my case – without having to carry it with you. A total of five huts formed the basis for the six day guided walk, with each day offering a full and different experience within the Cradle Mountain – Lake St Clair National Park, contained within a World Heritage Area of 1.48 million hectares.

collecting drinking water from a pristine alpine stream along the way. Shifting mists partially obscured the craggy peaks of Cradle Mountain as we ascended the steepest section of the entire track to Marion’s Lookout.

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42 The ADELAIDE Review may 2013

FOOD.WINE.COFFEE

Photos: Tony Lewis

PRIX FIXE LUNCH MENU 1 course $27

Kerry Flanagan

2 courses $35 with a glass of wine

SAMPLE MENU Entree Confit chicken terrine with zucchini and fat hen Pissaladiere with parsley salad •

Review: Barrio Uno

Main

by John McGrath

Steak frites Confit Muscovy duck leg with wilted greens and wild plums •

Dessert Selection of French cheese Wild blackberry shortcake with Meyer lemon curd

B

arrio Uno is cannily placed on Waymouth Street. It is at number 108, where the business sector peters out and the boom boom nightclubs grab the baton. There is a mystifying Indian restaurant in the mix. It has been sitting on the Light Square corner for years. It seems to have no visible means of support. Perhaps I am safely tucked up in bed when the joint goes off.

around when you walk in and imagine how arid the place would have looked like before the humanising hand of Kerry Flanagan.

The time is ripe for restaurants that serve just one course. Deals can be made over half a pizza each with a few side dishes. No need for packing formality and three courses into lunchtime. No need to slosh back to work feeling bloated and blurry.

Outside Barrio Uno is an agreeable street sculpture in the manner of Bert, as in Balls; Bert.

It could be sole spermaceti from a colossal beast.

It could be a conglomerated creative rendition of a gang of wicked staphylococcus aureus. No doubt you remember from chemistry lessons that golden staph looks like bunches of grapes. And bunches of grapes brings us to Kerry Flanagan. Kerry has an impeccable, adventurous, McLaren Vale pedigree.

On my far too enthusiastic visits to Barrio Uno I have seen a wonderful mix of customers. A sprinkling of power suits. One classic not quite black pure chalk stripe suit with the ‘dressed for firing’ scarlet silk tie carelessly tied in a perfect double Windsor. Inamorata, who mixes in circles far higher than my own, estimated a starting price for the suit, no trimmings, at $10,000, probably a lot more.

Now Kerry’s skill as a winemaker and restaurant owner, pizza maker and more has descended onto Waymouth Street, with a handy ground level car park next door. Have a look

All sharing pizzas like the ‘St Vincent’ with prawns, squid, fish and roast onion, lemon and parsley ($25). Not in the billionaire bracket? Try a ‘Galacia’: broccoli, green beans, mushrooms and

WINTER PADDOCK PLATE LUNCHEON with SIMON BRYANT SUNDAY 16TH JUNE, 1PM – 5PM

BISTRO DOM P 8231 7000 24 Waymouth St, Adelaide www.bistrodom.com.au Opening hours Tuesday - Friday lunch, Wednesday to Saturday dinner.

Join us and chef Simon Bryant for a gourmet luncheon to launch NGERINGA’s Winter Paddock Plate, this season’s cellar door menu.

A paddock-to-plate flavour experience of estategrown, biodynamic, organic and local produce matched to our biodynamic wines – an afternoon of sustainable and ethically sourced food and wine.

Feast on chestnut soufflé, marinated lamb, lavender panna cotta. Tickets limited. Bookings essential.

Visit www.ngeringa.com for more details.

119 Williams Rd, Mt Barker Summit, Adelaide Hills T/F: +61 8 8398 2867 wine@ngeringa.com

Open Friday - Sunday 11am - 5pm European-inspired, biodynamic wines Estate-grown seasonal Paddock Plate Monthly Pizza Sundays, next firing up 26th May

garlic - $16. Try the simplest dish, pizza dough, still soft, puffed by the heat, straight and steamy hot from the wood oven, scattered with chilli oil, olive oil and salt. Or perhaps flat oven bread with herbs and garlic for $10. Or a mixed plate of charcuterie and cheese ($10/$18).

My favourite from the 12” wood fired pizza list is the Corfu: tomato, anchovies, olives, onions chilli and capers.

The wine list is as quirky as its maker. If the dessert pizza catches your eye maybe a Prosecco will be the perfect match. Gluten free folks are catered for.

My favourite at the moment, but I am fickle, is The Constantinople: lamb, pistachio, feta, tomato, mint and yoghurt.

Sensational pizzas.

A wood-fired pizza oven that lights up like a circus tent.

Get there.

Barrio Uno 108 Waymouth Street Hours Lunch: Monday to Friday 11.30am to 3.30pm Dinner: Thursday, Friday and Saturday 6pm until close barriouno.com.au

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FOOD.WINE.COFFEE

cheese matters

style will require a particular level of humidity, temperature, time, handling, washing, scrubbing, turning and airing under the watchful eye and hand of the affineur. In the case where more than one style of cheese is matured several purpose built caves or rooms are built.

Affinage BY kris lloyd

Maturating and aging cheese is not a precise science: the breed of animal, the region, the quality of the milk, the terroir and, indeed, the seasons will have an influence on the cheeses. The skill of the affineur comes with time and experience.

A

ffinage is a French term: put simply it is the maturation of cheese. The French verb ‘affineur’ comes from the Latin ‘ad finis’, meaning ‘towards the limit’. Many European cheeses are managed by an affineur, an expert who matures or ages cheese.

In many instances where cheesemakers have limited facilities to mature their cheeses, particularly if the cheese requires a lengthy aging period, the affineur will provide the answer. This explains why so many cheesemaking facilities I visited in Europe consisted of making rooms only; there was no need for any maturing rooms.

So what could possibly be so difficult about maturing cheese you ask? There are many factors that must align to ensure that a great cheese is matured perfectly. In Australia we do not officially have affineurs, it is the cheesemakers who are responsible for maturing their cheese. Given most Australian cheesemakers make several styles of cheese there is a risk in providing the exact maturing conditions for each style. It is easy to see why handling this very specialised part of the process onto experts can have positive results.

I remember visiting Giorgio Cravero, an affineur of Parmigianino Reggiano, in the North of Italy. The Cravero family has been affineurs since 1855 with knowledge that has been handed down from father to son for five generations.

I had never seen so many wheels of cheese so neatly assembled on wooden shelving, around 12 or so shelves high (containing 5000 wheels each weighing close to 35kg with a consumer value of around $8.5 million). The cheese matures naturally in a constant-temperature environment for a minimum of 24 months. The

The affineur must understand the condition that each cheese requires, generally the affineur will deal with one variety of cheese, which means their maturing rooms, or caves, are purpose built to suit the style of cheese they choose to age. Each cheese

scale of this operation was immense. When on my tour I met the robot who carefully pulled each cheese off the shelf, brushed it, turned it, and then repositioned it on the shelf. An obvious saving of hours of back breaking work.

The cheese is tested using a cheese trier and by sound. An expert will tap the cheese several times and is trained to detect holes, cracks and faults in the cheese, all through sound. I found this fascinating. The Cravero operation is unique, only maturing cheese from two local dairies. There are much larger affineurs operating as co-operatives maturing cheeses from many dairies and regions.

I visited affineurs who matured delicate young goat cheeses that would not withstand the robotics the Parmigianino wheels are up to. In this case each cheese was turned by hand in an environment that was humid and temperature controlled. The continuous turning is critical due to the high moisture they contain which can result in soggy bottoms should they not be turned daily.

