REVIEWTHE AdElAIdE

Issue 409 March 2014 adelaIderevIew.com.au

State electionJohn Spoehr writes that the State Election

has the makings of a close contest

VitalStatiStixThe arts company turns 30 this year and will mark the anniversary with a series of events

adelaide HaS BallSDuncan Welgemoed on Adelaide’s

gastronomic resurgence

08 30 41

30 YearS

Celebrating three decades of The Adelaide Review

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WELCOME ISSUE 409

REVIEWTHE ADELAIDE CONTRIBUTORS. Leanne Amodeo, Annabelle Baker, D.M. Bradley, John Bridgland, Michael Browne, William Charles, Derek Crozier, John Dexter, Alexander Downer,

Robert Dunstan, Stephen Forbes, Andrea Frost, Charles Gent, Roger Hainsworth, Jane Howard, Andrew Hunter, Stephanie Johnston, Jane Llewellyn, Kris Lloyd, John Neylon, Nigel Randall, Avni Sali, Christopher Sanders, Simon Sheikh, Margaret Simons, John Spoehr, Shirley Stott Despoja, David Sornig, Graham Strahle, Duncan Welgemoed, Paul Wood. PHOTOGRAPHER. Jonathan van der Knaap

INSIDE

Features 05Politics 14Business 15Columnists 16Books 19Fashion 21Performing Arts 23Visual Arts 34Food. Wine. Coffee 40Travel 48FORM 49

42 24 SHIFTING GROUND Ilan Volkov discusses his ambitious Adelaide

Festival new music program, Tectonics

FOOD FOR THOUGHT Chef columnist Annabelle Baker

on the joys of honey

50 DESIGN CONVERSATIONS

Leanne Amodeo interviews past South Australian Architecture Award winners Max Pritchard, John Adam and Dimitty Anderson

COVER CREDIT: Ankles, photo Andre Castellucci

GENERAL MANAGERMEDIA & PUBLISHING Luke Stegemannluke@adelaidereview.com.au

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PublisherThe Adelaide Review Pty Ltd, Level 8, Franklin House33 Franklin St Adelaide SA 5000. GPO Box 651, Adelaide SA 5001. P: (08) 7129 1060 F: (08) 8410 2822. adelaidereview.com.au

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

TheAdelaideReview AdelaideReview

FEATURE

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7 Mulberry Road Glenside SA 5065 [via Gate 1, 226 Fullarton Road]

T 08 8299 7300 info@acsa.sa.edu.au www.acsa.sa.edu.au

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Image Rhiannon Jones, Paperclip Work #2 (detail), 2013 - 2014, paperclips and wire, dimensions variable

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The School welcomes three new lecturers this year:Dr Sue Kneebone, Monte Masi and Luke Thurgate.

T his month, The Adelaide Review

celebrates 30 years of delivering

the finest free political, social,

cultural, design, architecture,

planning, arts and food and wine writing to

the streets of Adelaide. Our having survived

three decades during a time of great upheaval

in the media industry is testament to the

quality of our contributors, staff and clients

and, of course, our loyal readers. We have

always been, and continue to be, fiercely

proud of our independence and our intimate

engagement at so many levels with the city

of Adelaide and the broader state of South

Australia.

The first issue dropped on the streets in

March, 1984. Then edited by Mark Jamieson,

the redoubtable Christopher Pearson took

over the editorial reins soon after. We’ve

undergone many changes in those three

decades but still deliver on the principal

values of the very first issue – to provide an

alternative voice within the Adelaide media

landscape, a voice which values quality of

writing and independence of thought above

all other considerations.

by The AdelAide Review

Three DecaDes of The aDelaiDe review

Looking back, The Adelaide Review

has hosted in its pages a litany of leading

figures from Australia’s cultural and

political landscapes of the past 30 years.

From Les Murray to Tony Abbott, from Guy Rundle to Shirley Stott Despoja, from

Peter Goldsworthy to daughter Anna, from

Frank Moorhouse to Margaret Simons, Don

Dunstan to Alex Buzo, Angela Carter to

Michael Duffy, Geoffrey Lehmann to Valmai

Hankel, Alexander Downer to Mike Ladd,

Cheong Liew to Howard Twelftree – the list is

endless, and makes for an impressive archive

bearing witness not only to the cultural life

of Adelaide, but of independent publishing

and its champions.

For the last two-and-a-half years, our

media group has also expanded into the

competitive Melbourne market with the establishment of The Melbourne Review,

a publication that, like its Adelaide elder

sister, seeks to champion the best of

thought, innovation and creativity while still

celebrating the lifestyle for which both cities

are justifiably famous. We seek to combine

intelligence with style, and believe both are

vital to any quality publication. We are also in the process of considerably enhancing

our online platforms to bring this content

more directly and regularly to readers here,

interstate and overseas.

To mark this occasion, we enlisted street

artist Ankles to design the anniversary cover.

Using our very first issue in March 1984 as

a rough guide, Ankles painted a mural on a

brick wall using icons to represent Adelaide.

The anniversary cover honours our past

while representing the lesser-known icons of

contemporary Adelaide.

Thanks to all of you for reading, wherever

you are and whatever device you may be using.

Here’s to the next 30 years.

Ankles designing the cover. Photo Andre Castellucci The first Adelaide Review cover, March 1984.

6 THE ADELAIDE REVIEW MARCH 2014

FEATURE

Genteel Shambles Thrity years of The Adelaide Review.

BY JOHN NEYLON

I don’t think I had much idea of what I was

down for, climbing the stairs to the Paringa

Building upper fl oor offi ce of The Adelaide Review in mid 1984. Stints as art critic for

The News and The Advertiser had given me a

glimpse of what it was like behind the scenes,

grinding out text to fi ll the holes between ads. Hitting deadlines and working in all kinds

of places; trains, buses, front bars and park

benches, I learnt the art of writing under

wet cement. Later in life I came across E.M.

Forster’s observation “How do I know what I

think until I’ve seen what I say?” appears to

sum up the lot of art journalist/reviewer.

The scene which greeted me on entry to The Review’s offi ce was one of genteel shambles.

There were a few faces I knew; certainly Howard

Twelftree (AKA John McGrath) who had been

a fellow ‘journalist’ with me on the originating

issues of the Blackfriars College OPtimist magazine. Howard had mentioned something

about a new review starting up around town

and that it had no art reviewers. I was curious.

On the strength of a handshake with the editor,

Murdoch press affi liations melted away and my name was entered in the royal list of esteemed

contributors for The Adelaide Review. Well that

is a stretch. What happened is that each month,

I and several other contributors, wandered with

our handwritten copies into the offi ce, found a

desk with some clear space and just ‘dropped

it off’. Occasionally you might get a breathless

phone call from Christopher (‘Lord’) Pearson

concerning some obscure point of grammar, or,

if the content came anywhere close to referencing

High Anglicanism or Popish tendencies it

was a case of buckle up and prepare for an

inquisition. The ‘drop-off’ ritual eventually took

on a kind of system as Michael Vanstone assumed

a proprietorial role towards contributors. As he

also conspired to hold back some sponsorship

wine from the clutches of Pearson and others,

to ‘pay’ the contributors, his desk and what lay

beneath became the go-to point in the offi ce.

I mentioned genteel shambles. I still have a

visual memory of that fi rst encounter with the

Review as stepping into an early 19th century

engraving by either Thomas Rowlandson or

James Gillray – take your pick. Rowlandson’s

The Brilliants with its rowdy group of gents

intent upon getting drunk seemed close to the

mark but Gillray’s The Union-Club, with chamber

pots fl ying through the air and general mood of

stylish uproar, now looks closer in spirit to the

event. Deep down I sensed that The Review

wanted to be a naughty gadfl y and that moment

in time with a lot of manly chaps sitting on stacks

of TARs, perched on the few desks available or

huddled in conversation in the corners, and all

drinking big reds, looked to be the closest I’d get to

a literary café society. The art scene offered none

of this. The revolutionary 1970s may have had

big political agendas but the routine gatherings of

political point scoring and polemics in cold, dimly

lit halls and the growing dread that the anarchic

spirit of the decade was about to be hijacked by

careerists and academics, settled like a damp,

gray cloud. But The Adelaide Review with its

gang of wits and an emerging demographic of

literati was far more interesting. It confi rmed

something I’d learnt by meeting and reading

the likes of Robert Hughes - that writing about

art was fi rst and foremost about writing. I may

also have ingested The Review’s avowed aims in

1984 of being a ‘tabloid for intelligent newspaper

readers… not catering to gossip or sensationalism’

nor wishing to bore with ‘esoteric intellectualism’.

Looking at the fi rst year (1984) it is possible

to see the beginnings of an alternative visual

arts voice. The inimitable Ian Were covered the

visual arts with me in that fi rst year but award

for fi rst art review might go to Christopher

Pearson for his ‘Sculptures of the dead’ article,

covering assorted cemetery statuary around

Adelaide (TAR March 1984). In contrast to

the turbulent 70s, the art scene began settling

back into the routines of putting on shows,

which despite their quality couldn’t match

the counter-culture fervour of the previous

decade. The artist reviews for 1984 established

an important role the journal would consolidate

over the next three decades in documenting

individual artist (particularly Adelaide-based)

emergence and development. The reviewed

‘class of 1984’, for example, included Annabelle

Collette, Lynn Collins, Rita Hall, Noela Hjorth,

Dianne Longley, and Barbara Zerbini. It’s a

snap shot in time repeated each month over

the next 30 years that will prove its value when

or if ever Adelaide gets the courage or appetite

to tell its own contemporary art story.

The Adelaide Review with its gang of wits and an emerging demographic of literati was far more

interesting. It con� rmed something I’d learnt by

meeting and reading the likes of Robert Hughes -

that writing about art was � rst and foremost about

writing.”

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8 The AdelAide Review March 2014

FEATURE

This month’s State election has all the makings of a close contest.

by John Spoehr

Having dislodged Mike Rann and Kevin

Foley, Jay Weatherill promised a new

era of political civility. The decide and

consult days of the past were over, he

declared. A more inclusive and less aggressive style

of government would be ushered in.

To break with the divisions of the past, the

Liberal Party offered its own new fresh face, a

relative newcomer to the Liberal machine, Steven

Marshall. Marshall had the advantage of being

untainted by past divisions within his adopted

Party. He has been able to unite warring tribes

for the task of winning the State Election.

Much more is known about Weatherill than

Marshall. The electorate seems to have warmed

to him, winning back some of the support lost to

Labor at the end of the Rann/Foley era. Steven

Marshall, on the other hand, comes to the role

of Opposition Leader with little form, untainted

by the longstanding wet/dry tribal divisions

that have destabilised the Liberal Party.

Labor has had its own tribal problems.

After imploding at a national level, the recent

Farrell/O’Brien pre-selection deal threatened

to wreak havoc on Labor just as it prepared to

go to election. The Premier’s only real choice

was to demand Farrell stand down. He did,

going much further than anyone expected by

threatening to resign if Farrell persisted. All of

this was ugly political theatre, playing out as it

did on primetime ABC radio. Decisive action

resolved it in Weatherill’s favor.

Amidst all of this has been an unfolding

calamity – the collapse of the Australian

automotive industry. Closure announcements

by Ford, GMH and then Toyota would affect

tens of thousands of jobs and hundreds of

businesses around the nation. With the Federal

Government’s automotive policy decision-making

processes paralysed by its commitment to waiting

for the results of a Productivity Commission

inquiry into the industry, the industry made its

own decisions. They proved to be political fuel

for Labor. Weatherill was bold in his criticism

of the Federal Government’s apparent failure

to do enough to keep the industry alive. He

hammered what he viewed as the inadequacy

of its GMH closure assistance package. With

his Federal counterparts insisting they could not

have done anything to save the industry, Steven

Marshall has been seen at times to be defending

the indefensible and not offering hope.

The Premier’s jobs package in response to

the collapse of Holden set the bar high for the

State Liberal Opposition. Labor announced that

it would invest $60m to tackle the crisis and

sought $333m from the Federal Government.

To regain some lost ground in responding to the

crisis Steven Marshall needs to broker a deal with

the Abbott Government to deliver a substantial

assistance package over the coming weeks.

While long-term governments face an uphill

battle to be re-elected, oppositions are unlikely

to be elected in a landslide if they don’t capture the imaginations of the public with sound and

forward looking policy. The Jay4SA campaign got

off to a flying start with the release of a 200-page

policy manifesto, placing pressure on the Liberal

Party to release policy detail earlier rather than

later in the campaign. Steven Marshall’s most

significant policy announcement to date, from

a political point of view, has been the Liberal

Party’s public sector workforce reduction target.

Jay4Sa and tHe MarSHall Plan

» Associate Professor John Spoehr is the

executive director of the Australian workplace

innovation and workplace Centre at the

University of Adelaide.

Fixed-term Parliamentshow South Australia got its fixed-term parliaments, or how we know exactly when the next election will be held.

by Jenny Stock

One by one most of the Australian

states and territories have

fixed quite precisely the

dates on which elections are

held at the end of the three or four-year

parliamentary terms. This has happened

not because premiers and chief ministers

wanted to give up the power to call

elections when they are most likely to

retain office, but rather because other,

minor players have used their periodic

moments of political leverage to institute

reform.

NSW was the first, largely because

Liberal Premier Nick Greiner’s calling of

an opportunistically early election in May

1991 left him lacking a majority in the

Legislative Assembly. He first cut a deal

with Independent Tony Windsor, and

then also with the three other, unaligned,

Independents (John Hatton, Clover

Moore and Peter Macdonald), accepting

their ‘Charter of Reform’ on September 1.

Minister Metherell’s sudden resignation a

month later forced Greiner to sign up to

a more formal and very comprehensive

Memorandum of Understanding that

included the constitutional entrenching

of four-year parliamentary terms. At a referendum, held in conjunction with the

next election in March 1995, three in four

voters gave approval, despite the major

parties’ lack of enthusiasm, and NSW

elections have been held on the fourth

Saturday of March in every subsequent fourth year.

SA was next, but the process was more

protracted and low-key. The stability and

regularity of Tom Playford’s nine election

wins every third March/April from 1938

to 1962 ended with Labor’s victory in

1965. Liberal Premier Steele Hall called

elections in 1968 and 1970, and Labor’s

Don Dunstan had three further elections

in 1973, 1975 and 1977. When his successor

Des Corcoran announced in 1979 yet

another premature poll, so annoyed were

so many people that Liberal leader David

Tonkin’s televised policy speech included

a promise to legislate to prevent ‘this

abuse of the parliamentary system’. When

he unexpectedly won, despite mention in

the Governor’s Address, Tonkin did not

pursue the matter.

To overcome fears that the Liberals would cut in

excess of 10,000 jobs from the state public sector,

Marshall set a cap of 5170 (around 1000 more

than Labor planned to cut). While this has taken

some of the heat out of the public sector job cuts

debate, Labor is arguing that voters can expect

more widespread cuts in practice, particularly

as a consequence of a Liberal Government

appointing the Productivity Commission to

advise it on how to achieve savings. The problem

for the Opposition in advocating this is that the

Productivity Commission has a clear preference

for privatisation and outsourcing, policies that

are deeply unpopular these days.

Steven Marshall and the Liberals are likely to win the State Election. They have the

benefit of campaigning against a long-term

government that only in the most extraordinary

circumstances is likely to be re-elected. Only

major blunders by the Liberal Party can change

the outcome along with an exceptionally

well-run campaign by Jay Weatherill and

his party machine. One other factor might also be influential over weeks to come. The

Federal Government has received its 900-

page report from the Commission of Audit. A

softening up process is already underway by

the Coalition in the lead up to its release. If the

report concludes, as many expect it will, that

a substantial amount of our remaining public

sector assets should be privatised and core

elements of universal health care removed,

the South Australian Liberals will very likely

be damaged by association.

Steven Marshall must be hoping that the

Federal Government delay release of the

Commission of Audit until after the State

Election campaign. Jay Weatherill will have a

field day if it is released before the election. It

is shaping up to be a fascinating election, one

that may well be closer than the polls suggest.

The AdelAide Review March 2014 9AdelAideReview.com.Au

FEATURE

» Jenny Tilby Stock, visiting Research Fellow,

School of history & Politics

University of adelaide

When John Bannon returned Labor to

office in 1982, landmark amendments to

the Electoral Act in 1984-85 extended to four years the maximum term, with elections

possible any time in the final year. During

debate, the fixed terms idea was raised

by Ian Gilfillan, one of the two Australian

Democrats who held the balance of power in

the Legislative Council, but his amendment

to this end failed, as Attorney-General Chris

Sumner did not wish to push a reluctant

Opposition any further.

Late in 1991, Martyn Evans, Independent

Labor member for Elizabeth and long a believer

in proportional representation and fixed

terms, took the opportunity, while helping

to keep the minority Bannon government in

office, to introduce his own Constitutional

(Parliamentary Terms) Amendment Bill. It

would advance ‘electoral honesty’ and ‘abolish

political expediency’, but attracted little serious

discussion. Opposition deputy leader Stephen

Baker stated that ‘Liberal policy is not to have

fixed terms’, and that it was more important ‘to

get rid of incompetent governments’. Accepting

defeat, Evans had the bill read and discharged

on May 6, 1992.

Another attempt was made the following year

in the Legislative Council with Ian Gilfillan’s

private member’s bill principally designed

to add to existing legislation ‘a predictable

election date that falls four years ahead’. But,

debate was adjourned within minutes, and

never resumed. The State Bank disaster was

dominating politics, and Labor was reduced

to 10 seats in the December 1993 Dean Brown

landslide.

After Labor surged into contention in

the next September 1997 election against

the Liberals, led by then by an increasingly

unpopular John Olsen, one of its new

members, Kris Hanna, picked up the baton.

A lawyer with a reforming bent, he nurtured

his marginal Mitchell electorate and took up

various environmental and accountability

issues, including in late 1999 a Private

Member’s Bill that would enshrine a set date

for each four-yearly election. He favoured the

third Saturday in October, when the worst

of winter was over, and voters not distracted

by football finals and examinations. Ralph

Clarke, already displaying the independence

that had seen him take his own party to

court over branch-stacking, made a cogent

supporting speech, and on July 13, 2000, the

bill passed its second reading 22:20 with the

help of Independent Liberals Rory McEwen

and Peter Lewis and the National Party’s

Karlene Maywald. She urged the Liberal

government to heed the needs of the business

community and others for certainty.

By April the following year, the minority

Liberal government of John Olson was

acknowledging the mood for parliamentary

reform. After talks with McEwen and Maywald,

and party room discussion, Deputy Leader Rob

Kerin, stated, ‘There is now certainly a level

of support for four-year terms with a fixed

election date’. When debate resumed on May

3, the main sticking point was when the change

should come into force, given that Olsen’s

current term was due to expire in October.

Opinion now favoured March as a better time

of year, although some Labour MPs voiced

objections to effectively granting the Liberals a

four-and-a-half year term during the transition

period. During a lengthy debate, tributes to

Hanna were paid by John Hill and also by

future Liberal leader Martin Hamilton-Smith,

who acknowledged his ‘genuine commitment

to parliamentary reform’.

A relieved Hanna noted the turn-around in

Liberal attitude within the past year, grateful for Maywald and McEwen’s ‘extraordinary

influence with the government’. Finally, his

amended bill fixing March 2006 as the date

of the next but one election passed its third

reading in the Assembly on May 3, 2001 on

the voices. After the Winter break, passage

through the Legislative Council was assured,

with the support of the Democrats and

independents Terry Cameron , Ralph Clark and

Nick Xenophon. On July 4, Attorney-General

Trevor Griffin announced that the principle

of the bill had Government support, and

three weeks later, the second reading passed

without division. In early October, Griffin’s

clarifying amendments were accepted, the bill

passed its third reading on the voices and was

immediately accepted by the Assembly. On

October 11, the Constitution (Parliamentary Terms) Amendment Act 2001 received Vice-

regal assent and was gazetted, coming into

operation on March 5, 2002.

Thus was this quite significant reform to

the way SA conducts its elections achieved,

with a minimum of dissension or fanfare.

The state’s only daily newspaper mentioned

the fact briefly on an inner page under the

heading ‘Terms fixed for four years’. A besieged

Liberal minority government had been forced

to cooperate with a resurgent Labor Party to

allow through the bill of a persistent Opposition

backbencher, assisted in both chambers by

independents and Democrats. Elections were

held, as required, on the third Saturday in

March 2006, 2010 and are due again on March

15, 2014.

10 THE ADELAIDE REVIEW MARCH 2014

FEATURE

The idea of a garden is continually

changing. The ability of gardens

to adapt to rapid changes in

society is evident in the erosion

of the quality of greenspace in both public

and private realms over the course of the

20th (and 21st) centuries. The evidence

suggests our garden of ideas hasn’t kept

pace with the revolutions in the nature of

cities, transportation and building materials

BY STEPHEN FORBES

CULTIVATING MODERNISM Stephen Forbes and Stephanie Johnston on the exciting book and twin exhibition that is Cultivating Modernism.

or the revolutionary changes to people’s

lives. Such changes have accelerated since

the industrial revolution; the information

revolution and globalisation describe even

more rapid changes to people’s lives in train.

While the built environment and its attendant

infrastructure generally illustrate adaptive

responses to change, the response in our city

greenspace has been rather dismal. The reasons

for this are likely complex: perhaps we’ve

chosen to trade public good for private goods,

perhaps the fl oral displays that characterised

public and private landscapes have been lost to changes in fashion and a perception that

while resources spent on buildings and roads,

pipes and wires and telecommunications

represent an essential investment, resources

spent in greenspace provide little value. Indeed,

greenspace in the public realm is largely

viewed in terms of cost and risk with limited

consideration of opportunity and benefi t. The

health and wellbeing, social, environmental

and economic benefi ts for people’s lives and

livelihoods are rarely taken beyond rhetoric

to action (although exemplars such as Bogota,

Paris and Singapore illustrate possibilities).

The turmoil of the 20th century has driven a

rich exploration of our ideas of gardens. While the

conversion of these ideas into resilient, sustainable

and enriching landscapes remains largely

unrealised, the exploration of these responses

remains a necessary journey in transforming city

landscapes and transforming our lives.

In this context Richard Aitken’s Cultivating Modernism: reading the modern garden 1917-1971 presented as in a recent book

and in a current exhibition provide a wonderful introduction to the fi eld. Aitken’s

meticulous research and scholarship is

presented in a beautifully designed book and

complementary that integrates accessible and

engaging prose with a curator’s eye for over a

hundred representative and radical images.

Aitken manages to explore the meaning of

modernism while managing to avoid either

making assumptions of, or perhaps worse,

patronising readers and with a generosity

and focus in analysis rather than opinionated

critique. Perhaps most importantly, while

Aitken acknowledges the significance of

industrialisation, the fascination with new materials, increasing urbanisation and changes

to lifestyles, his focus is clearly on reconciling

design and this new environment for living.

The period chosen by Aitken illustrates a rich

vein of sources for contemporary endeavours

to bring living, working and leisure into a space

“… previously occupied by perhaps only one of

these.” While Cultivating Modernism explores

important territory, the prose, material and

images include marvellous morsels that

generally escape academic publications.

The potential opportunities and benefi ts

to be derived from green infrastructure are

given their context in the Modernist period

- in 1948 Australian landscape architect

Frank Heath observed the basis for planning:

“… whereby economic, social, physical and

aesthetic values are simultaneously recognised

and proportionately emphasised according

to the requirements of the problem for the

Architecture Museum, The University of South Australia.

Earn your wings... become an

www.huttstcentre.org.au/angel

Help provide 200 people facing homelessness with a meal.

The AdelAide Review March 2014 11AdelAideReview.com.Au

FEATURE

Reading the Modern Garden

by Stephanie JohnSton

For bibliophiles like me who love

20th century modernism in all

its manifestations there could

be no better festival offering.

Garden lovers might however be a little disappointed by twin exhibits on display at

the Architecture Museum and Kerry Packer

Civic Gallery until the end of March.

Cultivating Modernism: reading the modern garden 1917–71 charts modern

Australian garden design through rarely

seen books, journals, prints, brochures,

pamphlets and postcards. Curator and

author of the accompanying book Richard

Aitken augmented his substantial personal

collection with books and ephemera from

Australian libraries and archival collections

– including the Architecture Museum’s

own repository – to illustrate how the

transfer of knowledge from Europe, (and

later America) was “rapid, immediate, and

palpable”. However there is little evidence

of modernist influences on actual Australian

gardens in the exhibits.

