The Melbourne Review - January 2014 by The Melbourne Review

THE Melbourne

REVIEW Issue 27 January 2014

melbournereview.com.au

THE GREEN ISSUE

Smart Design Leanne Amodeo interviews this country’s finest sustainable-focused architects and designers

Creating Social Change

Mind The Gap

Ludovico Einaudi

Sustainable Living Festival Director Luke Taylor on the festival’s 15-year history

Melbourne’s reluctance to embrace a world-class rail system is not the behaviour of a great city, writes Simon Godfrey

Graham Strahle interviews the Melbourne-bound alt-classical composer

Noxon Giffen Architects

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4 THE MELBOURNE REVIEW JANUARY 2014

WELCOME

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ROYAL BOTANIC RUNWAY

ARCHITECTURE IN MOTION

AT THE SPEED OF CLOUDS

A stunning fashion event will help water the Royal Botanic Gardens.

Dance company Diavolo will juxtapose movement with architectural feats at the Arts Centre.

One of WOMADelaide’s main attractions is not a global music star but rather an art installation.

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INSIDE

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

Audited average monthly circulation: 25,739 (1 April to 30 September 2013)

THE MELBOURNE

TRANSFORMATIONS

MR MIYAGI

The Ian Potter Museum is showcasing early bark paintings from Arnham Land.

The new hotspot delivers Japanese street food to Chapel St.

REVIEW

Society

Politics

Finance

Technology

Columnists

Books

Fashion

Performing Arts

Visual Arts

Food.Wine.Coffee

FORM

THE MELBOURNE REVIEW JANUARY 2014 5

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WELCOME CONTRIBUTORS

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Patrick Allington

Sasha Grishin

Paul Sellars

Leanne Amodeo

Stephen Koukoulas

Margaret Simons

Hannah Bambra

Tali Lavi

David Sornig

Joanna Bosse

Jane Llewellyn

Anna Snoekstra

Derek Crozier

Fiona Myer

Shirley Stott Despoja

Alexander Downer

John Neylon

Graham Strahle

Marianne Duluk

Fiona O’Brien

Luke Taylor

OUR COVER

Andrea Frost

Lou Pardi

Ilona Wallace

A Smart Design by Jeremy McLeod from Breathe Architecture Project: Into the Woods

Simon Godfrey

Paul Ransom

Dave Graney

Christopher Sanders

See page 40.

THE GREAT BEAUTY Selected cinemas from Thursday, January 23 One of the most spectacular and talked-about films of the Cannes Film Festival, and Italy’s official submission for the 2014 Academy Awards, The Great Beauty is Paolo Sorrentino’s powerful and evocative tale of hedonism and lost love, and an extraordinary depiction of contemporary Rome – where life is a performance, and the city its stage. Stars Toni Servillo, Carlo Verdone, Sabrina Ferilli and Carlo Buccirosso.

SUSTAINABLE LIVING FESTIVAL Various locations including Federation Square and Birrarung Marr February 8 – 23 Australia Biggest Sustainable Living Festival comes alive again with a huge program of events. Celebrating its fifteenth birthday the Festival presents a rich array of local, national and international talent. Join in the celebrations and explore the Festival’s rich program of great home and lifestyle solutions. The celebration that sustains the nation.

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.

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6 The Melbourne Review January 2014

SOCIETY Battle of the Big Ideas for Sustainability Leading national thinkers and doers present some of the most cutting edge ideas about sustainability; ideas that will aid the rapid transition to a safe climate and sustainable society. Hear how these visionary and practical ideas can be implemented in Australia within a decade. Featuring Jon Altman, Sarah Rees, Jess Miller, Matthew Wright and more. Hosted by Jason Clarke. February 15, 3pm-5pm Deakin Edge, Fed Square

Director Luke Taylor’s Top four picks for 2014 Sustainable Living Festival

2°C – Too High Germany’s Dr Malte Meinshausen, from the world-renowned Potsdam Institute for Climate Impact Research, presents how we are pushing the climate system to breaking point. What are the likely catastrophic implications of 2 degrees of global warming? This target may represent current political reality, but what are we signing up for and is it possible to avoid it? February 16, 12.30pm-1.30pm

Creating Social Change The Sustainable Living Festival (SLF) is an award-winning event that seeks to raise awareness and provide tools for change about current global ecological and social challenges. by Luke Taylor

his annual event is the largest sustainability-themed event within Australia and internationally, and regularly attracts an estimated 200,000 visits each year. Now celebrating its 15th year, the Festival has grown exponentially from its regional beginnings in 1998 through to the current two-week statewide event that in 2013 hosted more than 300 individual events. With growing public interest in sustainability, there is a need for a national voice and the Festival is currently seeking to link with other capital city based sustainability events to create the National Sustainable Living Network.

History shows that events are one of the most powerful instruments for creating social change. Events such as SLF have the unique ability to engage large numbers of people with handson experiences thereby connecting individuals to positive solutions and enabling community action.

There is evidence that attendance at events leads to increased levels of community awareness, which is critical in building capacity for mass behaviour and social change. The group setting associated with events goes on to foster public communication to assist in forming social norms around newly accepted behaviours. SLF utilises a successful community engagement and mobilisation model that encourages and supports individuals, community groups, business and local government to host and promote their own sustainability events. The Festival aims to create positive and celebratory messages to connect people to each other and sustainability solutions that inspire them to incorporate more sustainability in their lifestyles. The Big Weekend is the Festival’s flagship event held in the heart of Melbourne city at the

iconic Federation Square. This event hosts a number of dedicated programs including The Green Market comprising innovative product and service solutions as well as the Oasis Food Village; the Education Day Program aims to create future action-oriented leaders to think critically, engage with their peers, and use creativity and innovation for their project and campaign ideas. The State of Sustainability Program comprises a large number of local community events held within metropolitan suburbs and regional towns and all celebrating some aspect of sustainability.

Speed Date a Sustainable Expert Considering building or renovating? Make your home greener – grab a date with Melbourne’s leading sustainable designers and experts. Bring sketches, plans and photograph. The experts will offer free advice, solutions and inspiration. February 22, 2pm-4pm Drill Hall, 26 Therry Street, Melbourne

Volunteers are the lifeblood of the Festival, and regularly dedicate their time, knowledge and energy to the event. The community-driven event relies strongly on SLF’s family of committed and enthusiastic volunteers as well as the large number of new people attracted every year who often use their experience as a motivation to change careers into the sustainability field. The Festival aims to be a leader and educator in sustainable event management practice. The dedication has enabled SLF to develop the award-winning Sustainable Events Planner, which addresses event accomplishments and areas for improvement relating to energy, water, waste, transport and procurement.

»»Luke Taylor is the Director of the Sustainable Living Festival slf.org.au

Chris Jordan (US) It’s hard to speak of environmentally and socially engaged art without mentioning the illustrious Chris Jordan, whose work has been described as aesthetically beautiful, mind-boggling, and thought provoking. Best known for his series Running the Numbers, which turns powerful statistics about consumption into large-scale photographic art, Chris examines topics of waste, consumerism and environmental destruction in an extraordinarily engaging manner. Be inspired by this internationally acclaimed artist and social activist in a special Festival keynote. Deakin Edge, Fed Square February 15, 1pm

The Melbourne Review January 2014 7

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THE GREEN ISSUE

Art Climate Ethics

surrounding climate change. She has developed a series of works titled Vivitur Ex Rapto, Latin for “man lives off greed”. One work includes the additional title For Gina referencing Gina Rinehart and another For Bulga inspired by Rio Tinto’s expansion of the Warkworth mine near Bulga. Martin sees art as an effective means for presenting content about climate change without being didactic. “People can choose to engage if they like and you can use it in a way which is quite seductive or interesting or humorous so an audience can at least empathise which then makes it more possible for the content to come across.”

by Jane Llewellyn

ith so much discussion and debate in our society on the environment, particularly climate change, it’s not surprising that it’s a popular subject for many Australian artists. The role of arts and artists in this debate is the topic being discussed at the forum, Art Climate Ethics part of the program for the Sustainable Living Festival. Run by Climarte, a loose collective of artists and art groups working around climate and climate change, the forum will include artists like Mandy Martin, for whom environmental degradation is a topic not only close to her heart but also close to her home. Martin lives in central west New South Wales next door to one of the biggest gold mines in the country (Newcrest, Cadia Valley). “Because I live on the land I am acutely aware

SOCIETY

of the impact of climate change in terms of the landscape and also the amazing speed with which mining in particular has expanded in NSW,” she explains “As an artist that’s the subject matter I am dealing with, it’s what keeps cropping up in my work.” The environment has been the focus of much of Martin’s work over many decades. “Basically it’s an area I have been thinking about and working in for a long time. For me talking about climate change came pretty naturally out of the work I was doing anyway.” She sees art as another tool for delivering what can often be tough material. “That’s the function art can

play. In my work I deal with the sublime, I can talk about the ugliness but the beauty, and the terror but the seductiveness.” Martin’s involvement in the forum also provides a platform for expanding her audience. Being an artist is about creating artwork and reaching the biggest audience that you can, particularly when you’re participating in a hot debate like climate change. She says: “It’s the only tool I really have to deal with climate change rather than the obvious ones like how I live my day to day life.” Martin doesn’t shy away from the fact that her work is addressing current political and social issues

Visual art can also subtly grab the audience’s attention more so than other art forms like literature. “If you can hook people’s interest visually either by the way you use paint or the colours you are using then you have a much better chance of delivering the content within the work. The form and the content are inextricably linked.”

»»Art Climate Ethics: What Role For The Arts? Deakin Edge, Federation Square February 15, 6pm-7.30pm (entry from 5.30pm) climarte.org

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8 The Melbourne Review January 2014

SOCIETY

Mind the Gap, Please by Simon Godfrey

aul Keating often comments when lamenting Australia’s unwillingness to replace the monarchy that it’s not the behaviour of great States.

The same can be said of Melbourne’s reluctance to embrace a world-class rail network. This is not the behaviour of great cities. Don’t get me wrong; Melbourne’s report card is not bad. The stadiums are top notch and its art scene gets a big tick, but a comprehensive rail network is a feature of every world-class city except the ‘most liveable’. London, New York, Montreal, Washington and Paris all have one thing in common: You can get places if you a.) Don’t own a car, or b.) Have a car, but don’t want to be stuck in traffic watching your life be slowly whittled away. Melbourne’s present train network resembles a bicycle wheel, with the City Loop at its centre and suburban lines feeding into it. The system is fine if your destination is the city and the city alone, or you find yourself in the 1950s and transit to work is your sole transportation concern. It’s easier to lead an expedition to Mordor than it is to travel from the Northern Suburbs to the Western suburbs by public transport. Melbournians seems to prefer long, perilous journeys. No wonder there’s a Burke and Wills statue in the heart of the CBD. Of the five City Loop stations, only three are underground. Opened in the early 80s, this first venture underground was like Melbourne’s ‘my first metro’. It’s cute and quaint, but the city has grown-up and big kids have proper subterranean rail systems. Part of the problems is any proposed rail project, whether it’s a link to the airport, Doncaster, or the new Metro tunnel from the west, are proposed and promoted so feebly, whereas roads like the East West tunnel can apparently be knocked out as soon as they’re thought up. Melbourne trains must feel like the weedy kid at lunchtime that never gets picked first for sport. If it’s a question of difficulty, we can look abroad for guidance. London’s Tube is efficient and user friendly. If we can borrow England’s

monarch for our head of state, why not borrow their model for a successful train network? New York’s subway system is not only a means of transportation, but also an attraction. Though it was decommissioned in 1945, City Hall Station is still used as a turning loop for the number 6 and tourists stay on the train while it turns just to see the station. New York’s subway is so successful; platforms that have been ghosts for sixty years still get visitors. Why Melbourne is so hesitant to increase rail infrastructure is anyone’s guess. Metro’s inadequate services are universally complained about and anybody who has waited a maddening thirty minutes for a train, probably expecting a steam engine to roll in when it finally arrives, will tell you something needs to be done. Rail projects obviously cost money, as do roads, but rail’s benefits are numerous. Decreasing car congestion is a major plus. I don’t know if you’ve heard, but cars emit dangerous gasses. It’s been in the news a bit; apparently the world is choking on carbon. Don’t worry; it’s easy to miss. Yet Melbourne continues indulging its freeway obsession. It stems from a concept of missing freeway links. Victorian State Transport Minister Terry Mulder complained of the Eastern Freeway, ‘’There is a freeway that comes to an end; it’s bizarre.’’ It’s a curious comment, as all freeways tend to end somewhere. Is Mr Mulder’s vision for a never-ending freeway? Perhaps one around the

globe, with feed ramps from every driveway? If you feel like a trip to Europe, just jump in your car and take the Melbourne to Geneva expressway. But if we’re talking missing links, a Doncaster railway was first proposed in 1890 and so far has not come to fruition. Surely, that is unfinished business and the East West road tunnel can get in line. Cities that take themselves seriously boast underground networks that not only take people from the suburbs to the city, but across the city, or places of cultural significance like a library, sporting ground, theatre district or park. They incorporate stops where you can easily transfer to another line and don’t have

thirty-minute waiting times for trains. We can keep patting ourselves on the back each time Melbourne is announced as the most liveable city or we can aspire to be a great city. The other option is to build the never-ending freeway. It’ll certainly put Melbourne on the world map, or at least help us very slowly traverse it.

»»Simon Godfrey is a writer, comedian, transport enthusiast and host of The New podcast. @SimonGodfrey simongodfrey.com

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10 THE MELBOURNE REVIEW JANUARY 2014

POLITICS LETTER FROM TIMOR LESTE BY ALEXANDER DOWNER

n my nearly twelve years as foreign minister there were few issues I dealt with which were more contentious than East Timor. In 1996 I inherited a nasty situation. The Timorese were fighting an insurgency against the Indonesians. There was a torrent of allegations of human rights abuses largely directed against the Indonesians. Our bilateral relationship with Indonesia was at the mercy of events in East Timor. I told DFAT that our policy of supporting Indonesian sovereignty no matter what was going to be unsustainable. They didn’t like that. They took the view Australian governments had shared since 1975: that the relationship with Indonesia was too important to us to risk alienating Jakarta by supporting East Timorese independence. I didn’t agree. Unless the Timorese somehow legitimised incorporation into Indonesia – which they never liked – then the issue would contribute to regional instability. In 1998 I told the Indonesians we’d do a survey to see if the Timorese would accept the Indonesian policy of “broad based autonomy” for East Timor. We did the survey. The Timorese wouldn’t accept it. It was as a result of that survey that John Howard wrote to President Habibie suggesting at some stage the East Timorese should be given a choice about their future: independence or autonomy. The rest is history. When we could we sent in a peacekeeping force to save lives. And then we helped the East Timorese build a new country. As the head of the UN Transitional Government in East Timor, Sergio Vierra de Mello told me “No country has done more to help East Timor than Australia.” This is all history. But today there’s a new debate. Australia is being accused of unfairly

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grasping oil and gas revenues which were rightfully East Timor’s. For a month or so the ABC news was sprinkled with commentators denouncing Australia. Now that’s standard practice at the ABC. Whenever a foreigner criticises us, it’s always our fault. So let’s look at the facts. The Hawke government negotiated the original Timor Sea Treaty with Indonesia under which a Joint Development Area was deﬁned and revenues from the JDA were shared equally between Australia and Indonesia. I told the East Timorese that we didn’t want to change the boundaries because that could unravel all our maritime and seabed boundaries with other neighbours but that as far as I was concerned they could take the lion’s share of the revenue. They were a new country and a poor one. So in 2002 I eventually gave them 90 percent of the revenue and since then they’ve accumulated about $15 billion in a sovereign wealth fund. So were we generous? Well, we didn’t really need the money to the extent they did. But that wasn’t the end of the story. There is

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a huge gas deposit called Greater Sunrise which straddles the Joint Development Area where East Timor gets 90 percent of the revenue and Australia’s seabed where obviously Australia gets 100 percent of the revenue. Given the structure of Greater Sunrise – little of which was in the JDA – Australia would get 80 percent of the revenue and East Timor 20 percent.

all know a fair bit about wasted aid dollars. But it’s another thing for East Timor to sign treaties and then say later it doesn’t like them and won’t honour them. This is exactly why developed countries are reluctant to invest in developing countries. The sovereign risk is too high. An agreement, a law, a treaty is only okay when it suits the government. If it suddenly has a better idea, it’s torn up. Why would investors want to put their money into East Timor when they know the Timorese government could at any moment tear up the laws of the land?