Many fine cheese shops around the world like Neal’s Yard Dairy in Covent Garden in the UK combine retail and affinage. These stores have incredible visual appeal, with whole wheels of cheese in hundreds of shapes and sizes on show.

They offer a service that allows the cheesemonger to choose cheese from the plentiful supply maturing in store that is guaranteed to be perfect for your cheese plate.

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Giorgio’s Affinage room

Recently I hosted a French cheese expert, Ivan Larcher, at my factory. Ivan spoke in depth regarding the importance of affinage and the need to provide the right conditions. “Correct affinage will make a good cheese great,” he said. He also reminded me that affinage would not make a bad cheese good. I wouldn’t be surprised if we see an increase in the number of specialised cheese shops in Australia over the coming years.

Although the purist will argue that the affinage has already been done, the cheesemonger is caring for a cheese that has already been carefully aged by the affineur.

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44 The ADELAIDE Review may 2013

FOOD.WINE.COFFEE first learn the relevant information with which to prevent severe illness or death. Every year... amazing. Well my first rule when talking about foraging is more prevalent this season than ever – get the relevant information; read it, read it again and then go out and observe, where possible, with someone who knows what they’re doing.

Ask many questions and then go out and pick yourself some species that you are 100 percent comfortable with identifying accurately (see below for some great identification guides).

chewin’ the fat Autumn BY jock zonfrillo

W

ow, the cloud has lifted and I’ve shaken off the threat of a dry, dull pedestrian life in the corporate world. So, this autumn (one of this state’s most beautiful seasons) I have an opportunity to stock your dry stores, freezers and bellies with some of the finest produce in the country. As always, I’m going to talk about what interests me to arm you with at least an

idea of trying something a wee bit wild. It’s in my DNA and, believe me, it’s in yours too.

I’ve been busy with friends picking apples, crab apples, late stone fruits, persimmons, pomegranates, quinces, horseradish, late pick olives, late pick grapes and various mushrooms and walnuts for jellies, pickles, jams, juices and ferments of all types. At least half will be spectacular failures in the months to come but it’s the few unexpected success stories that make it into the recipe journals, which then starts a whole new chapter of experiments and dishes unique to South Australia. I love that.

It’s about now that we start reading about someone who’s died while picking mushrooms or is in hospital simply because they failed to

Years down the track I still enjoy learning about new species or ones I have previously steered clear of. For example, as I write this, I’m eating handmade pappardelle with fly agaric (amanita muscaria) (pictured). It even looks poisonous right!? It is the Alice in Wonderland looking mushroom that is indeed poisonous when eaten raw or dried, however, as I have recently learned, the poisons within are readily soluble in water. Although I’ve been assured that soaking is enough, I boiled them before going on and frying with sage, butter, salt and pepper. I’ve overlooked that mushroom for years and only this week, for the first time, have tried it and it is delicious!

It may be poisonous in its natural form but thinking about it, that’s no different than the manioc I experienced in the Amazon the other month, it just requires careful preparation.

Please don’t let me put you off! Deadly nightshade (atropa belladonna) for example is a poisonous plant in the solanaceae family; however, within this botanical family are some of our favorite go to items – potato, tomato, capsicum and eggplant! The same goes for the fungi families.

Try the basic staple within the pine plantations of the Adelaide Hills to start with – pine mushrooms also known as saffron milk caps (lactarius deliciosus). These amazing mushrooms can be found, quite literally, littered in pine plantations that have trees, in my experience,

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that are eight-plus years old. These mushrooms are nothing short of delicious and are one of my all time favorites. Wherever I have cooked in the world these mushrooms pop up in autumn after the first rain and it is great to see them in use here in Adelaide restaurants already.

Next up the slippery jack (suillus luteus), which is often feared because it has a slimy texture on its brown cap. Unlike the previous mushrooms these have pores rather than gills, which immediately puts people off given the unfamiliarity. Don’t be... the slippery jack hails from the same family as porcini, which you may know as cepes (boletus edulis). Peel the mushrooms to get rid of the thin slimy cap before use. They are best picked on a dry day as they harbour moisture, which shortens their life dramatically. As with the saffron milk caps, they are found in fine or spruce plantations of a certain age. You may also find a few cepes in the same area, what more inspiration do you need?

These are the easiest places to start your mushroom journey, which I warn you, will change autumn for the rest of your life. I first picked mushrooms as a child and subsequently have been eating my way through my pickings every year for decades since without any disasters or illness of any kind. It’s perfectly safe when you research what you’re doing and is the most fun you’ll have this autumn with your clothes on.

Essential reading: Mushrooms, Roger Phillips, (Pan Macmillan) London, 2006.

Mushrooms: River Cottage Handbook No.1, John Wright, (Bloomsbury) London, 2007 Mushrooms and Toadstools of Australia, Shepherd, CJ & Totterdall, CJ, (Inkata Press), Melbourne & Sydney, 1988 twitter.com/zonfrillo

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FOOD.WINE.COFFEE

FOOD FOR THOUGHT

BY ANNABELLE BAKER

W

inter harvests can be the most vibrant and interesting of all the seasons. Although most winter fruit and veg lend themselves to slow cooking, nothing is more enjoyable on a chilly winter’s day. With the change in weather also comes a whole new set of gardening challenges, as slugs, snails and caterpillars take particular liking to the deep green foliage that thrive in the damp soil. It is this seasonal characteristic, green foliage, which provides us with nature’s multi vitamins, just in time for the winter blues. The weather may be drab but the seasonal produce and dishes that can be created are far from it!

serve warm on toast or better still with freshly boiled cannellini beans – healing perfection.

Eating seasonal wintergreens straight from the garden is truly the natural way to fight the winter ailments. Rich in vitamins and minerals, many are considered to be ‘super foods’ with a massive revival of old varieties available at the greengrocer and at the nursery.

Oddly, the most vibrant fruit of them all hits perfection in winter. I mainly associate this zesty yet sweet fruit with sunny days but

it really holds its own in the winter months and it is… the humble orange. I feel that the orange is somewhat taken for granted, we now see them all year round in fluorescent orange string bags on our supermarket shelves. Have we forgotten what the perfect balance between sweet and tart can taste like, in a winter orange? They lend themselves to both savoury and sweet creations in the kitchen. Their zest when added to lamb and harissa stew, brings the sweetness out of the meat, the juice boiled with sugar and poured over a cake will bring it to life.

Winter days may be short but fill them with rewarding gardening, cooking and healthy eating. Embracing the winter harvest and all the challenges that come with it will give you the most satisfying and nourishing meal one can imagine.

Flourless orange cake Versions of this flourless orange cake have been around for generations and originated in the Middle East. It is extremely moist, vibrant but most of all one of the easiest cakes to make.

Ingredients • 2 large oranges • 250g ground almonds • 6 eggs • 200g caster sugar • 1 teaspoon baking powder • Seeds from one vanilla pod • 70g pine nuts Method 1. Gently boil the whole oranges in a large pot, completely submerged for two hours. (Use a sheet of baking paper weighed down with a side plate) 2. Quarter the boiled oranges once cooled.

3. Place all ingredients into a food processor with the orange quarters.

4. Mix until all combined and the batter is smooth.

5. Place into a lined and greased cake tin with a removable base.

6. Sprinkle with pine nuts.

7. Bake at 180 degrees for 30 to 40 minutes or until a skewer comes away clean.

8. Leave to cool in the tin before removing and is best served the next day with thick yoghurt.

I personally dread winter gardening; I am far from successful most years with rather pitiful crops. I tend to have two major problems. The first being I am extremely gifted in growing deep green foliage, and lots of it, but getting the broccoli or cabbage to flower seems to be beyond my capabilities.