“That’s because quite often it’s the only

printed evidence which remains,” explains

Julie Collins, collections manager at the

museum. “Gardens grow and change and

get built on, so the printed material is often

all the record we have left.”

Also art, costume, graphics and the

decorative arts could easily reflect overseas

trends in a matter of days or months, whereas

gardens required a timespan of years, as

well as a receptive frame of mind. Aitken’s

twin exhibition Cultivating Modernism: French garden style of the 1920s and 1930s

explores early 20th century responses to

garden design during the interwar years,

when a succession of exhibitions mounted

in Paris promoted a more decorative form

of modernism, which became known as art

deco. A series of extraordinary photographs

from the Exposition Internationales de 1937

depict extravagant deco birdbaths and illustrate

the prevailing mode of bringing art into the

garden. Once again, despite the legacy of ideas

that made it to Australia, direct emulation

in Australian gardens appears to have been

minimal.

Aitken goes on to offer some tantalising

glimpses of the Australian garden as backdrop

to European functionalist architecture, “as

a functional outdoor room, as a canvas in

its own right, as living sculpture, and as the

key link between interior and exterior.” The

European artistic avant-garde inspired local

architects, planners, landscape architects,

horticulturists and illustrators to dream up

purpose of delivering maximum use and human

enjoyment”. Contemporary preoccupations

such as green walls and roof gardens are also

given context in the Modernist period.

That most plants are reluctant to follow

the specifications resident in built materials

appears to have been unpalatable through much of Modernist design. Perhaps our failure

is nowhere more evident than with Australian

native plants. In 1930 “The wildflower garden ... is

steadily gaining favour”; in 1949 South Australian

architects Andrew Benko & Rex Lloyd lamented

‘Native flowers, shrubs and trees have been

ignored for too long’ and in 1956 Robin Boyd was

still concerned that the native plant movement

was asleep: “In an odd sort of way any move to

waken interest in native plants has practical value

for the protection and value of our native growth

and the development of our contemporary houses

are part of the same movement”.

Our inability to work effectively with

plants continues to see the twin substitutions

of functionalism and featurism. Aitken’s

commentary on Robin Boyd’s 1963 The Australian Ugliness’ now half a century old

remains relevant today: “Boyd saw an irritating

skin-deep affliction with featurism that could

only be ameliorated by a return to the beauty of

form, truth to materials, and appropriateness

of spaces to their uses”.

Our future will depend on the way we utilise

plants to determine food, water and climate

security and our own health and well-being.

Cultivating Modernism provides an invaluable

and engaging survey of our progress in this

arena since the Industrial Revolution.

» Stephen Forbes, director,

Botanic Gardens of Adelaide

futuristic designs, graphics and landscapes.

These found their way into popular journals

that encouraged suburban householders to

experiment with the new aesthetic in their

own gardens.

Reconciling modernist functionalism with

gardens was, however no easy task. “Plants

had the unruly habit of growing,” says Aitken,

pointing out that Australian experimentation

with the new forms of architecture often

occurred in the casual environs of a weekender

or resort dwelling. Here Australian flora

enjoyed an increasing appreciation, along

with a growing national movement to conserve

scenic “primitive” areas. In frontier locations

like Melbourne’s Mornington Peninsula,

Sydney’s North Shore and the Adelaide Hills,

the natural bush often formed a ready made

garden for modernist designs that linked the

indoors with outdoor garden spaces and living

areas.

In the postwar period the spotlight shifted from Europe to the Americas. A relaxed

beachside Californian style suited Australian

taste-makers, while Brazilian experimentation

with bold sculptural foliage, fluid ‘amoebic’

planting patterns, variegated leaves and strong

vibrant colours gave birth to a new tropical

modernism coined ‘tropicalia’, which found

its way into the gardens of Brisbane, Sydney

and Adelaide.

• Richard Aitken, Cultivating Modernism: reading the modern garden 1917-71, The Miegunyah Press in association with The University of Melbourne Library, 2013

Two exhibitions at the university of South Australia will run until march 28 - for further information see cultmod.org

• Cultivating Modernism: reading the modern garden 1917-71 Kerry Packer Civic Gallery, level 3, hawke building, city west campus university of South Australia open 9am to 5pm, monday to Friday

• Cultivating Modernism: French garden style of the 1920s and 1930s Architecture Museum Room 2-21, level 2, Kaurna building, city west campus university of South Australia open 10am to 4pm, monday to wednesday

Graphic from cultivating modernism by Richard Aitken, The miegunyah Press.

F o u r R o o m s25 February – 6 April 2014

Curator troy-anthony Baylis

Room 1: Zane Saunders (QLD)Room 2: Jenny Fraser (QLD) and James Luna (USA)

Room 3: Gordon Hookey (QLD)Room 4: Tess Allas (NSW), Charlie Schneider (USA)

and Vernon Ah-Kee (QLD)

Tandanya - National Aboriginal Cultural Institute 253 Grenfell Street, Adelaide

Credit: Tess Allas, Charlie Schneider and Vernon Ah-Kee Andy Warhol on Aboriginal Art, photographic performance

12 THE ADELAIDE REVIEW MARCH 2014

FEATURE

Three Decades of Imprints In 1984, a bookshop opened its doors on Hindley St, joining what Jason Lake remembers as a diverse retail precinct.

BY ILONA WALLACE

Lake, who began working at the

shop in 1993, never believed that

20 years on he would still be behind

the counter. Now owner of the shop,

Lake takes time between chatting with familiar

customers and speaking to The Adelaide Review about the 30-year anniversary the

store and the magazine share.

Cozy Imprints, with its rich dark shelves

and deep turquoise walls, is a respite from

imprints.com.au

the bustle and surge on the street outside.

Despite their “little gem among the detritus”

being welcomed with delighted surprise by

locals and tourists alike, Lake explains that

a bookshop on Hindley St shouldn’t be too

much of a shock.

“Every time we talk about Hindley St, it’s like

talking about the Wild West, and it’s just not,”

he says. “What is not promoted enough about

this end of town is that, on Hindley St, we have

Arts SA – we have a major arts funding body

on this street – and we have the symphony

orchestra on this street.

“There are a lot of positives about this

end of town,” Lake continues. “I’d love to

see people talk differently about Hindley St,

talk up its past; it has an amazing history,

this street, but they only think about the last

person who got punched. It’s a nighttime

street! But that negates the validity of its

daytime trade as well.”

Imprints also faces the small challenge of a sedentary population that sometimes struggles

to venture beyond its familiar pockets in the

Square Mile we call home.

“As an example,” Lake says with a bemused,

resigned look, “fi fteen years ago, we moved

80 metres down the road. Last Christmas, a

customer came in, saying, ‘I haven’t been down

here since you moved!’”

The doom and gloom that stalks tales of

Hindley St are beginning to loom over the book

industry, too. With e-publishing and internet

“monsters” Amazon and The Book Depository

chewing into their business, Lake admits that

these last fi ve years have been the hardest.

Having a “curated” selection of books that he

and fellow employees know extremely well

gives them the edge to survive.

But from his fi rst days at Imprints – reading

Patrick Suskind’s Perfume – to today – fi nally

cracking the pages of Margaret Atwood’s Oryx & Crake – the diffi culty of the business side

of things has done nothing to dull his passion

for words.

Lake recalls his fi rst encounter with the work

of Paul Auster, when he was working at Third

World Bookshop, a once-upon-a-time 24-hour

bookstore.

“It was a couple of doors up [from Imprints]

– it’s a massage parlour now – but when

I worked there, I did the 6pm to midnight

shift. I had a friend bring me a cup of coffee,

a piece of dope cake and this Paul Auster

novel, and – I don’t condone doing drugs

on the job, but – it was one of my formative

literary experiences.”

Since then, Lake has encountered the elusive

Donna Tartt, snaring a signed copy of The Secret History in one of her rare public outings.

He had a “weak at the knees” “fanboy” moment

in the presence of Ron Rash, and he met the

famed Paul Auster.

As for the future, Lake is out of predictions.

“I wish I could throw those runes or a crystal ball to see what’s going to go on, but I don’t

know what the publishing world will look like,”

he says. “I don’t think the book will ever die.

It’ll be here until the end of time.”

Jason Lake at Imprints.

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The AdelAide Review March 2014 13AdelAideReview.com.Au

OPINION

Ethical Saving

by SiMon Sheikh

When we put money into our bank

accounts and our superannuation

funds, we think we’re acting

responsibly – saving that money for a rainy

day or for our retirement.

Many banks and superannuation funds

don’t want you to think too deeply about where

they’re investing your money.

But the reality is that right now, much of

Australia’s superannuation and savings are

funding an unprecedented expansion of the

fossil fuel industry here and around the world.

It’s the plain and simple truth: most of us are

inadvertently funding the climate crisis. It’s ironic

– the very savings that are meant to provide for

our futures, could be harming our future.

Scientists have repeatedly told us that two

degrees of warming is the absolute maximum

increase in temperature our planet can sustain

before our climate passes dangerous tipping points.

Two degrees is the reddest of red lines. After

two degrees, warns the scientific community,

comes catastrophic climate change. More than

two degrees is more than likely to be the point

of no return for our climate.

The Earth has already experienced a global

average temperature rise of one degree Celsius

since the industrial revolution – and already

we’ve increased extreme weather events like

droughts, fires, floods and storms. We are

already experiencing the effects of climate

change, and to continue on a business as usual

path would be irresponsible in the extreme.

» Simon Sheikh is former National director of

GetUp! and Founder of fossilfree.com.au, where

you can sign up to switch your savings and

investments to match your values.

» Skeikh is one of WoMaDelaide’s Planet Talk

speakers. WoMaDelaide runs from Friday,

march 7 to monday, march 10.

The numbers are straightforward: to stay

below two degrees, we have a maximum carbon

budget of 565 Gigatons. Currently, the fossil

fuel industry holds 2765 Gigatons in reserve –

almost five times the safe amount. This means

that 80 percent of the fossil fuel assets on the

ledgers of fossil fuel companies cannot be

burned if we are to have any hope of staying

below the two-degree target.

So what does all this mean for our

investments, our superannuation and our

bank accounts?

Some experts are already predicting future volatility in Australia’s coal prices, driven by the

rapid growth of renewable energy worldwide

combined with possible reductions in Chinese

demand.

Fossil fuels are becoming increasingly risky

– not just from a climate change perspective.

HSBC has warned companies such as BP and

Shell that they could lose up to 60 percent of

their value if they don’t change the way they

do things.

Investment analysts are encouraging fossil

fuel asset owners to re-evaluate the economic

viability of coal projects that are on the books.

This increases the risk that investments in coal

and other fossil fuels could become what the

industry calls “stranded assets” – assets that

no longer have the same value they once had.

To protect our planet and to manage their

own financial risks, many people are making

the choice to divest from unethical investments.

Already, thousands of Australians are joining

the divestment movement – switching their

superannuation, banking and energy products

so that their money is part of the solution, not

the problem. Even World Bank President, Jim

Yong Kim, has publicly backed divestment.

While each of our investments alone may not

add up to much, together we have the power

to disrupt the status quo. We can harness our

power as consumers to drive investment in

clean energy, make sure our money is invested

responsibly and send a message to the big

end of town that they must take climate risks

seriously when they’re managing our money.

After all, it’s our future at stake.

Simon Sheikh

rh.com.au/eastern

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14 The AdelAide Review March 2014

Politics

Y ukio Mishima rose to prominence in

the late 1940s. Mystical nationalism,

the virtues of the Imperial Japanese

Army and the idealisation of the samurai

spirit were themes that connected Mishima’s

novels, plays and short stories. Although

the prodigiously gifted Mishima was thrice

nominated for a Nobel Prize for literature, his

political views were widely ridiculed during his

lifetime. In 1970, Mishima committed ritual

suicide after a failed coup d’état. He was 45.

Mishima was not the only Japanese novelist

to use his art form in defence of an ideology

that was discredited following the Pacific

War. Shintaro Ishihara, a close friend and

contemporary of Mishima’s, started his career

as a novelist but subsequently entered politics.

Ishihara, now the leader of the second largest

political party in the National Diet, continues

to write prolifically. His most recent offering

is entitled The Poison of Peace.

It is deeply troubling that Mishima is today promoted as a national literary hero. New

editions of his works feature prominently

in every bookstore in Japan. The novel is

not, however, the only popular expression

of revisionist or xenophobic nationalism. Many serials of wildly popular manga comics

focussed on Japan’s role in the Pacific War,

which take extraordinary liberties with the

facts, have also become wildly popular. The

thinking conveyed through these popular

artistic forms echoes a disquieting reality:

ultra-nationalists have returned to a position

of influence in modern Japan.

Reports of violence targeted at ethnic

minorities in Japan increased dramatically

last year. The Zaitokukai, a far-right

organisation, have become increasingly

active, staging protests in front of schools

attended by ethnic-Korean students. During

this period, the government has adopted a

more confrontational foreign policy vis-à-

vis China and the Koreas. Last December,

Prime Minister Shinzo Abe further inflamed

tensions in the region when he visited the

Yasukuni Shrine, where convicted war

criminals are buried among the 2.5 million

Japanese soldiers.

Over thirty million people died in the second

Sino-Japanese War alone. Nationalism should

have been long since interred by its actions.

Although thoroughly rejected following Pacific

War and subsequent American-led Allied

occupation, its dull pulse was kept constant

in dark corners of Japanese society. Shadowy,

financed and well-connected ultranationalist

Art and evolution

BY andrew hunter

Modern TiMes

organisations remained active throughout

the post-war period. The novel provided an

avenue for nationalism as a philosophical

or ideological expression.

The art of the novel is an exploration of the potential of man - both good and bad. In

literature, as in politics, words are important

because they endure. But if the novel can

play a role returning ultra-nationalism into

a viable political expression in Japan, it can

also provide a path to resistance, helping

to turn the tide of insularity and fear. With

a rich potential to influence comes great

responsibility.

Haruki Murakami is Japan’s best-selling

novelist. Although frequently criticised by

the literary establishment in Japan, he

has received international acclaim and a

number of awards for his literary work.

Murakami has also been an outspoken

critic of the insidious creep of nationalism.

In late 2012, he warned politicians of the

dangers of drinking the ‘’cheap liquor’’

of nationalism.

Unfortunately, Murakami has yet to

use his novels to explore the potential

for a positive, inclusive future for Japan

and for its role in the region. Murakami

seems intent on escaping the Japanese

condition, rather than shaping it. Now,

more than ever, progressive artists need to

have the courage to use their considerable

influence to propose an alternative to the

narrow conservatism to which the world

increasingly appears captive. Writers and

other artists need to commit anew to the

exploration of humanity’s potential for

good.

This is as relevant to Australia as it is to

Japan. Artists have a powerful role to play if we are to help avoid the resurrection of

a politics that proved devastating in the

past. Former Australian Prime Minister,

Paul Keating, recently reflected: “I always

thought the arts were central to a country,

central to a society, holding up a mirror to

itself, celebrating itself.” The arts can also

help shape the future.

In Australia, music perhaps provides

the most potent avenue through which to

encourage a change in cultural attitudes.

Which Australian musician will have the

courage today to stand up and offer an

alternative voice to the diet of dehumanising

language and half-truths the Australian

people are fed in respect to the detention

of asylum seekers?

Popular cultural expressions such as

literature, film, animation, music, even

sport, have the potential to reverse the

recent restoration of intolerance, insularity

and fear. The arts have a profound potential

for positive intercultural exchange and

evolutionary progress, if only those who

value peace and harmony grasp the potential

of brush, pen and voice.

HoT 100 sponsor evenT

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THE ADELAIDE REVIEW MARCH 2014 15ADELAIDEREVIEW.COM.AU

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Stop the Navel Gazing

BY MICHAEL BROWNE

Each year PwC surveys more than 1300

company leaders in 60 countries to

better understand the issues their

businesses are facing. While the CEOs surveyed

represent the largest companies, it’s fair to

say concerns are the same across the board,

irrespective of size.

So what are those concerns? In the most

recent edition, PwC’s 17th Annual Global CEO

Survey, there is a positive outlook among global

CEOs that now is a time for growth. Their

positivity also carries over into their views

about the global economy and both the short

and long term prospects for their businesses.

Closer to home, Australian CEOs expressed

a cautious optimism despite a relatively sound

domestic economy. The subdued positivity

was refl ected in both the short and the longer-

term outlook and had declined from 48 percent

in 2013 to 34 percent this year. It is also

noticeably less than their global peers in Asia

Pacifi c (46 percent) and US (51 percent). The

lower confi dence appears to be largely due to

domestic concerns.

The mismatch of confi dence in Australia

highlights the need for a stronger, long-term

vision for business and economic growth. We

need a bold plan to cure our short termism

and secure our future. Reforms in the areas

of tax and infrastructure, as well as a bigger

focus on Asia as an investment partner, are

vital components of that plan.

While CEO optimism varied, they did all agree

that over-regulation was the number one concern

facing business. Australian CEOs were the most

concerned about regulation (85 percent) as the

biggest threat to future business as compared

to their global and regional peers (72 percent).

Making up the top fi ve concerns keeping

Australian CEOs awake at night, were the

government’s response to debt, weak growth

in developing economies, availability of key

skills, a slowdown in high growth markets and

exchange rate volatility.

While Asia’s growth is all the talk, Australian

CEOs have been more internally focussed on

getting their houses in order than seeking to

capitalise on opportunities. Overwhelmingly, they say any planned joint ventures and strategic

alliances will be focussed on Australasia and

not beyond. The downside of this approach

may well see growth opportunities lost.

Australian CEOs are also more vocal

than those elsewhere calling for the need to

reform the tax system. They see reform of

the tax system as a much bigger issue than

their international peers and take the view

that government should make infrastructure

improvement its number one priority.

On the digital front, nearly every Australian

CEO surveyed (91 percent) believes technology

will be the biggest transforming trend for their

business. Their belief is not entirely refl ected

in their actions with less than half (45 percent)

starting or completing a technology change

program that would enable them to adapt and

thrive in the digital age.

Looking at the future concerns and how

Australian CEOs view it as compared to their

global counterparts, it’s obvious we need a

clear vision for the future. It’s time to ‘lift our

eyes’ and consider the risks and opportunities

domestically and internationally over both the

short and longer-term.

Opportunity is on our doorstep with Asia

as our neighbour; however it is important to

» Michael Browne is a Partner at PwC

pwc.com.au

remember that Asia is not one county but many

with a diverse cultural mix. Now is the time to

understand the opportunities and impact the

Asian economies will provide.

It’s important too that business develop an

overall business plan for the digital age, not just a

digital strategy that looks singularly at technology,

systems and processes. Innovation will also be a

key to ensuring business is best placed to meet the

needs of a new generation of consumers.

Customers are becoming accustomed to the

choice that the digital age has brought. As a result

they want more accessible, portable, fl exible,

customised services, products and experiences.

In return for being able to move seamlessly

between the virtual and real world, they are

prepared to share a lot about themselves. Shared

data across multiple channels will mean a better

understanding of customers and in turn grow

brand value and market share.

Now is the time for action. No more

navel gazing, look outward and seize the

opportunities.

16 The AdelAide Review March 2014

COLUMNISTS

Former army special services commander,

James Brown, has said that Anzac Day

has become a military Halloween,

a lavish festival of the dead. That for me

is a description not only of the centenary

commemorations starting this year, but of every Anzac Day for quite a long time, with

the exception of some rural and street corner

services. Third Agers are among those who

detest this.

Little kids sobbing in the streets saying “They

died for us”; teenagers, with pious fervour,

placing wreaths and scripted to say, “They died

for freedom”; inflated prose, macabre tourism...

That’s what Anzac Day has become.

And all the time we know that the

Anzacs, those who survived, had devised for

themselves the perfect commemoration...

the dawn service and a simple march, and

maybe a picnic after.

We have forgotten that, and their taste for

simplicity and contemplation on the day. We

have not shown them respect by ignoring

that.

By the time the centenary festivities are

done, the day will become like Olympic

Games opening ceremonies, each successive

Anzac Day outdoing the ones before. The

funeral games.

Stop: who are we commemorating here?

Mostly, a bunch of kids. Kids who grew up

horribly fast when they found that there was

no glory in war, only suffering, horror and loss.

Aussie and NZ kids, some with horses they

loved, wanting to get away from home for a

bit, see the world, have some adventures, serve

the Mother Country. They became brave and

sometimes heroic and damaged and dead. They

called for their mothers as they died.

Survivors came home to a life forever

changed by what they had seen and endured.

And, try not to forget this (it so often is):

their families suffered from their anger and

sadness, particularly their anger.

I knew these men, some of them, and one

of them was my father. They would hate what

is planned for this year. They felt the absence

of the young dead as we cannot and we should

not try to stage it. Their families watched them

booze away their pain, many of them. Watched

them die young after the peace. Or live on with

lingering illnesses and neuroses.

That kind of pain must not be belittled

by being commemorated by a circus, and

worst of all, the patronising speakers who

have worked the thesaurus for variants of

blood sacrifice, spirit, legacy, pride, ethos;

hoping reflected glory will come to them

as they pull a long face and sing hymns out

of tune. And by manipulated children with

designer tears.

If I had ever thought of going to Gallipoli for

the festival of the dead, my father’s voice in my

head would have scared me off. That voice is

authenticated by his war diary.

War politicised him. It didn’t ennoble or

soften him. The speech he might have made

on this April 25 would scare the pants off the

Prime Minister and other worshipping bigwigs.

Reserved as most returned WW1 personnel

were, I believe they would have found their

voice to condemn the military Halloween.

Let them rest in peace. Look after the

present survivors or war, as James Brown

insists. Teach kids to detest and resist war, to

get on with our neighbours, and to seek glory,

if they need it, in life-affirming work. That’s it.

***

One of the useful things I did in my earlier life

was to challenge the extraordinary powers of

the Australian Bureau of (Census and) Statistics

when they insisted I take part in a nine-month

household survey that included invasive

questions such as “do you have wheezes in

your chest?” But it was on grounds of security

I refused to answer, even though the ABS has

always claimed that its information was secure

and their questioners entrusted with private

information above reproach. I was prosecuted,

I defended – and won. It seems I was the only

successful refusenik, but that might have

changed since this occurred in the 80s.

How happy were my supporters (and there were many), who objected to these inquisitions

to which one must reply or pay (then) $100

per day per unanswered question for as long

as the question remained unanswered. There

is now a healthy internet rebellion about such

compulsory surveys. My case gets honourable

mention.

And now the ABS has popped up again

at my door. I was sick with a killer virus for

their first call and the questioner went away.

I responded shortly after to a note in the

letterbox by phoning, as required, telling them

the virus still had me in its grip. I asked them

ever so politely to stay away. But will they?

After nearly 30 years, they are after me again,

readers. Will the questions this time include

really awful ones like “Are you incontinent?”,

“Do you have an opinion of smokers?” as they

did in the past? How this old woman longs to

tell them to bugger off.

“A daniel come to judgment! yea, a daniel!”  Merchant of venice

BY Shirley Stott DeSpoja

Let them Rest In Peace

I walked out in to the garden this morning

in order to recover from some news. I had

heard that a friend of mine had died. I had

known she was ill. I had intended to visit. I

left it too late.

She had one of those cruel, wasting diseases

that leave the mind intact while the body

gradually ceases to work. She knew she was

dying. Her husband Peter told me that in the

last few days there was a sense of peace, and

of permission having been given for her to

leave this life. Her children were grown and

well. Her husband was resigned to losing her.

Peter recalled his mother’s death. Apparently,

her last words were “I never knew it could be

so wonderful.” She meant death. Peter’s wife

didn’t say these words, but the feeling, he said,

was similar. The leaving of life was as it should

be – except too soon.

The news, and my long conversation with

Peter, carried me back to an earlier time in

my life. This couple were crucial to me. It was

largely through my friendship with them that I

first dared to call myself a writer. I had already

published one book when I met them, but I was

not a writer. I had merely written.

It takes readers to make a writer, and their

great talent was reading. Peter and Libby

were the best, most instinctive, perceptive

and careful readers I have ever met. They saw

your intention, and they saw the things you

didn’t know you were trying to achieve. They

told you what you were doing in such a way

that you could see it for yourself. They could

fulfill that profound imperative of E.M Forster’s

– only connect.