So in 2006 we struck a deal with the Timorese: we’d give them 50 percent of the revenue because they were poor and we were rich. For them, as they admitted at the time, it was a good deal.

It’s true, a virulent minority of anti-capitalists think East Timor should renege on the agreements they’ve made, agreements which give them huge amounts of money. And what will they replace those agreements with? What makes them think they’ll get even more money?

But now the current East Timorese government says it wants to rip up that treaty because it’s unfair and they allege we spied on them during the negotiations. It’s one thing for East Timor to ask for more assistance from the developed world including Australia. If they desperately need money over and above their $15 billion sovereign wealth fund then it’s fine for them to ask for it – as long as they define how they want the money to be spent. After all, we

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This is, in a word, unwise. East Timor will win a reputation for being unreliable with no leverage to gain extra revenue from its reckless policy. As a person who did so much to get East Timorese their independence, that makes me sad.

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FINANCE

Checks and Balances

rate peaked at 6.25 percent in 2000 and before that 7.5 percent in 1994 to 1996. It would be reasonable to expect that the pending monetary tightening cycle will see the cash rate rise to at least 4.75 per cent sometime over the 2015 or 2016, with a peak somewhere around 5.5 per cent or 6 per cent most likely. This means that borrowers should be preparing for their mortgage and overdraft rates to rise by approximately 3 percentage points within a couple of years.

Interest rates in Australia are about to increase, perhaps by quite a lot.

The RBA has a record of adjusting monetary policy without fear or favour or with much overt regard to financial market pricing. Even though the market is yet to price in higher interest rates, the RBA will move to tighten policy when its assessment of inflation risks changes. The first rate hike could be only a few months away.

by Stephen Koukoulas

n the months ahead, when interest rates are increased, the Reserve Bank of Australia will be reacting to a pick up in economic growth and inflation that started around the middle of 2013. For indebted consumers, householders and those in the business sector, the last year or two has delivered a windfall gain in the form of reduced borrowing costs as the RBA cut interest rates to levels not seen since at least the 1950s. The low interest rates have seen interest payments for those with debt fall sharply, freeing up cash flow, which in turn is supporting other parts of the economy. The current low level of interest rates is a key factor behind some interesting and welcome changes in the economy. Importantly, it has arrested the fall in house prices that was evident in the two years up to early 2012 which was undermining wealth and confidence for many consumers. House prices rose by 10 percent in 2013 and the early signs suggest 2014 is starting on a similarly strong note. At the same time, the improved cash flow for mortgage holders has seen a lift in spending, at least in the retail sector, to the point where growth in retail trade is running at an annualised pace of 7 percent. Another few months of this sort of growth would risk

A 3 percentage point increase in the interest rate structure over the next couple of years should be sufficient to curtail any unwelcome lift in house prices and yet see the economy grow at a sustainable pace.

spilling over to higher inflation. The business sector is also benefiting from low interest rates, which has seen business investment remain remarkably strong, notwithstanding the inevitable slump in mining. Housing construction is picking up strongly and will add significantly to bottom line GDP growth in both 2014 and 2015. Lower interest rates have also been helpful, at least to some extent, in driving the Australian dollar lower which in turn has helped the export sector expand and given local firms that compete with imports a competitive boost. From levels around 105 US cents early in 2013, the Australian dollar has settled around 90 US cents, which is probably close to fair value given the economic fundamentals of Australia. As 2014 kicks off, the RBA needs to be careful not to let these favourable trends get too far

advanced, because if unchecked, a surge in house prices, excessive consumer spending and an uncomfortably large devaluation of the Australian dollar would inevitably spark a pick-up in inflation. Indeed, higher interest rates during 2014 will be a sign of economic strength and the risk of excessive demand growth needs to be dampened by tighter monetary policy. It is impossible to map out the path of exactly when and by how much interest rates will need to rise in the next year or two. In recent decades, the cyclical peak in the cash rate has been between 4.75 percent and 7.5 percent. The peak has varied depending on the inflation pressures being felt in the economy. The last peak in the cash rate in 2010-11 was 4.75 percent, well below the prior peak of 7.25 percent in 2008. Prior to that the cash

For those with high levels of debt, there is likely to be some financial stress, which, incidentally, is what changes in monetary policy are all about. High interest rates are designed to discourage borrowing, spending and investment and encourage savings, which is the reverse of the current low interest rate environment, which is aimed at boosting spending and investment and discouraging savings. Australia has had enough of the latter fuelled by easy monetary policy. The RBA is poised to move to a more neutral monetary policy stance in the not too distant future.

ÂťÂťStephen Koukoulas is Managing Director of Market Economics. marketeconomics.com.au

Sea for yourself! At Mornington Peninsula Shire we offer exceptional working conditions including salary, sacrifice in Council gym and golf membership, an active social club, paid parental leave and flexible working arrangements for the right work/life balance. We encourage our team members to undertake further education and training to continually develop new skills and expertise and support this with tertiary study assistance.

A career in local government gives you the chance to engage with the community, to respond to their needs and provide them with real solutions to make a difference. We offer a huge array of employment opportunities in many diverse professions; eg. Maternal & Child Health Nursing, Engineering, Planning, Youth Work and Sport & Recreation.

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In the spirit of respect, Mornington Peninsula Shire acknowledges the Boonwurrung/Bunurong, members of the Kulin Nation, who have traditional connections to the land on which Council meets.

12 The Melbourne Review January 2014

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TECHNOLOGY

THE GREEN ISSUE

Electric Dreams

Constructed in places with names that smack of Tolkien mischief—Dingolfing, Wackersdorf, Landshut—and fashioned from futuristic materials, the environmentallyconscious car being produced at BMW heralds a new dawn for manufacturing. by Ilona Wallace

he i3, BMW’s electric baby, is an experiment, which, after $600 million invested and 800 jobs created, has come good. The expense stems from the world-first techniques being pioneered by the vehicle’s production team. The complex process begins

with the invention of a new material: carbonfibre-reinforced plastic (CFRP). This magic material is built upwards from a superfine thread - only 14 percent of the width of a human hair - of pure carbon that still retains graphite’s stable structure. Fifty thousand of these strands are bundled into “rovings”,

which are in turn criss-crossed and layered into stacks. Once cut into shape, the carbon material is injected with resin. Pressure and heat are applied until the structure hardens into a rigid, lightweight piece of the vehicle. Once the two major components of the vehicle - the Drive and Life modules - are completed, they are bonded, bolted and covered with a thermoplastic skin. The entire build takes only 20 hours. The thought of driving a car with a “skin” is a bit unsettling, but the wacky engineering and design are necessary. The car must be as light as possible if it is to travel for a worthwhile distance and use electricity efficiently. The result is a vehicle that weighs only 965 kilograms before the addition of its life-giving batteries. Designed with the planet at its heart, you can dial back the outlandish styling and sleek, grey skeleton to the spirit of the car: sustainable living. Ten percent of the carbon fibre used in the BMW i3 is recycled; the interior eucalypt panel is made in a dustfree milling environment, where extracted chips and wood shavings are recycled and

leave the air and machinery 98 percent free of contaminants; the car’s thermoplastic skin is 25 percent recycled or renewable. Looking beyond the vehicle, the production is equally planet-loving. Painting is done with a dryspray technique that reduces energy and water consumption by 25 and 70 percent compared to usual practices; 100 percent of the energy used for carbon fibre production at Moses Lake is from local renewable, hydroelectric sources—completely C02-free. Compared to BMW’s standard operations, the overall production of the vehicle boasts a reduction in energy consumption of 50 percent and water consumption of 70 percent. The standard model can venture 130-160 kilometres before requiring a charge; with a hybrid range-extender, the car can travel up to 300. Although it is BMW’s smallest car to date, the rigidity of its carbon fibre body and its ability to absorb huge amounts of energy mean that the i3 is extremely “damage resistant”. While this means the car may escape unscathed, the humans inside should heed the i3’s four-star NCAP safety rating - a decent score no doubt, but perhaps a little less than award-winner BMW was expecting. Although 800 jobs were created in the lead up to the i3’s launch, there is a strong focus on robotic mechanics, with automated, silent, no-spark welding marking a whole new vision of factory assemblage. The strongest anti-electric argument held by petrol heads - that, due to wastage and resource consumption in production, “eco” cars are no more viable than their traditional counterparts - is no longer valid. And with the automated systems, short build times and reported reductions in production expenditure, the quality, electric town car is now looming as not only the morally correct option, but also the most efficient.

The Melbourne Review January 2014 13

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TRAVEL

Myanmar: First Impressions Last by Fiona Myer

eak hour has taken on a new meaning in Myanmar. Hours of grid lock are a reminder of Bangkok, and a far cry from the days when I first spent time in Myanmar 20 years ago; cyclos and push bikes are a thing of the past, replaced by new cars, lorries and people movers. There have been 10,000 new cars imported into Yangon in the past 12 months. Up until only last year cars were an investment that actually increased in value. It is clear that Myanmar is undergoing a period of ambitious reform. The population is currently around 62 million and growing. However, with 75 percent of the population living in rural areas, access and to education and health services for young families in particular continues to be a challenge. The scale of reforms required presents a unique opportunity for Australia to support Myanmar in its bid to form a democracy and

secure sustainable improvements in both regional and urban areas. It is important to remember, however, that Myanmar still remains one of the poorest countries in south-east Asia, with the second largest land mass in Asia. Less aid has been received due to its diplomatic isolation; after decades of stagnation the country faces a long recovery period. Fighting between Government troops and ethnic minority rebels continues in several border areas. This flows over into major cities; there have recently been several bombing attempts in the city of Yangon. Temporary security provisions have been installed at the entrance to certain hotels which, though arguably more for show than anything else, at least provide the tourist with an element of reassurance. That said, the question of ethnic troubles will continue to affect the prospect for long-term stability in Myanmar.

The overall feeling amongst the Australian business community in Yangon is that business is moving forward. Whether in areas as diverse as pathology, mining, property, engineering, marketing, manufacturing, arts and crafts, there appears to be a very real sense of accomplishment, albeit there are inevitable road blocks, such as lack of legal infrastructure and underdeveloped banking, finance, power and telecommunications industries. Driving through the leafy streets of Yangon, one could not help but notice there is a massive property bubble, largely driven by the inflow of Chinese money as well as the general global interest in the emerging Myanmar economy. Property has skyrocketed; an acre of land in Yangon is said to be valued at approximately $8 million. There is a genuine affection for the Australian people which is welcoming and encouraging for business. English is widely spoken, but a translation prior heading into a taxi is advisable. We left Myanmar with a strong feeling that there are plenty of business opportunities in Myanmar, and Australia is well positioned. Our early relaxation of sanctions has been very well received by a government working hard for change. So, visit the country. Be prepared to think long-term – it is going to take time. There are

no overnight wins in Myanmar for business. Speak to the local business people and the many Australians active in business. Speak to the Australian government agencies on the ground, but above all else, just get there!

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14 The Melbourne Review January 2014

COLUMNISTS Six Square Metres Gardens and lovers BY Margaret Simons

A Third Age New Year: Watch out BY Shirley Stott Despoja

he festive season has just about exhausted itself and I am obsessing, as always, over how much of my life has been used up looking for the end of the sticky tape. Christmas can be a pain in the neck, but a New Year, when one is old, is the scariest thing. Our long experience tells us that the first disaster of the year is going to happen just about now. Then there are those doleful words of John Donne: “…never send to know for whom the bell tolls…” Let’s leave it right there, shall we? I have an edgy feeling that the new government that has mugged us with silence on some important things so far, might spring into action this year by tackling the “aged problem”. So much easier than climate change. Stopping old people from doing things is a lot easier than stopping the young from doing things. I don’t want to put ideas into its head, so I won’t mention my fears out loud. I expect the continuation of research that shockingly reveals that old people are really quite like young people in many ways. A heading that stopped me in my tracks was on the ABC News website: “Silver Surfers fighting loneliness with technology.” The study it refers to found that teaching old people to use Facebook helps reduce their feelings of isolation and loneliness. Fancy that. Why do they think young and middleaged people use social media if not to feel less isolated and lonely? Even a cat called Henri shares his existential angst on You Tube. I found being classed as a silver surfer so depressing that I needed time on Facebook to recover. Nice things happen too. Mother duck brought her 10 ducklings to meet me. The ducklings grouped and re-grouped behind her like shuffling beginner recruits. Mother duck looked nervous. But was she their mother or their granny nanny? Is the granny nanny unique to the human species? I have been mildly surprised to learn that working families in Australia are still as dependent on grandparents for childcare as they were 30 years ago, according to the Australian Institute of Family Studies, quoted in the

Sydney Morning Herald. Granny nannies are a preference. I wonder how often grandparents are the ones who express the preference. It must be a bit strange to be shovelled out of your job because you are too old and then take on the exhausting care of toddlers. Or maybe people retire just to look after the grandkids. This certainly takes the pressure off the formal childcare system we have. No wonder the government is being mean about increasing the pay of childcare workers when, it seems, grandparents are gagging for the job and probably doing it for nothing. Increasing the pension age to 70 (about which many politicians are speaking behind their hands) would mean another childcare crisis. Without having had the experience myself, I would still not recommend 70 as the starting age for caring for infant grandchildren. You don’t have to be heartless to find childcare tough going in your senior years. The spirit may be willing but the flesh… and all that. I wonder how much tension there is in families over the expectation that grandparents, especially the younger sort, will look after the kids. It is a problem that has been around for a long time. The great Doris Lessing, the Nobel Prizewinning novelist who died in November, nailed it. She wrote in the 1980s a parable of a put-upon grandmother, Dorothy, within a very spooky novel, The Fifth Child. The novel is many other things besides Dorothy’s story. It is about changes in society. Lessing was divining at the time and, no surprise, it ends up as a sci-fi horror story. Dorothy’s daughter Harriet and husband David could well have been Generation Something before their time. They fall in love and start living a dream beyond their means, which entails having “a lot” of children. The in-laws demur, aware that they will be called on to keep the young couple afloat. Poor Dorothy cops the hardest jobs when four babies in six years delight the happy pair. David’s father signs the cheques and keeps out of the way, but Dorothy is always there, her duty to perform. Then the fifth child changes everything. Doris Lessing was in her 60s when she wrote the book that gave even her the creeps. She seems to have liked the young couple more than I did. I found them self-obsessed exploiters. Dorothy leaps out of the pages as spirited, noble, long suffering but powerless. And I dare say that’s how the New Year will find many granny nannies. But happy, I hope.

t this time of year each evening finds me in the back yard, mosquitoes at heel, watering the garden. It is a ritual that accompanies the cessation of the day’s heat. The silverbeet recovers from the day’s heat in an astonishing fashion. One moment it seems dead, flopping on to the soil. A little water flowing in to those veins and in minutes it stands proud, glossy and green. I revive it in order to kill it. A quick slash with the knife, and we have leaves for dinner. The end of the day’s heat is also the time for harvest. Watering the garden is almost meditative. My back to the house, my mind at rest, I try to judge how much water is enough, and not too much, for plants that have stood all day in the parching sun. This involves an interaction with the minutia of my tiny patches of soil. Gardeners know their gardens with the intimacy of a lover. Just as lovers know each dip and rise of flesh, so a gardener knows the contours of the soil. So it is that I can judge how long to let the hose play on each spot. The jet of water kicks up dirt. Even though the soil is dry, it takes some time for it to accept water. The earth is like a sponge left to dry for too long. It has forgotten how to drink. Lakes form, then overflow, then tip their contents into neighboring hollows. I know how long this will take, and the order in which the little holes will fill. I can judge it almost to the moment, and I shift the hose just before the deluge. Then there is a pause while the water sits on the dry earth. Am I imaging the tension? Suddenly, as though a mouth has been opened, the water disappears. Then I can return with the hose, and the garden drinks deep. With my pot plants, though, water runs out of the bottom long before the soil is soaked. A slow drip feed is what’s needed, but who has the time for that? Inside the house there are jobs to do. Washing to be put on. Dishes to clear. Work clothes to prepare. So I create my little floods, then move on. One of the difficulties of gardening in a small space is finding a way of doing the job without wrecking everything else that is going on. If I overwater the lemon tree the water runs out of the pot, across the brick paving and disrupts my grandson’s Lego town – although he seems quite pleased with the idea of a flood to enliven

the evenings of his plastic, square-headed population. When I water the lettuce, strawberries, beans and upside-down tomato on the sundeck, I have to first make sure that the washing line underneath is empty or everyone will be wearing clothes with earth coloured streaks. Summer took a long while to arrive this year. For weeks, my basil plants sat and sulked through cold nights, barely putting on a leaf. Now they want to run to seed before providing the customary summer pesto. The coriander is all legs and arms and flowerheads, and no leaves. The capsicum is providing tiny, intense flavored fruit. Nothing is growing quite as I expect. These days that observation carries with it a freight of fear. Is this climate change? Will the intimate knowledge of the garden soon cease to serve? Is everything changing? Tonight I am soaking the seeds of moonflowers, ready for planting out tomorrow. Moonflowers grow on long vines. They can put on five metres in a single year. I have read that the flowers open in the early evening and close before noon the following day. You can actually watch them open, it happens so fast. The fragrance is sweet and heavy. Next summer, I hope to have the moonflowers to accompany me for the evening watering and harvest ritual.

