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THE ADELAIDE

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THE ADELAIDE REVIEW

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ISSUE 396 FEBRUARY 2013

www.ADELAIDEreview.com.au

limbo Strut & Fret return with perhaps their most extravagant production to date, Limbo

Hugh Masekela The WOMAD-bound Afro jazz pioneer is one of the festival’s most treasured guests

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turner from the tate The first major Australian JMW Turner exhibition in 20 years explores the evolution of a master

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anything but secondary Richard Gunner writes about what you can create with alternative cuts of meat

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the adelaide REVIEW february 2013

FEATURE


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the adelaide REVIEW february 2013

THE ADELAIDE

review

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issue 396

Editor David Knight davidknight@adelaidereview.com.au Associate Editor Nina Bertok ninabertok@adelaidereview.com.au Art Director Sabas Renteria sabas@adelaidereview.com.au Graphic Design Michelle Kox michellekox@adelaidereview.com.au

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Suzanne Karagiannis suzanne@adelaidereview.com.au Production & Distribution Karen Cini karen@adelaidereview.com.au

koba

John McGrath reviews the Korean eatery located on a Grote St landmark

National Sales and Marketing Manager Tamrah Petruzzelli tamrah@adelaidereview.com.au Advertising Executives Tiffany Venning Franca Martino Michelle Pavelic advertising@adelaidereview.com.au Photographer Jonathan van der Knaap Contributors Leanne Amodeo David Ansett Annabelle Baker David Bradley Derek Crozier Helen Dinmore Alexander Downer David Faber Stephen Forbes

Charles Gent Richard Gunner Jane Howard Andrew Hunter Billy Huston Stephanie Johnston Steffen Lehmann Tony Lewis Jane Llewellyn Kris Lloyd

John McGrath John Neylon Nigel Randall Christopher Sanders Peter Singline John Spoehr Shirley Stott Despoja Graham Strahle Darren Thomas Paul Willis

42

The former rock star and now Balkan and Gypsy bandleader talks his diverse musical life

66

Managing Director Manuel Ortigosa General Manager Publishing & Editorial Luke Stegemann luke@adelaidereview.com.au Publisher The Adelaide Review Pty Ltd, Level 8, Franklin House 33 Franklin St Adelaide SA 5000 GPO Box 651, Adelaide SA 5001 P: (08) 7129 1060 F: (08) 8410 2822 adelaidereview.com.au

THE ADELAIDE

REVIEW ISSUE 396 FEBRUARY 2013

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

The Adelaide design couple continues to make waves across the globe

VISUAL ARTS

SCIENCE 16

BOOKS 53

FASHION 24

FOOD, WINE & COFFEE

PERFORMING ARTS

FORM 65

Limbo, story page 27

LIMBO Strut & Fret return with perhaps their most extravagant production to date, Limbo

HUGH MASEKELA

FEATURES 08

27

01 COVER

The WOMAD-bound Afro jazz pioneer is one of the festival’s most treasured guests

Circulation CAB Audited average monthly circulation: 28,648 (April 12 – March 12) 0815-5992 Print Post. Approved PPNo. 531610/007

’ Goran Bregovic

28

TURNER FROM THE TATE The first major Australian JMW Turner exhibition in 20 years explores the evolution of a master

46

ANYTHING BUT SECONDARY Richard Gunner writes about what you can create with the alternative cuts of meat

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46 55

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


the adelaide REVIEW FEBRuary 2013

feature

About four years ago I had to change how I worked because I brought my parents over, as they were about to go into a nursing home. I’m from Perth, and my parents came and I could no longer work in a full time CEO job because I was the only person they knew."

Judy Potter

OFF TOPIC Judy Potter

Off Topic and on the record, as we let South Australian identities talk about whatever they want... as long as its not their day job. Former SA Great CEO Judy Potter escapes the boardrooms (she is Chair of the Adelaide Fringe, Adelaide Botanic Gardens and State Herbarium and Central Market Authority) by hitting (literally) the gym.

I’ve exercised regularly throughout my life,” Potter explains. “I completed a marathon in my 30s, so for whatever reason I decided exercise was good for me and I don’t mean just physically, I think it’s a mental thing and something I could do with my time. As a single parent it was something that at 6 o’clock in the morning I could go to the gym and it was my time. My kids have been brought up with exercise and my daughter is now training for a marathon – she’s 31. “About four years ago I had to change how I worked because I brought my parents over, as they were about to go into a nursing home.