Of Readers and writers

BY Margaret SiMonS

sIx squaRe metRes

“Only connect the prose and the passion,

and both will be exalted, and human love

will be seen at its height. Live in fragments

no longer.”

It takes great readers to achieve that kind

of connection. No writer can do it on their

own, or at all. Sometimes I think the talent

of reading is rarer than the ability to write.

And so I walked into the garden to reflect

on this loss. It is about three years since I

last saw Peter and Libby. While they are

frequently in my thoughts, I hadn’t rung,

I hadn’t written. I had made plans to visit,

but I left it all too late.

And in the garden the lettuce has all

run to seed, the leaves on the purple king

beans have the mottled look that comes with

stress, and the passionfruit vine is putting

out small, wrinkled fruit. It seems incapable

of getting sufficient water to its extremities

to combat the effects of forty degree heat.

Midsummer is, in the pagan tradition,

the time of full fruit. It is the tipping point

of the year, when one prepares for harvest

and the preservation of bounty.

I wish. Instead, my garden is ragged and

the weekends have been so hot that I have

not had the will to get out there and repair,

replant and recoup.

Someone once wrote a poem about Libby.

I remember it being shared with the small

group of writers that, at that time in my

life, gathered around the Varuna Writers’

Centre in the Blue Mountains. It was an

observation of her in the garden, travelling

back and forth to the garden beds on a crisp,

cold day with her wheelbarrow. It was an

observation of her beauty.

And so, too late, I have booked my air

fares and will go back to that place and visit

my remaining friend, and we will reflect on

the past, the present and the future.

margaretsimons

THE ADELAIDE REVIEW MARCH 2014 17ADELAIDEREVIEW.COM.AU

HEALTH

In Search of Sunshine Vitamin D is a potential antidote to the current epidemic of autoimmune diseases and a key strategy for public health. Taken consistently, it can provide a foundation for good health throughout the entire lifecycle.

BY PROFESSOR AVNI SALI

Are you constantly fatigued? Do

you experience muscle pain and

weakness, or are you finding it diffi cult to lose weight? Have you

been suffering from insomnia or experiencing

difficulties with concentrating? Have you

recently been diagnosed with bone disease or

musculoskeletal weakness? Feeling depressed?

Recent research shows that one-third of

Australians are currently defi cient in vitamin D.

A vitamin D defi ciency in the human body can

result in all of these symptoms, and many other

chronic health problems, so it’s possible low

vitamin D levels could be your real issue. The

good news is treatment and further prevention

through supplementation, diet and prudent sun

exposure is one of the easiest and healthiest

health reforms we can make.

Australia’s long-held reputation as a nation

of sun lovers has been challenged in past

decades by the important need to protect

the skin from harmful rays and the dangers

of skin cancer. Public health researchers,

in light of recent research into the dangers

of low vitamin D levels, are now calling for

a revisit of sensible sun exposure, fearing

that deficiency has the potential to become

a major public health issue.

A Deakin University Study in 2012 found that

42 percent of Australian women are vitamin

D defi cient in the summer, while for men, the

rate was 27 percent. The same study found the

prevalence of vitamin D defi ciency increases

with age, especially for women, and that obese

or inactive people were twice as likely to be

defi cient.

Recommendations for vitamin D

therapy include:

PRUDENT SUN EXPOSURE

To restore or maintain vitamin D in the body we need more than just casual exposure – daily

sessions for timed periods are necessary to

keep our bodies in a steady and supported

state of vitamin D production. The ideal time

periods will depend on personal circumstance

but the following protocols and conditions will

be helpful in determining what is most suitable

for you. An Integrative Medicine practitioner

is also able to ‘prescribe’ the right combination

of vitamin D therapy needed for your situation.

Here are some recommendations:

• Take time out in the sun every day (for fair

people six minutes in summer, 15 minutes in

winter) until skin is slightly pink. Build up to

ideal exposure times slowly. • Expose at least 15 percent of your body,

especially large limbs including the torso, and

parts of the body not normally exposed.

• Account for time of day and the season. The

optimal vitamin D times are midday in winter,

and mid-morning or mid-afternoon in summer.

• Apply sunscreen immediately after your

timed exposure session if you plan to be outside

longer.

• Remember UVB, the vitamin D rays cannot

penetrate glass/windows • Where you live will also affect optimal sun

exposure dependant on how close you are to

the equator

• Vitamin D therapy is appropriate for every

age, and particularly relevant in older age

groups. Ensuring adequate vitamin D levels

in young children is a terrifi c proactive measure

that can bring about long-term health benefi ts.

ADD VITAMIN D-RICH

FOODS TO YOUR DIET

In an Integrative Medicine-based approach

to health, diet is one of the most vital ways

in which we can achieve optimal health and

prevent disease. Fruits and vegetables, quality

grains and a regular intake of good proteins

including oily fi sh and other omega 3 rich foods

will help us achieve our health goals. Some

foods are a rich source of vitamin D (and other

essential nutrients) so it is useful to plan your

menus so that each meal includes something

from the following list:

Eggs (including the yoke), vitamin

fortifi ed cereals, full fat cheeses and fortifi ed

dairy products, plain yoghurt, oily fish

such as salmon, tuna, mackerel, sardines,

oysters and black caviar – especially if raw.

Mushrooms especially shitakes (but also button

mushrooms) are good sources of vitamin D if

grown in sunlight. Last year, a study showed

that mushrooms grown indoors could be

put in sunlight for about two hours and this

produced a very high vitamin D content in the

mushrooms. Keep an eye out for other vitamin

D fortifi ed foods that appeal as long as they are

not overly processed.

9 POPULATION GROWTH Aggressively implement strategies designed to increase the population of South Australia including foreign students. Seek a differential migration status for South Australia.

CCF SA“Civil Contractors have been the backbone

of South Australia’s economy since European settlement. Let’s get the handbrake off so this important sector can continue

to build the South Australia our citizens deserve.”Phil Sutherland, Chief Executive Officer, Civil Contractors Federation – South Australia

9 INFRASTRUCTURE RIGHT TIME – RIGHT PLACE Establish an

independent body able to objectively and transparently assess and prioritise

infrastructure projects. Prime Minister Abbott says he is the Infrastructure PM.

Leverage this! Generate public/private partnerships in infrastructure. Create incentives

for private sector funding. Consider alternative and non-traditional funding strategies.

9 REDUCING BUSINESS COSTS Reduce the cost burden of doing business in South Australia. This includes taxes, power, water and WorkCover, and government fees and charges. Embark on major tax reform. Replace the current system which is based on an old economy. Focus on an incentive based tax regime.

9 DEREGULATE AND PROSPER Address the growing, costly, repressive

regulatory regime that is putting a hand brake on business including compliance

requirements, paperwork and red tape. Don’t just trim. Cut and deregulate! All

approval processes to be subject to strict time limits. Actively support business

start-ups. Establish regulatory one stop shops or on-line processes.

9 SIZE SHOULDN’T MATTER Contractors, regardless of size, to have access to government work on a fair, reasonable and equitable basis.

9 WHAT’S GETTING IN THE WAY? Establish a Productivity Commission of Audit to examine every facet of the relationship between government and business and eliminate impediments to productivity.

9 GOVERNMENT THE ENABLER Adopt a small government model. Government should be an enabler and not a deliverer unless there is a market failure. Government should not compete with the private sector for work. Public sector needs renewal. Discard public policy settings that have more to do with the past than the future. Encourage greater interaction between government and business.

9 A SMART WORKFORCE Formulate a cross sectorial work force education and training strategy so South Australia has the right skills at the right time. Promote science and technology in our schools.

9 REGIONAL DEVELOPMENT Encourage private, including foreign,

investment in regional economic development, and implement strategies

designed to differentiate SA from the other states, e.g. introduce special

economic zones so that SA is an attractive destination for investment dollars.

Increase public investment in regional SA.

9 A STRONG ECONOMY Work to the strengths of our broad based economy – focus on fishing, agriculture, mining, defence, education, wine, tourism, lifestyle. Take a global view. Focus on country, region, and brand. Collaborate with Austrade offices throughout the world. Maximise economic opportunities by moving up the value chain. Leverage our geography including climate, clean air, great beaches and open space. Promote collaboration. SA should be a state characterized by partnerships, joint ventures and alliances so as to provide the capacity and balance sheet to compete globally.

9 INFRASTRUCTURE RIGHT TIME – RIGHT PLACE Establish an

9 PROSPERITY THROUGH INFRASTRUCTURE Develop a long term infrastructure plan (pipeline) of shovel ready projects of differing sizes accompanied by a budget, time frame and schedule of works, designed and prioritised to stimulate the economy and give the tax payer and the community the best return on this investment.

start-ups. Establish regulatory one stop shops or on-line processes.

9 SIZE SHOULDN’T MATTER Contractors, regardless of size, to have

9 SUPPORT LOCAL BUSINESS Preference local firms for government work and procurement. Build local capacity.

9 WE ALL HAVE SOMETHING TO OFFER Unlock the power of our older citizens who have much to offer in expertise and experience. Facilitate their involvement in the paid or unpaid workforce. Encourage volunteerism, part time and casual work opportunities for this demographic.

“Civil Contractors have been the backbone

– Your recipe for success – Your recipe for successPoliticians

18 THE ADELAIDE REVIEW MARCH 2014

EDUCATION

“Everybody writes, but there are few

writers. Everybody photographs, but

there are few photographers.” Today, 20th Century art historian Beaumont Newhall’s

(paraphrased) words seem ahead of their time.

Photography surrounds us and cameras are

always at hand. The number of photographs made

and circulated has never been greater. But don’t let

this dishearten or annoy you — take control of the

medium. Understand it and learn to use it for good.

The Centre for Creative Photography (CCP)

is the only private photographic school in

Adelaide with accredited courses. It offers a

Certifi cate IV and Diploma of Photoimaging as

well as one-day workshops and private tuition.

There is a strong ethos to deliver fl exible

study options. Students can complete the

qualifications at their own pace, full-time

or part-time. But it is also possible to select

individual subjects from the program. With

rolling admissions, students can begin in any

of the four school terms.

Gavin Blake had such a system in mind

when he founded the CCP in 1997. He was the

sole lecturer, teaching only six students. Now,

hundreds of students pass through each year and

the school’s facilities have expanded accordingly.

The dynamic training program encompasses

all aspects of photographic practice. There is a

foundation of solid theoretical education married

with rigorous practical work. All CCP lecturers

are professionals practicing and teaching in their

areas of expertise. There is a range of views from

the spectrum between commercial and artistic.

Gavin Blake insists that the success of the CCP

lies in their expertise and dedication.

The school is also a resource centre for

photographers, with facilities for hire to

professionals. A symbiotic relationship with the

photographic industry is valuable to both students

and practitioners. In this spirit The CCP also houses

The Light Gallery, run by Curator Mike Lim. It is

the only dedicated photographic gallery in Adelaide

and exhibition proposals are always welcome.

The Light Gallery is showing the exhibition Swingabilly until Saturday, March 15. The

work by Chris Oaten, former CCP student, is

an enthralling view of colourful characters from

Adelaide’s rockabilly scene.

Term 2 commences Monday, April 28

and enrolments are open. The CCP Autumn

Workshop program runs from April 5-13.

For more information about your chance

to work in this challenging fi eld as an artist,

commercial photographer or for personal

interest please contact the CCP: 8354 0839 .

info@ccp.sa.edu.au

DEVELOPING YOUR LATENT PASSION EDUCATION

FEATUREThe Adelaide Review’s

Education Feature focuses on creative education in the arts

First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massage

Over 300 short courses. Apply now.www.tafesa.edu.au/shortcourses

First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising

Art of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massageProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massage

First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic Design

First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesForklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massageArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic DesignProperty Investment • Hand Drawing • Jewellery Making • Painting • Graphic Design • MYOB • Indian head massage

First Aid • Managing Small Business Finances • Stone Therapy Massage • Yellow Card • Japanese • Visual Merchandising Wheel Loader Operations • Millinery • Etiquette • Excel • Chemical Card • Photography • Mandarin • Loader Operations • Vietnamese Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic Design

Waxing • Graphic Design • Arranging Flowers • Screen Printing • Spanish • Journalism • Creative Writing • Writing Stories for Children & Young Adults • Nail Art • German • SketchUp Pro • White Card • One Day Cheese Making Workshop • French • MYOB • Visual Merchandising • Working at Heights • Pattern Making • Sewing • Biography Writing • Responsible Service of Alcohol • Painting • Photoshop • French • • Manicures & Pedicures • AutoCAD • Photography • Mandarin • Loader Operations •Bartending • 3D Drawing • Risk Assessment • CISCO • Indonesian • Hazardous Substances Training • Writing Historical Stories • Graphic Design • Dreamweaver • Marketing for Small Business • Liquor Licensing Laws • Fashion Buying • Bookkeeping • Jewellery Making • Degree Holders • Vietnamese • Italian • Body Massage • Mastering the Bottom Line for Small Business • Using a DSLR Camera • Cheese Making • Firear Safety • MYOB • 3D Drawing • Fantasy Writing • Visual Merchandising • Forklift license • Painting for Real • Bookkeeping • Technical Writing • Painting • Editing TechniquesArt of Espresso • Group Exercise Instructing • Vietnamese • Digital Video Production • Graphic Design

The AdelAide Review March 2014 19AdelAideReview.com.Au

ADVERTISING FEATURE

The Adelaide Central School of Art

prides itself on the industry success

of its lecturing staff and graduates.

The School employs leading contemporary

artists to develop and deliver a studio-based

teaching program that cultivates sophisticated

practical skills, underpinned by intensive

conceptual investigation. The School’s recent

move to the Glenside Cultural Precinct has

expanded its operational capacity, providing

a solid platform for continuing to nurture the

success of its staff and students.

In 2013, Annalise Rees, artist and former Head of Drawing at the Adelaide Central

School of Art, was included in the exhibition

HEARTLAND at the Art Gallery of South

Australia. Rees’s work was an interactive

collision of sculpture and drawing that

invited participants to respond to her ongoing

obsession with architectural space.

Artist and lecturer Julia Robinson is presenting

The Studio as part of the 2014 Adelaide Biennial of

Australian Art: Dark Heart, currently on display

at the Art Gallery of South Australia. Robinson,

the first artist to present The Studio, has designed

an interactive installation imbued with playful

references to superstition.

Artist and Head of Sculpture at the School, Roy

Ananda, has been commissioned to produce a

work for the Samstag Museum of Art. Ananda’s

sculpture, Slow crawl into infinity, will cascade

through the Gallery in a work referencing

cinematic conventions and popular culture. His

work will be on display from early June.

The School’s lecturing staff and graduates

have been awarded international studio

residences to help support the development of

their art practices. In 2013 artist and painting

lecturer Mary Jean Richardson was awarded

the Australian Experimental Art Foundation,

Cibo Espresso Studio Residency at the British

School in Rome. For Richardson the residency

was an opportunity to immerse herself in the

European gothic narratives which inform her

painting practice. In 2014, artist Nic Brown,

a former student of Richardson’s, will follow

in her footsteps having been awarded the

same residency.

The School’s Head of Contemporary Studies, Nicholas Folland, is the subject of the 2014 South

Australian Living Artists publication. Folland is

a nationally recognised sculptor and installation

artist, known for his poetic activation of materials

such as cut glass, crystal and ice.

Folland’s dedication to both his art

making practice and his role as an educator

is consistent with the School’s commitment to

connecting students with leading exponents

of contemporary Australian art.

CulTivaTing SuCCeSS

When most people think of a TAFE course,

they think of fulltime commitment of six

months or more, but that’s not always

the case. As South Australia’s largest and most

experienced vocational training provider, TAFE

SA offers a wide variety of short courses - over

300 in fact. Short courses are a great way to learn

something new, expand on existing knowledge or

even get a taste of a different career.

With course areas ranging from language,

creative arts and hospitality and business,

through to building, construction, health and

agriculture, there is something for everyone.

Courses are held at different times, many

outside working hours, and with 55 TAFE SA

campuses and learning centres across the state,

as well as many courses being online, it’s easy

to study at a time and place that suits you.

All TAFE SA short courses offer small classes,

meaning individual attention and the opportunity

to learn at your own pace. You will also get

“hands-on” in courses that can provide pathways

to nationally accredited qualifications.

Professional Writing student, Margot Albrecht,

commenced her training at TAFE SA by enrolling

in the Creative Writing short course in 2011.

“I’ve always had a keen interest in writing

and was looking for a career change but was

too scared to take the plunge. I decided to give

» For more information about short courses

visit tafesa.edu.au/shortcourses

or call 1800 882 661.

TaFe Sa ShorT CourSeS Provide The TaSTe oF a neW Career

the Creative Writing short course a go to see

if I had the writing skills I needed to make

a career out of my passion. By taking on the

short course I was able to get a good feel for

the work required and of the teaching style of

the lecturers. They encouraged me to take my

learning further,” Ms Albrecht said.

Inspired by her experiences in the Creative Writing short course, in 2012 Ms Albrecht

successfully applied for the Advanced Diploma

of Arts (Professional Writing).

“During the course I have written and performed

poetry and short stories and had the chance to

work collaboratively with fellow students. I have

just commenced the third year of my Diploma and

I’m studying scriptwriting for film and television. I

am very excited to have been given the opportunity

to work with award-winning South Australian

novelist Vikki Wakefield, who will be mentoring

me as I write my first novel,” she said.

With many short courses set to commence

in the coming weeks, now is the time to study something you’ve always wanted to, but never

had the time.

acsa.sa.edu.au

20 THE ADELAIDE REVIEW MARCH 2014

BOOKS

THE RAVEN’S EYE Barry Maitland / Allen & Unwin  

BY WILLIAM CHARLES

Former architecture professor Barry Maitland

continues his entertaining series featuring DCI

Brock and DI Kathy Kolla, this time amid the

mazy canals and private clinics of the UK. When

Vicky Hawke is found dead on a London canal

houseboat, the fi rst anomaly is that this is not her

real name. She was in fact Gudrun Kite, daughter

of a grieving Cambridge professor of Scandinavian

mythology whose other daughter, Freyja, had also

died in mysterious circumstances not long before.

Both daughters had been working in the fi elds of

hi-tech encryption and surveillance technology

and, following their noses, Kolla and Brock are

soon sniffi ng around a private medical clinic where

secret operations on animals and humans are

taking place; Kolla also falls into the perilous web of

Jack Bragg, cleaver-wielding gangster and butcher

– and unwilling patient at said clinic. Throw in a

group of houseboat-dwelling anarcho-greenies

and, within the police ranks, new brass enforcing

management-speak and organisational rationalism

upon the spontaneous Brock and Kolla, and the

fuse is lit. Smart characterisation and beautifully

paced the whole way through, this is once again

high quality crime fi ction from Maitland.

THE GREAT UNKNOWN Angela Meyer (ed.) / Spineless Wonders  

BY DAVID SORNIG

In Krissy Kneen’s ‘Sleepwalk’, the opening story

in this anthology of the strange and unsettled,

a woman wanders the house every night in her

slumber taking photographs that reveal a haunted

other world in the midst of the mundane and the

domestic. It’s a truly creepy signature piece that

reveals the premise of the rest of the collection

as its writers show how the normal can be so

easily disturbed. Chris Somerville develops the

collection’s implicit political colour in ‘The Rift’,

a simultaneously very real and surreal story of

disconnection and violence in the wake of modern

war. Carmel Bird’s coolly-told ‘Hare’ delivers all

and none of the answers to a whodunit murder

mystery. While there are a few less-polished stories

that hint that this is also a testing ground for less-

experienced writers, the collection is dominated

by strong work from some of Australia’s best

contemporary fi ction writers: Ryan O’Neil, Ali

Alizadeh, P.M. Newton, Paddy O’Reilly. Even

philosopher Damon Young expertly turns his hand

to fi ction. Editor Angela Meyer has assembled an

entertaining, disturbing and thought-provoking

collection that continues small publisher Spineless

Wonders’ commitment to the short form.

SAINTS OF THE SHADOW BIBLE Ian Rankin / Orion Books

BY ROGER HAINSWORTH

At last Rebus is really back! He has re-

joined the Edinburgh cops under a new

scheme to recruit experienced detectives.

This reinforces my long held suspicion that

Rebus is Michael Connolly’s Harry Bosch

with a Scottish accent. Hugely popular

Californian writer Connolly found he had

to pull his famous detective out of retirement

a few years ago, and posted him to a cold

case unit. In Rankin’s gripping last novel,

Standing in Another Man’s Grave, Rebus is

attached to an Edinburgh cold case unit as a

civilian consultant before re-joining the force.

Of course what really matters is that Rebus

and Bosch are great detectives. They might

be hopeless team-players, seen as dangerous

mavericks by their superiors, and at their best

playing loan hands. However, both combine

the single-minded persistence of sniffer dogs

with a capacity for lateral thinking and spotting

connections others miss.

Rankin’s new story has the bite of an

anaconda and even more coils. Rebus is in

an odd situation even for him: he is a suspect

- albeit only a minor one. Elinor Macari,

Solicitor General for Scotland, has got the

double-jeopardy law changed: you can now

be tried twice for a very serious offence if

the original investigation was bungled or if

new evidence has come to light. Macari is

determined to retry a criminal, Saunders,

who got away with bashing a man to death

30 years earlier because the team from the

local nick, Summerhall, blundered badly.

The leader of the team, Stefan Gilmour, fell

on his sword and resigned. He is now a self-

made millionaire. A late and very junior team

member was John Rebus. There are strong

suspicions that a lot of irregular goings-on,

some of them criminal, had characterised

the Summerhall team and that the ‘blunders’

were deliberate. Saunders was a very useful

informer and Gilmour (it is claimed) wished

to protect him. Rebus, the member the

team did not trust because he had become a

copper too recently, had always felt there was

something else behind the Saunders fiasco.

Inspector Fox of The Complaints, the body

that investigates cops, is Macari’s choice to

delve into Summerhall’s murky past.

Fox had earlier opposed Rebus’s application

to re-join because he had wrongly believed he

was ‘bent’. Now he has to work with Rebus

because he is the man with inside knowledge of

Summerhall but was too junior to be seriously

involved. The surviving members of the team

(all retired) want Rebus to be their mole. Fox

wants Rebus to betray their secrets when he

discovers what they were.

In the background is the continuing

campaign for Scottish independence. In

addition to his work for Fox, Rebus has to help his old junior, now his immediate

boss, Siobhan Clarke, on a strange case

that seems simple enough but gradually

assumes a labyrinthine complexity. A Scottish government minister prominent in

the campaign is killed. It proves a challenging

test of Rebus’s investigative skills and (as

we expect from Rankin) is superbly plotted.

Then in the middle of it Saunders, the key

to the Solicitor General’s investigation,

disappears…

Artist Demonstrations Thursday March 20 & Sunday April 6

GROUND FLOOR GALLERY 7 March – 21 April 2014

BAY DISCOVERY CENTRE Glenelg Town Hall, 1 Moseley Square Glenelg Open 10am to 5pm Daily Ph: 81799508

An exhibition of tactile stories told through exquisite fine art embroidery.

holdfast.sa.gov.au

It’s all about the Journey Cheryl Bridgart

AMCHAM IINET BUSINESS LUNCHEON

T: 8212 4688 E: sa@amcham.on.net

FRIDAY 28 MARCHInterContinental Adelaide 11.45 – 2PM

THE FUTURE OF DEFENCE IN SA

REVIEWTHE ADELAIDE

Warren KingChief Executive Officer, Defence Materiel Organisation

David AllottChief Executive Officer, BAE Systems Australia

Dean RosenfieldManaging Director, Saab Systems

THE ADELAIDE REVIEW MARCH 2014 21ADELAIDEREVIEW.COM.AU

FASHION

FASHION RENDEZVOUS

GILLES STREET MARKET

Sunday, March 2 and Sunday, March 16,

10am to 4pm

91 Gilles Street, Adelaide

gillesstreetmarket.com.au

For fab vintage and pre-loved fashion

including the latest from local emerging

designers, check out the Gilles Street

Market. DJs spin the tunes alongside

delicious food vendors and over 90 stalls

of fashion and accessories.