@MargaretSimons

The Melbourne Review January 2014 15

melbournereview.com.au

FICTION

At Halo’s by Patrick Allington

recently ate lunch at Halo, a hip place in the big-time city where I live when I’m not travelling. I disapprove of Halo. The chef is a man-about-town with permanent one-centimetre stubble and a $700 haircut. He writes a cliché-fattened blog called ‘Meat is Murda’. He stakes out farms and sets pigs free, accompanied by a camera crew. But last week my neighbour, dear Mrs B, asked me to take her to Halo. ‘My grandson is one of those people,’ she said, ‘so I suppose I should see what it’s all about’. ‘Those people?’ ‘A vegetarian. That’s the expression, isn’t it?’ I’ve been a virtuous neighbour to Mrs B since Mr B (who I may or may not have secretly met twice a week for what he liked to call cooking lessons) collapsed and died while eating a saveloy nestled in white bread. Mrs B still agonises over that saveloy. ‘Do you think I cooked it long enough, dear?’ she often asks me. For the record — I was there, I saw the whole thing — she boiled it for 20 minutes, long after the casing blistered. How many weeks or months it had been in the fridge beforehand, I cannot say. I agreed to Mrs B’s request to eat at Halo because for years I’ve dragged her to restaurants all over the city, and various other cities too, despite her bung hip. And because she accepts with good grace my public recounting of our culinary adventures. Her tastes reside resolutely in the bland, the safe. As I wrote in one recent column, Mrs B chose the Calzone Rustico because the waiter agreed that it was an almost exact replica of a meat pie. When the Calzone came she cut it down the middle. ‘That’s how My Husband always ate a pie.’ But her surgery exposed a mass of anchovies, delicate things that, it seemed to Mrs B, writhed about like worms. With forbearance, she ate one fifth before declaring herself full, although she managed a banana nut sundae for dessert. ***** ***** ***** I pay little heed to restaurant décor, and here is why: arriving at Halo, Mrs B was heartened by the starched tablecloths, the gleaming silverware and the impeccablygroomed young man in the bow-tie who took her coat and then escorted her, at a pace her hip rejoiced in, to a window table. I tagged along, sniffing the peppermint air suspiciously. ‘My name is Martin. I’m honoured to serve

you today. Would you ladies care for a prelunch drink?’ ‘Martin: what a lovely name,’ Mrs B said. ‘Tell me, are Fluffy Ducks banned here?’ I asked. Martin laughed for far too long. I held up my water glass. ‘Have you checked this for amoeba?’ He avoided baring his teeth. I gave him 7.5 out of 10 for professionalism (he lost 2.5 marks for his clip-on bow-tie). ‘Tell me, dear,’ Mrs B said, ‘are you one of those men?’ Martin didn’t even blink. ‘I’ll be back to take your order shortly, ladies.’ Half of Halo’s menu was pretentious understatement: Basic Tomato Pizza, Rustic Quiche, Ye Oldieworldie Vegetable Soup. The other half was mock meat: Imitation Spaghetti Bolognese, Potato Garlic Snails and worse. The fact that soybeans can be made to resemble beef or pork or lobster — or the surface of Mars — is no reason to actually do it. Geneticists don’t create apple trees that bear rotten fruit just because they can. Martin returned, wearing a worried look. Clearly, somebody had recognised me. ‘Buck up,’ I said. ‘How bad can it be.’ ‘You tell me,’ Martin said. I warmed to him. Almost. ‘What’s on the Basic Tomato Pizza?’ Mrs B asked. ‘Rare-grade tomatoes, single-site olive oil, sea salt, shards of freeze-dried basil —’ ‘Basil? Oh dear.’ ‘I could ask chef to go easy on the basil.’ Mrs B nodded. ‘You’re much politer than my Tarquin.’ ‘And for you?’ Martin asked me. ‘Do you recommend the De-Boned Mock Quail filled with Forcemeat? ‘Well, it is chef’s signature dish … but perhaps you would be more at ease with the Collage of Vegetable Pâtés.’ ‘Forcemeat?’ Mrs B said. ‘That sounds dangerous.’ ‘He means it’s stuffed. I cannot resist, Martin: bring me falsity wrapped up in falsity.’

‘Nobody speak,’ I commanded the whole restaurant. Because I’ve been on the telly, everybody obeyed. I chewed into the silence, identifying breadcrumbs, onion, apple and over-tasted pecans but struggling to identify various other ingredients. Mrs B broke my concentration. Hunched over the soggy remnants of her pizza, clutching a glass of lipsticked Sauvignon Blanc, she began to weep. ‘We had such high hopes for him.’ ‘Who?’ ‘Tarquin. … And to think, he’s so tall. What a waste.’ Martin arrived to comfort Mrs B. As they hugged, a chunk of forcemeat broke free from the roof of my mouth. I swallowed it and let out a low moan … and then pushed my plate away a little too forcefully. It shattered on the floor. The mock quail spread out like an inkblot. Martin summoned the chef, who arrived dressed like an angel, a fluffy cloud atop his head. ‘Is everything satisfactory?’ the chef asked in his surgically implanted CalifornianParisian accent. He wiggled his hips for emphasis. ‘Perfectly,’ I replied. ‘I apologise for damaging your plate.’

Barossa is passion. Passionate people with a passion for great food and wine. Handcrafted foods of provenance. Great wines of the world. And they all come from the dirt.

***** ***** ***** The pizza, when it finally came, was edible. The tomatoes hinted at vine-ripening. The base was doughy but not disastrous. The olive oil was not quite tainted. As Martin had promised, basil was near-absent, which was a pity. When I took a bite (the rule is that I pay and Mrs B shares) I detected crushed capers. Martin denied it, which was odd because it was the only thing that gave the dish life. The not-quail arrived even later than the pizza. Martin had obviously been out notcatching-it-and-killing it. Its shape was loosely birdlike but the ‘skin’ had peeled back, revealing coffee-coloured flesh that quivered in the white light. I glanced it with my fork and forcemeat paste vomited free. I took a bite. The outer ‘flesh’ slipped down my throat like the custard that it was. I chewed and chewed the forcemeat. What choice did I have?

Barossa B e c o n s u med.

kwp!SAT11545

‘It’s not an heirloom. But surely you will need a replacement quail?’ ‘Definitely not. But would you tell me your forcemeat recipe?’ ‘I must decline. Professional confidentiality. But can I offer you and your lovely companion complementary glasses of port?’ ‘I must regretfully decline. I pay my way.’ ‘But of course,’ he said, bowing and retreating. Coward. ‘Martin,’ I said, ‘please bring me a tall glass of your crispest lager. And a cheese platter.’ The poor lad sprinted to the kitchen and back. I drank the beer in two easy gulps and demanded another. ‘Get some food into your tummy, dear,’ Mrs B said. I cut a thick piece of cheddar, cadged a bread roll from an adjacent table in exchange for my autograph, and shoved the cheese inside the roll. Mrs B reached out towards my arm. ‘Stop,’ she said. ‘You forgot butter.’ I bit down hard. I’ve never seen Mrs B look so sad.

»»This is a short fiction piece by Patrick Allington patrickallington.net.au

16 The Melbourne Review January 2014

BOOKS

Griffith Review 42 Julianne Schultz and Carmel Bird (eds.) / Text Publishing

The Best Australian Stories 2013 Kim Scott (ed.) / Black Inc.

BY Tali Lavi

Sparking with a keen intelligence, Griffith REVIEW is in the habit of turning over ideas that popular discourse often disregards. In this, the literary journal’s annual fiction edition, excavated gems are not limited to the fictional, for essays and memoir interrogate the place of mythology and fairy tale in Australian culture. There is a different pleasure to be had in this traversal of reading modes, with radical connections occurring between academic or personal pieces to the parallel world of a fictional tale. Surveying the textured literary landscape that constitutes a Griffith REVIEW issue can lead to some surprising reappraisals of the way we read texts, culture and ideas. Once Upon a Time in Oz exposes stories as potentially life-saving or destructive. Novelist Kate Forsyth discloses how fairy tales were a welcome escape from childhood sickness after a terrifying early encounter with a real slathering monster, whilst Anna Maria Dell’Oso’s real

mother is a tortured and tortuous storyteller who takes on monstrous dimensions. Dell’Oso approaches this subject of the unstable mother with great sympathy and grace, refusing to take what would have been more obvious but sensationalised imaginative leaps, and instead tentatively attempting to honour the truths, no matter how obscured, of her mother’s story. A deep engagement with the ancient history of Australia, not merely its modern version of the migrant nation, is evident in this issue. Sacred Aboriginal stories illuminate some terrible truths implicit in both the natural world and the human colonised one. They are often charged with protective, declarative warnings; the ‘debildebil’ who lurks in the long grass during the fire season; the tale of discontented Gurrdji who falls prey to a handsome man only to find him transforming into the rapacious Doolagarl, ‘the hairy man’. Leonie Norrington skilfully weaves these tellings of tales into the fabric of realism

that is a post-Intervention reality for Aboriginal communities in the Northern Territory. Margo Lanagan, Marion Halligan and Ali Alizadeh’s stories all are modern-day permutations of traditional tales but it is Alizadeh who most closely embraces the original spirit of these oral tales, appropriating their violence and brutality in his harrowing ‘Snow White and the child soldier’. Which is the more frightening, this merging of modern warfare, fantasy tropes and school bullying or John Bryson’s dissection of the popular imagination running feral with delusional fantasy in his explication of the Azaria Chamberlain case? I’m still not sure. Some writers – Halligan, Tony Birch, Cate Kennedy, Bruce Pascoe – appear in both the Review and the latest Best Australian Stories 2013 anthology selected and rather humbly introduced by Kim Scott. Whilst there is no overt theme at work in the latter, other than damn good yarning, most of the tales are variations on familial relationships; bane or blessings or something in between. In Liam Davison’s deeply affecting ‘Birdcall: 33º21´N 43º47´E’, a father attempts to communicate with his altered son after a deployment in Afghanistan. His actions, as invested with love as they are filled with doubt, ring out plaintively like the birdcalls his son once expertly mimicked. The narrator of Lucy Treloar’s ‘Wrecking Ball’ seeks out escape from the burden of family through diving, evoking thrillingly realised subterranean and earthbound worlds. In her account of a younger doted-upon sister gone wayward, she recollects her sibling’s earliest days. As a jaundiced baby ‘she was forever being moved from one patch of sun to another, like a tender house plant. I can still see my mother, my father and five-yearold me standing around her white bassinet . . . as if my sister was the light’s source rather than its destination, and we were sunflowers bending towards her.’ There is a satisfaction to be had in delving into a collection such as this, with its variegations in voice and style, with its inclusion of stories from contemporary writers oftentimes at very different stages of their publishing career, and from the knowledge that its very heterogeneity expresses a certain Australian literary spirit.

Dead Interviews Dan Crowe (ed.) / Granta BY David Sornig

In Dead Interviews, Dan Crowe has licensed a host of contemporary writers to imagine how they would handle an interview with the deceased icon of their choice. The pieces they produce animate a cast of writers, politicians, artists, scientists and musicians from the last two-and-a-half centuries (most of them white and male) who their inventors treat with a combination of irreverence, disdain, enthusiasm and earnest respect. The stand outs are Rick Moody, who asks a series of increasingly irrelevant questions to the rambling and enlightened Jimi Hendrix; Geoff Dyer who, in a moment of drug-addled comic gold, barely lets Friedrich Nietzsche get a word in edgewise; and A.M. Homes’ Richard Nixon, who seems incapable of self-reflection. The crown of the collection is Joyce Carol Oates’ short story ‘Lovely, Dark, Deep’ in which her invented interviewer of Robert Frost, Evangeline Fife, lingers around the poet at the Bead Loaf Writers’ Conference in 1951 as an increasingly accusatory ghost. As the collection’s longest piece, it’s easily its most faceted, and like its best pieces, the story plays dangerously on the line dividing the fiction and the reality of its chosen subject’s life.

2 0 1 3 / 2 0 1 4

OUT NOw a d e l a i d e r e v i e w . c O m . a U twitter.com/hot100SA

The Melbourne Review January 2014 17

melbournereview.com.au

BOOKS

God’s Dog Diego Marani / Text Publishing BY David Sornig

The Goldfinch Donna Tartt / Little, Brown

Moving Among Strangers Gabrielle Carey / UQP

BY Christopher Sanders

It’s been 21 years since Donna Tartt stunned the literary world with her debut novel, the Generation X classic, The Secret History. Her long awaited third novel, originally scheduled for a 2008 release, will finally remove Tartt from her first novel’s two-decade long shadow. Tartt’s protagonist is a 13-year-old New Yorker, Theo, who survives a terrorist attack at the Metropolitan Museum, which kills his mother, with whom Theo was very close. Fleeing the scene with a priceless painting, Carel Fabritius’ The Goldfinch, and a ring - on advice from an elderly man Theo comforts until his last breath - the novel’s first half is a fascinating look at modern adolescence. Seemingly unwanted after the attack, Theo briefly lives at a friend’s luxury Manhattan apartment before his deadbeat addict (alcohol, gambling) of a dad (who left Theo and his mother for a Las Vegas floozy) takes him to his new home in the Nevada desert before returning to New York a few years later. Despite his cross-country adventures, the shadow of The Goldfinch lurks. Part Catcher in the Rye, part commentary on post 9-11 New York, part suspense thriller, The Goldfinch is unforgettable.

BY Fiona O’Brien

Beginning with an image of eternal love and existential solitude from Randolph Stow’s The Girl Green as Elderflower (1980), Carey masterfully sets the scene for her investigation into the secret and perplexing life of the insufficiently feted West Australian author, and its meshing with her own family. Following the death of her mother, Carey uncovers several letters exchanged with the young Stow during a lengthy but indefinable relationship, and decides to write her own letter in an attempt to assemble the missing pieces in her family history, and Stow’s pivotal role in it all. As Carey travels back to the WA of her roots, she gains insight into the man behind the eclectic writings she so admires, and his sense of isolation in a society seemingly preoccupied with sport, money and materialism. She discovers too that the loved ones she thought she knew were in some ways strangers to her. Carey uses Stow, his writings and his life, as a platform for exploring a quintessentially Australian species of artistic alienation, and to fulfil her strong desire to continue talking with the dead, even when “they no longer have a voice”.