If I do manage that elusive cabbage I then have to battle with the local pests! I have scattered egg shells, placed bowls of water and olive oil and even beer to eradicate them, all have brought limited success. Companion planting has, however, provided me with the best results and can even provide a crop of its own. Mint and nasturtiums around the cabbages will deter white butterfly and aphids. Rosemary near the broccoli and horseradish plants at the end of your potatoes will help protect them from potato bug. Keeping the companion plants to edible varieties creates a garden with purpose and will reward you in the kitchen all season long.

Where my foliage growing abilities really shine is with the slight prehistoric looking Tuscan cabbage or Cavolo Nero, as it is traditionally known. Remove leaves from the stem and lightly sauté in extra virgin olive oil with slices of garlic, chilli flakes and sea salt,

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THE BIRTHPL ACE OF McL A RE N VA LE

O p e n al l w e eke nd for the S e a & Vine s Fe st iv al OPEN MON – SAT 9AM – 5PM

26 KANGARILLA ROAD

PHONE: 08 8323 0188

EMAIL: INFO@OXENBERRY.COM

SUN & PUBLIC HOLS 10AM – 5PM

MCLAREN VALE SA 5171

FAX: 08 8323 9642

WEB: WWW.OXENBERRY.COM

46 The ADELAIDE Review may 2013

sea & vines feature

Sea & Vines turns 21 Coriole

M

ore than 20,000 people are expected to help BankSA’s Sea & Vines Food & Wine Festival celebrate its 21st anniversary this June.

Coriole the Establishment

Over 30 McLaren Vale wineries will be part of the celebration, opening their doors for a variety of festivities and events over the June long weekend.

F

With the theme ‘Experience, Relish, Delight’, Sea & Vines will host everything from degustation dinners (including Maxwell Wines’ Lime Cave Degustation – pictured) to live music, intimate food and wine matching dinners and long lunches.

BankSA Sea & Vines Food & Wine Festival McLaren Vale Saturday, June 8 to Monday, June 10 Maxwell Wine’s lime cave

mclarenvale.info/bank-sa-sea-vines-2013-home

A fresh alternative

O

liver’s Taranga’s Brioni Oliver will join WayWood Wines’ Andrew Wood to showcase alternative wines at an intimate tasting as part of Sea & Vines’ Plumm Glass Wine Experience.

Oliver, who is the Cellar Manager of the

or Sea & Vines, Coriole Vineyards will team up with Grace The Establishment for a Sunday afternoon of delicious food, gorgeous wines and entertainment (via The Teahouse Fire, the Tara Carragher Trio, the Dub Drop DJs and short films by Black Cockatoo).

Grace The Establishment’s feature dish will be their blue swimmer crab soft tacos and Grace will also present duck burgers, pulled pork sliders and chickpea sliders.

Other treats on offer include Coriole’s wood oven pizzas and Woodside Cheese. If you want to know which Coriole wines match the food on offer, Coriole has supplied us with a handy guide.

Coriole Chenin Blanc 2012: Generally consumed on arrival and throughout the day.

Fresh, crisp and a great way to start the day. Will be a good match with the blue swimmer crab taco.

Coriole’s Italian range - Fiano 2012, Barbera 2011 and Sangiovese 2011: Perfect with pizza. Fiano has depth and complexity while the Barbera and Sangiovese offer a terrific savoury element with cut through acidity.

Coriole’s Redstone Shiraz and Redstone Cabernet: Full bodied, rich, warm and generous McLaren Vale reds. A match made in heaven with the Grace’s sliders – be it the duck or pork.

Coriole Vineyards Sunday, June 9 (11am to 5pm) coriole.com

172-year-old family run winery Oliver’s Taranga, says she will showcase the winery’s new release alternative varieties including Fiano, Vermentino, Tempranillo and Sagrantino at the tasting.

Oliver wants the participants to try wines they haven’t heard of yet and to discover new information about alternative varieties.

“I want them to be able to tell their friends about something new they tried,” she said.

Aside from the aforementioned alternative wines, Oliver’s Taranga will experiment with new alternative varieties.

Brioni Oliver

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sea & vines feature

Latino fever For nearly a decade d’Arry’s Verandah Head Chef Peter Reschke has made d’Arenberg’s restaurant one of McLaren Vale’s essential dining experiences. Reschke will prepare a Latino inspired menu across two days (Sunday, June 9 and Monday, June 10) for the Sea & Vines Festival, as he explains what you can discover at the festival and beyond.

D

oes McLaren Vale produce suit Latino themed cooking?

Absolutely, we are very fortunate to have such a fertile region at our doorstop.

Our abundant Fleurieu sunshine and cooling influence from the gulf is a perfect environment to provide us with a huge diversity of fabulous produce from dairy to seafood, venison, goat, lamb, fruit and vegetables, olives and, of course, wine.

Are d’Arenberg’s wines an ideal match for this menu?

The d’Arenberg range is ever expanding and evolving. We now have over 50 amazing wines to play with when it comes to menu development.

“We have a block just planted to Mencia, which is a red grape originally from Spain, so that’s very exciting to see what will come from that.”

Aside from the Plumm Glass Wine Experience tasting, Oliver’s Taranga will also host an event on Sunday, June 9 “We all really look forward to Sea & Vines,” Oliver explains. “It’s our one event each year where we have a real party atmosphere. We will have all our wines available on the day.

We don’t want anyone to miss out on trying something new or sticking to their tried and trusted varieties like Shiraz and Cabernet.

Chester [Osborn, Chief Winemaker] is not afraid to think outside the square when it comes to both his approach to winemaking and use of varieties.

His wines are intricately crafted to allow the integrity of fruit to come to the fore, which gives us an exciting palate of characteristics to work with. They are incredibly food friendly wines and with blends such as the Sticks & Stones, which has Tempranillo as its predominate variety, the wines are beautifully matched with the global influences we love to incorporate in to our menus.

Is this Latino menu a great way to showcase global influences that match local produce?

We always draw inspiration from all over the globe and with Latino flavours being so layered it was very exciting to see how many of the ingredients we could source locally. Whilst we always strive to use local produce as much as possible, we do not do so to the detriment of the overall dish. Where we believe a better ingredient can be sourced elsewhere, we do so.

You’ve been Head Chef at d’Arry’s since 2004. What are some recent changes or future changes you will make to the menu and/or dining experience at d’Arry’s?

Cooking is a constant journey of discovery and revelation. Jo [Reschke, Restaurant Manager] and I eat out at other establishments as often as possible both in and around SA as well as interstate. In the middle of the year we embark

For a bit of fun this year we have hired a mechanical surfboard, so people can test their surfing skills amongst the vines! You know, ‘Sea & Vines’ [laughs]. It should be fun and of course there will be amazing food by chef Todd Steele using all local ingredients to show what McLaren Vale has to offer.”

oliverstaranga.com

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on what we call our ‘annual culinary odyssey’ – sometimes with staff in tow – that takes us interstate or overseas to immerse ourselves in food and wine for an intense period of four days or so. From these trips we emerge refreshed, inspired and raring to go for another year. Years past have seen us draw succour from the cuisines in Thailand, Bali, France and Italy. Next year we plan to hit New York on our way to Croatia.

Considering you will celebrate 10 years as d’Arry’s head chef next year, what keeps you motivated and excited about working there? And are there any celebration plans for next year?