The store, simply called BNKR, a

simplifi cation of their FSHN BNKR

online outlet, will be housed at the

old Commonwealth Bank site on the

corner of Rundle Mall and Pulteney Street.

Dean explains their intentions.

“It’s a flagship store, so it’s showcasing

everything we do in one location. It’s about

selling the lifestyle and building the brand’s

awareness. The fi rst one will be in Adelaide,

obviously because we’re in Adelaide, and then

once we get the concept right we’ll roll them

out – one in Sydney, LA, New York, London,

Berlin, Hong Kong, Tokyo, Auckland and

Johannesburg, as we have distribution points

in all of those cities already.”

BNKR will consist of concept concessions

based around their labels; each will have its

own identity and aesthetic. This ensures that all

the thought and effort that goes into designing

the collections will be on display to the public

for the fi rst time.

“The vision that the designer has and the

vision behind it is what you’ll see,” Dean

explains. “You’ll see it in the window displays

with the editorials. We put a lot of effort into

photography for editorial and lookbooks just

for wholesalers to see, but now the customer

that buys it will also get to see it.”

The aim is that the stores will be practically identical no matter what location you visit,

featuring the same collections, editorials and

designs that are all created at their Currie St

headquarters. The designers have already

become accustomed to designing monthly

collections that are diverse enough for both

southern and northern hemispheres – a key to

ensuring the brand’s success internationally,

with Finders Keepers stocked in Harrods,

Cameo in Bloomingdales and Keepsake in

Urban Outfi tters. The strength of their brands

are only set to continue from here, with high

street wear label Jaggar reaching stores in

May and newest label, aptly titled The Fifth,

scheduled for June.

While the Flintofts have been discussing a

retail store for several years, the opportunity to

land the perfect Adelaide location kick started

the endeavour. Besides the practicality of

opening their fi rst store in the city that they’re

based in, Melanie has been impressed by the

wealth of talent, determination and passion

that Adelaide creatives have for the fashion

industry, attributing their hard work and

enthusiasm to the business’s success.

“We’ve got such great talented people – so self-driven and motivated. They’re coming

up with their own ideas and making them

happen. When you see your own idea come to

fruition and get the amazing feedback it really

just drives you and makes everyone excited,

which then makes the whole team excited. It’s

a really young team of people that are doing

really clever stuff, and they’re getting a global

reaction from it. There’s no better feeling then

that, is there?”

This faith in their team and the speed in which they work has seen Australian Fashion

Labels swell, employing an extra 27 people

in the last 12 months and still needing more

to staff in their design, production and

marketing teams – in addition to staffing

the retail store and the infrastructure behind

it. Their close relationship with TAFE SA –

located next door to the fashion school – has

meant that they have been able to select and

nurture many of Adelaide’s most talented

young designers before they look interstate

or overseas for opportunities that without

Australian Fashion Labels may not have been

available to them.

Other additions to the business for 2014

include a line of shoes that will correspond with

the collections for each label, which is expected

to be implemented by mid-year. Melanie is

confi dent about the company’s growth, and

is glad that these new endeavours for their

business will take place in Adelaide, as not

only can they have a hands on approach, but

help reinforce what they’ve always believed

– that Adelaide can produce work worthy of

international acclaim.

“They say if it works here, it works anywhere,

right?”

In the last few years, Melanie and Dean Flintoft have grown their fashion house – Australian Fashion Labels – from a local institution to a global phenomenon. The brand has thrived based on a wholesale and online

business model; although in April they will open their very � rst � agship store in Adelaide’s Rundle Mall, showcasing all their brands in the one place.

fashionbunker.com

australianfashionlabels.com.au

INTRODUCING BNKR

BY LACHLAN AIRD

AUTUMN EDITION A

TTITUDEMAGAZINE.COM.AU

OUT MARCH 20TH

A T T I T U D E

AUTUMN EDITION AUTUMN EDITION

22 The AdelAide Review March 2014

WIN / OPINION

Mr Morgan’s Last Love preview screening

Trak cinema, 375 Greenhill road,

Toorak Gardens

Monday, March 3, 7pm

A look at the life-changing connection

between a retired and widowed American

philosophy professor and a young Parisian

woman. directed and written by Sandra

Nettelbeck. Stars Michael Caine, Michelle

Goddet and Jane Alexander.

thank You for the Music

capri Theatre, 141 Goodwood road

Sunday, March 9, 2pm

The Theatre Organ Society presents ‘Thank

you for the Music’ – a celebration of movies,

musicals and all things cabaret featuring

pianist, vocalist and theatre organist Mathew

loeser.

win!FOR YOUR ChANCe TO wiN, eNTeR YOUR deTAilS AT aDELaIDErEVIEW.cOM.aU

wadjda

Palace Nova East End cinemas,

cinema Place

From Thursday, March 20

An enterprising Saudi girl signs on

for her school’s Koran recitation

competition as a way to raise the

remaining funds she needs in order

to buy the green bicycle that has

captured her interest. directed and

written by haifaa Al-Mansour. Stars

waad Mohammed, Reem Abdullah and

Abdullrahman Al Gohani.

aLLiance francaise french fiLM festivaL

Palace Nova East End cinemas,

cinema Place

Thursday, March 20 to Saturday, april 8

Returning in spectacular form for its

25th birthday, the Alliance Francaise

French Film Festival will transport

audiences to a nation awash with

colour and romance through an

evocative program of keenly anticipated

new features and documentaries.

Maestro series 1- new worLd

Elder hall, North Terrace

Sunday, March 30, 6.30pm

welcome Adelaide Youth Orchestra as

they launch into their ‘New world Order’

for 2014 with three stunning and

diverse works: Copland’s homage to

all men serving in world war ii, Saint-

Saëns’ virtuosic third violin concerto

and dvorák’s much loved American

composition, Symphony No 9.

“Sometimes in government people write

in convoluted ways using language which

hides or confuses the real message they

want to convey.”

Thus begins an introduction to plain English,

penned in 2007 by a youthful new minister,

keen open-space aficionado by the name of Jay

Weatherill, then minister assisting the Premier

in Cabinet.

Regular visitors to Adelaide now know that Jay has since ascended to the summit and

has been South Australia’s Premier for three

challenging years. This month his Labor team

faces its fourth state election in a row.

“Writing in plain English sends clear

messages about what the government is

doing...” Jay told readers way back in 2007.

This came as a surprise to Monty. More often

in his experience it is about governments

explaining why they have not been able to do

what they claimed they keenly wanted to do,

in the days leading up to the previous election.

Jay’s preface, in a booklet titled Plain English, Good Practice Guide, was published

by a body called the Government Reform

Commission. Reforming the government or

reforming the readers? It didn’t say.

Jay’s Guide gave several examples, which were

described as gobbledygook. Here’s one. “With

only a year remaining to July 2008 there is a

risk that the state government may not deliver

on its committed targets.” Plain English proposed

replacement: “With only a year remaining to

July 2008 we may run out of time to achieve the

target.” Ah, clarity! Blame time. Why not? The

Opposition shouldn’t accept all of the blame, all

of the time. The cat o’ nine tails for Father Time!

Much time has passed since then, and the excuse

is just as useful six years later.

Monty scoured the document for the Eight

Most Preferred Government Words, but found

no reference to Boost, Bolster, Buoyant, Robust,

Full’n’Frank, Finesse, Leverage and Vibrant.

Each appears to have slipped out of the room

while the document was being prepared,

illustrating that timing is everything. The word

Time is revealing in itself. Early in SA Labor’s

second consecutive term, a 2006 survey by

the publishers of the Concise Oxford English Dictionary revealed that Time appears in the

top-25 list of commonly used words. So did the

words Government and Problem. Can you see

a pattern there?

The state election in a few days prompts Sir Monty to pen a tribute to the political career of labor’s top man for the benefit of the visitors

flooding our fair city.

BY SIr MONTEFIOrE ScUTTLEbUTT

Montefiore Similar patterns can be seen among the adjectives

littering the floor around the government shredder

on the green, deep-pile Axminster of the South

Australian House of Assembly. These words sound

rather like a collection of military gentlemen,

loitering in a corner, ready to be trotted out on

important occasions. They include the lower-

caste Corporal Punishment; the more officer-

like Major Development; and the higher ranked

General Reform. These old boys strut about the

news releases, but it’s hard to find any reference to

Lance Corporal Cock-up or Brigadier Bluster, the

officer usually brought in to bail out the said Lance

Corporal at door-stop interviews late on Friday

nights when TV crews have all gone to the pub.

“My eighty-one year old grandmother still rides

her Harley motorbike her toy poodle balances in a

basket between the handlebars.” Wait for it. That

sentence really did appear in Jay’s Guide. It’s in a

section committed to teach the uninitiated about coordinating conjunctions. Add a comma, plus

the word ‘and’ after motorbike, and the sentence

will make more sense, Guide readers are advised.

But it does leave a legacy of questions about

our still-youthful Premier. Why is his 81-year-

old grandmother riding a motorbike? Can’t the

poodle run alongside the Harley? If our Police

Commissioner Ken Burns sees the said poodle in

the basket between the handlebars, should he write

Jay an expiation ticket? If not, why not? Everyone

else is getting one, for one transgression or another.

Should the Director of Public Prosecutions know in

advance? Although Jay was only a junior minister

in 2007 when this is alleged to have occurred, he’s

now Top Dog. And Monty doesn’t mean the poodle.

On the subject of the inexorable passing of time,

Jay’s Guide advised that readers should “avoid or

minimise the following” - At the end of the day;

On a weekly basis; At this moment in time; and

Going Forward. Monty anticipates the day that a

Government of South Australia letter advises him:

Dear Sir - At the start of the day, or at least on a daily

basis, the matter is Going Backwards. Ah, Brutal

Honesty: I knew him well! That might win a plain

English award were it ever to escape the confines of

the Cabinet office, the only place you might find it.

Jay’s Guide concludes by quoting shamelessly a

fellow named Eric Blair, a poverty stricken British

writer with a toothbrush moustache and a habit for

cheap tobacco in the 1940s who used the pen name

George Orwell. “Good writing is like a window

pane,” Jay quotes. Perhaps Jay was being cryptic?

Wasn’t his advice supposed to be about plain

English and clear communication? On checking the

Orwell quote, Monty found another, elsewhere, by

the same writer. Jay should have used that. It was

more transparent. “Political language is designed to

make lies sound truthful and murder respectable,

and give an appearance of solidity to pure wind.”

(Politics and the English language, Horizon, no 13,

1946.) Since Jay’s the top dog and also treasurer,

he might find a few dollars for a revised reprint of

Plain English, Good Practice Guide for the next

administration. Besides, the grandmother would

now be 88 and we’re keen to know whether - in

an election year - the poodle still does motorcycle

tricks. Given what’s happened in recent weeks,

it could be a useful diversionary stunt for a party

pedalling up a very steep hill.

www.facebook.com/BuySouthAustralianEnter at:

South Australian PrizeGIVEAWAY

Buy South Australian and The Adelaide Review have teamed

up to offer a monthly all South Australian giveaway.

WIN

This month’s prize is two tickets into ‘FIVEaa Locker

Room’ at the ‘Balfours Showdown’ on Saturday 29

March, valued at $480!

The AdelAide Review March 2014 23AdelAideReview.com.Au

PERFORMING ARTS

Watson Miller is Luminous’ director.

She is a top-class body painter,

having competed in the World

Bodypainting Festival and was crowned Australian champion of the art in 2011. Her

work is internationally recognised and Luminous

is billed as “the only show of its kind in the world”.

Standing out in the Fringe – where dozens of shows compete to do just that – can be a struggle

but when you are a champion body painter, have

a swag of UV lights, and circus performers on

your side, that task gets easier. When asked

what drew Watson Miller to body painting over

another creative practice she explains that the

impermanence of the art is what fascinates her.

“You can’t put your artwork away and come

back tomorrow with body painting, because

your canvas will go and take a shower.”

Luminous is a way to combine things she

loves; circus and UV body paint. Like any good

Fringe show, Luminous draws on the skills

of the cast to be more than just performers.

Everyone has something to contribute, be it

ideas for new contortion positions, juggling

routines, disappearing acts or electricity and

lighting expertise. That said, creating a show

of such complexity is no cakewalk. Since light and objects create shadows, full coverage of

the arena is important to maintain the illusion

of glowing specimens onstage. Watson Miller

explains that one solution to this was to

construct umbrellas with their own UV lighting.

Unfortunately, these were lost in a taxi on

the opening night of the Fringe. Attempts to

recover them, including a pleading Channel

10 Tweet and Luminous’ producer putting her

number on a huge blackboard in the middle of

town, have been unsuccessful.

Black light, body paint and circus are three things that are rarely combined but Jessica watson miller says combining these different elements is the point of her show luminous.

By John Dexter

Luminous

» Luminous

Gluttony (la Petite Grande)

continues until Sunday, march 2

gluttony.net.au

Performed at La Petite Grande in Gluttony,

Luminous shares its space with a few other acts.

Since the other acts don’t rely on the tent being

completely blacked out, along with UV lights

and circus equipment, there is an almighty

bump in and out each night. Aside from the

sets, there is the paint to clean up inside the

venue, as well as off the performers.

“By the end of the show there is body paint

everywhere: on the bottom of peoples’ feet,

inside suitcases. Our producer even got some

on her the other day and she’s not in the

show.”

Constructing and taking down the Luminous set, plus cleaning the paint off

performers and props, speaks to the same

temporary nature of the show that Watson

Miller is so enthralled by.

With shows selling out, the chance to see

this one-of-a-kind performance might soon

disappear as quickly as paint in the shower.

30 March to 6 April 2014

Adelaide, South Australia

Artistic Director Janis Laurs

Telephone +61 417 889 996

Email hello@adelaidecellofestival.com.au

www.adelaidecellofestival.com.au

Featuring performances and Master Classes by

Lynn Harrell USA

Li-Wei Singapore/Australia

Marko Ylönen Finland

Leonard Elschenbroich Germany

Pei-Jee NgUK/Australia

Pei-Sian NgSingapore/Australia

Eugene FriesenUSA

Rushad EgglestonUSA

Howard Penny Australia

Georg Pedersen Australia

Louise McKayAustralia

Janis Laurs Australia

Giovanni Sollima Italy

Concerts, recitals, lectures, Master Classes and the Cello Building Project

Winner of the Ruby Award

for “Best Event” in 2011

Featuring the

Adelaide Symphony Orchestra

conducted by Arvo Volmer

24 The AdelAide Review March 2014

PERFORMING ARTS

The London Sinfonietta came out

in 2010 to play two concerts of

Glass, Nancarrow, Bryars and

Brett Dean, and before that the

Adelaide Symphony Orchestra was tasked

with the job of programming new music

– Absolute Ensemble in 2004 and John

Adams’ Dharma at Big Sur in 2008. But

since then, the festival has rather dropped

the ball, favouring more mainstream and

eclectic forms of contemporary music over

new classical music, which because of its

perceived listener challenges sadly often

sits in the too-hard basket.

With the promise of changing all that,

along comes one of today’s originals

of the conducting scene, Ilan Volkov,

to help curate the 2014 Festival. This

young Israeli-born conductor is an

uncompromising experimentalist,

liberalist and reformist all rolled into

one, with an intriguing train of successes

behind him centering on his Tectonics

Festival, which began in Iceland’s

Reykjavik in 2012. Named after the

geographic point in that country where

the European and North American

tectonic plates meet, Tectonics has also

shown in Glasgow and Tel Aviv. This

year it debuts in Adelaide and New York.

Volkov’s Tectonics concerts so far have

seen avant-garde era works by Christian

Wolff and Morton Feldman jam up

against pioneering ‘process music’ by

Alvin Lucier (‘I Am Sitting in a Room’,

1969) and up-to-the-minute, grungy DIY

electro-acoustic improvisations.

Tectonics Adelaide will be a

compressed version of the original

event – it runs on consecutive days in

two concerts, four hours 30 minutes

and seven hours 30 minutes each, at the

Grainger Studio and Queen’s Theatre.

But the aim is the same: to create a

meeting ground for different styles of

music that otherwise rarely intersects.

Experimental electronic composers,

improvisers and sound installation

artists will combine with their orchestral,

chamber and solo classical counterparts.

Trust, he says, is an important thing

from the audience’s perspective. “If

you look at art galleries and how many

people visit them, there’s a huge interest

in the art world in new work. Music is

a different thing. It is very immersive;

you have to trust the composers and

performers to be able to give your time

to them.”

» Tectonics adelaide

adelaide Festival

Program One: Grainger Studio, Sunday,

March 9 (2.30pm to 7pm)

Program Two: Queen’s Theatre, Monday,

March 10 (2.30pm to 11pm)

adelaidefestival.com.au

ilan volkov

Shifting GroundNot for the last three Adelaide Festivals have we seen a serious commitment given to new orchestral music.

by GrahaM STrahle

Volkov contends this does not mean

popular taste has to then arbitrate on

artistic decision-making. He prefers,

he says, hard-edged experimentalism

and styles of more popular appeal being

able to co-exist but to do so within a

single creative environment. “It is good

to have both, but what I’m ultimately

interested in is not something that’s

‘audience friendly’. I don’t believe in that.

I’m not here to serve people, because if

people have the mentality that they are

paying for something like they’re going

to supermarket, they should go there or see a film. I have a responsibility to trust

that audiences will be interested, and if I

reach down, I don’t feel I’m fulfilling my

responsibility as an artist. I have to get

into a dialogue with that understanding,

not sit down and eat something.”

Tectonics Adelaide looks set to

resemble no other concert experience

witnessed in this city. Quite apart from

the concerts’ extraordinary duration,

audiences will be free to walk in and out

any time they wish. Says Volkov: “These

concerts are people inspired. You can

come and go out whenever you please.

You can go out and get a beer. People

can choose what they do. But what I’ve

done in my head is assemble, I believe,

some really amazing performances that

people will be curious to hear.

“In Australia,” he says, “one of the

most important things is working with

local musicians. It’s the same with

Iceland; the idea is not about trying to

bring stars from all over the world. I’m

interested in that.”

There will be orchestral works by

Australian composers David Ahern

(who studied in Adelaide with Richard

Meale, and in Europe with Karlheinz

Stockhausen and Cornelius Cardew),

Adelaide-born Matthew Shlomowitz and

guitarist-percussionist Oren Ambarchi

from Sydney. A new work by Elena Kats-

Chernin and experimental violinist Jon

Rose, Elastic Band, will be unveiled.

These plus two orchestral scores by

Xenakis, Aurora and Akrata, will be

presented by the Adelaide Symphony

Orchestra with Volkov directing.

Adelaide’s Soundstream and Japanese

pianist Aki Takahashi will contribute

piano works by Xenakis.

Adelaide Symphony Orchestra

Excite your senses.Book your tickets now. 131 246 bass.net.au

Jahja Ling ConductorAlina Pogostkina Violin

Adelaide Symphony Orchestra raises the curtain to their 2014 Master Series with Strauss’ fiery orchestral tone poem Don Juan. Alina Pogostkina will perform one of the best-loved violin concertos of all time and the concert finishes with Dvořák’s Bohemian folk music inspired Eighth Symphony.

Friday 21 & Saturday 22 MarchAdelaide Town Hall

“Pogostkina switched on the power for an electrifying finish.”

MENDELSSOHN’S VIOLIN CONCERTO

The Journal

THE ADELAIDE REVIEW MARCH 2014 25ADELAIDEREVIEW.COM.AU

PERFORMING ARTS

Elder Hall 2014 Season

BY ROBERT DUNSTAN

North Terrace’s historic Elder Hall,

considered to be one of the fi nest concert

venues in the country since opening in

1900, has just announced its season for 2014,

which commences on Friday, February 28 with

a lunchtime concert featuring Ensemble Galante

with guest soprano Tessa Miller.

“The lunchtime concerts – and there are

more to be announced for the second half of

the year – have something for everyone because

they are a real mix,” Claire Oremland, a former

member of Adelaide Symphony Orchestra and

now Elder Hall’s Concert Manager, says.

“If you are not fond of jazz, the following

week will be a string quartet with an oboe recital

the week after. And, as a concert series, they

have a high profi le and we are able to attract

musicians from interstate and even overseas.”

Thus, classical accordion player James

Crabb, from Scotland, will team up with well-

Elizabeth Layton and Aleksandr Tsiboulski

music.adelaide.edu.au/elderhall

known Australian recorder player Genevieve

Lacy for a lunchtime concert on Friday, March

7 as well as presenting the world premiere of

their Shadow Box collaboration, which features

a multi-media component, the following

evening.

The lunchtime concerts, which have been

an Elder Hall favourite since the 1950s, have

actually seen increased attendances since

having a $10 door charge.

“I think that’s because people seem to value a

concert more that has a price on it,” Oremland

muses. “And our lunchtime subscriptions – a

transferable, full season Gold Pass – have also

become incredibly popular.”

Elder Hall, which is utilised by Adelaide

Fringe and Adelaide Festival during those

annual events, also hosts many Masterclasses

as well as having Elder Perspectives, a series

of intimate evening concerts.

“For Elder Perspectives we’ve commissioned

some six-foot high wooden screens which can

be set up to turn Elder Hall into a much more

intimate venue,” Oremland says. ‘It turns the hall from a 600-seater venue to an intimate

space for 250 people. And the wonderful

acoustics are still retained.”

Evenings At Elder Hall, hosted by The Elder

Conservatorium of Music and which commence

in April and continue once a month until

October (with some concerts having a Supper

Club component with wine and canapés), also

boasts a strong line-up with artists such as

jazz musician James Morrison and renowned

soprano Rosamund Illing taking part.

“As part of that evening series, Elder Hall

will also be presenting its very fi rst opera,

Englelbert Humperdinck’s folk opera Hansel and Gretel,” Oremland points out. “That will

be over four consecutive nights in October.

“There’s actually something happening at

Elder Hall all year round,” she concludes. “As

well as what we program, there are also other

events such as Adelaide International Cello

Festival, which happens in late March. Elder

Hall is really a lovely treasure for the people

of Adelaide who love music.”

Book at BASS OutletsPhone: 131 246 or Online: bass.net.au

World's premier classical Chinese dance company

ALL-NEW 2014 SHOWWITH LIVE ORCHESTRA

26 THE ADELAIDE REVIEW MARCH 2014

PERFORMING ARTS

“If you’re making art, there are things

that happen to you your whole life that

sort of resonate off you, and this is how

you start to create. It’s great if you can

get this connection with people that turns

into something bigger than you ever thought

possible. I never in a million years imagined I’d

be making a living off music – it was completely

accidental. I feel very fortunate. I wanted to

be a professional tennis player when I was

a kid,” admits Adam Wiltzie, on Skype from

Belgium where he has lived for the past 15

years. Although speaking the local language,

he fi nds being a non-native in Belgium allows

him to escape into the necessary silences of

his mind, while at the same time enjoying

the more equitable northern European social

system that contrasts with the ongoing ravages

of contemporary American collapse. “It’s

the most uncool place on earth,” he says of

Brussels. “I love it here.” Berlin, he says by way

of comparison, as a mecca for so many aspiring

artists from around the world, “has turned into

New York City. It’s horrible.”

Wiltzie and long-time collaborator Brian

» Stars of the Lid

Adelaide Festival

Adelaide Town Hall

Thursday, March 6 (8pm)

adelaidefestival.com.au/2014/music/

unsound_adelaide

Stars of the Lid

Adelaide to In� nity For two decades Stars of the Lid have been pioneers of vast, minimalist, slowly unfolding soundscapes. Performing in Australia for the � rst time, and exclusive to the Adelaide Festival, they are the outstanding attraction of Unsound 2014.

BY WILLIAM CHARLES

McBride form Stars of the Lid, the enigmatic

US pairing whose shimmering, elongated

drone experiments have produced some of

the most beautiful recorded music of the past

20 years. Their following – small yet fi ercely

loyal, as is common to niche artists – has

nevertheless grown substantially since the

release of 2001’s The Tired Sounds of Stars of the Lid and 2007’s And Their Refi nement of the Decline, both double CDs from US label

Kranky that spend over two hours stretching

the conventional sonic possibilities of classical

instruments – violin, piano, horns and cello

– layering harmonies, building sheet upon

sheet of immersive drone ambience. Both

artists have also worked side projects of an

experimental nature – McBride both solo and

as Bell Gardens; Wiltzie as The Dead Texan, or

with Labradford and Aix Em Klemm, among

others.