Somewhere in the next few decades, Italy has fallen under the control of a repressive theocratic regime headed out of the Vatican by Pope Benedict XVIII. Its laws are based on the conservative real-life catechismal amendments of the incumbent pope’s deceased predecessor, the soonto-be-canonised Joseph Ratzinger. At the centre of the state’s draconian laws are pronouncements on chastity and the preservation of life. It’s no surprise then that the main underground opposition to the regime is the Free Death Brigade, a band of guerrilla euthanasists who infiltrate hospitals to deliver the relief of death to those who are forced to endure the suffering that the Church insists is their spiritual due. It’s to combat this stealth practice that the church deploys its attack dog, Domingo Salazar, who as a boy was orphaned in the 2010 Haitian earthquake and raised by the Church into a single-minded fanatic in his defence of it. Salazar, as the Vatican’s secret agent, is an enforcer, an arch-conservative detective who in the hunt for the Brigadists finds himself embroiled in plots and counter-plots that, when they get closer and closer to his own life, and to his friend Guntur, who has discovered a lab chimpanzee’s capacity to speak Swahili, show that the Church will stop at nothing to protect itself from any knowledge or practice that threatens its hegemony. It’s a whirlwind of a premise that, in its audacity and its absurdity, a mashup of counter-Reformation intrigue, hardboiled detective novel and near-future theocratic dystopia, is as refreshing as it is seductive. It’s as if Marani has taken the spirit of Luther Blissett/Wu Ming’s labyrinthine novels Q and Altai, or Umberto Eco’s The Name of the Rose, compressed it and put it into a time machine. Salazar, for all his frightening devotion to the Church, remains a sympathetic character,

mostly because of the very human way he responds to his reality being upended. There’s a distinct sense here that Marani has hopes for the future complex life of this character. Marani’s now-signature coldness, that for me diminished the first two of his novels available in English, New Finnish Grammar and Last of the Vostyachs, is once again difficult to ignore here. While part of the emotionless of the writing is attributable to the brisk pace of the storytelling – Marani switches from scene to scene at breakneck pace and sometimes with barely a signpost to tell us that we’ve jumped from Rome to Amsterdam, or from the mind of Salazar to that of the Free Death Brigade’s Marta Quinz – this glossing also presents as a kind of indifference to the vitality of narrative events and characterisation. Rushing diminishes affect. While this is sometimes frustrating, it’s preferable to long-windedness. Readers in the crime genre will love it. It is, of course, impossible to read this novel without smirking at the surprise of the conservative Benedict XVI’s retirement and his succession by the apparently far more liberal Francis – despite the latter’s still-conservative stance on euthanasia and abortion. I bet Marani didn’t see that one coming.

18 The Melbourne Review January 2014

FASHION

THE GREEN ISSUE

Royal Botanic Runway:

Flora, Fashion, Philanthropy Four prolific designers will come together on a runway amongst the flora to help water the Royal Botanic Gardens and drought-proof its future. by Hannah Bambra

For a lesser donation, relaxed lawn seating is available and in true garden party style – picnic rugs are welcome. The event will also be streamed live to Federation Square where panel discussions on sustainability and the future of the gardens will also be held during the day.

strong environmental message emerged from the Royal Botanic Runway launch this year. And in the fashion world there’s been a considerable effort over the past few years to discourage excessive wastage when cutting patterns as well as for consumers to ‘meet their makers’ and for brands to promote garments with more durable, sustainably-sourced fabrics. The beauty of pieces at Royal Botanic Runway, designed by Akira Isogawa, Aurelio Costarella, Collette Dinnigan and Martin Grant, will be mirrored by the beauty of the city’s skyline backdrop, the grounds of the Royal Botanic Gardens, as well as the Gardens’ restored water reservoir Guilfoyle’s Volcano.

Co-founder of the event and director of Event Gallery, Geraldine Frater-Wyeth, hopes that when taking in our city’s natural and constructed beauty alongside one another viewers will stop and question how the gardens stay so lush and beautiful year-round. “We are now able to have a platform to communicate that,” says Frater-Wyeth.

While all tied to the beauty of the Australian landscape, these four designers have been chosen due to their global prestige and ability to parallel the international reputation of Melbourne’s award-winning gardens. “The gardens are loved by so many people, of all walks of life. We didn’t want to isolate anyone from the event and we want to ensure the gardens can continue to be enjoyed by everyone.” With the raised funds, the Royal Botanic Runway wants to guarantee that the final stage of the garden’s water strategy is completed. When finished, precious drinking water will no longer be needed to maintain the grounds, due to the fully constructed storm water storage, and the park will no longer be threatened by water shortages or droughts.

As well as raising awareness about how the gardens need to live and breathe in a sustainable future, the event hopes to boast some of our city’s aesthetic feats, particularly Guilfoyle’s Volcano, on display for its beauty and function, which was conceptualised and built in 1876 and re-constructed in 2010.

Says Frater-Wyeth: “The only way for designers, consumers and all of us to move forward is to be more environmentally conscious, thoughtful and aware.”

The boardwalk, which winds around the water-storing structure, leads wanderers to a 360-degree view of the CBD. On the night of the Royal Botanic Runway, models will walk through the ground level’s greenery and glide up past VIP and donor seating as they circle the reservoir.

»»Royal Botanic Runway Thursday January 30, 5.30pm Guilfoyle’s Volcano, Royal Botanic Gardens Birdwood Ave, South Yarra royalbotanicrunway.com

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PERFORMING ARTS

ARCHITECTURE IN MOTION Photo: Julie Shelton

Daredevil dance company, Diavolo, crafts athletic movement and gutsy architectural feats on stage. BY HANNAH BAMBRA

he agony of being a dancer is well known; torn ligaments, battered toes and immense amounts of physical strain all come with the job description. While a style such as ballet is incredibly taxing on the body, it is still a rare occurrence to gash blood from the forehead, get ﬁfteen stitches or a broken set of ribs, toes, ﬁngers... and continue to come back to it. It is this “different kind of danger” that Jacques Heim of Diavolo Dance Theater taps into daily.

Each Diavolo dancer must be perfectly synchronised with one another as Heim choreographs pieces anchored by large, human-powered structures, which move with and around the performers. After ﬁfteen years of touring internationally, the U.S. company are ﬁnally coming to Melbourne as a full troupe.

Diavolo’s February performance at The Arts Centre, Architecture in Motion, is comprised of two acrobatic shows in one. The ﬁrst, Transit Space, is inspired by the majestic movement and communal stories of young skateboards Heim encountered on the streets. Inspiration came from past and present generations of skateboarders. Heim studied the 2001 documentary Dogtown and Z-Boys as well as speaking to young men and women about how they still ﬁnd solace and belonging in skateboarding. “In a way Transit Space is not about skateboarding but about feeling lost, wanting to be part of a family,” says Heim. “You follow this young character who becomes part of a team, a community, a family. He starts skateboarding and suddenly has a sense of purpose.”

Looming, mobile skate ramps (a common backdrop for Californian street culture) are the “seeds of the piece” as Heim affectionately refers to them. The dancers and the set frenetically move together on stage with spoken word poetry narrating and creating the energy of a familiar, developed urban environment. While the dynamic, gymnastic movement of the dancers is the show, this sense of scene and structure is a consistent part of Diavolo’s performances and Heim’s creative process. “If I had to do a piece on a bare stage I wouldn’t know what to do. As soon as you put a structure in front of me I can see a human using it, that’s how I start.”

The other instalment of Architecture in Motion has similar roots. In Trajectoire dancers stretch themselves across the interior of a 12-feet ship structure, rocking it back and forth while colleagues sway on the deck above. Tension builds like waves and the interaction between humans and architecture becomes more strained.

» Architecture in Motion Arts Centre Melbourne 5-9 February diavolo.org

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20 THE MELBOURNE REVIEW JANUARY 2014

PERFORMING ARTS

AT THE SPEED OF CLOUDS

You may have enjoyed a slow dance before, but not this slow. New York artist David Michalek’s ultra slow-mo celebration of the body, the dance and the human spirit takes slow dancing to new heights. BY PAUL RANSOM

e are used to the spectacle of speed and we thrill to the sight of dancers executing precise moves at great velocity. In a way this is a modern staple of the artform. But what if it all slowed down? Would we still watch? When New York-based artist David Michalek first conceived of the idea of Slow

Dancing with his ballerina wife, neither of them could have guessed the extent to which this inspired and avowedly simple concept would enrapture audiences. By utilising both massive scale and incredible slowness, Michalek’s paean to the human form and the beauty of dance has become one of most talked about ‘film projection’ works on the public art and festival circuit. In 2014, it

Slow Dancing.

will grace the (very big) screens at the global music love-in that is WOMADelaide. Slow Dancing is a series of 43 short ﬁlm pieces featuring dancers and choreographers

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from around the world and across the genre spectrum, each of them filmed in ultraslow motion, (a thousand frames a second, compared to the usual 25). These ﬁve second dance phrases are then slowed to ﬁll up 10

The Melbourne Review January 2014 21

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Photo: David Michalek

PERFORMING ARTS

minutes and projected in triptych form onto enormous, four storey screens. As its creator David Michalek explains, “I got interested some time ago in working with

slowness as a medium; and that means a lot of different things. Not just decelerated images but slowness as a concept.”

Forsyth to street dance stars like Lil C, the project celebrates both the diversity and universality of dance.

Together with his wife, New York City Ballet artist Wendy Whelan, Michalek set out to realise his fascination with slowness as a work of moving portraiture. “I wanted to make a spectacular portrait of her,” Michalek recalls, “a portrait that looked very much like a still photograph but had what I kept calling a ‘motion principle’.”

“Every dancer I worked with was sort of a master dancer and I wanted them to bring something that was indelibly theirs,” Michalek enthuses. “I’m not really a choreographer. I’m more of an arranger, and so because I was working with all of these dance makers I really let them bring something, a movement sequence, that felt right for them.”

This led the husband and wife team to search out the best motion analysis cameras, the kind used by golfers and ballistics experts to minutely dissect both tee shots and gun shots. Eventually they chanced upon what, at the time, was brand new technology. “When I first did this at the Lincoln Center Festival back in 2007 I can say with a high degree of certainty that I was using a camera that was not even on the market,” Michalek says. “It had been invented in an engineering lab and the cooling system wasn’t even perfected. We kept the camera cool with frozen peas.”

The result, despite the immense scale and time distortion, is an incredible intimacy. “Both of them allow the viewer an opportunity to travel within the image. With scale and deceleration I really give people the chance to explore micro expressions and micro stories. With dance, yes they might do a certain kind of sequence, but within that there are hundreds, if not thousands of things that are not necessarily gestures or positions but are transitions between those things; and they’re filled with wonder.”

Slow Dancing not only unites art and science but brings together an extraordinary array of dancers, all of whom performed their brief pieces on Michalek’s specially constructed and rather small set. From legendary choreographers like William

The obvious question here is whether Slow Dancing is a work of beauty (art) or simply an object of fascination (spectacle). In response, David Michalek rubs his hands with glee. This is clearly his territory. “When people first saw it I think it was the first time in history that anyone had seen other people moving in uncompressed high definition on that scale and at that rate of deceleration. So yes, there was fascination. They were like, ‘how did he do that?’” With its accent on humanity, Slow Dancing is perhaps a perfect fit for WOMADelaide. As Michalek argues, “Part of what Slow Dancing does is to announce and project the idea of democracy. It’s the idea that the roof stays aloft because all of us are lifting it; and I wanted this to be seen in Slow Dancing. The project is kept alive by people who are fat and people who are skinny, by people who are black and people who are white, by people who have different ideas of dancing, some of whom are famous, so called, and some of whom are not.”

However, Michalek’s drive for slowness was not simply about velocity, but quality. “I was always looking for a certain speed; and as I said to Wendy [Whelan], I was looking for something to move at the speed of clouds passing overhead. I wanted to play that same game we play as kids where we lay on the ground and watch clouds and make shapes.”

»»WOMADelaide Botanic Park, Adelaide Friday, March 7 to Monday, March 10 womadelaide.com.au

THE WORLD’S FESTIVAL LINE UP INCLUDES

Billy Bragg

Arrested Development Muro

Femi Kuti Ngaiire

Washington

Mikhael Paskalev

SEE WEB SITE FOR FULL L I N E -U P

22 The Melbourne Review January 2014

PERFORMING ARTS

He arrived at his distinctive introspective style - call it alt-classical if it must be labelled through a progressive distillation of ideas and a desire to come to emotional truth in his music.”

Photo: Cesare Cicardini

in these songs. Meanwhile my sisters listened to pop music like the Beatles and Jimi Hendrix, and since then I kept listening to a lot of different kinds of music. Even now, from folk to pop or classical, it doesn’t matter where it comes from. It’s just what I like.”

Journeys of Exploration and Distillation When The Independent recently described Ludovico Einaudi as “one of the world’s most successful living classical composers”, it put neatly into words what others have struggled to say about this shadowy, solitary figure. by Graham Strahle

t extolled him “as much the inheritor of Chopin and Satie as minimalists such as Glass and Reich”. That might make one puzzled as to what his music sounds like, except that we’ve all heard it: Einaudi’s music is more pervasive and familiar than many probably realise. His film credits include the Doctor Zhivago 2002 remake (starring Keira Knightley), the coming-of-age British drama This Is England that chronicles British immigrant culture in the Midlands, and Acquario, which won a Grolla d’oro for best soundtrack in 1996. He has issued 11 studio albums that include the solo piano collection Le Onde (The Waves) and In a Time Lapse for piano and orchestra, which became a top-seller in Australian and overseas classical

charts in 2013. The Turin-born composer is also a prolific writer of music for TV commercials, from airlines to energy companies - all of which bears his same personal signature of gently rolling piano chords entwined with wistfully poignant melodies. ‘Atmospherica’ is what some have dubbed it. Einaudi seems to find a unique meeting ground between classical and new age, one where the minimalism of Philip Glass et al fuses with a pop sensibility and absorbs a range of influences spanning folk, world and electronica. Its reminds one especially of Michael Nyman’s music for The Piano, the nostalgia-tinged nature music of John Luther Adams, or perhaps even Brian Eno. Dreamyism, another cute name for it, is of

course now all the rage - every new age shop has rows of CDs of slow, repetitive meditation music, sitting next to aromatherapy bottles and incense sticks, that turns these ideas into a cheap banality. But while Einaudi helped spawn all this way back in 1992, with his album Stanze for electric harp (played by Cecilia Chailly, who also worked with John Cage), nothing about his music sounds empty. He arrived at his distinctive introspective style - call it alt-classical if it must be labelled - through a progressive distillation of ideas and a desire to come to emotional truth in his music. Luciano Berio, his first teacher, took him through the 12-tone hoops, after which he has pursued his own journey of exploration. “Every year my music gets deeper, like old wine,” Einaudi says. “It is the result of work and a lot of thinking. At the beginning I was coming from Luciano Berio, composing more for orchestra and chamber music. But at a certain point things changed and I became involved in several projects in theatre. These helped me to focus on expressing freely my desires in music. Then I started to compose by my own albums, first with Le Onde [in 1996]. This was the turning point in the development of my career. In it I found facility and tension; music started to be connected with feelings. Then filmmakers asked me to do films, so I started at that.” Unlike many other classical composers of his generation, Einaudi has also taken an equally strong interest in pop and folk music. He explains: “Since I was a child, my mother played classical music [on the piano] and also folk tunes and songs. I started to focus on the beautiful melodies

In 2003 he travelled to Mali and played with musicians there, culminating in the album Diario Mali, in which he duets with Malian kora player Ballaké Sissoko. Around the same time, an interest in Russian music led to creating the soundtrack for Doctor Zhivago, which so memorably sets the haunting voice of Lyudmila Georgievna Zykina. “She sings a traditional Russian song for the solo voice,” says Einaudi. “When I heard it, I was looking for traditional melodic material to go into the soundtrack, so when I found this beautiful song I recorded it but rearranged it completely different harmonically.” Then came the 2006 album Divenire, whose track ‘Primavera’ - perhaps Einaudi’s best-known piece - recalls Vivaldi’s ‘Spring’ in The Four Seasons. “Yes,” he says, “it is a homage to Vivaldi. I always love that strong writing and techniques. I was trying to find how to involve those ways into a new score; I was definitely thinking of Vivaldi.” He later reworked Divenire into the electronica-inspired Live in Berlin album, before initiating a large project based on folk music from South Italy that recreates the traditional, frenetic taranta dance. “So there are lots of different experiences, musicians and opportunities I’ve had to explore different approaches to music,” says Einaudi. “They’ve all stayed with me like each brick that makes up a wall. For me, music must help me think, reflect and elevate my spirit to some different level. I also want music to feel the joy of life, like when a child feels pure passion. Sometimes we forget about that.”