I’m from Perth, and my parents came and I could no longer work in a full time CEO job because I was the only person they knew. I had to let go of my ego dealing with that. I used to walk a lot to deal with the fact that… well I lost my sister, my sister died suddenly, and then I was solely responsible for these wonderful old people who I was also going to lose. I walked, which was meditative, and then I walked past this boxing studio and I thought, ‘okay, I’m going to go along to that’. It was fantastic. I was halfway through the class and trying to figure out whether I was going to throw up or not! Then things went on and Dad got ill and I was losing him and then my Mum… and, I would just go boxing, and sometimes the trainer would say to me, ‘you’re really punching this bag out’ and I’ll use it if I haven’t had a good day at work, it’s just really good on so many different levels. I still see exercise as my time. “I was boxing last night, and there was a woman there, and I’m the oldest woman there by god knows what, and she’s losing her father and I just said to her, ‘keep coming to boxing. I know there will be times when you don’t feel like coming but just keep coming because that anger is actually in you because you’re losing him, you’ll get it out on the bag’. It stops you from hitting the bottle!” Boxing also helps Potter’s working life as well as her competitive spirit. “When it comes to focus and your ability to adapt I think I perform a lot better if I’ve exercised. I mean, I have to exercise every day and I think the mind is so much clearer if I’m doing that otherwise I go through the day in a fog. “I started getting lessons to improve my technique and, I mean, I’m never going to do anything with it, it’s kick boxing, but the thing is when you’re doing it you go along thinking ‘I don’t feel well today’ or ‘I’m not going to do a hard workout’ but I can’t stop myself. If there’s someone next to me I want to do it better than they’re doing it. It’s just an inherent competitive nature. My friend Ian Hunter just got married and he had a bit of a groom’s party before the wedding and as a joke played Pass the Parcel, I mean, I just kind of wanted to win. Is that a bit sad? Most people don’t admit that, you see. I often get in to trouble because I actually say what I’m thinking. I mean you just want to win, don’t you – otherwise what’s the point of playing a game?”

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the adelaide REVIEW february 2013

FEATURES | society | opinion | business | science | letters

Coalition of the festivals The first economic impact statement from Festivals Adelaide, the grouping of Adelaide’s 10 major festivals, reveals that South Australia is still the festival state.

David Knight

A

t the beginning of the year an economic impact statement revealed that Adelaide’s 10 major festivals – WOMADelaide, Adelaide Festival, Adelaide Fringe, Cabaret Festival, Come Out, SALA, OzAsia, Adelaide International Guitar Festival, Adelaide Film Festival and Feast – attracted almost 64,000 visitors to South Australia last year while the festivals delivered $63 million to the state’s economy. Festivals Adelaide Executive Officer Tory McBride says the study shows that not only is Adelaide a cultural hub but that there is a “return on investment”. “While it is important to realise the economic impact,” McBride says, “the real value of Adelaide’s festivals is what they add to the prestige and reputation of Adelaide. The pride people have living here and what it means in terms of the options people have when they come here.” Festivals Adelaide was created last year and was modeled on a similar coalition in Edinburgh. McBride is the group’s inaugural Executive Officer, who had spent two decades in arts administrative roles in France. She says one of the major goals of the group is to increase the reputation of the festivals nationally and internationally. “The individual festivals retain their autonomy in terms of programming, obviously, but also in terms of marketing their individual festivals. This initiative of creating Festivals Adelaide is something reasonably impressive that all these festivals have said, ‘Let’s get together and sit down at the same table’. It’s a historical first, I might add, to use their collective voice to say to the world, ‘We are in

this place, which has a creative vitality that’s very extraordinary in the world’. There are a number of cities that have maybe one or two good festivals, Cannes has the Film Festival, a lot of cities have one or maybe two big festivals but Adelaide has got this vitality that goes all-year round. It’s really very extraordinary.” Festivals Adelaide Chair Ian Scobie (WOMADelaide Director) said the rationale behind Festivals Adelaide was to say collectively: “What does the group of festivals provide to the South Australian economy and the Adelaide community?” “I think it’s really interesting when you actually see that it does make such a significant impact,” Scobie said. “One’s always reading details of various industry impacts in the community and how positive they are. When you actually take something like these festivals and add them together, it’s a major economic driver. And that’s a great thing to have understood and acknowledged.” With Cabaret, OzAsia, SALA and Feast, Adelaide’s festivals aren’t limited to the Frantic February and Mad March season. “Adelaide’s become a little bit obsessed with Mad March,” Scobie says. “’It all happens in March and then there’s nothing’, which is a complete misnomer and I think this research also helps to illustrate that why, yes March is a busy period, but there are a lot of activities throughout the year. That’s one of the things I’d like to see that people are able to acknowledge that ‘it’s a manic four weeks a year and then there’s nothing on’ is really just a misnomer.” Another branch to Festivals Adelaide is its advisory committee featuring members of Adelaide’s business and tourism communities.