The music speaks for itself; the Stars of the

Lid sound seemed to be there from their very

fi rst release, Music for Nitrous Oxide, back in

1993. It was clear this was a new template for listening, quite unlike anything else, though

Wiltzie would never claim, he asserts strongly

and humbly, to be doing anything special. The

often comic nature of their song titles attests to

a pairing not quite prepared to take themselves

too seriously, despite the evidence of their

music.

Stars of the Lid are not about the sugar hit.

Film maker Andrei Tarkovsky once commented

that while in cinema a long shot can be boring,

an extremely long shot becomes fascinating as

the complexities of what is in range are slowly

revealed – the expansion of time allows for a

better study of the essence of things. Stars of

the Lid’s music sometimes operates on the

same principle of lengthened and slowed

concentration. Its depths are revealed over

long stretches of subtly changing sound such

as treated guitar, cello or piano, lit up with odd

tweaks and shimmers, twists and scraps of

dialogue, reverb and organic decay. The music

plays out as gravitational, archaeological, even

glacial, while verging on the psychedelic in its

regular homage to David Lynch; it somehow

manages to be simultaneously meditative,

melancholy and unashamedly romantic.

As a music that gives a sense of not being

intimidated by the vastness of things – in fact of

wanting to explore that vastness that surrounds

us – Stars of the Lid have been likened to a

contemporary secular form of religious music

and experience, though Wiltzie would never

claim that as an intention.

A commitment in New York directly after

Unsound means Stars of the Lid will play

exclusively in Adelaide. And, Wiltzie suggests,

they’ll be playing a combination of new music

(it’s six years since their last CD) and “the hits”.

How would the group decide which of their

long, stately pieces are the hits? Given Wiltzie

and McBride live so far apart, and don’t have

opportunities to practice together, it tends to be

the pieces they know best. “Whatever’s easiest

to play,” Wiltzie fi nishes off laconically.

by daniel keene

state theatre companyin association with Adelaide Festival Centre presents the

Sydney Theatre Company and the Australian Defence Force production

The Long Way Home

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Genevieve Lacey recorders | James Crabb accordion

Shadow Box Alongside classics by Bach, Sammartini and Ortiz is the world premiere of Shadow Box – mesmerising music and interactive imagery by Damian Barbeler and Tim Gruchy.

Tickets: $25/$18 | Enquiries & bookings 8313 5925 Online booking www.elderhall.adelaide.edu.au

CONCERT 1 | SATURDAY 8 MARCH | 7.30PM

ELDER CONSERVATORIUM OF MUSIC PRESENTS

2014 SERIES OF INTIMATE CONCERTS AT ELDER HALL

28 THE ADELAIDE REVIEW MARCH 2014

PERFORMING ARTS

Ready to Rumble Belgium’s Ontroerend Goed (OG) returns to the Adelaide Festival to present the Australian premiere of Fight Night, a collaboration with award-winning local experimental troupe The Border Project.

BY DAVID KNIGHT

Last in Adelaide to present their trilogy

of immersive theatre (Internal, The Smile Off Your Face and A Game of You) as part of the 2013 Adelaide

Festival, OG’s collaboration with The Border

Project (Trouble on Planet Earth, I am not an Animal) was more than two years in the

making. Presented like a boxing bout, Fight Night introduces fi ve political candidates who

must win over the audience over fi ve rounds.

» Fight Night

Adelaide Festival

Queen’s Theatre

Thursday, March 13 to Sunday, March 16

theborderproject.com

It’s a political play minus the politics – a

popularity contest, as the audience votes for

their favourite candidate throughout the show.

The Border Project’s David Heinrich (actor,

composer and sound designer) said they were

conscious when they began this project to not

make the show political, even though it’s about

fi ve political candidates battling it out for votes.

“We didn’t want to all of a sudden start having

political debates about issues and so on,” Heinrich

explains. “It gets too specifi c to different countries

and the show doesn’t need to do that – if you want

to have a political debate, politics already exists

to facilitate that exchange of ideas.”

Heinrich, whose character is an old fashioned

conservative, explains that Fight Night is more

about how the audience, as voters, engage in

the political process: “How they make their

choices and what it is that infl uences them to

the extent that they think they have control

over the choices they are making.”

Created by OG’s Alexander Devriendt after Belgium was left without a government for 500

days, it will travel to Sydney after its Australian

premiere in Adelaide. Fight Night had seasons

in Belgium and the UK last year. Even though it

was created and devised by Devriendt, Heinrich

says Fight Night was a complete collaboration

between the two companies.

“He [Deviriendt] came in with a basic

structure for the overall show and this idea of

where he wanted to go with it – simply what he

wanted the show to be about. But the rehearsal

process was very open – we worked together.

All of us wrote different parts of the script

together and separately. Often we would work

on something and then we would get homework

tasks to write a speech about a particular thing

and we would bring that in the next day.

“We spent three months making this show,

which is a crazy unheard of amount of time in

Australia for rehearsals. It was a real slow burn.

When you see the show it will seem very simple

from the beginning, and on the surface it is, but

there are layers hidden if you want to go deeper.”

Heinrich, who composed the score for State

Theatre and Bell Shakespeare’s Comedy of Errors last year, as well as Fight Night’s score with Border

Project’s Cameron Goodall, says the rehearsal

process was quite relaxed in the beginning, as

the Belgian company didn’t follow the Australian

theatre tradition of 10am-6pm rehearsal days.

“There were some days early on where at two or

three in the afternoon Alexander would go, ‘Yeah,

you know, I think I just need to go home and think about it now. That’s all for today. Come in tomorrow

and we’ll talk about this then.’ Initially, we were

like, ‘What’s going on?’ But it’s nice to have that

refl ective space built into a process where you can

actually think about an idea properly rather than

go, ‘Well, this is all the money we could get. We’ve

got four weeks to make the thing – let’s go for it.’

“They [OG] spend a long time making a show

but then they will tour it for years. Here you

might spend six weeks making a show but then

you’ll do it at the Playhouse once and go to Mt

Gambier and that’s it – done. Their model is to

build shows that have longevity and can tour

internationally and they build that into them.”

Fight Night will travel to Sydney before

returning to Belgium in May when the country

is in the midst of elections. Nothing is confi rmed

after that but Heinrich says The Border Project

will be developing their follow-up to the award

winning I am not an Animal this year, which

will be a “weird funeral” show.

“It’s basically about imagining what your

own funeral would be like. That’s the starting

point for it.”

Fight Night

Season 2 O 1 4

New World Order

Maestro Series 1

Sunday 30 March 2014 6.30pmElder Hall

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

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MUSICDANCEFILMWORKSHOPS

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The AdelAide Review March 2014 29AdelAideReview.com.Au

PERFORMING ARTS

What makes the cello so important that

it deserves its own festival? Why

not other classical instruments, like

the piano or flute? Because, the founder and

Artistic Director of the Adelaide International

Cello Festival, Janis Laurs says, the cello is

dynamic. It has a huge range that sounds great

on its own or in concert and, crucially, cellos

draw a devoted crowd.

“There’s a wonderful sense of fraternity

between cellists,” he says.

When asked whether an event like this

is perceived as stuffy, Laurs says that this

perception might be inevitable with some

and that the backbone of the festival is a

more classically focussed Lunchtime Series.

Yet, Laurs also notes that the key to the

festival’s success is having a diverse range

of music on offer, like jazz, or improvised

performances.

“Curating the festival relies on listening to

artists and audiences as to what they want.

They don’t always want to hear the same thing.

In a festival, you have to offer choice.”

Laurs has been able to garner an attractive

swathe of popular cellists for the festival both from Australia and overseas. This year will see

the likes of Lynn Harrell, Eugene Friesen, Zoe

Knighton and the esteemed Ng twins, Pei-Jee

and Pei-Sian.

Collaboration is key to gathering such a

diverse set of artists. Laurs explains that he has

brought these players together by connections

with groups like the Sydney Symphony

Orchestra, the Australian Chamber Orchestra

and, of course, the Adelaide Symphony

Orchestra.

“It can’t be an international festival without

the ASO,” he comments. lynn harrell

Phot

o: c

hris

tian

Ste

iner

» The adelaide International cello Festival

Sunday, march 30 to Sunday, April 6

adelaidecellofestival.com.au

Adelaide International Cello Festival

by John DexTer

Aside from live performance, the festival

has craft and educational elements too. For

the duration of the 13-day festival, five luthiers

will work together to build a world-class cello,

as they have in previous years. Audiences are

welcome to go and observe the construction

of the cello. Laurs describes it as a heady

experience, “You go into that room and you

smell pine and cedar. It’s an intoxicating kind

of thing.”

Likewise, masterclasses will be run for cello

students with accomplished master cellists.

Since much of the festival will be hosted at

the University of Adelaide, students of the

university will be offered these classes for free.

“When you give younger players an

opportunity to participate, their parents will

come along. They might come along for a few

years, and participation just grows from there.

People grow an appetite for the future.”

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30 THE ADELAIDE REVIEW MARCH 2014

PERFORMING ARTS

30 Vital Years

BY JANE HOWARD

In 1984, amidst a collection of community

focused groups being established, artists

Roxxy Bent, Ollie Black and Margaret Fisher

founded Vitalstatistix Theatre Company.

Looking back over the company’s 30-year

history, current Creative Producer Emma Webb

describes this time as having a real sense of

opportunity for feminist art. “The personal is

political, and what you do in your own life is

really important. Initiating organisations, and

women organising, was a really important part

of that feminist philosophy.”

For Bent, Black and Fisher, Webb explains

that there was a two-pronged approach in the early days of the company: creating a space

for the support of women artists in a cultural

environment where women and women’s voices

were often sidelined; and creating political

work to educate the community about sexism

and other important issues of the day.

As with any small arts organisation,

Vitalstatistix’s history has been rocky. They’ve

lost – but always regained – funding multiple

times over their history, and partially through

this, and through the changing tide of theatre,

politics, and feminism in Australia, it’s found

itself operating in many different guises.

“It was quite feasible that at any point

throughout its history that the company might

not have survived,” says Webb. “Small-to-

medium sized companies have a really hard

time surviving.

“Let alone anything else that might affect an

arts company’s ability to survive, but on top of

that a company that is a feminist organisation,

that’s based in a working class suburb like the

Port [Adelaide], and that has produced a lot

of political work.

“It’s kind of remarkable, in some ways,” she

says, “that it’s survived and thriving.”

Since the departure of the founding members

in the mid-90s, the company has been led by

Catherine Fitzgerald, Maude Davey, Jane Fuller

and, now, Webb. Talking to Webb, you get a real

sense she carries the history of the organisation

with her, and she speaks passionately about

their anniversary celebration series Her

Story, where each of the artistic directors will

take to Waterside Workers Hall for a Sunday

» Her Story: Sunday Sessions

Sunday, March 30 (3-5pm)

Waterside, 11 Nile St, Port Adelaide (entry: $5)

vitalstatistixtheatrecompany.blogspot.com.au

The Gay Divorcee, Margaret Fischer.

Afternoon, beginning with the founders on

Sunday, March 30.

Says Webb: “I’m really interested in hearing

personal perspectives and personal experiences

about what it was like to be the AD [artistic

director] at that time, and why them at

that time? What impact has it had on them

personally to work with this company?”

“It’s been really interesting to refl ect on the different eras of the company because they are

really distinct. There is a real line through in

terms of the support for women artists and the

place of the company of the local community,”

but she says, “they’ve all really put a big stamp

on the company.”

Under Webb, audiences at Waterside

Workers Hall might see a tour of a contemporary

Australian work developed interstate, a debut

work from an independent company created in

association with Vitalstatistix, or development

of a show at the beginning of its life. For Webb,

the common thread running through all of

these programs is a curatorial vision, and the

relationships the company has with the artist.

“We are a small company, and so those

relationships to us are quite intense, and they’re

quite sepcialised in a sense,” she says. “The artists

that we work with really have an impact on the

feel and culture of the company over time.”

WITH VERY SPECIAL GUESTS RUBY BOOTS SUNDAY 23RD MARCH

THE ELBOW ROOM MCLAREN VALE, SATICKETS FROM OZTIX - WWW.OZTIX.COM.AU

THE ADELAIDE REVIEW MARCH 2014 31ADELAIDEREVIEW.COM.AU

CINEMA

MR MORGAN’S LAST LOVE

BY CHRISTOPHER SANDERS

Sandra Nettelbeck’s Mr Morgan’s Last Love

is a strange little film punctuated by strong

performances in this tale of cross-generational

friendship. Michael Caine plays lonely widower

Matthew Morgan, a retired American professor

living in his departed wife’s hometown of Paris

even though he doesn’t speak a word of French,

and seems completely uninterested in learning

the language of his current home. A chance bus

encounter with young dance instructor Pauline (Clemence Poesy) leads to an unlikely friendship

between the two. But what are they looking for

in this friendship? Are they both just lonely

souls seeking family fi gures, or is there more?

An unfortunate event brings Matthew’s son and

daughter to Paris. His daughter, Karen (Gillian

Anderson), is more interested in shopping than

spending time with her dad but his son Miles

(Justin Kirk) is suspicious of the friendship

between the young dance instructor and his old

man. Caine is the reason to see this fi lm (despite

his wavering American accent, which can be a

little distracting) but the 80-year-old brings depth

and heart and is completely unforgettable. Caine

is ably supported by Poesy (127 Hours), as their

friendship convinces despite the far-fetched

circumstances. The fi lm is enhanced by the arrival

of the cautious Miles, who is basically estranged

from his dad, and the attempts by Pauline to

reconnect the two stubborn men brings much

needed drama. Mr Morgan’s Last Love is an

admirable fi lm, but one that needed more weight

to rock its gentle pace.

» Mr Morgan’s Last Love commences on

Thursday, March 6. Rated M

French Film Festival Highlights

BY CHRISTOPHER SANDERS

The Alliance Francaise French Film

Festival celebrates its 25th anniversary

from Thursday, March 20 to Tuesday,

April 8 with the opening night fi lm

(The Finishers) and the traditional closing classic

(Jacques Tati’s Mon Oncle from 1958) as well as

plenty of new French fi lms to check in-between.

The Adelaide Review selects four highlight fi lms

of this year’s AFFF.

MICHAEL KOHLHAASStarring man of the moment Mads Mikkelsen

(The Hunt, Hannibal), this joint French/German

production is a brilliant historical drama. Slow-

paced to the extreme, your patience as a viewer is

aptly rewarded by this fi ne fi lm about a man who

takes the law into his own hands when he feels

injustice has been done to him in 16th century

France. Pick of the festival.

MOBIUSAcademy Award winner Jean Dujardin (The Artist, The Wolf of Wolf Street) stars in this romantic

thriller with a brilliant international cast. Dujardin

is Russian secret agent Gregory Lioubov, whose

mission is to nab Russian oligarch Ivan Rostovsky

(Tim Roth – effortlessly brilliant, as always). Of

course Lioubov falls for the femme fatale trader he

enlists to rat on her Russian boss, but this tale of

double-crosses is spectacular with its exotic Monaco

setting and Hitchcock-like twists.

JUST A SIGHThe wonderful Emmanuelle Devos (Read My Lips, The Other Son) plays down-on-her

luck actress Alix who stumbles across English

professor Doug (Gabriel Byrne) while Doug is

in Paris for a funeral. The two have a passionate

affair, but was it meant to be? A lively comedy

drama that belongs to Devos, as the kooky

actress searching for meaning.

CAMILLE CLAUDEL 1915

Arguable the fi nest actress in the world, Juliette Binoche, stars as sculptor Camille Claudel in this

unforgiving and brutal true story. Locked away

from the outside world in a mental institution,

Claudel tries to make her case for sanity via a

heartbreaking performance by Binoche.

» Alliance Francaise French Film Festival

Thursday, March 20 to Tuesday, April 8

Palace Nova Eastend Cinemas

affrench� lmfestival.org

32 THE ADELAIDE REVIEW MARCH 2014

PERFORMING ARTS

TRACKS

BY NIGEL RANDALL

Other fi lms will come to mind whilst being

enthralled by Tracks, director John Curran’s

(Praise) mesmerising new feature based on

Robyn Davidson’s best selling account of her

solo trek across 3,200km of west Australian

dessert. The haunting mystique of the outback

landscape captured by Curran easily recalls,

and matches in effect, classics such as Nicolas

Roeg’s Walkabout, Ted Kotcheff’s Wake in Fright and Peter Weir’s Picnic at Hanging Rock. And of course David Lean’s Lawrence of Arabia simply in terms of the epic scale

of endeavor that a journey by foot across

uninhabitable terrain necessitates. Tracks is

just as majestic in it’s own right.

Beginning with Davidson (Mia Wasikowska)

arriving in Alice Springs in the late 70s

determined to learn how to break wild camels

needed to aid her trip, Curran and screen writer

Marion Nelson provide ample time and space

to set characters in place. Along with some

sparse voice over (“I’d always been drawn to

the purity of the desert, its hot wind and wide

open spaces”) and brief interactions with various

others along the way, we don’t so much gain

insight into Davidson’s motivation (other than

to be alone with her camels and beloved dog),

but do develop a sense of the woman. The closest

she comes to a sustained relationship is with

American National Geographic photographer

Rick Smolan (charmingly nerdish Adam

Driver), whose assignment and friendly nature

she resents. Another notable fi gure is Mr Eddy

(scene stealing Rolley Mintuma), an Aboriginal

elder who escorts Davidson through sacred land.

The real story here though, is that of interiors

– the vast, unknown within country and self.

Wasikowska is superb as the enigmatic sole

searcher undertaking the trip into those dual

spaces that most curious onlookers thought

impossible. This beautifully actualized story

transports the viewer along the way on what

becomes, and ends, a profoundly memorable

journey.

The GFC-haunted Margin Call and

the open-sea-set All is Lost couldn’t

be more different (the former has

lots of characters and dialogue,

while the latter has one unnamed character

and almost no dialogue), so did Chandor set

out to make All is Lost deliberately different?

“I didn’t set out for it to be like that at the time. I write and direct my own stuff, so when

the process starts – you’re just writing. I was

working on a bunch of things. This began

with the letter that starts the film, and when

it came to me I didn’t know what the movie

was going to become. I suppose that, in a way,

The Cruel Sea J.C. Chandor is driving home in New York City while talking on his mobile during the following interview (and yes, that does sound dangerous), and he winningly begins by explaining just how lucky he is: “You know, this [All is Lost] is only my second � lm as a writer/director [after Margin Call], although I’ve been in the business for 10, 15 years, and it’s been great, an amazing experience.”

BY D.M. BRADLEY

the two films actually share a lot in a weird

way, but after the six months that the film

came together, I looked back and realised that

I’d painted a completely different picture.

Although, when I think about it, the structure

of the two films is actually similar, as both

times you learn about a person through their

actions and reactions in a crisis and a limited

environment.”

Chandor’s star is Robert Redford. His casting

is intriguing as Redford’s age (78 this year)

gives it an edge that it would have lacked if,

say, Shia LaBeouf had toplined.

“The script was always written to be about an older man, and that’s what made the project

interesting. I was looking at actors who could

do the physical side of this role, which is very

important, but who were also getting to the

later chapters of their life. The list gets short

pretty quickly. Redford, for me, was a very cool

combination of having a very deep history with

the audience while also having a certain amount

of mystery. A rare combination.”

Is this the first movie in which Redford

clutches his chest several times as if fearing a

stress-induced heart attack?

“It is… it’s pretty courageous for a guy like

him at this point in his career. I mean, he

certainly has nothing left to prove. Or maybe

he wants to prove something to himself? It’s

a very creatively courageous move. And I was

very lucky,” he continues, “as I wrote the

letter that opens the film while I was editing

Margin Call in September 2010. I went to

Sundance in January 2011 with Margin Call

Robert Redford

Robert Redford and J.C. Chandor.

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THE FIRST FILM EVER MADE IN SAUDI ARABIA COMES FROM

FEMALE DIRECTOR HAIFAA AL MANSOUR

THE ADELAIDE REVIEW MARCH 2014 33ADELAIDEREVIEW.COM.AU

CINEMA

» Tracks commences on Thursday, March 6.

Rated M.

A Landmark Film Haifaa Al Mansour explains the dif� culties involved with � lming her fantastic feature debut, Wadjda.

BY DAVID KNIGHT

Named as one of The Guardian’s 10

best films of 2013, the uplifting

story of a feisty 11-year-old

tomboy, Wadjda (Waad Mohammed),

is the first feature-length film to be shot

entirely in Saudi Arabia and the first Saudi

feature to be directed by a woman. But

these historical achievements are not

the reason to see Wadjda – you should

see it because it’s a damn fine piece of

filmmaking. But it is a landmark film, as Al

Mansour, who studied in Australia, made

a film in a kingdom basically has no film

industry and where cinemas are banned.

Also, because of restrictions to women, she

had to direct the street scenes via a walkie

talkie in a van, as she was not allowed to

interact with the male crew.

“It was really hard to shoot in Saudi

Arabia,” Al Mansour begins, “not because

of the country, we had permission to shoot

and everything, but that the society itself

is very conservative and doesn’t accept

film and is not very friendly when it

comes to films. We had problems with

access to locations, we lost locations really

quickly, we had to find another place

because of scheduling, we had a small

budget – all of that. But for me, it was

very important to make an authentic film,

a real representation of the culture. Also,

I thought that people don’t necessarily

know what it [Saudi Arabia] looks like.

It’s very important to open the country

for people to see how it is and how it feels

to be in Saudi.”

Al Mansour believes things are slowly

changing in regards to women’s rights, as

she thinks it would have been diffi cult to

shoot this fi lm 10 or 15 years ago.

“Saudi Arabia is opening up a little bit

more and new ideas are emerging, as the

new generation is more accepting and more

tolerant – they want to see fi lms and there

is a push for women, but it is very small

though, very gradual. Still Saudi Arabia is

a very conservative place and lots of things

are still to happen... the situation for women

is not perfect yet.”

A wonderfully shot simple story about the

titular character participating in a Qur’an

recital competition in order to buy a bike

» Wadjda commences on Thursday, March 20

after numerous schemes to raise the money.

Though it is a feminist fi lm, to Al Mansour the

story trumps ideology.

“For me, it is about a young person searching for herself, fi nding a voice and pursuing a dream.

For me that is the message. It’s true, I don’t make

fi lms for ideology, but this fi lm is, of course, a

feminist fi lm. It’s about empowering women and

giving them a voice. Next time, maybe, I’ll make

a fi lm about men, that is not just about women,

for me it’s also very important to tell an engaging

story, an emotional story rather than say, ‘I’m just

going to make a feminist fi lm only about women’

that is not my approach.”

» All is Lost commences at cinemas everywhere

on Thursday, March 6

to premiere it there, and Redford gave an

opening talk at that festival [Sundance is

his baby, of course]… I was about 80 percent

done with the script then and as he was giving

this rousing, funny speech I started thinking

about him in the role. A month after that we

offered it to him and, amazingly, about a week

after that, he accepted it, and less than a year

later we were shooting.”

Chandor is quick to point out that there is

very little FX in the movie: “Some layering and

compositing… everything – sort of – done to

Redford is real, as really we couldn’t afford

anything else. The majority of the fi lm was

shot in the ocean off Mexico, and a huge tank

facility where they also shot Titanic. Right on

the Pacifi c Ocean… And then we shot in the

ocean off Los Angeles and off the Bahamas and

in the Caribbean. A real jigsaw, a patchwork

of locations.”

Chandor is pleased with how the pre-

production of his current fi lm, A Most Violent Year, is progressing.

“It’s going to be shot here in New York. We’re

in the process of locking in our cast now.”

Is it true that Jessica Chastain and Javier

Bardem will be starring?

“Nothing’s confi rmed now [or at least when

this interview was conducted]. You know, you

just have to wait and see how things work out

when you make a movie, but it’s a script we all

believe in and I have my great team working

with me again. So, it should be fi ne.”