As Jo and I head into our 10th year here at d’Arry’s Verandah, we are still as grateful and content as the day we started. From the outset, Chester and d’Arry [Osborn] have allowed us total creative control of what we do, which has meant that we have never been stifled or corralled. Our incredibly gracious and satisfied customers who come back time and again are what it is all about. It always brings a smile to our faces when they leave happy and content. The other really important element in our longevity are the wonderful staff members who work alongside us. All in all we find ourselves in an exceptionally convivial and gratifying work place. Specific celebrations are not in the pipelines at this stage, but now that you mention it, it’s not a bad idea. Watch this space…

Peter Reschke

Sea & Vines d’Arenberg Saturday, June 8 to Monday, June 10

darenberg.com.au

48 The ADELAIDE Review may 2013

FOOD.WINE.COFFEE

Photo: Dominique Cherry

is about, as Josh Evans would say, “cultivating an edible consciousness”. In the long run we hope to link up our databases with the Nordic food lab and Momofuku lab in New York City, helping to share our part of the world with the global community.

Current projects include:

Victor Liong, Duncan Welgemoed and Jared Ingersoll

Brave new culinary world Bistro Dom’s Head Chef Duncan Welgemoed recently visited Newcastle to take part in Australia’s first culinary think tank, as well as the Australian Food Symposium.

by Duncan Welgemoed

A

chef and a scientist walk into a bar… It’s 9:30pm at Subo in Newcastle and the second round of dirty martinis arrive in the middle of furious discussion, careful analysis and epic piss taking. At the table are passionate scientists and a few half-cut, dedicated food industry professionals. We are here for the Australian Food Symposium and the first Australian culinary think tank. A small group within the attendees feel like anarchists, arguing and jostling about where we stand in food society, science in the kitchen and what it will take to change not only the retrospective direction of the Symposium, but the overall mentality of chefs to encourage them to think outside the kitchen. It seems both chefs and scientists have been called self-serving exaggerators recently. We all got on marvellously.

Rage within the machine…Kelie Kenzler,

a food scientist based in Nelson Bay outside of Newcastle and founder of the culinary think tank, wants to break the mould of only the bestfunded restaurants and chefs being exposed to current scientific research. With this in mind, she has created a platform for chefs and scientists to collaborate on various food related projects and is helping create the dialogue between the two. Just because a chef doesn’t know the term ‘Maillard effect’ doesn’t mean they don’t know what caramelisation is. There are plenty of professionals on both sides that would like to work on developing new ideas, products and techniques so that we can all share them regularly and widely, benefiting both industries and the wider public.

From Copenhagen with love… Josh Evans, a researcher from Nordic food lab founded by Rene Redzepi and gastronomic entrepreneur Claus Meyer, co-owners of the restaurant Noma, came along for the ride to share his knowledge about some of their current projects. Noma has created a space where chefs and researchers can come together to investigate raw materials, traditional processes and modern techniques more deeply than the pressure of daily service would allow. An interdisciplinary facility for experimental and investigative research, all of their works and findings are open-source.

This is extremely cool… however don’t expect mad scientists and chefs to work on anything as controversial as gene splicing for interesting menu items, however, 100 legged chicken centipedes or animals that excrete meat, just to give vegans a pause for thought, certainly would be interesting.

Keep on Keeping on... This work is ultimately an exploration into our eating habits, with the vision to change them through developing new flavours and processes from existing techniques. It

Studying the Adelaide Hills’ microbial terroir, growing and cultivating bacteria that are used in curing, pickling and fermentation and discovering what makes them unique.

An edible native fungus and mushroom guide, the findings of which will be sent to various mycologists and toxologists, apart from the magic variety which will be used as bargaining tools within the kitchen fraternity.

Introducing cultivated seaweeds onto menus around Australia, something Dr Pia Winberg from the University of Wollongong is heading up. An exciting project, especially for chefs in Australia.

Dr John Prescott, Director of TasteMatters research and consulting and Dr Leif Lundin from the CSIRO are conducting research into consumer behavior and how it can be utilised to increase customer satisfaction. Do consumers eat for sensory pleasure or nutritional intake?

How are food preferences determined?

Brave new world (kinda)…This is just the beginning for the culinary think tank and Kelie.

And while it would be easy to dismiss this concept as elitist, I think that if more chefs get involved on the open forums, watch the live feed discussions and have direct contact with the scientists, micro and marine biologists, these figures will become as important in the everyday kitchen as the butcher or the veg man and the dining public will reap the benefits. To get involved, or if you just find this interesting and want to stay updated, follow @culinarytankau on twitter, or check out nordicfoodlab.org/blog and gastronomers. org. The information is out there. It’s yours now.

» Duncan Welgemoed is Bistro Dom’s Head Chef bistrodom.com.au

Sabre-rattling in the Hills

by Charles Gent

W

hile modest and reserved on his own behalf, Tim Knappstein is only too happy to talk up the virtues of Adelaide Hills Pinot Noir.

In Australia’s hotly contested Pinot stakes, Knappstein believes that wines from Tasmania, Yarra Valley and Mornington Peninsula get more than their fair share of attention, often at the expense of the Adelaide Hills.

As a Top 10 wine in The Adelaide Review’s Hot 100 South Australian Wines, the 2010 Riposte The Sabre Pinot Noir gives his stance some weight: the wine also claimed gold in last year’s Adelaide Hills wine show, and more recently won the national Pinot category of the Winewise Championships, a small and exclusive show open only to wines that have already gleaned significant awards. The Sabre beat the Mornington Peninsula’s much fancied Paringa Estate Pinot Noir, and Knappstein is particularly pleased that another Hills Pinot, from Shaw and Smith, picked up third spot.

One of two highly distinguished winemaking diaspora from Clare (Stephen George of Ashton Hills Vineyard is the other), Knappstein said Pinot did not loom large in his thinking when he planted his first vines at Lenswood in 1982, although he did enjoy French Burgundies “back in the days you could afford to drink them”.

His early vintages of Pinot, made from his base in Clare, were by his own admission not very convincing – “I was trying to make it like Cabernet” – but he then witnessed the revelatory if disconcerting techniques employed by a visiting Frenchman.

“He fermented it at really high temperatures and treated it, as I thought, extraordinarily roughly, but the result was pretty smart Pinot.”

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Hot 100 Wines

THE ADELAIDE REVIEW

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Why decant?

by Matt Wallace

D Knappstein’s ferments now routinely reach the low 30s, a range he believes is necessary to bring out Pinot’s elusive characters.

A Hills resident since 1995, Knappstein no longer has his own vineyards, relying instead on a small network of local growers, selected with great care: “I am a great believer that a good site makes good Pinot,” he says.

The Adelaide Review judges referred to The Sabre’s hallmark Hills characters of blood orange and orange zest, but also to an “opulence” reminiscent of New Zealand’s Central Otago Pinots. There is a good reason for this breadth – since signing up extra growers in 2009, The Sabre’s Lenswood fruit now sports added alchemy from vineyards further south, around Summertown, home turf of other veteran Adelaide Hills Pinot producers Ashton Hills and Barratt Wines.

Says Knappstein: “I think our wines took a jump for the better because of it – Lenswood wines tend to be very rich and ripe and have really good structure, but they lack a little grace and perfume, which I think you get more of from the area around Summertown.”

Making Pinot Noir invariably inspires excursions into simile; Knappstein likens it to putting together a jigsaw puzzle.