»»Ludovico Einaudi In a Time Lapse Arts Centre Thursday, February 13 ludovicoeinaudi.com

The Melbourne Review January 2014 23

melbournereview.com.au

Photo: AP/Press Association

PERFORMING ARTS

Wimbledon Champ Billie Jean King holds down the net as Bobby Riggs, the 55-year-old tennis player who bested Margaret Court in a grudge match.

Battle of the Sexes A passionate and fun look at the gender politics of the 1970s framed through the most famous tennis match of all time.

by Anna Snoekstra

t was 1973 and the height of the women’s liberation movement when retired tennis star and self-proclaimed chauvinist pig, Bobby Riggs, challenged the current women’s champion, Billie Jean King to a match. Dubbed ‘Battle of the Sexes’, it was the most watched tennis match in history. Directors Zara Hayes and James Erskine use a mix of talking heads and priceless archival footage to set the scene of women’s tennis in the early 1970s, a time where female champions were payed one eighth the amount of their male peers. After constant goading by Riggs, whose continual public statements included that women belong in the bedroom and kitchen and not on the same court as men, Billie Jean accepted his challenge. On 20 September 1973, the largest audience in tennis history gathered at Houston, Texas to watch Riggs and King play. The prize money was set at $100,000 but the stakes were much higher and King knew the implications if she were to lose. “To modern eyes it can seem absurd,” muses co-director Zara Hayes, “the whole concept of

having a man and a woman play a match and the man being twenty-odd years older than the woman. At the time to see a woman who was physically fit and athletic playing sport on prime time network television in America and she was sweating and people were cheering for her, that was a really revolutionary thing. It had a huge effect in terms of women’s tennis and it being taken seriously as a commercial proposition.” “We realised it was an incredible story and an incredible story for film. I think that great films are about drama and they are also about time and place,” adds her directorial partner James Erskine. “It felt to me that it had all the ingredients: strong protagonists saying outrageous things to each other in a fantastically kitschy environment that would be entertaining to watch and participate in. You could be in the theatre and you could be really cheering for the girl or the guy to win.” At the centre of the story, it all comes down to King herself. She is the magnetic, charismatic underdog who only becomes more humorous and articulate as the odds are stacked against her. Recent events bring a new significance to the story as King, who is now age seventy and a pioneer of lesbian, gay, bisexual, transgender (LGBT) rights, again stands up for equality. Last month she was appointed by Barrack Obama as a delegate for the United States at the 2014 Russian Olympics as a protest against their ‘propaganda’ laws.

»»The Australian Centre for the Moving Image will host an exclusive season of the film until February 13 acmi.net.au/lp_battle_sexes.aspx

24 The Melbourne Review January 2014

VISUAL ARTS

Accounting for Taste by Sasha Grishin

couple of months ago a huge and somewhat controversial exhibition opened in London at the Royal Academy – it was called Australia. Of the thirty-six living artists selected for that show, about a third of them are in The Lowensteins Arts Management Collection and they are discussed in this book. This in itself suggests that in this book we are dealing not with an arbitrary collection of Tom’s Lowenstein’s drinking mates, but with a cross-section of some of Australia’s finest visual artists. The fact that many of them have subsequently become Tom’s drinking mates, speaks of the special position that he has come to occupy in the Australian art world. When he and I were working on this book I suggested the title ‘No accounting for taste: the collection of a frustrated art loving accountant’.

The early road tests of this title proved popular, but a loudly articulated outburst ‘Nous ne sommes pas amusé’, (Sylvia Lowenstein’s French can best be rendered into English as ‘We are not amused’), was not so much a speed hump for this nomenclature, but a decisive road block. Hence the revised title for this volume. There were many possible beginnings for this publication. In my mind, the genesis of this book lay in my hazy recollections of a lunch, which I shared with Tom and John Olsen. I remember only two things about that occasion – firstly, that there were several bottles of particularly good French vintage champagne, and secondly, that Olsen at one time during the lunch exclaimed: “I make the art, Sasha decides if it is any good, and Tom will tells us how to make some money out of it.” This book is about how art and money do mix. If you ascribe to the

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John Olsen, Lowenstein in Search of the Artist’s Missing Statements.

mythology that the best art is made by artists starving in a garret, then Tom, myself and I think everyone else involved with his book, are the sworn enemies of that manner of thought. Money has always been a key motivating and sustaining force in the creation of the visual arts and Tom Lowenstein has devoted his life to the more equitable distribution of this money, so that the artist doesn’t always miss out. The genesis for the art collection, which lies at the heart of this book, has a slightly different origin. The key person is Sylvia Lowenstein, who from the outset has had a keen and informed eye for art and managed to steer her husband, Tom, away from sport and finance, towards the arts in general and the visual arts in particular. In the family she has remained the beacon and arbiter of good taste. The other key player was Tom Lowenstein himself, who is a man with a beautiful mind for figures, who over several generations has rescued hundreds (if not thousands) of artists from economic oblivion. My feeling is that Tom, in the first instance, was frequently more interested in the artists themselves, rather than in the art which they produced, but as he got to know the artists and forged close friendships, through their eyes he started to understand their art. Initially it was a collection of artists and only subsequently became a collection of art. As his passion was ignited, he started to collect art and the collection grew. His son Evan Lowenstein, and his colleague based in Sydney, Adam Michmacher, all contributed to the growth of The Lowensteins Arts Management Collection. It became a very private art collection, which was seen by very many within the arts community, and consequently many of the artists have striven to be represented by some of their best works. This book for the first time reveals to the broader public some of the finest pieces in this collection. In the Christian Church the patron saint of artists was Saint Luke, as he was not only an Evangelist who wrote a Gospel and Acts of the Apostles, but he was also a painter, who painted

a number images of the Virgin, in fact during the Middle Ages about 600 such paintings were ascribed to him, making him into quite a prolific artist. Of course the patron saint of accountants, in the Christian Church, was the Evangelist Saint Matthew, the former tax collector who subsequently saw the light and worked to give money to the needy, including to poor artists, rather than giving it all to the ATO. Tom Lowenstein in his activities negotiates both of these identities; Saints Matthew and Luke, to become Australia’s very own Jewish patron saint of Australian artists.

»»These are the opening remarks by Professor Sasha Grishin at the book launch of Accounting for Taste at Mossgreen Gallery on December 3, 2013 »»Accounting for Taste: the Lowensteins Art Management Collection by Sasha Grishin is published by MacMillan Arts Publishing palgravemacmillan.com.au

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VISUAL ARTS

Photo: Courtesy Jimmy Burinyila, Ramingining

of an art medium used to share knowledge and achieve understanding between Yolngu and Balanda (non-Yolngu people) at a crucial time of cultural change in Arnhem Land. This drive to engage and educate through art has continued, and Yolngu bark painting has evolved to become one of the most recognisable genres of Aboriginal art in the world. Transformations: early bark paintings from Arnhem Land provides a rare opportunity to view these foundational, and spectacular, works of art. Particularly striking is the format of the composition of these works, as they variously depict madayin minytji as it would have appeared on the shoulders, torso and thighs of the body. The inclusion of the shoulder and leg elements of the design indicates the literalness with which artists translated designs from a ceremonial to an educational context. These striking elements would soon become redundant; artists quickly began to respond to the bark medium with inventiveness, refining compositions to include only the square or rectangular chest section of the body painting. The flat surface and larger scale of the bark sheet enabled artists to enrich grand narratives by adding figurative elements and multiple references, and, in the decades that have followed, approaches to painting continues to evolve. The dazzling optical effect of madayin minytji is linked to the enduring power of ancestor beings. Donald Thomson first noted the Yolngu concept

of biryun in his 1937 fieldnotes, and likened it to a sparkle or shine, or the flash of anger in someone’s eyes. Anthropologist Professor Howard Morphy has since written about the importance of biryun within Yolngu aesthetics. Designed to affect the senses, the repetitive fine line work, or rarrk, and the predominance of white ochre in the designs creates a bright shimmer that is evidence of marr or ancestral power. These impressive paintings are strikingly beautiful depictions of the richness of Yolngu culture, and demonstrate artists’ refined skill in using ochre on bark to depict intricate designs. As early evidence of the willingness and desire Yolngu have to communicate to outsiders the systems of knowledge at the core of their culture—a motivation that remains paramount for artists today—these paintings are remarkable historical objects. As works of art, they are the jewels in the crown of an ever-evolving Yolngu painting tradition.

» Joanna Bosse, Curator, the Ian Potter Museum of Art Transformations: early bark paintings from Arnhem Land The Ian Potter Museum of Art, the University of Melbourne. Continues until February 23 art-museum.unimelb.edu.au

Wilingarr narra 2, attributed to Makani Wilingarr. Ngarra minytji (Ngarra ceremony design) c. 1937, natural pigments of bark, 139 x 113.5 cm. The Donald Thomson Collection, the University of Melbourne and Museum Victoria.

DZ Deathrays / Mushroom 40th Anniversary Concert Thousand £ Bend 2013 / Photo: Noel Smyth

Transformations BY JOANNA BOSSE

s in other parts of Australia, painting on bark has been a long-standing activity for Aboriginal people across Arnhem Land in northern Australia. Bark was used as a surface to depict elements of visual iconography long before anthropologist Baldwin Spencer visited Gunbalanya in 1911–12 and collected for the (then) National Museum of Victoria the bark shelter sheets that were painted on their underside with ochre designs. It was through the medium of bark painting that Yolngu statesmen from Central, Northeastern and Eastern Arnhem Land chose to record their sacred madayin minytji (ancestral body painting designs) for anthropologist Professor Donald Thomson in 1935–37 and 1941–42. Thomson went to Arnhem Land to meet with clan leaders to broker a peaceful solution to the escalation of violence between Yolngu and outsiders. Almost immediately, his sympathetic approach and keen interest in Yolngu culture was met with an engaging and pro-active response. Only a few days after their ﬁrst meeting, the important warrior Wonggu Mununggurr, leader of the Djapu clan, painted a sheet of bark with

designs relating to various clans in order to instruct Thomson about clan relationships and responsibilities across the region. Clearly Yolngu regarded painting as an effective means of intercultural communication; by painting for Thomson Yolngu were teaching him, and by extension other outsiders, about the complexity, value and currency of their culture. During the years Thomson lived among Yolngu, they transcribed their clan’s madayin minytji — normally painted onto the bodies of men, objects, deceased people or coffins within the context of ceremony — onto large bark sheets. Literal evocations of enduring ancestral power and presence, these designs define identity and directly connect clan members to their homelands. As a means of communication, they were therefore rich visual expressions of the complex belief systems that underwrite Yolngu culture. Conscious of their profound significance, Thomson brought the paintings to Melbourne. Today these remarkable works are held in the Donald Thomson Collection under the joint custodianship of the University of Melbourne and Museum Victoria. They are the primary examples

40 Years of Mushroom & Melbourne’s Popular Music Culture 19 NoveMber 2013 – 22 februarY 2014 an rMIT Gallery and Mushroom collaboration Presented by

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26 The Melbourne Review January 2014

A-Z Contemporary Art

ARTSPEAK Deconstruction It’s all about the metaphysics of presence. But then you knew that. Blame Jacques Derrida. He floated the idea in the later 1960s. This coincides with the launch (1969) of the Danish Lego group’s Duplo range of simpler blocks (twice the height, width and depth of standard Lego blocks) for smaller children. From here on, art history is just one click after another. Deadly Arguably the Best Ever art critical tag. From Australian Aboriginal English (‘excellent’, ‘fantastic’, ‘cool’). Try ‘Deadly, Unna? (Deadly eh?’) at the next exhibition opening. Australian kids used to ride deadly treadlys (bikes). Malvern Stars were OK but Dean Toselands deadly. Like art, all bikes are surface and symbol. But deadly dull.

Helpful hints on how to make your art say NOW. Plus ARTSPEAK Bonus Pack

Desire An ‘A list’ term sprinkled freely within art discourse (see Discourse). Use with discretion as has multiple applications according to context such as male gaze, body as projection and fetishisation. According to Derrida our relationship to an art image may be linked to our desire to return it to its maker. Makes you think doesn’t it? Sometimes seen in the company of Revulsion with mixed results.

by John Neylon

DEATH Decay Here’s an idea. Take portrait photographs of all your friends. Ten years later do it again. Ten years later (okay so you really have to stick with the program) take a final set, hang them in time sequence in a gallery and invite same friends to the opening. You’ll be amazed at the response. No you won’t. You’ll die friendless. Here’s another idea. Put a bowl of fruit into a vitrine and over the next few weeks video fruit as it collapses into poxy, mouldy sludge. Hint: Extra humidity will grow insane mould. It’s not a new idea (see British artist Sam Taylor-Wood and various Dutch 17th century painters) so think novelty like pineapples, paw paws and passion fruit. Suggestion: Personalise the concept by sitting at a table laden with food, for several days, then doing the Worm in the rotting remains. Recommendation: Food surfing can be tricky but British artist Stuart Brisley will show you how.

Discourse Occupies contested (see Contested) territory somewhere between the verbal and the visual. This ‘master’ (see Master Terms) term allows the user to write or speak at great length about anything on the basis that things aren’t all that they seem. Or is it that they are more than they seem? Or not what they seem? Help is on hand: ‘How do I know what I think until I see what I say?’ E. M. Forster.

Ricky Swallow, Australia, born 1974, The exact dimensions of staying behind, 2004‑05, London; Maurice A. Clarke Bequest Fund 2013, Art Gallery of South Australia, Adelaide, Courtesy the artist and Darren Knight Gallery, Sydney.

Size Does Matter Try killing something off in the name of art. Hint: Avoid use of larger animals such as horses, cats and llamas. Bad publicity. Insects and smaller bugs are fine. Cane toads also. But not ladybirds. Bad luck. Flies have far fewer friends. Adelaide Artist Craige Andrae put a bevvy of blowies into a vitrine and over subsequent weeks they bred and died. Only two letters to the editor. Celebrity Death Nothing, I repeat, nothing beats the strategy of aligning your work with a celebrity death. Think old school (Jacques-Louis David’s The Death of Murat. Think modern (Warhol’s Grieving Jackie K). Think contemporary and everything old is new again. Check out: British artist Gavin Turk’s Death of Marat, with artist in the starring role. So let loose the Charlotte Corday (or young Turk) within.

Living Dead A really tough market to crack. On one hand there is a wall-to-wall universe of Walking Dead/Undead iconography that populates innumerable T shirts, DVD covers and ‘I’m a very creative Photoshop artist’ sites. Then there are the upmarket variants built around the idea flayed/desiccated bodies that look about to give up the ghost. Sample: a little taste of Francis Bacon’s ‘road crash’ figuration or Egon Schiele’s ‘garbag of bones’ nudes. This is heavy-duty territory. Not for the squeamish if tempted to indulge in self-portraiture. I Vnt 2 Sk Yr Bld Vampires. So spooky. So hard to do. Art wise that is. Somehow articulated blood dripping jaws, Estee Lauder pallid blush cheeks, sightless eyes and wax-splattered

coffins in a white cube gallery setting looks hokey. The challenge is there and I think you’re up for it. Look Away Now Sometimes real deaths are too tough to make art about. Not so. Examples: Teresa Margolles’ installation, 127 Cuerpos / 127 Bodies at the 2012 Adelaide International consisted of a cable made of textile lengths from cloth used to hold the bodies of unnamed victims of Mexican drug trafficking. Australian artist Alexander Seton has used the device of the shroud to mask the identity of the deceased leaving the viewer to speculate. It’s all about deflection. So Greek tragedy. Skullduggery It’s the skull stupid. If Damien Hirst rolled

$20 million of diamonds in elephant dung someone would notice. But stud a skull with little sparklers and everyone sits up. It works every time. We’re hardwired to notice skulls even if it’s on a totally flogged Papa Roach Connection T shirt or a Mexican Day of the Dead get-well card. A crowded field so do try to be innovative if looking for eyeline shelf position in arts global supermarket. Hint: Materiality matters. Try using Smarties, or, if flush, A-class drugs. Dem Bones Inspiration: Check out Mexican artist Jose Posada’s Calaveras (images of skulls and animated skeletons). This artist had distinct talent for blunting Death’s sting with his rollicking skeletons having an eternal knees-up. Admire: Ricky Swallow’s mortes particularly his sculptural riffs on 17th century still lifes and his life-sized vanitas, a seated skeleton (The Exact Dimensions of Staying Behind) which rattles some cages. Consider: American artist Jenny Holzer ‘s Lustmord installation. Skeletal remains arranged on tabletops confronted viewers when shown in Adelaide in 1998. Powerful viewing experience but too close to the bone? (see deflection).