MMLL ADE REV 60x158mm.indd 1 17/02/14 3:04 PM

TRAK CINEMA 375 GREENHILL RD, TOORAK GARDENS 8332 8020

REGAL THEATRE 275 KENSINGTON RD, KENSINGTON PARK 8431 5039

theregaltheatre.com.au

‘Trak Cinema & Regal Theatre belong to the Republic Theatre Group’

MOVIE EVENTS

The Regal Theatre or Trak Cinema can be booked any day or night

of the week for a social club/fundraiser/corporate movie night.

With a variety of films available, make the Trak or Regal your venue

for your next movie night.

For more information, email Tom Baxter tom@republictheatres.com.au

NOW SHOWING

Nebraska (M)Le Weekend (M)

Dallas Buyers Club (MA15+)12 Years A Slave (MA15+)

COMING SOON

Tracks - March 6Mr Morgans Last Love - March 6The Monuments Men - March 13

Noah - March 27

34 The AdelAide Review March 2014

VISUAL ARTS

Set up to help artists make the transition

from university to professional life, the

Academy now plays an integral role in

nurturing and developing the arts in

South Australia. It’s a unique model and CEO

Amanda Pepe says: “It’s absolutely unheard of

in any other state or country, as far as I know,

that competing tertiary institutions come to a

collaborative table in an organisation such as

the Helpmann Academy to work together for

the greater good of arts training in the state.”

While initially the plan was that the Academy

This year marks the 20th anniversary of the helpmann Academy.

by Jane LLeweLLyn

Helpmann’S anniverSary ClaSS

would offer further training, it’s now the

attitude that the Academy picks up where

universities finish. The Academy has been running its graduate exhibition for 19 years

to showcase the visual artists of the future. It’s

become a much anticipated event on the visual

arts calendar and provides an opportunity

for artists to kickstart their career and for

audiences to discover the next big thing.

“This exhibition is a launching pad. It

gives the artists exposure, it’s professionally

presented and provides an opportunity to have

their work seen by key players both here and

interstate,” explains Pepe.

An independent panel of selectors (Lisa Slade

(Project Curator, Art Gallery of South Australia),

Brian Parkes (CEO, Jam Factory) and Hugo

Michell (Director, Hugo Michell Gallery)) chose

33 artists showcasing the breadth of emerging

local talent. “Generally we see this as our gift

to the artists, to have people as qualified as the

panel really critically consider their work and

give them some feedback,” says Pepe.

The exhibition often indicates trends emerging

within the visual arts. For instance this year

not a lot of photography was selected but the

installation component was strong. Pepe says,

“It’s partly to do with trends but you can also

see the personality of the panel in the selected

works. I think that’s nothing to be ashamed of.” Sophia Nuske, soft penCils, hand-built stoneware, acrylic paint

Tom borgas, Postdigital Artefacts, wood, plaster, concrete, cardboard, acrylic, spray paint, foam, glass, plastic vials,

florescent light, water, food colouring

F l inders Un ivers i ty C i ty Ga l ler y

S t at e L i b r a r y o f S o u t h Au s t r a l i a Nor th Ter ra c e , Ad e la id eTue - Fri 11 - 4pm, Sat & Sun 12 - 4pm

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

TESTING GROUND 22 February - 4 May 2014

A S a l a m a n c a A r t s C e n t r e e x h i b i t i o n t o u r e d b y Contemporary Art TasmaniaCurated by Ju l ie Goug h

Trickle Crunch RSASA Fringe/Autumn Exhibition till 16 March 2014RSASA Members’ artworks with a trickle and a crunch. A vibrant and creative bunch of artists with colourful contemporary and traditional artworks in paintings, printmaking, photographs, mixed media, sculpture, textiles, and so much more.

ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC.

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

Fore

st F

loor

(det

ail),

Text

ile b

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i Wal

ler

Where: RSASA Gallery, Level 1, Institute Bldg, Cnr North Tce & Kintore Ave, Adelaide. Mon – Friday 10.30 – 4.00pm, Sat & Sun 1 – 4.00pm. Closed public holidays.

For more information: Bev Bills, Director, RSASA Office: 8232 0450 or 0415 616 900.

RSASA Characters of the Fleurieu Prize exhibition 24 May – 22 June. Open to all artists and mediums. Over $5,000 in prizes. Entry form from www.rsasarts.com.au Entries due 12 April 2014

1 Thomas Street (cnr Main North Road)

Nailsworth

Bruce Tolley, Red pods and green leaves, acrylic on canvas

The Intimate LandscapeBruce Tolley 1933-2013Curator Leo Neuhofer2 - 23 March 2014

The AdelAide Review March 2014 35AdelAideReview.com.Au

VISUAL ARTS

» helpmann academy Graduate Exhibition

Drill hall, Torrens Parade Ground

continues until Sunday, march 9

helpmannacademy.com.au

Standing out in an exhibition of this size can

be difficult but it’s something that Zoe Kirkwood

has no problem with. She picked up two prizes

(the Hill Smith Gallery/Helpmann Academy

Friends Award and the City of Adelaide Award)

for her large detailed installation work, The Neo-Baroque Spectacle. The work reflects

Bernini’s artistic theory bel composto, which

involved unifying the arts of painting, sculpture

and architecture. Using bright, bold colours the

work also shows immense attention to detail -

Kirkwood hand-turns the wood herself.

While the sheer size of Kirkwood’s work

immediately draws you in, other works like

Sophia Nuske’s have a more subtle charm.

Nuske (who received the Adelaide City

Council’s acquisitive award) uses ceramics to

recreate everyday objects - in this case pencils.

She wants the audience to look at these objects

more closely and reconsider their role. Called

soft penCiLs, Nuske creates the illusion that the

pencils are soft, they look as if they are made

of rubber, but on closer inspection you realise

the works are anything but soft.

Another artist whose work stood out was

Cassie Broad, particularly her works on

aluminium. Broad, who received the Peter

Walker Fine Art Encouragement Award,

reconstructs her childhood home through memories evoked from old photographs. She

explores notions of home and presents images

that the audience can easily identify with and

which evoke our own feelings of home.

Tom Borgas is another artist to watch. He has

featured in the last two Helpmann Graduate

exhibitions and is currently showing in the

project space at CACSA alongside the Adelaide

International, which is running in the main

space. Borgas creates minimalist sculptural

works, which are made of various materials

like concrete, wood, plaster, stone and plastic

exploring concepts around analogue and digital

systems.

Roger Myles took out the San Remo best

new talent award. An architect-cum-artist,

Myles presented two series, works on paper

and a large painting. Carrying as subtext the

architecture of a book, the works on paper

were particularly interesting. “I was looking

for something that was different to painting in

just about every respect you could think of, but

at the same time address all the underpinning

rationales behind geometric abstraction,” says

Myles.

In the works the book becomes the medium

in a sense, with Myles allowing it to determine

the proportion and scale, an outcome of the

work of art. “I’m interested in these sort of

slight, what I call ‘chance stimuli’. It’s these

little slippages that occur. There is nothing pre

determined about it, no preliminary sketch.

Here is a book, I deconstructed it,” explains

Myles.

As the Helpmann Academy celebrates 20

years helping artists fulfill their potential Pepe

says: “We would love more artists to engage

with us. That’s probably the biggest challenge

we have - getting people to avail themselves of

all the stuff we have on offer. We have more

than 20 different programs across all the

different art forms.”

Roger myles, uNTiTled No. 5 (architecture of a book),

acrylic, paper and mixed media on Arches paper

Zoe Kirkwood, The Neo—Baroque Spectacle (detail), mixed media installation

36 THE ADELAIDE REVIEW MARCH 2014

JUMP CUTS

Evening shadows: the gift that keeps on giving Contemporary takes on the Art Gallery of South Australia’s collections

BY JOHN NEYLON

A s shadows crept across the outfield

at Adelaide Oval, Australia v

England, 2nd Test, December

2013, how could fielders, batsmen

or the crowd know that the spirit of one of

Australia’s most popular paintings was

abroad? The painting in question is H.J.

Johnstone’s Evening shadows, backwater of the Murray, South Australia, 1880. It can

be found down along North Terrace at the Art

Gallery of South Australia where it has been

in residence since the 1880s (acquisition no.

1). The painting was a gift to the people of

South Australia by a remarkable individual,

Henry Yorke Sparkes, who in addition to

holding down various public offices, was

closely involved in the establishment of

sporting bodies and facilities, including Adelaide Oval.

In the contemporary era Evening shadows

has become a lightning rod for revised views

on colonial history and the dispossession of

Aboriginal people in particular. From this

perspective it is possible to understand why

the painting has attracted the attention of

contemporary artists. One of these is Ben

Quilty whose take on Evening shadows was

inspired in part by seeing a reproduction of the

work when a schoolboy. His painting, Evening shadows, Rorschach after Johnstone, 2011,

is a monstrously succulent take on the image

fashioned using a ‘Rorschach blot’ technique

on a grand scale. This work has now joined

Johnstone’s ‘original’ in the Art Gallery’s

collection. You don’t have to be Freud to

appreciate the artist’s agenda in asking the

viewer to re-view Evening shadows from a

contemporary and Indigenous perspective.

Remarkably, two other Australian artists,

Tom Nicholson and Nici Cumpston have

referenced this specific work. Nicholson

convened 38 copies of the work (Evening shadows is held to be Australia’s most copied

work of art) and in his 2012 Adelaide Biennial

installation, counterposed these copies with

a stack of take-away posters referencing an

historical event, a mass indigenous strike

in 1939 involving 200 Aboriginal men and

women who walked off the Cummeragunja

Mission in protest at their living conditions.

For Nicholson Evening shadows’ attraction is

its complicit relationship with a later colonial

era that conveniently thought of Aborigines

as a ‘dying race’.

Cumpston’s relationship with Evening shadows is derived from a series of works

made as a commission for the Commonwealth

Law Courts in Adelaide in 2005. The artist had

previously made photographic works, tracing

her Barkindji ancestry, which featured gum

trees, along the River Murray, many stressed by

a lack of water. Memories of a childhood spent

along the River spurred her on. Johnstone’s

mirror-like backwater is referenced in

Cumpston’s tree that was fortuitously fl ooded

as part of a restoration program to bring life

back to River Red Gum forests in the Katarapko

area near Loxton. Companion works (notably

the 2008 Attesting series of the Nookamka

Lake area) record a reversal in conditions with

drought and irrigation stripping trees to their

bones but in the process revealing ancient

markers such as campsites and scar-trees where

bark and timber were removed for shields,

coolamons and canoes.

Back to Adelaide Oval. Well before fl annelled

fools took to the pitch, the area now occupied

by the Oval was a site where Kaurna people

held public ceremonies, games and religious

observances. This tradition continued well into

the colonial era. From Adelaide Oval to Evening shadows via the prism of contemporary

practice – it’s a cultural cross-country event

which Henry Yorke Sparkes, a keen athlete,

would have enjoyed.

Ben Quilty, Evening shadows, Rorschach after Johnstone (detail), 2011. Art Gallery of South Australia

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

www.gallerym.net.au

7 - 30 March 2014

exhibitionsgalleryshop

(above) painting by Ros McDougall(right) painting by Valerie Lewis

Outback Mirage

TWO EXHIBITIONS

an exhibition of paintings byMaré Puksand

MEET THE ARTISTS2pm, Sunday 16 March

Layersartwork in various media by the‘Figs and Cheese’ group of artists

Jenny Dupont, Jo Gilbert, Lindi Harris, Valerie Lewis & Ros McDougall

A S

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359 Greenhill Road Toorak GardensPh: 8332 7900

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

DAVID SUMNER GALLERY

IVARS JANSONSMoments of Inspiration

March 2-29

An exhibition of the artist’s studies.

The AdelAide Review March 2014 37AdelAideReview.com.Au

VISUAL ARTS

Profile: Anna Gore

by Jane LLeweLLyn

Anna Gore’s paintings aren’t really

depicting anything in particular.

And it’s precisely this idea of

abstract or non-representational art

that she finds most fascinating, and that makes

her work so appealing. “It’s not really directing

people so much. It’s not really moulding their

minds to see what you want them to see. It

begins so much more with the viewer and so

much less with the artist.”

» Visceral eye

adelaide central School of art

continues until Friday, march 21

» renDeZVOODOO

Fontanelle

Sunday, march 2 to Sunday, march 30

» emerging artists group show

Greenaway art Gallery

wednesday, April 30 - Sunday, may 25

The paintings are generally static works where

Gore leaves it to the viewer to create the motion.

In this sense the works are like a starting off point

proposing or initiating a conversation rather

than suggesting an end point. Gore is particularly

interested in the audience’s emotional response

and how the work affects people. “I can only go

on my own tastes so it’s sort of what I think it’s

doing. What other people think it’s doing might

be different.”

The process of creating the artworks is an

important element in Gore’s practice as she

tries to work with the material allowing it to

be part of the composition. “It’s not necessarily

representing anything; it’s doing its own thing.”

That’s not to suggest that Gore’s compositions

aren’t carefully considered, concentrating on

the way the works look in terms of shapes and

colours. “I try to keep shapes really basic, keep

gesture really obvious and spontaneous.”

While Gore’s paintings are completely

abstract she believes that while you are dealing

with a pictorial space you are always drawing

upon reference. “It’s hard to make something

not look portrait-like or landscape-like. If you put a horizontal line all the way through it will

always read like a horizon. If you add a vertical

shape it is always going to look figurative. Those

sorts of things always happen.”

Gore’s installation work is an extension of

her painting and she approaches it in much

the same way. She doesn’t consider herself a

sculptor but instead looks at how she can extend

her painting into the three-dimensional space.

For the exhibition RENDEZVOODOO, Gore

has created works using papier-mâché and

says: “There is no casting or moulding. You are

building something and it is completely formed

in response to your gestures and imagination.

You can’t make the same one twice.”

Since graduating with Honours in 2012 from

Adelaide Central School of Art, Gore has spent

the last year consolidating her ideas, creating

works and honing her craft. “I had this really

long time off contemplating and thinking for

myself and then now, one year later I have all

these exhibitions up against each other.”

untitled, 2014. oil on linen, 50cm x 40cm

untitled, 2013. oil on linen, 120cm x 140cm

Hugo Shaw ReflectionsAn exhibition of paintings

28 February – 16 March 2014

Ceramics by Julie Shaw

Jewellery from The Mistress Von Berlow Collection

Susan Sideris at Hanrahan Studio By appointment, and open for the duration of this exhibition 2: 00 – 6: 30 pm Fri 28 February – Sun 2 March 2: 00 – 6: 30 pm Wed 5 – Sun 9 March 2: 00 – 6: 30 pm Wed 12 – Sun 16 March

48 Esmond Street, Hyde Park, South Australia T 0449 957 877 hanrahanstudio @ bigpond.com

Barbara Hanrahan and Jo Steele’s private residence and gallery are open for viewing during exhibition hours im

age

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Pepper Street Arts CentreExhibitions, Gift Shop, Art Classes, Coffee Shop.

558 Magill Road, MagillPH: 8364 6154

Hours: Tuesday to Saturday 12 noon - 5 pm

An arts and cultural initiative funded by the City of Burnside

www.pepperstreetartscentre.com.au

Free entry - all welcome!

MARDENSENIOR COLLEGEyour pathway to success

Chris

Bow

den,

det

ail

BRUSHES AND THREADSAn exhibition by Graduates of Certificate IV Visual

Arts – Painting, Drawing and Textiles

28 March – 24 April 2014

Opens: Friday 28 March 6 pm - 8 pmLaunch Guest: Cathy Boniciolli

Visual Arts Educator/Artist

Free Artist Demonstrations throughout the exhibition:

Saturdays 29 March, 5 and 12 April 2 pm – 4 pmpeter

daverington into the never 20 February - 19 March 2014 www.hillsmithgallery.com.au

38 The AdelAide Review March 2014

A-Z ContemporAry Art

helpful hints on how to make your art say NOw. Plus ARTSPeAK

Bonus Pack

FBy John neylon

ARTSPEAK FunkFunk is the snake on the barbed wire fence of art’s catechism. it should not and will not die. A word derived from ‘lu-fuki’ (‘bad body odour’) will always have important work to do in describing the culturally indescribable or outregrunge. To be a true funkster be prepared to turn your back on polite society.

FetishisationThis goes far deeper than media obsession with stiletto-cam red carpet toenail pedicures. Apparently there is no accounting for fetishes so buckle up for some lofty thinking and overelaborated theorizing on the subject. The enlightenment for example held a concept of fetishism as a fixated chiasmus. have i lost you? A more contemporary take sees any object or situation as having fetish potential. it’s all a matter of reconciling fact with fantasy. Many people think shoes but Freud thought feet and any other part of the human anatomy capable of accommodating sexual anxieties. Fetishistic phallocentrism remains in the cross hairs of some art activists. you have been warned.

ForMSuch a beautiful term which miraculously has survived the predations of later 20th century ideologue word-burners. why even cricket commentators now refer to players keeping their form in the act of smiting or releasing balls. Formlessness (or ‘informe’) has been touted as the Goyder line of departure with classically enshrined notions of beautiful form. So ugliness has become the new (if not the you) beauty. Such simple segues continue to entertain us all.

FOODFood and art – the perfect combination to

nourish your art practice.

Never everHeed the advice of one unnamed gallery director

skilled in the verse of relieving eager art lovers of

surplus wedge; “In choosing items for still lifes,

avoid bananas. But do try to stick to a blue/white/

yellow colour scheme. It works everytime.”

My Kitchen Tools

Martha (”when the woman speaks she names her own oppression”) Rosler made a video

in 1975, featuring herself as TV cooking host

rattling through the alphabet with the aid of

various kitchen implements (B = bowl and so

on) plus dismissive gestures implying anger

and frustration at the role of happy housewife

thrust upon women. It’s now 2014 and in the

light of current celebrity chef mania it’s time to revisit the moment. So now it might be C

= Crispy Crust Pizza Maker, E = Electrolux

Lavazza Capsule Coffee Machine right on to

T = Thermomix, and finish with a Martha

Rosler Z for Zorro, as a who-gives-a-flying-

falafel gesture of ironic defiance. Might go viral.

Might not.

Food art

You have two choices; arrange or sculpt. The

internet’s arteries are clogged with food ‘artistes’

who continue to stupefy with bizarre ways to force

food into simulated sex with the world of illusion.

Trainer wheel options include using assorted snack

biscuits in a mosaic manner to create a landscape.

Tip: grissini work fine for tree trunks. Challenge

options include more liquid and organic items such

as custards, jellies and tripe to attempt sunsets

or breaking waves. Other tips: avoid working

under hot lights. If sculpting use pizza dough. It

has the added option of giving your exhibition

guests something to chew over.

Yes we can camThis used to work in the 1970s. Throw a dinner

party and film the event. But this time, instead

of trusting a half-cut fellow artist to lay it all

down with a Sony HMV-100CE camera before

disappearing for a few months to splice edit a tape,

equip all guests with a head mounted (‘Be a Hero’)

GoPro and go live on a big screen. Warning:

Expect tears and tantrums before go home time.

Recommendation: For this kind of project to

be taken very seriously (as an art work) suggest

filming the detritus (half-eaten wild rice pottage,

gutted bread roll, abandoned brie puddle) and

jump cut edit with slivers of conversation (“ I’m

in favour of public education but my child was

being bullied so we...”) to explore the semiotics

of food-mediated social congress.

Fast FoodClaes Oldenburg’s hamburgers and slices of pie

may be staring to look a bit stale but that’s no

reason why you shouldn’t get into the act. It’s fun,

everyone loves it and there’s always the chance

of a food company spinoff commission. You’re

dreaming: a cinema chain goes nuts for your

two story high bucket of popcorn. Tip: Choose

materials with care. Apparently Oldenburg’s use

of foam rubber and milk cartons to stuff his burger

has sponsored a shed load of art conservator PhDs.

The pickle by the way disappeared from the burger.

The artist got a replacement through customs by

disguising it as a travel pillow.

In good tasteThe artist Rirkrit Tiravanija created an

exhibition in New York in which he converted

the gallery into a kitchen. Visitors were served

(free) rice and Thai curry. Various claims were

made such as “the distance between artist and

viewer was blurred”. New friends, apparently,

were made along the way. If this seems like

too much hard work consider Allan (‘The

Happener’) Kaprow’s 1964 staged performance

(Household) which incorporated some women

licking strawberry jam off a Volkswagen. Fifty

years later and nearly everyone has forgotten.

Just change the car (Kia?) and condiment (lime

pickles?) and no one will notice. Apart from

the lickers.

Phot

o:

J. N

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n

Bear-faced, Takayama, 2013

gregory ackland habitus 20 February - 19 March 2014 www.hillsmithgallery.com.au

Find Us On Facebook

www.tartscollective.com.au

Open Mon-Sat 10am-5pmPhone 8232 0265

Green Desert Window display from 3rd March to 29th March.

Jenn

y Kni

ght B

eade

d Br

ooch

es

T’Arts CollectiveGays Arcade (off Adelaide Arcade)

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

The AdelAide Review March 2014 39AdelAideReview.com.Au

VISUAL ARTS

Sound of Silence

by Jane LLeweLLyn

Photographic artist Justine Varga is

particularly fascinated by the current

culture of digital images, the vast

number of them and the speed of them.

It’s a fascination which leads her to question why

she takes photographs in the first place.

“I have come to the conclusion that my work

is counteractive in a way because I empty the

images out and ask the viewer to spend time

with them and to look and to see. The images

create a space for that.”

The process of creating the images is just

as important as the end result. “My work can

be read in terms of photographic process and

what it means to take a photograph.” It’s a

slow process for Varga shooting on 4 x 5 sheet

film and hand printing everything. She asks

audiences to spend time with her work in the

same way she does while creating the works.

In her last exhibition at Hugo Michell

Gallery in 2012, titled Film Object, Varga began

using a camera-less technique - removing the

intermediary between the objects she was

photographing and the film’s surface. “I was

sort of coaxing the objects or subjects onto the

film’s surface and playing with different light

exposures. They became quite abstracted.”

In this latest body of work, Sounding Silence,

Varga breaks down the forms even further. “I am

quite interested in the shapes that you can’t quite

make out, that some remain nameless to us but

somehow resonate somewhere within the viewer.”

In this exhibition Varga returns to lens-based

work, except there are a couple of works, Morning and Evening, which are camera-less. She says: “I

use them as references to the outside because the

» Justine Varga: Sounding Silence

hugo Michell Gallery

Thursday, march 27 to Saturday, April 26

hugomichellgallery.com

other works that are lens-based are really based

within the studio and they are quite contained.”

However even these studio works contain a hint

of the outside. In some works Varga has used

sticky tape, which has caught the reflection from

the windows of the trees outside.

The exhibition also includes a video work

focusing on the drop sheet she used when she

repainted the studio, “I pinned it up against the

wall and the window was open and the wind

was blowing and catching the light. It became

like a breezing entity.”

It’s difficult for Varga to talk about her work

because much of it is based on a visual rather

than verbal dialogue. “I look at it as giving form

to an unarticulated language. It’s something

we can’t use words to necessarily describe, it’s

a visual thing.”

Varga also likes the idea that the audience doesn’t necessarily know what to expect

when she has an exhibition - this is as much

for herself as it is for the audience. “I want

to keep it interesting for me. I spend a lot of

time making work so I have to be excited, she

explains. “I don’t want to know what the next

work is going to be. I want to go along that

journey of discovery with the audience.”

Justine varga. morning.

Justine varga. evening.

Justine varga. Still life.

444 South Road, Marleston, SA 5033 | T +61 08 8297 2440 | M 0421 311 680 art @bmgart.com.au | www.bmgart.com.au

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27 February - 22 March 2014Gallery hours during Adelaide Festival Tuesday to Friday 11am to 5pm Saturday & Sunday 2pm to 5pm

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

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40 The AdelAide Review March 2014

FOOD.WINE.COFFEE

The Adelaide Food & Wine Festival

returns this April. Although the

program won’t be out until March

11, Creator and Director Amanda

James-Pritchard believes there will be between

40 and 50 events in 2014, including this year’s

signature event – the Town Picnic. James-

Pritchard says planning for this year’s festival

is travelling at the speed of a freight train.

“We’re so far ahead of ourselves,” she

explains, “if I think about where I was this

time last year, let alone two weeks before. It’s

fantastic. It’s all coming together really well.

There’s always a few red herrings in the mix,

but that’s what happens when you try and do

things that are a bit out of the ordinary.”