With seven clones of Pinot to draw on and using oak barrels of various ages originating from different forests and coopers, he can in effect make up to 100 separate batches of wine each year. Knappstein says it isn’t the logistical ordeal it might seem: “You constantly browse around the barrels and build up a library of what’s there in your head.”

Subgroups evolve and are combined to bring the components down to five or six elements, ”with a few outliers that might or not be helpful – you never know until you make the final blend”.

“It’s very time-consuming, but it’s a lot of fun and very satisfying.”

2010’s early but perfectly ripened vintage was followed by the disastrous 2011, which Knappstein unequivocally dubs the worst vintage he has seen in 50 years of winemaking. He didn’t even attempt to make The Sabre that year. His estimation of the 2012, however, is that it is as good as the ‘10, “and maybe slightly better”.

With a recommended price around $30, it has all the makings of an Adelaide Hills cavalry charge.

Zonte’s Z Force Shiraz Petit Sirah 2009 Here is a powerhouse red dedicated to the Z-Special Unit who served Australia in WW2 and last marched together on Anzac Day in 2010. This is an incredibly concentrated wine, with bold black fruits and a long smooth finish.

ecanting can be useful for a couple of reasons. Firstly it allows older red wines to be separated from any sediment that may have developed in bottle. I find the easiest way to do this is by standing the bottle up for a day or so before drinking – to allow sediment to settle to the bottom of the bottle; opening and then pouring the wine slowly and smoothly into a jug, or glass decanter.

As soon as you see sediment coming out of the bottle, stop pouring. Removing sediment, which can be quite bitter, being a combination of tartrate crystals and tannins, allows you to enjoy all the mature flavors of the wine without any unwelcome intrusions.

919 Wines Durif 2010 We’re big fans of Durif and this edition is magnificent. Satsuma plum, morello cherries and dark chocolate in abundance wrapped up in gloriously soft fine tannins. Like most Durif wines, it is massive, so let it breath or pair it with a nice wooly mammoth steak.

Having decanted the wine, I’d advise giving the bottle a rinse with filtered water and pouring the wine back into the bottle and resealing it. This is because the process of decanting oxygenates the wine, which accelerates development.

This process of decanting a wine and then putting it back into the bottle is called double decanting. Older red wines, decanted and left to stand for hours, quickly lose much of their delicate aroma, which simply volatilizes. This leaves us with not much to smell, and therefore little flavour. This is because our olfactory senses – which begin in our nose, are the greatest contributor to our sense of taste. Double decanting older reds, just moments before drinking, will give them a bit of a kick along without destroying them. Typically with younger wines I’ll double decant them a few hours prior to drinking (if I can wait that long) and when the time comes to drink them, they have typically opened up substantially.

In spite of being resealed, the wine still opens up and softens, thanks to oxygen trapped in solution. I reckon this is the most gentle and effective means of bringing out the best in your wine.

Deviation Road Reserve Shiraz 2010 Big but quite refined. In spite of its age this wine has a very long life ahead of it and is worth decanting. All manner of black fruits here along with a hint of white pepper and plenty of fine drying tannins. Delicious.

Functions including business meetings, Christmas parties and special celebrations comprising birthdays, baptisms, anniversaries and weddings are fully catered for.

Murray Street The Barossa 2008 Murray Street Barossa SGMC. We love this wine. An unusual blend, containing Cinsault, this is nonetheless a gorgeous Barossan – soft enough to enjoy now and with all the fruit and structure to age 10 years.

Whatever your gastronomic indulgence may be, from a casual breakfast through to fine dining, you will find it in this corner of the CDB.

A few wines worth of decanting or double decanting Three Buckets Shiraz 2010 From the Barossa this one, and as angry as a meeting with a bull deer at the onset of rutting season. If you must get in its way now, corale it in a decanter for an hour first.

Hamilton Burtons Old Vine Grenache 2010 Cherries and pepper on the nose lead to a palate bursting with cherry, pepper and spice. Oak is cedary and well integrated, the texture supple, the finish fine grained and drying.

Alpha Crucis Wine Maker Series ‘Peter Schell’ McLaren Vale Shiraz 2010 Reflects the quality of the 2010 vintage with its incredibly intensity of fruit and Usain Bolt like structure. Usain will be long retired before this wine hits is peak, sometime in the next 15 years.

We recommend double decanting in the morning if you are planning to drink now. Alternately, bung it somewhere safe and cool and revisit it in five years.

Pertaringa Understudy Cabernet Petit Verdot 2009 These two varieties suit each other beautifully.

The Petit Verdot adds a richness, acidity and tannin. Not so much an understudy as unsung, this is a superb wine.

Oddfellows Cabernet 2008 I’m a touch embarrassed to admit we hadn’t tried Oddfellows’ wines until very recently. This is a stunningly complete wine, which offers a stack of very ripe black and blue fruits, without ever touching jammy. It’s big but with its fine tannins is an incredibly moreish drop.

The Lane Block 14 Shiraz 2010 Exceptional intensity of black and blue fruits and cedary oak. This is no backstreet brawler but is capable of bowling you over in an instant. Sinuous, slippery, seductive Shirazy siren song. Avoid entirely or it will embrace, even envelop you. Drink now through to 2020.

» Matt Wallace is Wine Direct’s Buyer and Sales Manager

winedirect.com.au

Milano Cucina offers casual, friendly contemporary Italian cuisine.

With its Euro-hip style this clever Italian kitchen and diner offers an extensive menu range including a large selection of coffee, home-made biscuits and cakes.

50 The ADELAIDE Review may 2013

FOOD.WINE.COFFEE

The final count down

by Derek Crozier

T

he tension in the air is thick as the crowd falls silent. Gentle ambient music begins in the background.

The head judge nods his head as the smartly dressed barista raises his hand to call for time to begin. As the 15-minute counter begins to count down, he welcomes all four judges to the table, which is dressed with an arrangement of napkins, teaspoons and water glasses.

He starts to explain his passion for coffee, where it began and how it has led him to this very moment. Pointing to a world map, he explains his journey to a small coffee plantation in Ethiopia where he learnt firsthand from a farmer a complete understanding of the process from the farm to the cup.

Having told the tale of his journey, he swings around to the espresso machine and

starts grinding the beans to make the four espressos (short blacks). He knows that the two technical judges looking over his shoulder are watching for key elements: the cleanliness of his preparation area, the amount being dosed into the grinder and the level and evenness of the tamping down of the grinds. While placing the espressos down, he explains to the judges the flavour profiles they will experience during the tasting to ensure he gets those extra points in his score.

Still under the watchful eyes of the judges, he begins preparation of the four cappuccinos. As he asks for a time check, the timekeeper steps forward to announce, “nine minutes remain”. To add even more pressure, the cameraman zooms in for the benefit of the audience (who are all glued to the big screen). The bright lights are making

the beads of sweat on his forehead glimmer and the nerves have definitely set in... but he knew he’d be nervous because the lead up to this moment has been monumental.

Twelve months ago, when his employer offered to sponsor him to represent the business in the AASCA Barista Championships, he knew that he was up for a challenge ahead. Travelling overseas to collect the beans from the farmer was only part of the coffee element. He still had to approach a roaster with the experience and skill to roast the green beans to their full flavoured potential.

There were many sleepless nights trying to create the perfect 15-minute set with the grand finale of an original signature drink that included one shot of espresso. Using the beans he had travelled so far to collect, the barista practiced day after day, week after week in front of his friends and family.

The competition was held in Melbourne, so a few days prior he had to get on another plane and hope that all of his equipment and stock made it there safely. He arrived at the event; entering through the back door he prepared himself and his trolley before pushing it out to the large arena full of people, all there to see the best of Australia compete.