THE MELBOURNE REVIEW JANUARY 2014 27

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GALLERY LISTINGS

ART AT LINDEN GATE

GEELONG GALLERY 7

Natural Beauty Until January 27 899 Healesville-Yarra Glen Rd, Yarra Glen 9730 1861 artatlindengate.com

BURRINJA GALLERY

Isabel Foster: The Challenge of Colour Explore delightfully bright, bold and bizarre textiles created by 92-year old artist Isabel Foster. Open Tues - Sun 10:30am - 4pm until March 16 Cnr Glenfern Road and Matson Drive, Upwey, 9754 8723 burrinja.org.au

Stephen Bowers: Beyond Bravura – JamFactory Icon 2013 A JamFactory touring exhibition Until February 16 Little Malop St, Geelong Geelonggallery.org.au

FLINDERS LANE GALLERY

Portrait Show January 28 – February 15 137 Flinders Lane, Melbourne flg.com.au

IAN POTTER MUSEUM OF ART

From The Studio: Bayside Artists & Writers In Residence 22 January - 3 March Cnr Carpenter St & Wilson St, Brighton

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THE DAX CENTRE

Imaginarium: works by Adam Knapper 6 February - 9 May 2014 Selected Works from the Cunningham Dax Collection Until end 2014 Kenneth Myer Building University of Melbourne Genetics Lane (off Royal Parade) Melbourne 9035 6258 daxcentre.org

THE GALLERY AT BAYSIDE ARTS CULTURAL CENTRE

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MCCLELLAND SCULPTURE PARK + GALLERY

WILDCARDS: Australian photographs from the MGA Collection curated by Bill Henson 1 March–30 March 2014 860 Ferntree Gully Rd, Wheelers Hill 8544 0500 mga.org.au

Transformations: early bark paintings from Arnhem Land Until Feb 23 2014 The University of Melbourne, Swanston Street, Parkville art-museum@unimelb.edu.au

MONASH GALLERY OF ART

Shaun Gladwell: Afghanistan An Australian War Memorial travelling exhibition Made to Last: The Conservation of Art A NETS Victoria exhibition in partnership with the Centre for Cultural Materials Conservation at the University of Melbourne and supported by Latrobe Regional Gallery. Until February 2 360 - 390 McClelland Drive, Langwarrin 9789 1671 mcclellandgallery.com

RMIT GALLERY Music, Melbourne + Me 40 years of Mushroom and Melbourne’s popular music culture Until February 22 Storey Hall, Swanston St, Melbourne rmit.edu.au/rmitgallery

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INCA culture Central, south and north 1400–1533 AD Female figure

MOCHE culture North coast 100–800 AD Portrait head stirrup vessel

SICÁN-LAMBAYEQUE culture North coast 750–1375 AD Tumi [Sacrifical knife]

28 THE MELBOURNE REVIEW JANUARY 2014

ADVERTISING FEATURE

MORNINGTON PENINSULA Victoria’s ultimate coastline destination.

he Mornington Peninsula has been Melbourne’s favourite beachside destination for decades, and regular visitors might believe they know the best places to stay, eat, drink and relax. But up in the hinterland and in the small coastal and country villages, the Mornington Peninsula has developed a new style and sophistication. New restaurants are attracting top excity chefs who are inspired by the region’s ﬂourishing local produce, the many artisan

producers of foods including cheese, olive oil and chocolates, and the easier pace of life. As a result, the Mornington Peninsula Wine Food Farmgate Trail now showcases no less than 75 of the region’s premier wine, food and farmgate experiences. The hinterland is home to around 200 vineyards, and the Pinot Noir is internationally lauded. Chardonnay, Pinot Gris/Grigio, Shiraz and other varietals love this cool maritime climate too. Impressive restaurants (including four with Chef’s Hats) offer you an endless epicurean escape.

Pristine bay beaches, wild ocean coastline and gloriously green hinterland create the most invigorating outdoor lifestyle and the most beautiful environment. Golﬁng on the Peninsula is simply legendary, at 15 golf clubs with 19 world-class courses crafted from sand dunes that promise outstanding year-round play. Glorious gardens have traditional mazes, massed roses, lavender and adventure pursuits, and you can explore wineries, bush and beaches on horseback. Keen walkers come for the 100km Mornington Peninsula Walk around our coastlines and through national parks and hinterland. You can experience just part of this magniﬁcent walk, then slip into the soothing waters of one of the world’s top day spas with many different bathing experiences in naturally heated mineral waters.

to the 1800s. The early chapters of Victoria’s European history unfolded here, when Sorrento became the ﬁrst British settlement in 1803. In 1859, Cape Schanck light station was the second to be built in Victoria. It boasts its ﬁrst beacon and is one of the few operating as it originally did. Point Nepean National Park is also rich in history, as it played a critical defence role from the 1880s through both World Wars.

Then, slip into Port Phillip. Choose swimming with seals, diving with dolphins, snorkelling, sea kayaking, stand up paddle boarding or scuba diving around eerie wrecks, some dating back

» Find more information at visitmorningtonpeninsula.org

Then there are more than 30 villages with superb art galleries, boutique shopping and tempting gourmet food stores with hundreds of delectable local products.

14 december – 2 march 2014 A Mornington Peninsula Regional Gallery exhibition

SEA EA OF DREAMS PORT PHILLIP BAY 1915–2013

Frederick McCubbin • Arthur Streeton Emma Minnie Boyd • Clarice Beckett Arthur Boyd • Sidney Nolan • Albert Tucker Joy Hester • Charles Blackman • John Perceval Mirka Mora • Jill Orr • Fred Williams Jon Cattapan • Jan Senbergs

Civic Reserve, Dunns Road Mornington VIC 3931 Open Tuesday–Sunday 10am–5pm Phone: 03 5975 4395 http://mprg.mornpen.vic.gov.au

Clarice Beckett, The red sunshade 1932 (detail), oil on board, Private collection

THE MELBOURNE REVIEW JANUARY 2014 29

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MORNINGTON PENINSULA conferences for up to 200 delegates, and is divisible into three rooms for smaller events plus a pre-function area. With its marble bar, lounge area, parquetry dance ﬂoor and state of the art AV equipment, this venue is suitable for a wide range of corporate and private functions.

Flinders Hotel This historic venue welcomes you to a new era.

he township of Flinders, originally known as Black Head, was not permanently settled until 1854. The earliest recorded landing here was in 1836 when the ship ‘Norval’ arrived at Sandy Point with a cargo of sheep. The area is thought to have been settled by Henry Tuck in the late 1840s. Shortly after Tuck arrived in the district, a sea captain; Captain James Smith took up land on the site of the present golf club. By 1869 the electric telegraph was reaching out to other countries by means of undersea cable. At Flinders, a cable station was built near the existing pier, to service Tasmania. The Flinders Hotel is a very old establishment in the area, although it is not the original building that is standing today. The original

Hotel, opened in 1889, burnt down in 1926, and was rebuilt in 1928, with many alterations and additions to the hotel since that date. Since taking ownership of in 2009, the Inge family have undertaken a massive renovation and refurbishment project, transforming the Flinders Hotel into a culinary destination and a modern multipurpose venue. Terminus Restaurant is the hotel’s signature restaurant, where you can indulge your senses with a sophisticated fusion of North African, French and local cuisine courtesy of renowned Executive Chef Pierre Khodja. Your dining experience is completed by enjoying the ambience of the open ﬁre or dining outdoors on the terrace. Terminus proudly boasts the Age Good Food Guide’s One Hat accolade for both 2013 and 2014. For a more casual dining, The Deck Bar & Bistro offers outstanding service in an open and family friendly environment. The perfect meeting place for a social drink and a sensational meal in the heart of Flinders. The Peninsula Room is a unique and versatile event space for weddings, celebratory dinners, cocktail parties or

In 2012, Flinders Hotel opened its boutique accommodation Quarters, adjacent to the historic hotel building. It offers 40 modern, beautifully appointed rooms with several different room types and one suite; each room comes equipped with ﬂat screen TV, iPod docking station, mini bar, complimentary WiFi, Abode luxury linen, Aveda amenities and original artwork from the private gallery of Andrew Gretch. The Flinders Hotel is a 10-minute walk to Flinders beach and pier, a ﬁve-minute walk to iconic Flinders golf course and a one-minute walk to Flinders village. We are also a fully wheelchair accessible venue across all our outlets.

» Flinders Hotel Cnr. Cook & Wood St. Flinders, VIC, 3929 (03) 5989 0201 » Terminus Restaurant – Friday and Saturday evenings, Saturday and Sunday lunches » The Deck Bar & Bistro – open daily from 12pm & 5.30pm. Restaurant bookings recommended » Peninsula – event and conference space is available every day of the year » Quarters – accommodation is available every day of the year info@flindershotel.com.au

oggiwine.com.au

30 The Melbourne Review January 2014

FEATURE

Meet the Crittendens They were instrumental in turning the Mornington Pensinula into what it is today: a home of truly exceptional Pinot Noir. And constant innovation in the vineyard and winery is driving the Crittenden family’s wines to higher levels of excellence.

by Paul Sellars

ornington Peninsula winemaker Rollo Crittenden siphons wine from a barrel inside his family’s winery and distributes it into glasses for tasting.

The wine is textural, multi-layered and captivating. To the uninitiated, it’s not immediately familiar, but what’s overwhelmingly apparent is it’s something pretty special. Something as exciting to drink as it clearly was to make. The wine is called OGGI – the Italian word meaning today. It’s an adventurous and inspired blend of three white varieties – Friulano, Arneis and Savagnin – and when it was made, the skins of the grapes were included in the ferment, a technique usually reserved for reds. OGGI is just the latest in a very long line of winemaking innovations and experiments for which the Crittenden family is justly renowned. Thirty years ago Rollo’s father Garry was one of a small group of vignerons who literally built the Peninsula’s wine industry from the ground up. Viticulture was virtually non-existent when Garry and his wife Margaret doubled the amount of area under vines in the region by

planting five acres at their newly purchased property at Dromana in 1982. Pioneering winemaking and wine tourism on the Peninsula and helping to forge its reputation for outstanding Pinot Noir and Chardonnay would be enough to constitute a life’s work for many. But not for Garry. While he has never lost his passion for and belief in Pinot Noir’s potential on the Peninsula, Garry was also one of the first vignerons in Australia to experiment with Italian varieties. His landmark “i” label, which sourced grapes from growers of Italian heritage in the King Valley, was a turning point in the diversification of Australian wine styles. When the “i” label was launched in the mid1990s few Australians had heard of Barbera or Nebbiolo, let alone tasted a wine made from them. Now varieties like Sangiovese are all but a mainstream grape in Australia and are being produced by scores of wineries across the country. (While the Crittendens no longer own the “i” brand, they are now producing Italian varietals under the Pinocchio range). This, together with a litany of other

achievements, helps explain why Garry was made a Living Legend by the Melbourne Food and Wine Tourism Festival committee last year. Garry was a founding member of the Australian Wine Export Council, the Victorian Wineries Tourism Council and the Mornington Peninsula Vignerons Association, was founding chair of the Mornington Peninsula Tourism Council and co-authored the book Italian Wine Grape Varieties in Australia, which helped to guide significant plantings of Italian varieties in climates it identified as suitable for them. As if all this was not enough, Garry established a completely new business, Crittenden Estate, after parting ways with Dromana Estate three years after it listed on the stock exchange in 2000. Creating a new brand all over again after 20 years devoted to the wine company he founded could have been a daunting prospect. But the Crittendens had distinct advantages. Firstly, the original property at Dromana had remained in the family’s hands, providing continuity of access to some of the Peninsula’s oldest vines.

And in 2007, after several years making wine at Dromana Estate, Rollo returned to the family business as winemaker, joining his father as director and sister Zoe as marketing manager. The same restless intellect and drive to chart unexplored territory that has defined Garry’s 30-year involvement in winemaking underpins the next generation’s approach to the growing of grapes and making and marketing of wine at Crittenden Estate. While their father helped introduce scores of wine drinkers to the fascination of Italian varietals thanks to the “i” range, in 2008 Rollo and Zoe launched their own range of wines, from Spanish grape varieties this time, under the Los Hermanos (Spanish for The Siblings) brand. There are four wines under the range and each breaks new ground for Australian palates. The range begins with the “Tributo” – a benchmark for the Savagnin variety in Australia and continues with a varietal Tempranillo and a blend of Tempranillo, Garnacha (Grenache) and Mouverdre called “Homenaje”.

The Melbourne Review January 2014 31

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MORNINGTON PENINSULA In recent years the Crittendens have also planted or grafted the best new clones of Pinot Noir as well as retrellising large sections of their vineyard.

New labels for Crittenden Estate

“The results are really starting to flow through with more balanced and complete wines that really show a sense of place,” says Rollo, who was voted Young Gun Australian Winemaker of the Year in 2010.

Crittenden Estate has recently reorganised the wines it produces from Mornington Peninsula fruit into three labels: Peninsula, Kangerong and The Zumma. The Peninsula label encompasses wines produced from grapes sourced from other growers in the region with whom the Crittendens have long standing relationships. Kangerong is an Aboriginal word that was once the name of the local parish, and is the first of two labels reserved for grapes grown on the Crittendens’ home property at Dromana. The top tier of wines from estate grown fruit, representing the pinnacle of Rollo and Garry Crittendens’ winemaking achievements, will continue to be bottled under The Zumma label. There is one exception to this: from the 2012 vintage, the Crittendens have introduced a new wine that sits at the very top of their remarkable hierarchy of pinots and has been given the name Cri de Coeur (Cry of the Heart). Three other labels complete the range of Crittenden Estate wines: Pinocchio for Italian varietals, Los Hermanos for Spanish-inspired wines and Geppetto for a mix of wines sourced from various Victorian regions that represent outstanding value for money.

“Working so closely with the fruit from this vineyard you become very attuned to the subtlety of each clone and parcel, which lead to wines showing really nice structure, poise and elegance.” The change and continual innovation at Crittenden Estate is not about to end. The family have now set their sights on creating the Crittenden Estate Wine Centre, a dedicated tasting facility where their wines will be presented in structured, seated and interactive tastings in a custom designed space - a concept all but unkown in Australia. More recently a fourth wine was added to the range that is totally unique in Australia. “Saludo al Txakoli” (Salute to Txakoli) is based on the signature wines of the Basque country called Txakoli (pronounced char-koh-lee) which are typically drunk with “pinxtos” – the name given to tapas dishes from this part of northern Spain. Characterised by an exuberantly floral bouquet, refreshing acidity and vibrant spritz, Saludo al Txakoli captures perfectly the extroverted and effervescent character of the wines that inspired it. As if all this was not enough, the Crittendens have also produced a second Savagnin modelled on the wines of the Jura region of western France, where winemakers typically allow a flor yeast to develop on the ullaged surface of their barrel-maturing wines. The result which they have named Sous Voile (Under a Veil) is, not to put too fine a word on it, scintillating. Despite this constant urge to break new ground with new varieties and styles, the Crittendens have not lost sight of the

importance of Pinot Noir and Chardonnay to the Peninsula and for the region’s inherent affinity with those varieties. As time has passed and the Dromana vineyard has matured, their wines, particularly the Pinot Noirs, have continually grown in stature, achieving a structure, balance and complexity that places them among the Peninsula’s highest echelon. This continual improvement has been given new impetus in recent years through significant changes in the vineyard – firstly by moving to what the Crittendens refer to as biological soil practices that focus on soil health, with the use of large amounts of organic compost and a dramatically reduced reliance on fungicides, herbicides, pesticides and artificial fertilisers. “As a family we have embraced a far more holistic understanding of what’s going on in our vineyard,” says Zoe. “We regularly analyse the microbial properties in the soil and there is no doubt that since we changed our management practices it is far more full of life than it used to be.”