Some of these out of the ordinary events

include the return of the Don Dunstan Tribute

Dinner at Fino, regional celebrations at five

iconic South Australian food and wine regions

From social media post to eight-day, 30-plus event food and wine extravaganza four months later – the Adelaide Food & wine Festival came out of nowhere last year to deliver a festival this town was waiting for.

by DaviD Knight

From LiTTLe Things...

» adelaide Food & Wine Festival

Friday, April 4 to Sunday, April 13

» think. talk. Food>Wine

Tuesday, April 8 (9am-5.30pm)

national Wine centre

adelaidefoodandwinefestival.org

such as the Adelaide Hills, Barossa Valley and

McLaren Vale and Think. Talk. Food>Wine, a

forum featuring speakers such as Feast’s Richard

Gunner, winemaker James Erskine, Lord Mayor

Stephen Yarwood and wine journalist Mike

Bennie. Think. Talk. Food>Wine’s theme is

‘Collaborators or Competitors’ and is presented

by The Adelaide Review.

James-Pritchard, who moved to Adelaide

from Melbourne six years ago, previously was

a publicist for the Melbourne Food & Wine

Festival and runs Kooki PR. In late 2012, she

posted on Facebook about a plan to start a food

and wine festival. After support from food and

wine identities, James-Pritchard commenced

organising. Four months later the inaugural

Adelaide Food & Wine Festival was staged

with 30-plus events, as well as its big-ticket

dinner – Market Feast at the Central Market.

Punters and producers alike embraced the

festival, guaranteeing a return this year.

“It just snowballed. I thought maybe we’d

have 10 events and I was really planning it

around this after-hour feast at Central Market

that to me felt it would be the hinge of the

Adelaide Food and Wine Festival.”

Held on Tasting Australia’s off year and when

there was doubt as if the biennial event would

return (it is, from April 27-May 4 with Simon

Bryant and Paul Henry in charge with Maggie

Beer as its patron), James-Pritchard believes

this fresh air was part of its success.

“Who knew what was happening with Tasting

Australia and I just thought, ‘Well if I don’t do

it now, someone else will do it’. It was a now

or never thing, that’s why it came together so

quickly. I had been thinking about it for the six

years I’d been living in Adelaide – literally the first

minute I started working in Adelaide I had the

idea to have an Adelaide Food and Wine Festival.”

The Festival hit Adelaide at around the same

time that our gastronomic scene exploded with

exciting new bars and restaurants.

“That’s just a fluke,” James-Pritchard comments

on the timing. “Lachlan [Colwill] made his way to

Hentley Farm and with Duncan [Welgemoed] at

Bistro Dom and Jock [Zonfrillo] leaving Penfolds/

Magill Estate to start Orana, it is a very exciting time

in food. Since I’ve been here the wine’s always been

exciting with emerging varieties, but I think with

the more restaurant-side of things doing well it

gives people a chance to focus on the independent

winemakers, people like James Erskine [Jauma]

and Taras [Ochota Barrels].”

This year’s major event is the Town Picnic, which

is an old school themed picnic, held at Rymill Park

with guest Peter Russell-Clarke, as well as chefs

Salvatore Pepe (Cibo) and Jimmy Shu (Hanuman).

James-Pritchard is planning to attract thousands

of people to the retro picnic, which includes a dog-

friendly area for dogs and their owners.

“I’m trying to recreate my best ever family picnic

from when I was a kid because I think everyone has

fond memories of that. There will be four different

corners of cuisines with an old school slant and

North Adelaide Country Women’s Association are

doing a cake stool and picnic hampers.”

The grass-roots, not-for-profit and

community-driven festival has a team of about

30 volunteers including ambassadors Gill

Gordon-Smith (Fall From Grace) and Rebecca

Sullivan (Dirty Girl Kitchen).

“I said to them that they can be as hands off or

as hands on as they want. I’m not going to push

them to do anything really, except to be really

great ambassadors for the festival and they have

been. They’ve both done amazing things so far.”

Ultimately, James-Pritchard says she is like a

party planner – as the Festival is about people

enjoying themselves.

“It’s about connecting people to producers,

produce and places. It’s about exploration and

discovery but ultimately having a really, really

good time. ”

THE ADELAIDE REVIEW MARCH 2014 41ADELAIDEREVIEW.COM.AU

FOOD.WINE.COFFEE

We’ve Got Balls Bistro Dom Head Chef Duncan Welgemoed writes about Adelaide’s gastronomic resurgence, a locally nurtured movement that is about substance over style.

BY DUNCAN WELGEMOED

Adelaide has balls. Formerly known

as the city of churches, Adelaide is

now described as the new Portland;

however, as Samuel Johnson put it, “No

one ever became great by imitation”.

We can’t deny that we have been the butt of a few jokes until quite recently. Sometimes

it’s been utterly deserved. When I fi rst arrived

in Australia, I was always asked why the

hell would I want to live in this state. It was

believed that we didn’t have the populace or

demographic that could sustain interesting

restaurants and cool bars. We should have

been named the city of ‘shnitties’ (nothing

wrong with a great parmi) but the recurring

theme was that the people of Adelaide would

not be open to change, or able to warrant

something brave and different (unless

it was promoted on the next episode of

MasterChef).

Like every noteworthy movement, it

started from the earth, the terroir – and

in this case, from the primary producer.

In the last fi ve years, there has been a slow

and steady movement from producers who

have driven a more artisanal approach to

their growing, husbandry and the fi nishing

of their products. The sellers, whether

farmers’ markets or wholesale suppliers,

have ensured this quality product reaches

our chefs and you, as the consumer, taste

the point of difference. South Australian

produce (rather than another soon-

forgotten celebrity chef) is the heart of this

resurgence in our once-waning food scene.

With this all-permeating product

confi dence, our chefs have pretty much

given the fi nger to whatever the next fad

coming from Melbourne and Sydney is.

We are producer-focused, not personality

focused and having every producer engaged

in the process allows each player to bring

their A-game, whether they are running a

small bar or a restaurant, and even those

of you who cook and curate at home.

Why emulate trends from other cities when we can carve our own niche,

cultivate our own style and have so much

fun doing it that we don’t even look over

our shoulder to see what the big boys

from elsewhere are up to?

We are also very lucky to have close

relationships with incredible winemakers;

for me this is the heart and soul of my

operation. Every release of brilliant local

wine brings inspiration (without sounding

too sycophantic). These cats can change the

way you plan your next dish, the structure

of the menu, even convince you to call in

sick, open a bottle of wine and spend the

night heckling the next carbon-copy reality

TV cooking show.

We are becoming a state of doers. We

pride ourselves on substance over style and we have that in bucket-loads; the

style naturally follows.

For a while this state suffered from a

hospitality brain drain because we haven’t

been as dynamic as other places. What’s

fantastic about this ‘renaissance’ is that more

young people are deciding to stay, invest and

create. This has been a quick progression and,

if anything, I worry that it may soon start to

suffer from market saturation – this is where

we need you, the consumers, to support the

creative businesses. Tell your friends, have

a party, head out and fi nd the latest exciting

place, because there’s no shortage of them.

We are extremely lucky to have

grass-root food festivals such as The

Adelaide Food and Wine Festival, which

encapsulates the collaborative ethos

shared between producer, chef, winemaker

and customer. The festival has been an

exceptional platform to throw caution to

the wind and let everyone have a bit of fun.

Corporate sponsors do not dictate these

events, which means the narrative is pure.

I’ve been lucky enough to be given

the opportunity to curate the food and

beverage at Lola’s Pergola (The Adelaide

Festival’s club) in conjunction with Ross Ganf, Creative Director of the club and The

Happy Motel. Collaborations have emerged

between unbelievable chefs, winemakers,

producers, performers, party-boys, designers

and artists who have a deep connection with

this movement. We all have the same goal;

to bring love, passion and, occasionally, a

little weirdness and thrust it centre stage.

What we do in this state matters - people far

and wide are starting to look and get excited

about what we’re doing.

This Adelaide Festival club is

presenting everything that Adelaide’s

food and wine culture should represent

minus the spin and politics but with the

highest integrity. I’m extremely proud to

be cooking and living here and frankly

even from a tourist point of view, as

English satirist and columnist Charlie

Brooker wrote when describing South

Australia for The Guardian: “If the rest of

the country gets any better than this, it’s

quite frankly taking the piss as a nation.”

» Duncan Welgemoed is the Executive

Chef of Bistro Dom, The Happy Motel

and Lola’s Pergola

bistrodom.com.au

thehappymotel.com

adelaidefestival.com.au/2014/club/

lolas_pergola

The Happy Motel team Duncan Welgemoed and Ross Ganf.

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42 THE ADELAIDE REVIEW MARCH 2014

FOOD.WINE.COFFEE

I really love honey and until a couple of

years ago I didn’t realise that I wasn’t

eating the real thing! Under pressure

from consumers and retailers, a large portion

of the honey industry made a decision to give

us a smooth and runny honey, reminiscent

of liquid gold, but in fact, the value is as far

from gold as can be.

Honey is an example of natural perfection; it

is reported to have anti-viral, anti-bacterial and even anti-fungal properties. Honey is also full of

powerful enzymes, antioxidants, natural vitamins

and nutrients. Unfortunately, this is not what is

readily available to us on a consumer level. It is

often heated to refi ne the texture and increase

the shelf life but a consequence is the removal

of nearly all of the health benefi ts that were once

naturally present.

You have to wonder when and/or who made

the decision to sacrifi ce the health benefi ts so

Honey

BY ANNABELLE BAKER

FOOD FOR THOUGHT

twitter.com/annabelleats

Baked Honey CheesecakeBaked cheesecakes can be intimidating, as they have a tendency to crack when baked but the addition of a sour cream glaze hides all imperfections!

Ingredients• 200g Nice biscuits or equivalent• 30g butter – melted• 875g block cream cheese – room temperature• 150g sour cream• 4 eggs• 2 tablespoons plain fl our• 4 tablespoons raw honey• 250g sugar• 2 egg yolks• 100g (extra) sour cream• 2 (extra) tablespoons raw honey

Method1. Line a spring form base cake tin with baking paper and for extra security, lightly grease the base with some of the melted butter.2. Process the biscuits until the consistency of fi ne sand.3. Add the butter and pulse until combined.4. Press the mixture into the base of the lined tin.5. Bake the base at 180 degrees for 12 minutes and then leave to cool.6. Reduce the oven temperature to 160 degrees.7. In the bowl of an electric mixer, using the paddle attachment beat the cream cheese until smooth.8. Add the sour cream, eggs, plain fl our, honey and sugar, beat until well combined and a smooth consistency.9. Beat in the egg yolks, one at a time allowing the mixture to combine between each egg.10. Pour the mixture into the tin and tap gently to remove any air bubbles.11. Bake for 60 minutes or until just set and slightly golden brown in colour.12. Allow to cool completely at room temperature.13. Combine the extra sour cream and honey until a pouring texture.14. Pour over the cooled cake and leave to chill in the fridge overnight.15. Remove from the tin and garnish with seasonal fruit.

that we could spread it on our toast. Clever

advertising campaigns, such as runny honey

in a bear shaped squeeze bottle (now I think

about it, not so clever) kept us wanting more.

Lets face it, honey can be messy and sticky; the

ease of it almost spreading itself on our toast

is an extremely tempting ploy. But now we

know what we are giving up, it almost seems

unfathomable that such an option was even

considered.

Bees still pollinate one third of the world’s food supply and they have been successfully

thriving on Earth for around 50 million years.

There is even evidence that we have been

gathering honey for around 8,000 of these

years. It is safe to say that bees and honey is

an extremely natural and important part of our

evolution but the question is – what role will

it play in our future?

Look for raw and/or low-temperature

processed honey and be careful of the ‘organic’

label, it doesn’t always mean that the honey

hasn’t been heat-treated.

And, if you feel so inclined, plant bee-

friendly flowering plants. This will help

keep natural pollination of our food supply

going and also contribute to the creation of

one of earth’s most natural, nourishing and

delicious foods - honey.

The AdelAide Review March 2014 43AdelAideReview.com.Au

FOOD.WINE.COFFEE

» Kris Lloyd is the head cheese maker

of Woodside cheese Wrights

woodsidecheese.com.au

simonjohnson.com.a

S imon Johnson is obsessed with food

quality; his passion is uniqueness and

his primary objective around food is

flavour. He is also a self-confessed cheese

addict, but admits he is no cheese expert. He

now has eight Simon Johnson retail stores

across Australia offering a range of high-

end food products including the jewel in the

crown: cheese!

New Zealand born, Johnson began his

career in food as an apprentice chef and

spent a number of years cooking in Sydney

and Auckland restaurants before permanently

moving to Sydney in 1987. In 1992 he opened a

showroom for chefs in Pyrmont, Sydney, with

Australia’s first specialist in-store fromagerie

or cheese room. It wasn’t long before the

showroom transformed into a retail store

largely due to the increasing demand from

Sydney’s foodie public.

He explains part of his success was being

in the right place at the right time. It was

around 1989, when he was “looking for

something to do” when Western Australian

cheese maker Gabriella Kervalla (pioneer of

goat milk cheese making in Australia) called

him. She had no one to look after her product

in NSW and asked Johnson if he would be

cheese Beginnings

BY Kris LLoyd

CheeSe MatterS

interested in starting a small distribution

company. Johnson explains: “Within a week

of Gabriella’s call, cheese maker Richard

Thomas from Milawa Cheese Company in

Victoria and master cheese maker Frank

Marchand from Heidi Farm in Tasmania also

knocked on my door with the same request.

This was the birth of the business, which I

literally started on the smell of an oily rag –

with an unregistered Honda Civic and it was

fundamentally all about cheese! Here I was

with three amazing cheese makers we had in

Australia at the time. I was indeed fortunate

to be in that space at that time.”

Celebrated chef Serge Dansereau, a great

friend of Johnson’s and the Executive Chef

at the Regent Sydney in the late 1980s, was

looking for foods with a point of difference.

He didn’t want to be serving cheeses that were

available in supermarkets. Richard Thomas

at Milawa Cheese Company had just started

dabbling in washed rind cheese. These rather

smelly cheeses were quite new in Australia

at the time. Gabriella had her goat cheeses

and Frank had a Pandora’s box of pasteurised

and unpasteurised Swiss styles. Johnson: “In

order to get a specialty cheese industry here

in Australia off the ground, I asked Serge to

commit to taking at least 30 wheels of each

per week.”

Johnson assured him he would be getting

something different. “We had found a big

supporter who actually had the budget to

support this venture, otherwise it would never

have got off the ground. This was fundamental

to the introduction of specialty cheese in

Australia.”

Fringe cheese making came of age, as did

the introduction of goat and sheep milk cheese

and yoghurts in Australia. “Frank Marchand,

without a doubt, was making the best Comte

we could get our hands on,” Johnson explains.

He would mature his large wheels of Gruyere

on cedar slabs in a 40-foot shipping container;

it was a time that was like no other. I feel very

fortunate to have been part of that era – it was

a really special time.”

According to Johnson there was an amazing

camaraderie between chefs across Australia

in supporting the specialty cheese makers and

their understanding of just how important

it was to grow a specialty cheese industry in

Australia. Through the chefs’ demand, the

industry grew irrespective of the fact that

everyone was very green. He recalls cheese

maker Richard Thomas calling him. “Simon,

I’ve got these amazing blue cheeses, they

taste fantastic but I can’t call them a blue

because there is no blue and they’ve kind of

collapsed. I‘ve called them the Uglies – we

need the money so can you just go out and

sell them.”

Sure enough they did taste fantastic. There was not a trace of blue but when Johnson went

to the chefs they said they couldn’t use them.

Even discounting didn’t convince them. The

following week he reintroduced them as the

Richard Thomas Cheese Makers Selection and

sold them all for $30 a kilo. He would pull up at

the Regent loading dock with his unregistered

Honda Civic and do business. He described it

as an amazing time in Australian food, which

set the pace for things to come.

The introduction of his famous cheese rooms

did not come without controversy. Four days

before Christmas in 1989, a Victorian council

confiscated all the cheese from the Simon

Johnson cheese room in Toorak, claiming

that Johnson was storing hazardous material

above five degrees. This laughable conclusion is

typical of the regulation the food industry must

undergo at times. Many European towns have

stores which are entire cheese rooms; at times

the cheeses are outside the store in barrels or

on tables. This hazardous material has been in

existence for thousands of years stimulating

both the palate and the economy – what an

overreaction. Needless to say it all ended up

in court and it’s pleasing to write that Johnson

and his hazardous material won.

Simon Johnson

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44 The AdelAide Review March 2014

FOOD.WINE.COFFEE

Travel the Cosmos

by Derek crozier

Hey Jupiter is well known for its pork

belly sandwiches but some may not

know that it can be enjoyed with a

cup of boutique-level coffee. The decor is

warm and welcoming with hanging ferns

and a wall of antique looking mirrors with

some specials written on them. They use

Five Senses Coffee and the friendly barista

pours it through a La Marzocco espresso

machine.

The barista was very knowledgeable and

spent time going through the beans on offer.

He suggested the single origin from India

called Veer Attikan India for my espresso. It

was served with a thick layer of crema and had

a rich berry smell but a honey-like taste with

my first sip. It had a velvety body throughout

and finished on hints of spice.

For the latte I sampled the house blend

called Harvest, which is made up of beans

from Honduras, Costa Rica and Guatemala.

The milk (Tweedvale) was silky smooth and

creamy with a six leaf tulip on top as the

latte art. The first taste had a buttery mouth

feel with a pleasant acidity but towards the

end were citrus notes, which lingered in the

mouth.

If you’re in the city, you won’t have to travel

through the cosmos to get to Hey Jupiter. It’s

in an up and coming location and is a place

that has a marriage between good food and

boutique coffee that, with the friendly staff,

makes you feel at home.

» hey Jupiter

11 ebenezer Place, Adelaide

facebook.com/heyjupitercafe

A Simple Exchange

by Derek crozier

The first thing you see when you walk

into Exchange is a Synesso machine

and a brew bar that brags boutique.

The counters, the tables and the

brewing areas all seem to be designed for that

clean, clinical feel but the warm and inviting

colour scheme balances it out perfectly.

It is the only outlet in Adelaide that serves

Market Lane Coffee, a boutique coffee roaster that sources and chooses its green beans by

what’s in season to provide different tastes

regularly. This visit to Exchange gave me the

pleasure of trying beans from Bolivia that was

complemented with postcard photos of the

farmers themselves.

For my espresso I had a single origin called Familia Montano Espresso, which had walnut

notes on the nose and a berry taste on the back

of the tongue. A nice acidity came through at

first but it seemed to get sweeter as I sipped

on. It was refreshing that the barista served

my espresso with a glass of sparkling water,

which seemed to be a standard with any order.

I tried a blend called Seasonal Espresso for

my latte, which was composed of beans from

the Copacabana, Familia Montano and the

Juan Ticona region. The milk (Paris Creek)

was silky smooth and dense with a symmetrical

rosetta as the latte art. The toasted almond

notes came through with the first sip but it was

the hints of chocolate orange that stood out.

Exchange Specialty Coffee is a simple

boutique with fresh modern look that suits

the Rundle Street precinct. Even though they

are new in town, the different brewing methods

and design really shows that they mean serious

coffee business.

» exchange Specialty coffee

Shops 1 and 2, 12-18 vardon Avenue, Adelaide

exchangecoffee.com.au

55 Frome Street, Adelaide

8100 4400 | majestichotels.com.au

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THE ADELAIDE REVIEW MARCH 2014 45ADELAIDEREVIEW.COM.AU

FOOD.WINE.COFFEEHotWines

THE ADELAIDE REVIEW

SOUTH AUSTRALIAN100

A Looming Talent in the Riesling Races

BY CHARLES GENT

Jess Hardy has been working for Loom

Wine for four years; she took charge of

the Riesling only last year. When the 2013

Long Yarn Riesling took third spot in The Adelaide Review’s Hot 100 South Australian Wines last year, it was the fi rst time I, and

I suspect many others, had heard either her

name or the winery’s.

The ignorance is not altogether surprising. The

Long Yarn label is the visible tip of Loomwine’s

oenological iceberg, with much of the company’s

efforts directed to making wine for export to

the UK and the US in formidable quantities.

Operating at McLaren Vale under the aegis of

Barossa-bred Steve Grimley, Loomwine draws

on vineyards in several regions.

Winemaking and management of the four

varieties in the “week-night” local brand, Long

Yarn, has been turned over to Jessica Hardy.

The surname of Hardy does have a certain familiarity, and it emerges that Jess, who is 28,

is indeed a sixth generation member of South

Australia’s celebrated winemaking dynasty.

She is, to wit, the great-great-great-great-

granddaughter of Thomas Hardy, proprietor

of extensive vineyards at Bankside (on the

Torrens below Adelaide) and McLaren Vale.

The emigrant Hardy became one of 19th

century Australia’s greatest winemaking

entrepreneurs, a success attributable to

his many personal qualities, among them shrewdness (he reportedly hoarded his ship-

board rations of cocoa all the way to Adelaide)

and also imagination (during the summer his

Grenfell Street wine bar sold iced claret to the

passing punters).

His McLaren Vale vineyard and winery,

purchased from another less buoyant visionary,

Dr Alexander Kelly, became the base for

a profitable export empire that rested on

supplying robust, “ferruginous” red wines for

the English market.

While McLaren Vale is also Jess’s base, the

grapes for the Long Yarn Riesling actually come

from 100 kilometres to the north-east. Playing

out the great South Australian Riesling rivalry,

earlier vintages of Long Yarn Riesling used fruit

from Clare, but last year Loomwine switched to a grower in the Eden Valley, and the wine was

made “just down the hill” at a site in the Barossa.

Some 30 tonnes of fruit came from the block,

but after selecting the best parcels, around 1500

cases of the wine were made. “We now wish

we’d done a bit more,” Hardy says, who tastes

the grapes, as well as testing the baume, to help

decide the right time for picking.

Last year’s growing season offered almost

perfect ripening. “On that particular block there

was a really nice, even drop in the acid and rise

in the baume – it was almost something you’d

see in a textbook graph,” she said.

Hardy admits that Riesling is not her long

suit – her vintage in Spain after graduating

from the Waite has left her with a fascination

for Tempranillo, which may soon surface in

the Long Yarn line-up – but it is a style she

loves. She says that most days at the winery

end with a bottle of either aged Riesling or

cool-climate Chardonnay.

Stylistically, the Long Yarn has around four

points of residual sugar to give it drinkability

on release and commercial appeal, but Hardy

said the wine also has the chemistry to last

the long haul.

“In a selfi sh way, we wanted to be able to

throw some in the cellar to age and drink

ourselves, so we were angling for it to go that

way.”

Hardy said the praise from the Hot 100

judges, who talked of the wine’s “layers of fruit

and vibrant minerality”, was very welcome.

“It was my fi rst real crack at making Riesling,

and while I was quite happy with it, it was a bit

of a confi dence booster to get the feedback.”

The recent extremes of weather will make the

next Long Yarn Riesling a tougher proposition

for winemaking, Hardy says, but the current

release offers some ready consolation: “It’s

good on a hot evening, that’s for sure.”

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46 THE ADELAIDE REVIEW MARCH 2014

WINE

DE BORTOLI LA BOHEME ACT TWO PINOT NOIR ROSÉ 2013

RRP: $20Yarra Valley debortoli.com.au

Leanne and Steve Webber of De Bortoli

Wines in the Yarra Valley are champions

of rosé. So much so, they started a

revolution – the Rosé Revolution – to

encourage the relishing, making and

consumption of pale, dry and textural

rosé. This all started, as it often does,

with the inspiration derived from a

bottle of French rosé while holidaying in

Provence. This wine, the De Bortoli La

Bohème Act Two, keeps their dream alive.

Made from 90 percent Pinot Noir with a

splash of a few other varieties, it offers

a gentle puff of strawberry, rosehip and a

red summer berry aromas. True to their

maxim the palate is savoury, dry and lovely

and well worth starting a revolution for.

BIRD IN HAND PINOT NOIR ROSÉ

RRP: $20Adelaide Hillsbirdinhand.com.au

For reasons known to viticulturalists,

winemakers and Mother Nature only,

the Adelaide Hills and Pinot Noir go

particularly well together. The higher

altitude and cooler climate help to

keep the famously wily variety happy

so it can produce all of the things that

Pinot Noir produces well; pretty and

beguiling aromas with great complexity

and spice… when it’s in the mood, of

course. So it’s no surprise that when

Adelaide Hills Pinot Noir is made into

rosé it is equally enticing, if only in

a less complex way. This wine has a

particularly pretty nose of strawberries,

watermelon, and bright red fruits while

the palate is crisp, lively, dry and very

moreish.