James Place’s Fair Espresso is an ethical organic espresso bar that supports the fairtrade movement while delivering quality specialty coffee and service, as owner and barista Matt Lazarus explains.

S

pecialty coffee houses have been popping up all over Adelaide recently. Why do you think this is?

I think this is because consumer’s palates are changing. People are no longer satisfied

with the quality coming from the larger franchise coffee chains and Adelaide’s speciality coffee houses are responding to this demand with world standard high quality espresso coffee.

CLARE GOURMET WEEKEND 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 featuring paintings by Garry Duncan and Glass Art

by Clint and Liz Frankel. Meet the artist Garry Duncan Sat + Sun 2 – 4pm SATURDAY 18TH & SUNDAY 19TH MAY 11AM-5PM Intimate Cellar Tasting 18th & 19th with Neil Pike and Steve Baraglia, 1.30 - 2.30pm Limited to 25 people per session. Bookings essential. $25/head Polish Hill River Road, Sevenhill

|

www.pikeswines.com.au

|

Tel: (08) 8843 4370

Photo: othersuchthings.com

Coffee Break with Matt Lazarus

Fair Espresso obviously supports the fairtrade movement, aside from the social benefits for farmers, what are the other benefits from using fairtrade products?

In most cases, when cooperatives implement systems to meet the fairtrade certified requirements, the farming processes will also improve to become certified organic. This provides the customer with the additional benefit of consuming products, which are free from chemical pesticides.

Can you explain how you became a barista?

I began my amazing coffee adventure working for Coffex Coffee supplying beans and machinery to cafes in Adelaide. I fell in love with the coffee world and wanted to be more involved in coffee making, so my wife and I bought a coffee cart, grinder and machine and began selling coffee at markets and events.

Trembling uncontrollably, he pours the stretched and textured milk into the cappuccino cup. As he places it on the saucer in front of the fourth sensory judge, the crowd begin to cheer in support of the barista. With a clean handkerchief, the barista wipes his forehead and continues to the final stage of competition, the signature drinks.

He blends some carefully selected berries together with fresh cream, makes the necessary espresso shots before presenting them in a way that allows the judges to sip the espresso first and the berry cream shot second.

With 60 seconds left on the clock, he thanks the judges, raises his hand and calls time. The timing clock stops and the crowd go crazy.

The sign of relief is painted all over his face. His set is finally completed and he knows that no matter what happens next, he has achieved and learnt so much that will contribute to his ongoing journey through the world of coffee.

» Derek Crozier is the Managing Director of Freshly Ground Studio

freshlygroundstudio.com.au

Your first cup of the day - what is it?

I begin the day with a single origin espresso – a real kickstart to the day! At Fair Espresso we feature a different single origin every week and recommend this to anyone who loves black coffee. Each single origin bean has a different flavour profile, which keeps things interesting.

This week we are using beans from Costa Rica, which has a mandarin flavour and syrupy texture.

Can you describe the blend or different blends you offer at Fair Espresso?

Fair Espresso’s beloved house blend is sourced from Peru, Mexico and Honduras. All the beans are certified organic and fairtrade. The house blend is a medium roast with delicious tones of caramel, which perfectly complements milk-based beverages; lattes, flat whites and cappuccinos, etc.

What are some cafe pet hates that you won’t find at Fair Espresso?

Being ignored by unfriendly baristas; milk served too hot; stale coffee (please grind beans freshly on demand); cheap budget soymilk... (Bonsoy rules!); for the café hopping mums and dads – we won’t roll our eyes when you order a baby cino - in fact we will give you one for free with your coffee purchase.

Fair Espresso 20 James Place

fairespresso.com.au

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FOOD.WINE.COFFEE for Naked Run Wines, a small brand that I started with two university mates. Naked Run allows us to have total control over wines that we make.”

Neil Paulett, Chair of the Clare Valley Winemakers Incorporated, said that the event makes for the perfect opportunity to celebrate the Clare Valley’s finest food, entertainment, and, of course, wines.

Two days in the Valley The milestone 30-year anniversary of the Clare Valley Gourmet Weekend will come next year, but in 2013 the food and wine event will be nonetheless special as it celebrates its 29th birthday with award winning wines, culinary delights, markets, art exhibitions, live music and celebratory tastings.

accommodation provider Michael Speers, and 2012 Wine Society Young Winemaker of the Year (Supporters’ Choice), Steve Baraglia. Baraglia says that this year, together with Andrew and Neil Pike, he will be conducting a current vintage sub region Riesling tasting to showcase the differences from sites around the Clare Valley at Pike Wines on Saturday and Sunday.

“Gourmet Weekend falls at the end of vintage, so it’s always good to unwind after all the long days processing this year’s fruit,” Baraglia explains.

“Autumn in Clare is wonderful, the change of the seasons brings about all the vine leaves changing colour. In 2012 I was fortunate enough to be a finalist in the top 10 for the Wine Society Young Winemaker of the Year Awards and ended up winning the Supporters Choice Award. The dinner each year is held in Sydney with 2012’s held at Matt Moran’s restaurant, Aria. I have also been a finalist in 2010 and 2011, also winning the Sommeliers Choice Award in 2010. Around 50 young winemakers enter each year, so to make the top 10 finalist list is great to start with. I enter wines

“The festival offers visitors the chance to meet the winemakers and learn first-hand what makes their wines and the region so special,” Paulett points out. “This unique experience is enhanced by the enjoyment of superior local produce and the tune of live music. The natural beauty of an authentic, relaxed wine country setting provides the backdrop to this enchanting weekend adventure. The Clare Valley Gourmet Weekend was the first food and wine festival in Australia. The event was originally created to celebrate the end of vintage each year. From our award-winning wines to the regional gourmet food offerings, local art and heritage charm, we can’t wait to show off what we have to offer for the 2013 Gourmet Weekend.”

Clare Valley Gourmet Weekend Saturday, May 18 to Sunday, May 19 clarevalleywinemakers.com.au

CANDY JARS

by Nina Bertok

T

he oldest food and wine event in Australia, featuring some of the best wineries in the country, the Clare Valley Gourmet Weekend needs no big-time celebrity appearances to ensure attendance numbers – the region’s local characters and quality produce speak for themselves.

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“What makes us unique is that we’re the oldest event of its kind in Australia, and we’re definitely one of the first food and wine events in the whole of South Australia,” says Clare Valley Winemakers Incorporated Admin and Events Coordinator, Tania Matz. “Located only 90 minutes from Adelaide, it’s the perfect opportunity for visitors to explore the Clare Valley during one of its major events for the year. There’s plenty to see and do throughout the weekend, including some new additions to the program, so we aim to attract more than 5000 or more people this year. Rather than using the big names and the famous chefs and celebrities that you get at other events, we thought, ‘Well, why don’t we showcase what we have here in Clare Valley and just use our very own characters who live here, as our ambassadors.”

Clare Valley’s own “ambassadors” at the event include cook/chef Louise Haines, cook and accommodation provider David Hay-Cook, Sevenhill’s Jesuit winemaker Brother John May, Kilikanoon winemaker Kevin Mitchell,

Learn to decorate cupcakes with Buttercream 1 x fun-filled 2 hour lesson Tues 14 May 6.30-8.30pm or Thurs 16 May 12.30-2.30pm or Tues 4 June 12.30-2.30pm or Tues 11 June 6.30-8.30pm

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

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52 The ADELAIDE Review may 2013

FOOD.WINE.COFFEE

Autumnal Drinking

by Andrea Frost

2011 Paul Mas Domaines 2012 Freeman Rondo Astruc Chardonnay Rondinella Rosé

2012 Rob Dolan True Colours Pinot Noir

2012 Shadowfax Minnow

Malras, France RRP $15 dastruc.com

New South Wales RRP $20 freemanvineyards.com.au

Yarra Valley RRP $22 robdolanwines.com.au

Werribee, Victoria RRP $25 shadowfax.com.au

The transition from summer to autumn reveals itself in a myriad of subtle changes as the earth revolves around the sun.