“We think the Peninsula is ready for a tasting facility like this, where visitors can learn about wines in an unhurried pace and from dedicated and highly knowledgeable wine educators,” says Garry. If innovation is a Crittenden family mantra, so too is respect for tradition. Both play their part when hard work in the vineyard comes to fruition in the winery. Rollo aims to make Oggi each year but only during the course of the vintage will a decision by made on varietal composition and winemaking techniques. “The concept behind Oggi is that it will be very much a wine of the moment inspired by the nature of the vintage and the grapes we have to play with. Next year Oggi may even be a red wine, it could consist of one, or two, or three varieties, who knows?” The pinot noirs that Rollo made from the 2012 vintage are emphatically among the best ever from Crittenden Estate, and barrel samples of separate parcels from 2013 are to this writer particularly striking.

Delicate yet intensely fragrant, structured but beguilingly silken and complex, they are true expressions of pinot noir and its capacity to convey a sense of place. “We really enjoy playing with a broad spectrum of grape varieties and styles,” says Rollo. “Some of them are well understood and known and others are obscure, but all of them are fulfilling and enriching to work with – and to drink.”

crittendenwines.com.au

32 The Melbourne Review January 2014

FEATURE / MORNINGTON PENINSULA

McClelland Sculpture Park + Gallery

With more than 100 permanent outdoor sculptures set in 16 hectares of bush and landscaped gardens, visitors to McClelland need to allow a few hours to take it all in. Visitors can navigate themselves through the park on the Elisabeth Murdoch Walk, which connects the permanent collection’s outdoor sculpture locations or join one of our regular free-guided tours. McClelland has three indoor exhibitions spaces that showcase aspects of contemporary art through a changing program of exhibitions,

Photo: Mark Ashkanasy

ocated in Langwarrin, McClelland Sculpture Park + Gallery is committed to the presentation and promotion of sculpture in Australia and is the home of the biennial McClelland Sculpture Survey & Award for contemporary outdoor sculpture.

events and art lectures. The current exhibitions Shaun Gladwell: Afghanistan and Made to Last: the conservation of art are on until February 2. McClelland also offers regular children’s programs and hosts four community guilds on the property. Round out your visit by enjoying a

seasonal lunch, afternoon tea or a glass of wine at the café overlooking the lake. After lunch visit the shop which stocks interesting art books, exhibition catalogues, cards, jewellery, glass ware, ceramics, scarves and children’s toys. The café can also be booked for private functions, weddings and corporate events.

»»For more details on future exhibitions, café bookings, guided tours and children’s programs, visit mcclellandgallery.com or call 03 9789 1671. Entry is by donation mcclellandgallery.com

Start your weekend with a beer and a long lunch on The Deck. Reserve an intimate table in our Terminus dining room. Retire to our Quarters boutique accommodation. Hold your next special occasion in our Peninsula event space. • The Age Good Food Guide Chef Hat Award 2014 Winner of Best Hotel Chef, HM Awards 2014 • Cnr. Cook & Wood St Flinders VIC 3929 PHONE 03 5989 0201 EMAIL info@flindershotel.com.au flindershotel.com.au

THE MELB OUR NE R EVIEW JANUARY 2014

Food.Wine.Coffee F I N E D I N I N G • S U S TA I N A B L E F O O D • C O F F E E • W I N E

BURMA LANE Melbourne doesn’t have a lot of Burmese restaurants, let alone fancy ones… until now. Enter Burma Lane.

REVIEW BY LOU PARDI PHOTOS BY MATTHEW WREN

34 The Melbourne Review January 2014

FOOD.WINE.COFFEE Mr Miyagi Mr Miyagi has landed on Chapel Street, Windsor in what is becoming a hot spot of great restaurants.

by Lou Pardi

he buzz of Mr Miyagi hits you just as you arrive at the front desk and a friendly, pert hostess greets you over the din. Follow her across the polished concrete floor and there’s an array of stylised industrial furniture to perch on. There are plenty of folk at Mr Miyagi to be seen, it’s that kind of scene. Others though, are there for the food and drink, and with good reason.

Burma Lane Melbourne doesn’t have a lot of Burmese restaurants, let alone fancy ones… until now. Enter Burma Lane. by Lou Pardi

pposite the Sofitel on Little Collins Street, there’s a restaurant with a double story front window. The view in has always been more impressive than the view out. In recent times it was occupied by Mahjong Black, which opened in 2010. The slick older brother of Mahjong St Kilda, with interior design like something from a Superman set, lasted a few years. Burma Lane opened in late 2013 and is the latest venture from the Red Spice Road team. Chef Adam Trengrove, previously of Red Spice Road, leads the charge. The demand for Burmese cuisine was tested at a Melbourne Food and Wine Festival event in 2013. The successful ‘Burmese Lane’ event was a sell-out and received positive reviews. Whilst Burma Lane’s interior is polished, it’s

a lot more relaxed than predecessor Mahjong Black. Mirrored panels on the tall wall reaching from ground floor to the ceiling height of the mezzanine alternate with small-framed pictures. A pop-art interpretation of an Aung San Suu Kyi portrait pulls focus. The menuscome-placemats are easy to navigate even for those who have never experienced Burmese food before. The service is still hitting its strides, but generally is friendly and knowledgeable.

any. Never mind, more space for dessert.

The potato cake filled with slow roasted lamb belly topped with cabbage salad and mint yoghurt ($7.50 for two) is a stand-out starter, a comforting plump ball of potato which melts away to reveal gorgeous lamb belly. It’s a fancy version the kind of food you crave at about 11pm on a drinking night.

The cocktail list is an entertaining read, with the Margaret Pomeranz (tequila, pomegranate liqueur, lemon juice with a pomegranate sugar rim) and Coladascope (vodka, coconut water, burnt pineapple, and coconut liqueur), but at $19.50 each there are better investments on this drinks menu. A good range of local and international beers and wines are fine accompaniments.

The five-spice pork belly chunk with chilli, lemongrass and turmeric sauce ($9 for two generous pieces) is a rich sticky mess, crisped to perfection and best enjoyed with a salad. Speaking of salads, the pickled tea leaf salad ($14 for a small serving) with tomato, peanuts, sesame seeds, broad beans and cabbage is worth coming back for – it’s a crunchy tangle of earthy, nutty goodness. You’ll want the recipe. Moving onto mains (if you haven’t blown your appetite on starters) the beef cheek curry (with pickled green mango and eggplant - $28 for a generous serve) is a highlight. It’s an unctuous (ok, I’m sorry, that’s the first and last time I’ll use that awful word, but it is perfect for this dish) moreish dish of huge chunks of beef swimming in a thick sauce that you’ll want to mop up with some bread, except there isn’t

Although the whole menu contains echoes of Thai dishes we’re familiar with, the dessert list, with sago and coconut pudding with coconut and seasonal fruits ($14) and pandan and coconut jelly with jasmine rice ice cream ($14) are welcome reminders of the parallels between the two cuisines.

There’s a $65 per head ($105 with matched wines) tasting menu with a generous range of dishes – perfect if you want to tour the menu without thinking too hard about ordering. This is a great restaurant worth supporting.

»»Burma Lane 118 Little Collins Street, Melbourne 03 9615 8500 Lunch: Monday – Friday Dinner: Monday – Saturday burmalane.com.au

Taking its name (as you will have guessed) from the karate master in Karate Kid, Mr Miyagi is on a mission to bring Japanese street food to Melbourne, serving deep fried chicken alongside sashimi and yakatori. They’re quick to note that karaage is a Japanese technique of deep-frying meats and fish, although Mr Miyagi does borrow from American style in its cheeky presentation of its fried chicken, and later on in the evening with desserts. Start out with beautifully-presented cocktails, with entertaining monikers like Astro Boy (strawberry, fresh ginger, sake and white chocolate foam – $15) and 7 Samurai Mule (shochu, roasted Japanese green tea, ginger and 7 spice – $16). Astro Boy comes off like a very pretty liquid fruit tingle in a champagne glass and the mule is a confronting mix of sweet cocktail served with a cucumber dipping stick laced with spices. The stand out of the starters (or round one, in Mr Miyagi terms) is the tuna cracker – a perfectly balanced meeting of confit tomato, atop house-made crisp bread (think Cruskit) and a slab of tuna topped with katsuobushi (dried fermented smoked tuna) sorbet. It’s a

The Melbourne Review January 2014 35

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THE GREEN ISSUE

FOOD.WINE.COFFEE

festival of textures, temperatures and flavours – and extremely moreish. Other contenders for round one champion include the Black Pig Gyoza ($15 for 5 pieces) and the scallop pancakes ($15 for 3). The generous pancakes have an okonomiyaki (Japanese pancake made from potato, flour, and other vegetables) base, topped with a scallop and a sea of waving shaved katsuobushi. It’s impossible to go past the MFC (Miyagi Fried Chicken – $10 for six pieces, $16 for 10) presented in its own satirical box with a side of simple Japanese mayonnaise.

Photos: Sway Lee

Round two at Mr Miyagi is made up of nigiri (rice with sushi on top), sashimi, hand rolls of the day and yakitori. The chicken yakitori is a stand out, and the BBQ pork ribs are a sticky enjoyable mess (as they should be). Round three, if you’re still standing, offers up more substantial curry and noodle options. Mr Miyagi’s desserts are certainly worth having, and sharing (they’re huge). The Miyagi apple pie ($15) is a gorgeous creation of nashi pear, granny and fuji apples trapped within a deep fried pastry (which may remind you of an up-market version of a certain fast-food outlet’s classic pie). It’s served with crème-fraiche ice cream. Pumpkin-lovers will enjoy the Kabocha Pumpkin toast with white chocolate and pumpkin ganache, honeycomb, yoghurt sorbet and pumpkin icecream ($15). For those who are keen to keep drinking, there’s a dessert Cold Drip Chestnut Martini with shochu, chestnut, sake, coffee and white chocolate foam.

A New Generation of Farming Mark Foletta grew up in Benalla and after studying viticulture at university, returned to buy the farm next door to his family’s property.

Although the cocktails are tasty and wellpresented, the entire drinks list is worth spending some time with. From international beers, to local ciders, sake, umeshu, shochu and Japanese whiskeys, there’s plenty to sample.

by Lou Pardi

t 29, cherry farmer, viticulturist and forager Mark Foletta has certainly led an interesting life. Growing up in Benalla on the family farm, he left to study at the University of Melbourne and has a Bachelor of Agriculture Applied Science (Viticulture), and a Masters in Wine and Viticulture. He took off to California for a while and worked as a grape taster for Gallo wines and spent some time in Canada skiing.

»»Mr Miyagi 99 Chapel Street, Windsor 03 9529 5999 Dinner: Wednesday – Sunday mrmiyagi.com.au

Photo: Peter Tarasiuk

He still teaches skiing and commentates skiing races in his ‘down time’ in winter. Downtime from foraging mushrooms, running his own cherry orchard, running his family’s vineyard (Yin Barun) and providing produce to some of Melbourne’s best restaurants (including Taxi Dining Room, Cutler & Co, Cumulus Group, Epocha and Flower Drum) that is. Mark always thought he’d move back to Benalla, “Eventually,” he says, “but it kind of snuck up a bit earlier than I anticipated. I was 25 when I bought it [the land adjoining Mark’s family farm, complete with house and cherry orchard].”

Mark managed the cherry orchard for two seasons before buying it, and steadily worked towards moving to completely non-synthetic inputs. “They’re quite a fickle crop to grow, they’re very susceptible to the rain and the frost,” he explains. Last season, Mark moved to completely organic pest control. “I use a lot of what they call a trichoderma, which is a naturally-occurring fungus that out-competes your rots and your mildews,” he says. Whilst Mark admits to ‘freaking out’ a bit when he first went completely organic, and that the organic approach is more costly, he thinks it’s justified. “From what I’ve seen, you’re producing a better product. And as far as your conditions while you’re working, it’s much nicer to be working with non-synthetics than synthetic chemicals that you have to wear masks for. Just on a local scale, at the latest market, I had the most expensive cherries by about five dollars a kilo, and I sold out before anyone else.” As for organic methods becoming the norm, Mark says, “I think we’re already just starting to see that, but look, it is going to take some time and it is going to have to be consumer-driven. I think there’s definitely more of an awareness from the consumer – wanting to know where their product is coming from and about what’s happened with it. I suppose a good example of that is what’s happening with eggs.” Supermarket prices can be a deterrent for farmers. Mark found that he could get a fair price for his premium cherries by selling direct to consumers and restaurants, and up to $7.50 for what supermarkets would consider ‘seconds’ and throw away. Previously $7.50 is about the price a supermarket would pay for his premium cherries, and often they don’t care if they’re organic or not, or organic certification is so costly as to be unreasonable in the scheme of overall profit.

job from a young age, rather than attended university. “I find that it’s spurred me to trial a lot of things outside the box, and to have the confidence to try something different and research things in a more precise way,” Mark says of his education. It’s also given him access to a broad network of people to call on for advice. We hear a lot of doom and gloom about farming, so it’s refreshing to hear a more positive perspective from Mark, “I see a really good future in the next generation of farming because if you’re willing to do the work and to find your markets, I think you’re going to do quite well.”

»»The Cherry Man

Mark is a third generation farmer, and many of his peers will have learnt on the

www.facebook.com/thecherryman.orders

36 The Melbourne Review January 2014

FOOD.WINE.COFFEE real buzz. The journey starts with a surprise dish as Calombaris presents a miniature ‘Hills Hoist’ replica on a block of fake grass. Visually impressive, it’s by far the most inventive dish I’ve seen in a while. Pegged to the lines are crunchy sweet potato, fennel and beetroot chips with dainty dollops of Taramasalata. It’s a brilliant take on the traditional dips. A tasting plate of Mezethes features slippery Mount Martha mussels cooked in an edible, sweetly caramelised shell; a small skewer of tenderly cooked octopus offset by a lick of mayo and a walnut shell stuffed with a powerful stilton blue cheese, get the tastebuds working. Next is the Horiatiki Village salad, a fresh composition with crunchy green apples, celery and palm hearts from North Queensland. Scattered walnuts add welcomed texture, however it’s felt this is more of a side serving, rather than part of a degustation. Tarama-poached marron is teamed with sprouted lentils, soft enoki mushrooms and compressed cucumber. Plump and sweet the protein works brilliantly with crystallised crème fraîche and a creamy cauliflower purée. It’s clever cooking and a highlight. There’s skilful handing in the deconstructed ‘Lamb 48, Moussaka’. Slowly cooked for 48 hours, the lamb neck effortlessly falls apart but I ccouldn’t help but notice the amount of fat left on the meat. Slivered eggplant and mint work nicely alongside the lamb; however, it’s definitely a pared back version to the ‘trad’ moussaka.

The G Press Club

eorge is back and his cooking is as inspired as ever. The refurbished Press Club, which was closed for several months, is a striking creature, thanks to a cool $2 million facelift. Behind those impressive gold doors, one enters a remarkably intimate dining room, furnished with luxe gold and tan leather booths. It seats just 34 diners. Next door you’ll find Press Club Projects, a ’test’ kitchen for the chefs, also acting as a private dining room, where diners can join the chefs experimenting new dishes.

Refurnished, reloaded and rather impressive – The Press Club has regained its mojo with a focus on modern cooking with Greek flair. by Marianne Duluk

The incarnation is a combination of everything George Calombaris has done to date, integrating complex and modest, traditional and modern Greek cooking. He’s crafted two ‘Symposium’ degustation menus (à la carte options available at lunch) with five ($145) or eight ($190) courses. The staff genuinely shares your enthusiasm for the food and happily engage in light-hearted banter while observing Calombaris presenting courses to diners and working the floor is a

More modern stops are pulled at the dessert end of the meal. The impressive ‘Smashing Plates Pavlova’ is part theatre with chef’s tableside pouring rosewater snow over plates of glistening meringue. Smashing through the meringue top, tart raspberries, cherries and gooey marshmallow heaven is found. It’s a busy dish but ultimately successful and lots of fun to eat. Naturally it’s not the cheapest wine list in town but the wine service is excellent and may have you sipping on a decent Greek drop or benchmark Burgundy. There’s a fresh spring of creative excellence in Calombaris’ cooking, and while the space feels like a private club, we’re lucky that everyone’s welcome.