It might well be nearing the end of summer but there’s still plenty of

heat to come. Rosé, that pink wine made from red grapes, is one of

the vinous world’s most thirst slaking and refreshing wines. See the

last weeks of summer off with a few of Australia’s most adorable pink

wines. Serve ice cold with a good view and even better company.

Everything’s coming up

RosésWINES BY ANDREA FROST

CHEESE PAIRED BY VALERIE HENBEST

FROM SMELLY CHEESE

The AdelAide Review March 2014 47AdelAideReview.com.Au

WINE & CHEESE

Bonne Bouche from VermontBonne Bouche is the flagship of

vermont creamery. introduced

in 2001, Bonne Bouche quickly

won acclaim. Reminiscent of the

loire valley cheeses of France,

Bonne Bouche means “good

mouthful” and is indeed a tasty

bite. made with fresh pasteurised

goat milk from family farms, the

curd is carefully hand ladled,

lightly sprinkled with ash, and

aged just long enough to develop

a rind. After about 10 days, the

cheese is packaged in individual

crates and sent to market where

they will continue to age up to 80

days. As a young cheese, the rind

has a pleasant yeast flavour and

creamy interior becoming softer

and more piquant as it ages.

tomme mi chèVre from france (mons)The mons family travel throughout

France to find artisan cheese

makers who work with the best

milk and offer the best expressions

of that milk in their cheese. hervé

mons learned his craft from his

father and has been recognised

by the French government with the

prestigious title of “meilleur ouvrier”

de France and provides his cheese

to the best tables in France. hervé

made this cheese made from half

cow and goat milk. it arrives here at

about two months of age and is a

delicious supple textured cheese at

that point. Some are aged a further

two to three months to develop

a firm natural rind and a smooth,

slightly sweet, yet full flavoured

interior with a creamy mouth-feel.

appenzeller from switzerlandProduced in the Appenzell

region of Northeast Switzerland

for more than 700 years, this

cow’s milk cheese has a cooked

curd which is then pressed.

herbal brine, quite unique

to this cheese, is applied to

the wheels of cheese while

they cure. This adds flavour

while also assisting in the

preservation of the cheese.

The result is the formation of a

golden coloured rind encasing

a straw coloured interior with

occasional pea-size holes. The

cheese has a strong aroma

and a nutty, fruity flavour with a

pleasingly smooth texture.

mahon from spainmahón is produced on menorca,

the outermost of the three

Spanish Balearic islands. curd

is piled in the centre of a cheese

cloth and the square corners are

knotted and twisted together.

The cheese is pressed and

twisted for a number of days

giving the cheese its typical

“cushion” shape. The hard rind,

which carries the imprint of the

cheesecloth, is rubbed with oil

and paprika creating a vibrant

orange colour. mahón is sold at

various stages of maturity. when

young, the texture is smooth and

supple and the aroma is sweet

and fruity. it can be matured for

up to 10 months when it will

exhibit a hard, slightly granular

texture with a sharp, salty tang.

La Linea TempraniLLo rosé 2013

rrP: $21adelaide hillslalinea.com.au

Since its first release in 2007, this wine

has steadily built a reputation as one

of Australia’s best rosés. Not surprising

when you have the cleverness and

credentials of the team made up of

Peter leske and david lemire mw, wine

industry professionals with a swagger of

vintages, qualifications and experience

with esteemed producers behind them.

every decision here has been scrupulous

but i’ll not complicate such a beautiful

thing with technical details. This wine

is delightful. lovely pale pink, it is dry,

savoury, crisp and delicious. Brimming

with dreamy wafts of red fruit, rosehip

a little spice the wine finishes bone dry

with lovely refreshing acidity. A perfect

wine for pretty much any moment.

porT phiLLip esTaTe saLasso rosé pinoT noir

rrP: $22Mornington Peninsulaportphillipestate.com.au

i remember, some time ago, hearing a

rock star accept a hall of Fame music

award by saying, “it takes a lot of effort

to look this casual”. This wine is a bit

like that; lots of care and attention

backstage to make a perfectly effortless

wine on stage. Behind the scenes

are super vineyards, careful varietal

selection and meticulous winemaking.

in the glass, the wine offers depth and

complexity all wrapped up in a lovely

salmon hue. The nose offers a hint of

spice and strawberry aromas, reminding

me of the lovely pink fuzz off newly made

jam. The palate is dry, savoury, textural

and delicious. which makes it sound a

lot simpler than it actually is, but this of

course, is what makes rosé special.

smellycheese.com.au TheSmellyCheeseShop @thesmellycheeseshop

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or visit smellycheeseclub.com.au

(all classes held at 25 Wright Street, Adelaide)

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While Champagne and other sparkling wines are often enjoyed to toast a special celebration, they are also very food friendly and especially cheese friendly. Whether it is Champagne from France, Cava from Spain, Sparkling from Australia or Prosecco from Italy, pairing cheese with bubbles is one of life’s pleasures. This session will give you a chance to enjoy some of the best sparkling wine with some of the finest cheeses from all over the world!

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Ever tried good Cheddar with pale ale? Some cheese experts contend that beer is more compatible with cheese than wine. Naturally beer connoisseurs agree and this two hour session will help you form your own opinion!

CLASS DATESFriday 28th March 6.30pm – 8.30pm

CHEESE AND WINE PAIRING$80 inc GST ($72 for members)

There is a natural affinity between cheese and wine. Just as every wine is unique, so is every cheese and matching them is a fascinating process. With the help of our wine expert, you will learn a few simple rules to help achieve the ultimate cheese and wine marriage.

CLASS DATESThursday 1st May 6.30pm – 8.30pm

48 The AdelAide Review March 2014

TRAVEL

Dubai never interested me as a travel

destination but the desert oasis of

building sites, mammoth towers,

mega malls and high-end fashion is

discovering (or more correctly discovering how to

promote) its culture through new arts precincts,

food tours and Emirati culture programs. The

regional port rapidly evolved into a city some 40

years ago and the cosmopolitan metropolis is one

of the world’s major flight stopovers. The most

populated city in the United Arab Emirates is of

more interest than just a brief overnight layover as it

is now a destination worth exploring and is growing

into its title as the centre of the arts in the UAE.

The key tourist attractions are still worth a

visit – the shopping (that includes the must-

visit world’s largest mall, The Dubai Mall

with its ice rink and aquarium) is brilliant,

as is the rapid 163-floor escalator ride up the

world’s tallest building, the Burj Khalifa for

breathtaking views of the city. (The best time to

visit is when evening breaks to view the Dubai

Fountain water display). Not everything worth

visiting in Dubai needs to come with a ‘world’s

biggest’ tag. Which brings us to the food.

Given that a lot of Middle East’s great food

destinations are located in war-torn or hard-to-visit

with its reputation as the las vegas of the Middle east minus the sin, it’s refreshing to discover there’s more to dubai than shopping and a quick escalator ride up the world’s tallest building.

by DaviD Knight

Discovering Dubai

countries and regions such as Iran, Palestine and

Lebanon, Frying Pan Adventures boss and guide

Arva believes the Old Town of Dubai is the easiest

way to experience authentic Middle Eastern food. An enthusiastic, charming and knowledgeable host,

Arva grew up in the Old Town and her five-hour

walking tour through her neighbourhood is more

than just a food fest – it is an all-senses degustation,

as the food blogger picks each destination’s (and

there are a heap of restaurants, corner shops and

cafes on this visit) highlight dish (or dishes) and

explains the history of each culinary choice as you

take in the colour and surrounds of Dubai’s most

authentic food district, which is off the tourist map.

Even if you’re in Dubai for just a night – book this in.

Along with traditional Arabic food, new restaurants

are popping up in recently completed hotels such

as the Conrad, which includes celebrity chef brands

such as the Marco Pierre White Grill and the brand

new Latin American themed supper club Izel.

Recently announced as the 2020 World

Expo’s host city, Dubai’s Modern Art Museum

and Opera House is scheduled to open five years

before Dubai hosts the expo and will be the hub

of the city’s art and culture with galleries and

design studios joining the opera house and art

museum. But you don’t have to wait until 2015

to explore exciting arts precincts in Dubai.

With a Los Angeles-like creative district feel,

Alserkal Avenue is a warehouse strip home to

more than 20 art galleries and design spaces.

Currently the foremost art district in Dubai,

Alserkal Avenue is home to brilliant modern

art galleries such as Grey Noise and Showcase

Gallery. With developments underway, the

district will become more impressive when

the expansion is completed later this year and

coupled with the Modern Art Museum and

Opera House precinct will make a powerful

arts double-header.

The ideal way to appreciate Emirati culture is by partaking in a traditional Emirati

brunch at the Sheikh Mohamed Centre for

Cultural Understanding. While you eat a

beautiful traditional brunch complete with Arabic coffee, your host pleasantly guides you

through Emirati and Islamic traditions with

grace and humour and is open to religious and

cultural questions (no matter how trivial or

uncomfortable) from her guests. Even if you

don’t agree with everything that the host says,

this is an eye-opening experience, which dispels

many visitors’ myths.

Phot

o: A

irsp

ectiv

Med

ia

» The writer was a guest of

emirates and dubai Tourism

definitelydubai.com

emirates.com/au

* emirates operates 84 flights per week to dubai

from Australia with economy Class fares starting

from $2,303. Passengers in all classes can enjoy

up to 1,600 channels on ice, emirates’ award-

winning inflight entertainment system, gourmet

food and wine and generous luggage allowances

including 30kg in economy and 40kg in business

Class. These fares are for travel between April 

1 and June 23 2014. For flight information and

bookings contact emirates on 1300 303 777, visit

your local travel agent or go to emirates.com/au.

Arva (left) from Frying Pan Adventures.

RUNDLE PLACE, GRENFELL ST, CITY AND 123 KING WILLIAM RD, HYDE PARK

WWW.COLINANDCO.COM.AU

FORMERLY JONES THE GROCER BUT ONLY THE NAME HAS CHANGED

DESIGN CONVERSATIONS

Leanne Amodeo interviews past South Australian Architecture Awards winners:

John Adam, Max Pritchard and Dimitty Andersen.

FORMD E S I G N • P L A N N I N G • I N N OVAT I O N

THE ADELAIDE REVIEW MARCH 2014

Ros

e Pa

rk R

esid

ence

. Dim

itty

Ande

rsen

Arc

hite

cts

50 The AdelAide Review March 2014

FORM

Design Conversations

In what ways do you incorporate

environmentally sustainable design

features into your residential

projects?Using sensible passive design is key to achieving

sustainable design, so orientation is important

and I try to get as much sun into the living areas

as possible, as well as having as many rooms

facing north as possible. I also use ventilation

for cooling and the winter sun for heating.

What has been your biggest

residential design challenge to date?Stringybark House in the Adelaide Hills was a big

challenge because of its vulnerability to fire. It was

built before legislation on building compliance

in fire zones was passed and so we didn’t have

any strong guidelines or rules. I had to design

three completely different houses before one was

accepted, so it was a long process and probably

a frustrating one for my clients.

What do you consider your most

innovative project to date?

That’s a hard one because you always tend to

think your last project is the most innovative,

but I think probably one of my very first ones is. It’s my own house, which I built 30 years ago

and it amazes me in hindsight that I was bold

enough to do it. I designed it like a bridge with

big seven-metre cantilevers and 15-metre spans

between columns. It was genuinely innovative

for its time, certainly in its structural system.

How closely do you work with your

clients during the design process?Pretty closely, but it’s not just a case of me

going away and coming up with a design. The

process can go on for months or even longer;

the client might be really happy with the first

designs and we both think we’re nearly there, but we’re not. Clients sometimes ask, ‘What

happens if we don’t like what you’re coming

up with?’ and I’ll answer, ‘We keep going until

you’re happy.’ I’ve never had a situation where

clients have told me it’s not working – we just

keep on going until we get it right.

maxpritchardarchitect.com.au

Past winners of South Australian Architecture Awards John Adam, Max Pritchard and dimitty Andersen offer insight

into their outstanding residential design practice.

by Leanne aModeo

anticipation is high this time of year

as entrants shortlisted in the South

Australian Architecture Awards

prepare their jury presentations.

In celebration of awards season we

speak with three past winners of the South

Australian Architecture Awards, John Adam,

Max Pritchard and Dimitty Andersen, about

designing homes for clients and the processes

involved.

Max PrItcHardIs a multi-awarded architect who

last year won the John S Chappel Award for Residential Architecture and

Architecture Award for Sustainable Architecture for Barossa Valley

Glass House.

Jury presentations are open to the public:

9am–4pm, Saturday, March 22 Nexus 10 hub, University

of Adelaide (cnr North Terrace and Pulteney Street)

voice.architecture.com.au

Phot

os: S

am N

oona

n

THE ADELAIDE REVIEW MARCH 2014 51ADELAIDEREVIEW.COM.AU

FORM

DIMITTY ANDERSENIs principal of Dimitty Andersen Architects

and last year she won an Architecture Award for Rose Park Residence.

What do you consider your most

innovative project to date?

It would have to be Rose Park Residence

because I think it’s an exemplary family home

in an inner suburban context. The project

involved a ground-level extension to an

existing cottage and a second level addition.

It’s innovative in the sense that the client

pushed us to develop the site quite densely

and they weren’t afraid of the architecture,

which is fantastic.

What is the biggest challenge you

face when designing a residential

extension or addition?I think the biggest challenge for us is that most

of our clients are building for the fi rst time

and they are entering into a process that is

unfamiliar to them. So we try to teach clients

about how we make decisions and the context

in which we make those decisions.

What is the most common request you

receive from residential clients?

The most common request would be to build something beautiful at a budget. Clients are

a lot more educated about design nowadays

through programs like Grand Designs, so their

expectations are very high. The cost of building

is still out of reach for a lot of people, so the

challenge is to marry a client’s expectations with

their budget. We look at designing good quality

spaces not huge spaces. Managing a budget is

very much about managing overall fl oor area

and being sensible about requirements and

how to rigorously use a space. We work with

the client to try and maximize the use of their

internal and external space to get the best value

out of it.

How early on in the design process do

you consider a project’s materiality?

The client directs the overall character of a

project. Early on in the concept stage we think

about composition and this gives direction

regarding material palette. Even in the

planning stages we’re deciding what kind of

character a project has and we’re rigorous about

maintaining this character right through to the

onsite development. The initial idea almost

has to be protected, so that what comes out

the other end looks as fresh as how it started.

dimitty.com

An Adelaide Fringe 2014 exhibition of new works featuring:

Giles bettison, greg johns, waldemar kolbusz and milton moon.Ends 30th March 2014

A P T O S C R U Z G A L L E R I E S

147 Mt Barker Road, Stir l ing South Austra l ia 5152 08 8370 9011 info@aptoscruz.com aptoscruz.com

Pictured below, left to right:After The Burning.. .Ceramic stil l l ife (folded vase forms), 2013. MILTON MOON.Lake Mungo Sculptures, 2006. GREG JOHNS. Red gum & jarrah. 240-2700H x 100W x 100mm D.Five Pm, 2013. WALDEMAR KOLDBUSZ. Oil on linen. 102 x 102cm.Vista 05 #2, 2005. GILES BET TISON. Glass, murrini technique. 265H x 175W x 65mm D.

52 THE ADELAIDE REVIEW MARCH 2014

FORM

What factors do you always consider

when devising a design concept?

The client and site are paramount, as is trying to keep within budget. I don’t have a philosophy

that our clients fi t into, rather I try to fi nd their

philosophy and then come up with something

that suits the way they want to live.

How early on in the design process do

you consider a project’s materiality?

Sometimes it’s really early on and other

times it takes a while, but the issue initially

is always based around lifestyle rather than

space. To begin with I get each client to fi ll

in a long questionnaire that covers practical

and aesthetic considerations so that we can

tailor a house that fi ts them. Then the fi rst few

designs following are really just explorations

to help get to know the client. I’m trying to

come up with an envelope for them to live in,

JOHN ADAM

Is a sole practitioner who won the Architecture Award for Small Project Architecture for Sticky Rice B&B last year.

rather than worrying about what the envelope

should be clad in.

Do you ever challenge the client’s

brief?Absolutely, all the time! It’s part of our

initial exploration phase. Not only do I learn

about the client, but clients also learn about

themselves, which allows me to present them

with alternatives to the way they think about

their space and life.

What do you consider your most

innovative project to date?Goolwa House is an interesting project

because the client came to us with one of

those old, 1980s beach houses. I proposed

keeping the outside of the building and

completely stripping the internals, creating

a ‘forest’ of existing poles with a huge hole

in the middle of the floor. An open plan with

Japanese-style dividers and a couple of little

extensions made it much more modern. The

clients got a very different house in the end

and they’re very happy with it. Creating

spaces that enrich people’s lives is what I

love more than anything.

johnadam.com.au

Love looking at houses?—Free Public Open

Here’s your chance to come and look inside SA’s best residential houses for 2014. Hear architects present their projects at the Jury Presentation Day and view an exhibition of all this year’s Awards entries.

Saturday 22 March 10:00am - 3:00pm Nexus 10 Hub, University of Adelaide Cnr North Terrace and Pulteney Street, AdelaideFor more information, go to voice.architecture.com.au

The exhibition will be open from Monday 17 March through to Friday 28 March 2014

THE ADELAIDE REVIEW MARCH 2014 53ADELAIDEREVIEW.COM.AU

FORM

Rustic Appeal Samantha Agostino’s emerging interior design practice is thriving thanks to a series of successful collaborations.

BY LEANNE AMODEO

When Samantha Agostino and

Gareth Brown established

Agostino and Brown four years

ago it was because they wanted

to have fun making furniture. The two designers

are doing just that and in the process their

designs have received quite a bit of attention.

The handcrafted timber pieces are stylishly

modern, with each collection characterised by

simple, clean lines. It’s an aesthetic that carries

over into Agostino’s own interior design practice,

which has been receiving just as much attention.

The Adelaide-based designer established

Samantha Agostino Interior Design at the same

time as Agostino and Brown, and like that

business her own practice is characterised by

strong collaboration. A list of past collaborators

reads like a who’s who of local design talent

and includes MASH Design, Folland Panozzo

Architects and Sarah Matthews. Agostino’s

most recent collaboration is with fellow

Adelaide-based interior designer Georgie

Shepherd on the Beerenberg Family Farm shop at Hahndorf.

Phot

os:

Dan

Sch

ultz

gollywow.com.au

This retail fi t out is Agostino’s biggest project

to date and she was happy to be collaborating

with someone she has worked with before.

“Georgie specialises in merchandising and

styling and I specialise in furniture, detailing

and joinery, so it played to our strengths,” says

Agostino. “We were able to balance every kind

of design challenge, which made it a much

quicker process.” The result is a polished

interior that has the visual appeal of a cosy,

warm country-style kitchen.

A decidedly rustic material palette is brought

to life with a mix of dark, light and blonde

timbers. These add a robust textural fl avour

to the overall fi t out and provide a strong yet

neutral backdrop for Beerenberg’s products.

Agostino and Shepherd have charmingly

furnished the space with a selection of items,

including an old wheelbarrow, glass bottles

fi lled with wild fl owers and raw wooden display

boxes. These add authenticity to the domestic-

scale setting and reinforce the brand’s high-

quality, ‘homemade’ identity.

Not only is the fi t out testament to Agostino and Shepherd’s successful collaboration it is

also a measure of their solid relationship with

the client. “I try to keep my connection with

clients really strong and bounce ideas off them

as much as possible,” says Agostino. “The best

outcome always comes about when you have

more people working together on a project.”

To this end she bought on board a trusted team

of builders and joiners who she has worked

with previously.

It should come as no surprise that Agostino’s

collaborative nature was nurtured at an early

stage. “When I studied interior architecture

at the University of South Australia I worked

for Khai Liew,” she explains. “I learned

about collaboration from him; he was always

working with different people who had a range

of different skills and talents.” Clearly the

experience left a strong impression on Agostino

and today her furniture business and interior

design practice each provide a resounding

argument for working collaboratively.

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54 The AdelAide Review March 2014

In what has been described by critics as a

blatant cash grab, the Weatherill Government has

proposed a $750 car park tax on all paying spaces

in the CBD from 2014-15. The tax is expected to

raise up to $30 million in its first year, will cost

more every year, and increase daily parking costs

by as much as 55 percent from day one.

That’s a tax on business, a tax on shoppers,

a tax on shift workers and city workers, a tax

on students and a tax on inner-city vibrancy.

Premier and Treasurer Jay Weatherill has

played the tax down suggesting that it will only

increase parking costs by 30 cents an hour. But

at $750 per space, a cost of 30 cents an hour

assumes that every bay in every car park is

occupied for more than six and a half hours

every day of the week.

With average weekday vacancy sitting at

about 13 percent and ballooning to 60 percent

at weekends, the actual cost to users will be

much higher. And this ignores the cost to

businesses, which will have their costs nearly

doubled by fringe benefits tax – a tax on a tax.

Adelaide’s restaurants, bars, markets, shops

and hotels offer visitors an experience that’s

unique to anything you can find in Melbourne

or Sydney – we don’t want parking prices to be

the point of comparison. Furthermore, there is

no evidence that car park taxes in other states

have achieved their stated aims. A similar tax in

Sydney was introduced at $200 per space and

Melbourne’s was introduced at $400 per space.

Not only does that make Adelaide’s $750 tax

look hefty by comparison, but it underlines the

fallacy that taxes like these reduce congestion.

Independent research tells us that central city

car park taxes do not reduce congestion, but do

raise quick and easy revenue for the Government.

Indeed, the razor gang set up by former Treasurer

Kevin Foley recommended this same car park

tax when it reported – as “a revenue measure”.

And it is an attractive revenue measure as it costs

virtually nothing in terms of infrastructure and

has little or no administrative burden.

The cost of the Adelaide car park tax, like

Melbourne and like Sydney, will be borne by those

who choose to shop, work and enjoy the activities in

our CBD. Furthermore, there is no assurance that

the tax won’t spread to the city fringes. Since 1992

Sydney’s car park tax has increased eight times and

has extended to the city’s suburbs.

Adelaide is not Sydney. Commuting by car is still the preferred option – for some it’s non-

negotiable. Our nurses, hospitality workers,

parents and elderly would be hard-pressed

to make do on public transport – particularly

when temperatures soar well above 30C.

The reality is – sometimes you need to take

the car. Taxing people parking in the CBD on the rationale that higher prices will change

commuter patterns is only relevant when there

is a viable alternative.

Until our public transport is efficient, extensive

and offering better services and timetables, many

South Australians have no option but to drive.

The Government has done much to increase

city vibrancy. Its revitalisation of the Riverbank

Precinct, its investment in the Adelaide Oval and

its support for laneway culture have all boosted

city activity. But what’s the point in a Fringe

ticket, a movie or a meal out if you can’t afford the

parking to enjoy it? What is the incentive for small

business to set up in the city if its employees and

clients are forced to battle high parking prices?

The arguments justifying the tax just don’t

stack up. If you oppose higher parking prices

you can like ‘Scrap The Tax’ on Facebook, or to

offer further support see Twitter @scrapthetax

and ‘Stop the introduction of the Adelaide Car

Parking Tax’ at change.org

FORM / OPINION

Scrap the TaxAdelaide is more than a city for special occasions.

by richard angove

When I talk to family and friends

visiting Adelaide during the Fringe

and Clipsal 500 they ask me if the

city is like this all year round.

Rather than lament the fact that Adelaide only outdoes itself in ‘Mad March’ I’m actually buoyed by

our city’s ability to not only draw a crowd but feed,

entertain and accommodate one with such vigour.

That’s why taxing people coming in to the

CBD to see a show, shop in our stores and eat

at our restaurants really frustrates me.

The Government’s proposed car park tax

is exactly the kind of thing the Festival State

can do without.

» richard angove is executive director,

Property council of australia (Sa division)

propertyoz.com.au

Contact Steve Lockwood slockwood@schiavello.com

telephone 08 8112 2300 schiavello.com/construction

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