Outdoors, days are still warm but gone is the searing heat of summer; in the vineyards, vines relieved of their fruit start slowing after months of luxurious growth. The transition occurs indoors as well when fires are lit, rugs are thrown and windows closed to keep the chill outdoors. These changes make their way to the kitchen as well. When a roast chicken and buttery potatoes seem like a better idea than grilled fish and salad, you really know it’s autumn. For such moments, this wine is just the ticket. Golden colour to hint at the richness of the wine, it’s a full, rich chardonnay with stone fruit and cashew followed by a creamy, integrated palate offering plenty of flavour, texture and length.

Exceptional value and quality.

There can be a lot of talk about what rosé should or should not be. Ironic really as one of the attributes of rosé is that it is typically an uncomplicated wine. For example, rosé is not built to age, its winemaking is generally not complex and it is not created to be a wine of great profundity. It can, however, be a wine of great loveliness, as much as an accompaniment to warm weather splendour as it is a pleasing wine to drink.

This wine is made in the hilltops of NSW from Rondinella grapes – rare grapes in Australia, popular in northern Italy. A dry, savoury rosé it exudes lovely aromas of berries, cherries and quince, followed with a dry, creamy and savoury palate. This is a perfect wine to drink on those last warm and hazy afternoons as autumn slides into winter.

About 15 years ago, curious about wine, I took up an offer to work for a weekend at a friend of a friend’s winery in the Strathbogie Ranges.

I had not long before read A Year in Provence and as a result of the reading I felt, frankly, very well prepared for the experience. Long days, early mornings, hard labour, cool nights and hours of hand plunging soon proved that my romantic idea of winemaking and the reality of it were kingdoms apart but worlds of fun. The chief winemaker was Rob Dolan who has had a few winemaking guises since then. This is his latest; the True Colours range, comprising of five wines. This wine is wonderfully drinkable, great value, Yarra Valley Pinot Noir brimming with darker berry fruits, a hint of spice and gentle grippy tannins. As a medium-bodied red wine, it’s perfect for those cool autumnal nights when you no longer have to make the wine, rather you can just sit back and enjoy it.

There is a misleading idea in life that suggests something will be improved if you match it with like – that you will make some sort of super power by doubling up on the same attributes.

I understand the logic behind this, but I also see another way – seeking out something or someone that fills the slack created by your weak spots. This is what wine blending is all about. Pairing the right varieties in the right amounts to make a wine that is greater than the sum of its varietal parts. This wine, a wonderfully perfumed and heady red wine blend is all about that. Made of a blend of four red varieties: Carignan, Grenache, Cinsault and Mataro, each one plays a role that the other can’t. The result is a delightful ruby coloured wine that spills with seductive aromas of broody dark berries, spice and a juicy palate of berries, spice, tannin and deliciousness. Perfectly medium-bodied and delightful autumn drinking.

THE adelaide R EVIEW may 2013

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

Phillips Pilkington/Flightpath Architects, St. Peter’s Town Hall Complex. Photographer David Sievers

Australian Institute of Landscape Architects

sa architecture awards

sa architecture awards

voice

architectural cohesion

The showcase of the state’s best architectural work

Local agency Voice is one of the country’s best graphic design firms

What can Adelaide learn from Stuttgart?

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SA Architecture

Awards

by Chris Watkins

T

he South Australian Architecture Awards program is an annual event showcasing the best architectural work in the state. Each year, architectural practices enter their finest completed projects into categories including Residential Architecture, Public Buildings, Commercial Architecture, Interiors, Heritage and Small Projects.

given. Projects receiving either a Named Award or an Architecture Award are entered into the National Architecture Awards programme, to be judged against the best work around the country.

Each entry is presented to a jury consisting of design professionals including architects, interior designers, landscape architects, and a guest juror i.e. built environment academic, specialist consultants, and major sponsors for each category.

It’s no surprise the quantity of entries in 2013 has dramatically reduced compared to previous years – no doubt due to the hangover of the Global Financial Crisis, tightening of Government fiscal policy and generally low private sector confidence all resulting in less construction project starts. However, the quality of the work entered this year is astounding – no doubt due to the skill and expertise of the architects and design teams involved and the ever increasing ability of architects to respond to the constant need to do ‘more with less’.

The jurors then visit the projects in person, often having the opportunity to meet the entrant’s client and chat with them about the project. Following the site visits, the jurors deliberate, often for many hours, and determine which projects are deserving of an award.

The 2013 SA Architecture Awards ceremony will be held on Friday, June 14 where The Adelaide Review People’s Choice Awards will be presented for projects entered into the Public Architecture and Residential Architecture – Single Housing categories.

There are three awards on offer for each category - a Commendation, an Architecture Award, and the first and highest award, the Named Award. There may be several commendations and Architecture Awards for each category but only one Named Award is

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» Chris Watkins is the 2013 Awards Director – SA Chapter

1000 CHAIRS EMMA OVERTON SHOWROOM BY APPOINTMENT 5 NORTHCOTE TERRACE MEDINDIE SA, 5081 M 0421 073 732 T 08 8293 4658 EMMA@1000CHAIRS.COM.AU WWW.1000CHAIRS.COM.AU

Fitout with the Thonet Stol chair at Jack Ruby , Adelaide. Photo by Will Matthews.

1000 Chairs is a proud supporter of the AIA 2013 Peoples Choice Awards.

The ADELAIDE Review may 2013 55

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The Adelaide Review People’s Choice Awards To vote in the 2013 People’s Choice Awards, which is held in conjunction with The Adelaide Review, Australian Institute of Architects (SA Chapter) and 1000 Chairs, go to adelaidereview.com.au

Thanks to 1000 Chairs, when you vote you will have a chance of winning a recently launched THONET STOL chair worth $300.

Voting opens on Monday, May 6 at midday and closes on Friday, May 31 at 5pm.

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Public Architecture 1. HASSELL, Flinders University Biology. Photographer Corey Roberts 2. Phillips Pilkington/Flightpath Architects, St. Peter’s Town Hall Complex.

Photographer David Sievers 3. Woodhead, Flinders Centre for Innovation. Photographer Steve Rendoulis 4. MPH Architects, Thebarton Community Centre. Photographer David Sievers 5. Woodhead, Kauwi Interpretive Centre. Photographer Mark Zed 6. BVN Architecture, The Braggs University of Adelaide. Photographer John Gollings

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residential Architecture 7. Energy Architecture, Prospect Residence. Photographer Lyndon Stacy 8. Max Pritchard Architect, Barossa Valley Glass House. Photographer Sam Noonan 9. Dimitty Andersen Architects, Rose Park Residence. Photographer Sam Noonan 10. Con Bastiras Architect, Kensington Park House. Photographer Peter Fisher 11. Con Bastiras Architect, Maslin Beach House. Photographer Corey Roberts 12. Max Pritchard Architects, Stringybark House. Photographer Sam Noonan > All entries will be on the voting site

56 The ADELAIDE Review may 2013

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Voice

The Voice team

by Leanne Amodeo

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AXOR STARCK ORGANIC

eing invited to present at agIdeas International Design Week is quite a coup, especially since the annual invitation only extends to 40 design creatives worldwide. Big international names are often the drawcard at the weeklong event in Melbourne, but this year’s Australian speakers make for a stellar line-up. As the only South Australian representatives, Anthony De Leo and Scott Carslake’s inclusion marks them as two of the most dynamic graphic designers working in the country today.