»»The Press Club 72 Flinders Street 9677 9677 Open Monday to Friday, lunch and dinner thepressclub.com.au

Barry Bright, bold and buzzing – Barry moves into boho Northcote. by Marianne Duluk

elcome to Barry, Northcote’s new hotspot that celebrates the healthier side of breaking the fast.

Designed by Techne Architects, Barry has that effortless retro and recycled vibe. It’s all whitewashed walls, light wooden tables and open panelled windows, allowing natural light to flood the room. Siblings Loren, Kael and Matt Sahley, from Richmond’s Pillar of Salt and Touchwood cafés, are the brains behind the new venture and have designed a health conscious, punchy menu which ticks boxes for our gluten intolerant and vegan buddies. A mother of coffee machines pumps out a fantastic Five Senses brew. Try the La Piraestate pour over blend from Costa Rica ($6) or cold drip ($4) for a serious fix. Start your day with ocean trout cured in cucumber and gin, with nutty freekeh, roast cauliflower and kale - all topped off with a soft-boiled egg. It’s a textural delight with pomegranate seeds adding juicy crunch ($17.50). If peanut butter is your penchant then you’ll be torn between the flavour-packed crunchy peanut butter, tomatoes, salt and pepper peanuts on toast ($10) or the supercharged blended banana, peanut butter smoothie with honey, cacao and almond milk ($8.50). We say get both. Barry’s juicy Wagyu beef burger ($17.50) will please the carnivores amongst us as will the Korean chicken sub topped off with fantastic house made kimchi ($16). Perch yourself at the communal tables, natter with the locals and emerge yourself in the Barry buzz. It’s brilliant.

The Melbourne Review January 2014 37

melbournereview.com.au

THE GREEN ISSUE

FOOD.WINE.COFFEE

The Hippies Were Right! by Derek Crozier

‘

We are seeing environmentally friendly solutions creep into areas of the coffee industry such as biodegradable take away cups. Unlike traditional paper cups, which use a petroleum based plastic lining, biodegradable cups (from companies like Biocup) are lined with a lining derived from cornstarch, which emits fewer greenhouse gas emissions when compared to conventional plastic production. You may have also seen the Fairtrade, Rainforest Alliance or Certified Organic stickers/logos on all sorts of products in cafes, restaurants and on supermarket shelves.

»»Barry Monday to Friday, 7.30am - 4pm Weekend, 8am - 4.30pm 85 High Street, Northcote 9481 7623 barrycoffeeandfood.com

When it comes to coffee, fair trade means the farmers receive more ‘buck for their bean’, decent working conditions, local sustainability, and prohibits the use of forced child labour in the developing world. By requiring companies to pay sustainable prices, fair trade addresses the injustices of the trade, which normally discriminates against the poorest producers. There are also additional sums of money for investment in economic and environmental development in their community, such as educational and medical facilities. Wherever you find fair trade coffee you’ll most likely come across organic coffee. I used to think that anything that was labelled organic meant that it was free to run around

Photo: Jessica Clark

Hippies’ used to preach to me about saving water, caring for the environment and buying organic/fair trade consumables. I used to put it down to airy-fairy tree huggers being over the top but now I understand and sincerely apologise. They were right, right about the environment, using biodegradable products and the positive impact of buying organic/fair trade products.

a farm and had developed in a positive, caring environment. With the amount of time farmers have to spend with their coffee plantations, I’m sure the love is there but somehow I don’t think the beans were running free around any fenceless farms. I learned that in terms of chemicals, coffee is one of the most heavily treated crops of any agricultural commodity, so for coffee to have an Organic Certification, it must be 100% organic. This can mean chicken manure, coffee pulp, bocachi (a type of fertiliser) and general compost is used as opposed to inorganic fertilisers such as synthetic nitrogen, phosphate, and potash. For more than 150 years, coffee had been widely grown under the leafy canopy of native rainforest trees. After the 1970s traditional growers started clearing parts of the rainforest in order to mass-produce coffee, where the crops would end up receiving direct sunlight all day. This all-day exposure to the sun weakens the immune system of the crops and makes them more vulnerable to pests and insects. Hence, it is one of the reasons that coffee requires such large amounts of pesticides and insecticides.

Taste is very important when it comes to drinking coffee, so I can understand the doubt when I put the words chicken manure and espresso together but organic and fair trade coffee has the taste of passion from a happy farmer and the taste of well-managed crops. I find there is a higher quality of natural taste from organic coffee and I imagine my ancestors would’ve also tasted what I taste due to the fact that no chemicals were used back then. FairTrade, Certified Organic and Rainforest Alliance promote trade equality and justice. So by purchasing coffee with these logos attached, you can proudly say (just like those hippies) ‘I am making a choice that will have a positive impact on my life, the lives of others and the environment’.

»»Derek Crozier is the Director of Freshly Ground Studio freshlygroundstudio.com.au

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38 The Melbourne Review January 2014

DECONSTRUCTION

The Orchid Room by Daniella Casamento

hen frameless glass doors slide open at the entry to The Orchid Room in Artemis Lane in QV Melbourne, it is akin to stepping into a world of alluring Asian inspired opulence. The mysterious narrow arched colonnade offers just a glimpse of the venue which shimmers in a pool of dark polished timber flooring and reflected light. Five silver leaf arches awash with soft light are flanked by oriental statues, which seem to bestow a calm goodwill on guests. Designed by Buro Architects as a restaurant

for a former tenant in 2010, the $1 million interior remains largely untouched. Since the launch of The Orchid Room more than 12 months ago, the venue has hosted private functions, weddings and corporate events. The tenancy stretches from Artemis Lane to Lonsdale Street and is served by the kitchen of venue partner Red Spice Road. Each of the three function areas retains a unique character and can be hired separately or together to accommodate 300 people. The arched entry leads to the Lower Orchid Room, which is swathed in reflective textural surfaces. It is a warmly seductive room enveloped by a pressed metal ceiling, a black marble bar clad with a vibrant, backlit laser cut screen front, and sumptuous floor to ceiling metallic curtains, which run the full length of the remaining walls. A series of billowing pendants hang above an informal seating area inviting guests to linger. Across the room, the pressed metal ceiling transitions to dark tinted mirror, which reflects the bar below. A series of three steps span the width of The Orchid Room and divide the upper and lower rooms. As required by building regulations, the

change in floor level is bookmarked by silver tactiles that contrast with the floor to assist the visually impaired to negotiate this transition. Large custom designed sliding screens at the top step give the venue the flexibility to cater for groups of varying sizes. They also mark the change in floor finish from dark timber to dark patterned carpet tiles which absorb a little of the ambient noise. With the change in floor level, the designers have cleverly embraced the exposed structural ceiling to lend as much height as possible to the dining area at the Upper Orchid Room. Along the east wall a framed timber and glass window with horizontal battens above the built-in banquette provides a view to the extensive wine cellar. This structural rhythm and horizontal form is imitated at a much larger scale by the timber clad ceiling beams. But the hero of this space is a 3.4m square water feature. According to Feng Shui principles, a water feature in the right location is an auspicious symbol for prosperity and good luck. The one-metre high pool made by H2o Designs has a negative edge and is clad with blonde stone tiles that contrast with the

black interior. A cluster of cylindrical pendants above the pool of water can be further enhanced with custom designed decorative arrangements suspended from special purpose wires that span between the beams. Several stairs to the west of the water feature lead to the Red Spice Road kitchen and a much smaller private room that overlooks Lonsdale Street. Nearby, a feature wall glows from an artful display of elongated cylindrical lights. Their undulating curved form contrasts with a large structural column finished in bright gold leaf that revels in its bulk. The interior of The Orchid Room is a thoroughly considered play on light, texture and reflection that transitions effortlessly from one space to the next.

ÂťÂťThe Orchid Room Level 2, QV Centre 31-37 Artemis Lane theorchidroom.com.au

THE MELB OUR NE R EVIEW JANUARY 2014

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

THE GREEN ISSUE

SMART DESIGN Jeremy McLeod, Justin Hermes and Matt Woods talk about their sustainable design practices

40 The Melbourne Review January 2014

It’s a measure of both the design and architecture industries’ commitment to the environment that high quality sustainabilityfocused work is being produced in Australia.

MATT WOODS / NEWTOWN S.C.

Smart Design

JEREMY MCLEOD / Stonewood

FORM

As the founder and principal of one of Australia’s most well respected sustainable architecture firms, Breathe Architecture, Melbourne-based McLeod has a reputation for walking the walk and talking the talk. How is current sustainable design practice different from when you began practicing? When I established Breathe Architecture in 2001 we were probably only one of seven sustainable architecture firms in Melbourne. So the biggest change is our competition. Back when I was studying in 1990 there was only one environmental design course in the country, now it’s taught across multiple universities at every level. Everyone is aware of climate change and a lot of architects and designers are taking it seriously. It still frustrates me to see that some don’t, but it’s great to see so many firms doing good work. Is your lo-fi aesthetic a deliberate stylistic intention? We’re constantly asking our clients and ourselves what is needed rather than what is wanted. We don’t like to build houses that are more than 220sqm and so our first design consideration is around house size and building for necessity. The other thing we do is look at the design in terms of orientation, ventilation and incorporating sustainable technologies from the outset. We’re always peeling back layers of unnecessary stuff and a lot of the projects we do are about stripping things out and building less.

JEREMY MCLEOD / Stonewood

Jeremy McLeod

JEREMY MCLEOD / In To The Woods

ome of the country’s most notable designers and architects are involved in pushing this agenda and the current outcomes are innovative, cost-effective and award-winning. We talk to Jeremy McLeod, Justin Hermes and Matt Woods about their sustainable design practices.

Do you think we’ve become less reckless with our resources as a society? About seven years ago I noticed that people were starting to accept climate change was for real. This shift in attitude coincided with the drought and all of a sudden clients were asking us for water tanks. As architects we stopped fighting with our clients over sustainability features. But I’m starting to see apathy from people. It’s like we had this golden opportunity when everyone first realised climate change was upon us and now we’ve sort of plateaued. As architects we not only have the ability to change the energy consumption or profile of a particular family or organisation, we have the potential to inspire so other people can follow. We have a lot of responsibility and I think we can step it up. We’ve all got to do better.

Justin Hermes Recently launching his showroom in Adelaide’s CBD this Adelaide Hills-based designer-maker is fast making a name for himself with bespoke furniture made from reclaimed and salvaged materials. Has the demand for furniture made

MATT WOODS / DEVON CAFE

by Leanne Amodeo

of reclaimed materials increased in recent years? There is an eco trend at the moment that’s been increasing exponentially; the demand for reclaimed materials has gone through the roof in the past 10 years. People are seeing the value in utilising these materials and the idea of locking up carbon in timber rather than having it burnt or chipped. Demand is such that I’ve also started salvaging timber – actually salvaging trees. It’s extra work but it comes with extra reward and so the effort involved in converting, storing and preparing the material more than pays for itself in terms of the end result. What sustainability principles underlie your work as a designermaker? My primary philosophy is to let the material do most of the work and try to leave it in as much of its natural state as possible. The process involved in using salvaged timber typically takes a year or two. I first take the logs to a saw miller where they are cut into slabs and then for every inch of thickness I have to let the slab dry for one year. Converting the timber myself presents

exciting opportunities and I’m committed to the idea that these materials are worth saving and that it’s good for the environment and the end user. There’s so much more for people to enjoy when they’re receiving furniture that’s been made in this way from materials that have been treated with care. Are there any stories behind the materials that have particularly resonated with you? I’ve got a couple of clients who have been sad about having to get rid of some beautiful trees, so rather than go through the process of fire-wooding or mulching they’ve come to me for an alternative approach. They’ve got a real attachment to the material and have already invested money into converting it and invested time into waiting for it to dry. We still have to engage in the actual design process and make decisions about how to treat it, so the most exciting stories aren’t even half-way finished.

Matt Woods This Sydney-based sole practitioner is responsible for some of the city’s most exciting small-scale hospitality fit outs. Woods doesn’t necessarily present his practice as sustainability-focused, but his strong eco values

THE MELBOURNE REVIEW JANUARY 2014 41

MELBOURNEREVIEW.COM.AU

FORM much of a decorator, so I’m not about adding superfluous detail. Some of my interiors are eclectic, but what I’m really trying to do is strip them back and let the materials speak for themselves. You recently finished your first office fit out. How were you able to incorporate innovative design features considering the modest budget?

MATT WOODS / CHI AND CO.

JUSTIN HERMES

JUSTIN HERMES / ODASA OFFICE SA

JUSTIN HERMES / PRODUCT FAMILY

I think The Hallway client was interested in the fact that I wasn’t an office designer and so I’d be approaching the design from a completely different perspective. They wanted me to treat their office not as an office space per se, but rather as a fun environment to hang out in. Trying to think of creative ways to do things that haven’t been done before is quite difficult when working with a small budget, but at the same time it’s an interesting challenge.

underpin every one of his designs. How do you apply a sustainable design ethos to your hospitality ﬁt outs?

Nine times out of 10 clients don’t come to me saying they want something sustainable – although I assume they know I have a sustainable attitude. It’s pretty much at

the core of what I do, so every decision is made with a sustainability perspective in mind, from layout to orientation and choice of materials. I don’t consider myself to be

How has the sustainable design landscape changed since you began your practice? I’m an industrial designer by trade, but I received my Master of Design Science (Sustainable Design) from University of Sydney four years ago. I noticed at that time there was a big gap in the market and not a lot of people were doing what I thought should be done. So my very first project upon graduation was sustainability-based and it’s something that I’ve constantly been pushing ever since. It’s not even a conversation I have with clients any more; it’s just something that I do.

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42 The Melbourne Review January 2014

FORM

20/20 Vision for Melbourne’s Future by Jennifer Cunich

nfrastructure financing in Victoria needs a shakeup. If Melbourne as a city is to retain its competitive edge, alternativefunding methods must be explored for infrastructure investment and delivery. Infrastructure projects form the backbone of a modern, efficient and liveable city that Melbourne is known for. As long-term sources of economic activity, they are also vital for our productivity and competitiveness. The heady days of progress during the Kennett era saw the state’s economy rapidly

expand. This could not have happened without the very clear policy of government ‘getting out of the way’ and facilitating private sector activity and investment. Since then, local and international factors have seen economic growth and activity in Victoria slow. In a period of sub-trend economic growth, Victoria needs projects that will drive activity, create jobs and stimulate investment. Achieving this will require innovative solutions that reduce the Victorian Government’s reliance on property taxation.

On November 26 the Property Council launched 20 Projects: Victoria’s Best Investment Sites. The report calls for the activation of $4.6 billion worth of federal, state and local government property assets, which are highly desirable to the property sector. In each case, the market investment opportunities are clearly outlined as are their potential flow on benefits.

battle. A further challenge lies in developing a framework that shares risk, allows for an appropriate amount of flexibility within agreements and brings parties together toward a common goal. It will be the task of governments at all levels to drive efficiencies and implement processes that strengthen private sector confidence when dealing with public assets.

A key objective of the report is to address Victoria’s approach to public land ownership. Governments have a vast resource of untapped capital in the form of underutilised public land, which can include large scale and high profile urban renewal areas. By releasing these sites, the government would be able to generate revenue for much needed investment, not just in roads and railways but also social infrastructure such as schools, childcare centres, and health services. Moreover, converting sites that are currently car parks, or empty fenced wasteland into long-term sources of employment and investment, will ensure that this is so much more than a quick solution to a current lack of funds.

In its latest metropolitan planning strategy, the Victorian Government reaffirmed its desire to work more closely with the private sector. 20 Projects shows just one way this can be achieved – by letting the private sector do what it does best. It’s about asset recycling and sales, generating long-term sources of economic activity and raising capital for infrastructure spending. It’s about how to invest, employ and grow the economy.

Communicating the commercial attractiveness of these sites is only half the

»»Jennifer Cunich Executive Director, Property Council of Australia

Above all, it is about getting things going.

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