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Their work for Hither & Yon is especially interesting as it signals a shift in direction for the design studio. “In the last year we’ve managed to work with clients that have allowed us to take brand work a lot further than print and digital,” Carslake explains. “We’re now also expanding into environments.” Voice’s work with Hither & Yon has included collaborating with Adelaide-based interior designer Georgie Shepherd to redesign the boutique winery’s cellar door. It’s an opportunity that has rounded out the design process for both De Leo and Carslake allowing them to be involved in the complete branding experience.

They co-founded Voice 14 years ago and have since grown it to a four-person operation. In recent times the Adelaide-based design studio has been no stranger to industry recognition.

Voice’s recent successes may have included a slew of international and national awards for branding, identity, publications and illustration, but both De Leo and Carslake’s approach remains refreshingly pragmatic.

It also highlights the diversity in their design process, which is often markedly different from one project to the next. And those lucky enough to hear De Leo and Carslake speak at agIdeas were given plenty of insight into just how diverse this process can be. One of their past projects they discussed was the rebranding of the Adelaide Symphony Orchestra (ASO).

“Everything we do is essentially built on the idea of getting somebody’s attention,” Carslake says. Last year’s Design South Australia catalogue for the Integrated Design Commission and new branding for McLaren Vale boutique winery Hither & Yon are two recent examples that do exactly that. The prior’s palette of gelato colours and interspersed pages of geometric patterning lend it instant appeal. While the latter’s exaggerated ampersand motif gives the brand’s wine labels immediate vibrancy.

“Scott and I wanted to explore the notion of what music looks like,” De Leo says. So the two University of South Australia alumni went back to their alma mater to conduct a series of workshops with a group of graphic design students. “We got them to do some visual studies for a day while we played different types of music,” De Leo continues. “Then we went away and built a visual body of work around that collated material and that became the identity for the ASO’s 2006 season.” The project remains a significant one in

ADELAIDEREVIEW.COM.AU

The ADELAIDE Review may 2013 57

form Voice’s portfolio for the attention it garnered. It also reveals the lateral lengths the design studio is prepared to go to achieve outstanding results.

De Leo and Carslake’s motivation is an ongoing search to find innovation in all that they do and this allows them to constantly keep on coming up with new ideas. Some of these ideas have been Eureka moments while others have felt like hours spent banging your head against a brick wall. However, as Carslake says, “It doesn’t matter how you generate an idea, just as long as the idea is valuable.” At the end of the day what De Leo and Carslake are trying to achieve through every facet of their creative output is a response.

The design studio is currently working on a number of local projects, but De Leo and Carslake can’t give too much away. What they can say is that they’re gearing up to launch the new Rio Coffee brand within the next month and a big project in South Australia’s wine sector will come to fruition over the next 12 months. The adrenalin may have slowed after agIdeas, but the drive and energy that distinguishes Voice doesn’t seem like stopping anytime soon.

voicedesign.net agideas.net

58 The ADELAIDE Review may 2013

FORM

Architectural cohesion

by Leigh Vlassis

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tuttgart, a city in southern Germany, is the state capital of BadenWürttemberg. A generally conservative city (like Adelaide) Stuttgart is known for its Swabian people, their German dialect and its range of festivals that take place throughout the year.

Stuttgart has one of the highest incomes per capita in all of Germany, thanks largely to the fact that Stuttgart boasts some of the world’s most international and influential industrial companies.

Car giants such as Mercedes Benz and Porsche, as well as the engineering and electronic powerhouse Bosch, were all founded in Stuttgart and have their influences prominent here. This gives Stuttgart the availability to invest in its building infrastructure.

It is here where I’m currently based and where I am exposed to a variety of many architectural projects, styles and visions.

Stuttgart’s architectural history spans as far back as the 10th century. Even though almost 66 percent of the city was destroyed after WWII a strong historical presence remains intact and the city is still ever changing aesthetically to meet the current trends and needs of future generations.

Despite new architecture and design constantly making its way into the city’s landscape, a mutual respect exists between the surviving buildings and the modern interventions. A somewhat semi-compatible relationship between the two is managed and the city successfully grows and prospers whilst still bringing forth its culture,

heritage and technological advancements in a consistent manner.

Stadtbibliothek

Much of the city’s classical architecture is concentrated within its active and lively historical centre. The Old Castle (Alte Schloss), originally the seat for the first counts and dukes of Württemberg, is now the state’s City History Museum. The castle-like structure, covered in crawling enveloping green vines, is located next to the heart of Stuttgart’s main square, Schloss Platz, upon where the grandiose palace, Neue Schloss, sits. This palace (of Baroque, Classical, Rococo and Empirical Architecture) was built for the then King of Württemberg. Emanating great stator and superiority, the palace resonates power and instantly draws attention to any passerby. Juxtaposing this architectural splendour, and also within the main square, sits a silent, large, giant modern glass cube that is the Kunstmusem – Stuttgart’s Modern Art Museum.

Against all odds, the periodical classicism of the palace and castle with the contemporary trendsetting museum manage to create a harmonious balance with one another to encompass the main square as a whole. This was vital for the architect of the Modern Art Museum, Hascher Jehle, as he wanted an architecture solitaire be created with his design to form an ensemble with the museum and its surroundings. The success of this intervention is clearly visible as the main square is one of the main arteries of Stuttgart, where congregations are constantly held.

Another great example where this union of architectural togetherness is evident is Stuttgart’s new city library, Stadtbibliothek.

This marvellous modern world-class media centre by Yi Architects redefines the experience of what it means to borrow a book. If you’re expecting wooden desks, squeaking floorboards, the stench of old history and a librarian with a hand bell running around reminding everyone that the library is about to close then you couldn’t be more off target. This ultra hightech hidden wonder is like stepping into a 3D MC Escher drawing. Completely neutral in design and colour, where only whites and shades of grey are predominantly used, the library spawns into life when its visitors wander about to use the facilities and interact with the diverse range of coloured books that are on display, and from which gives the interior of the library its colour. Like the intestines of a layered organism, the library’s automated book borrowing system is clearly visible for all to see. Books are effortlessly delivered to their desired location on high-speed conveyer belts that run up the walls through each level of the building. If Stanley Kubrick had designed a library for his film 2001: A Space Odyssey, no doubt this would be it.

This library’s design is yet another example of how architecture is successful at expressing a period of time. Through its function, innovation and technological effortlessness, the library reflects our current modern times of progression and scientific advancement.

Aesthetic compositions of prominent buildings are not only meant to be charming in appearance, but are important reminders of what once was and where we are going. This is what architecture does.

Architecture doesn’t simply provide a function; rather, architecture is the symbolic interpretation of different cultures and times. One must only be able to unscramble what they are looking at in order to decipher the history that is unveiled right in front of their eyes.

The success of cities and their built environment is not only achieved through architectural integrations, more so, it is about how we as a people utilise what we have and how we want to go about living our lives. Yes, Federation Square is prosperous in its design, however its success is dependant on its users, the people. A collaborative cohesion between a city’s architecture and its users is imperative for an engaging and enthusiastic environment to emerge.

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