“This committee has people on it who are involved in business, not just here, but around the world,” McBride explains. “Some of them also have alliances that they run themselves, so this is what Festivals Adelaide is, it’s an alliance of the festivals. So, they know how it works, how to get it out there. Nigel McBride from Business SA, for example, he’s constantly promoting business in South Australia around the world, he said, ‘We’ll just add the festivals into our promotions’. Damien Kitto from the Adelaide Convention Bureau has said the same. There may not be any big bang announcements in the next 12 months but it’s about winning the hearts and minds and that takes time and low level constant reminders, ‘look what’s happening here’.” Festivals Adelaide commissioned a new research template to measure the economic, social and cultural impacts of Adelaide’s festivals, with all the festivals using the same template. This will include data from people who don’t attend the festivals to see what they think of Adelaide’s major arts events. “What you’ll find, and this has been done in other places, is that just about everybody, even those who don’t go to the festivals, are glad they’re here and they might go one day, you know?” McBride explains. “And it’d be a terrible pity if they weren’t because they are part of what makes living in Adelaide a great thing.” That research won’t be available until after the 2013 round of festivals finishes later this year.

festivalsadelaide.com.au

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the adelaide REVIEW FEBRuary 2013

9

opinion

MODERN TIMES Crime and ambivalence Andrew Hunter

S

t Petersburg, the setting for Dostoevsky’s Crime and Punishment, froze this northern winter. Adelaide by contrast melts in an increasingly stifling climate. The protagonist of Crime and Punishment, Raskolnikov, committed a murder that was premeditated, rational, and in his mind, justified. Like Pierre-Francois Lacenaire, the French poet who earlier in the 18th century committed a double murder and justified his actions as a protest against social injustice, the fictional Raskolnikov also saw higher purpose in his violent act. Crime and Punishment was a portrait of a tortured conscience. Much of the violence in Adelaide this summer has been spontaneous, irrational and unjustified. The popular perception that the level of violence is rising lacks nuance. The number of pre-meditated crimes, such as armed robbery and gun-related homicides, has fallen over the last decade whilst aggravated assault has risen. Violence now has an incomprehensively frivolous quality. It also wears a youthful face. The parliamentary year being finished, summer provides a window of opportunity to shift the national conversation from the economy to society. The senseless nature of violence in Australia merits deep consideration. It is an issue that should concern our national leaders. Only the crickets have been heard during this forgettable summer. Law enforcers asked to comment on disturbing but otherwise unconnected incidents grasp for a satisfactory explanation. According to a police officer quoted in the newspaper, the violence that took place in Adelaide over the New Year period was “generally alcohol-fuelled”. Whilst the alcohol-soaked character of social life in Australia ironically contributes to an embarrassing level of anti-social behaviour, it does not alone explain the violence of recent times. Do socio-economic circumstances alone offer a full explanation as to why more Australians are

being stabbed, glassed or otherwise assaulted? According to Associate Professor Thomas W. Nielsen of the University of Canberra, violence and other forms of anti-social behaviour is increasingly seen in young people across all socio-economic groupings and demographics. Decreasing or ineffective parental guidance has some impact on the behaviour of young Australians, but not all violent offenders are products of broken homes or uncaring parents. Australian courtrooms are not lacking for connected and caring parents who see their offspring in the dock and question what more they could have done for their children. Violence is an issue that implicates the whole of society. Our national leaders are unfortunately silent on the issue, but others are happy to fill the void. Echoes of America’s National Rifle Association (NRA) could be heard when Bob Katter was recently quoted in The Australian asserting that “there’s something dreadfully sick in a country that is so trusting of its neighbours that it disarms its own people”. The same article encapsulated Katter’s belief that gun control is an example of ‘do good… nannyism’. Certain legal and regulatory ‘intrusions’ are necessary to achieve a common good. Since John

Howard’s gun buyback program, the number of gun-related deaths has halved. Recent reports found that the one million firearms surrendered through the buyback program have effectively been replaced over the last decade by a similar number of imported guns, but this largely reflects a significant increase in population over the same period. As Andrew Leigh noted recently, per capita gun ownership has remained relatively stable over the past decade. In a statement made shortly after the Newtown massacre in the United States, the executive director of the NRA blamed the violent content in video games and in mainstream films. Whilst it is evidently in the NRA’s interests to decouple mass shootings and the lack of gun control, he made a fundamentally valid point about a tendency also common to Australia. Two decades ago, a study published in a book titled Big World, Small Screen; the Role of Television in American Society suggested that by the time they reach high school, American children would have seen 8,000 murders and 100,000 acts of violence on television. One imagines that these numbers would be comparable if the study had been conducted in Australia. Such images desensitise and also legitimise violence as a form

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of conflict resolution. Advances in technology now also allow for access to violent images through the internet and social media, as well as on increasingly realistic computer games. Over 3000 studies conducted around the world have made a clear connection between violent behaviour and exposure to on-screen violence. Are young Australians becoming desensitised to violence? According to the Australian Institute of Criminology, the number of recorded assaults over the past decade has risen considerably, and the rate of increase is significantly greater for children under 15 years of age. If the entertainment industry is unwilling limit the level of violence that children can now so easily access, exposure must be carefully monitored by parents. Should governments also act, in the common good? Perhaps it is not Dostoevsky who is able to confer a semblance of explanation but another Russian novelist, Alexandre Kuprin. Bruce Guthrie recently cited Kuprin’s words to explain the depth of the problem we now face. “The horror,” wrote Kuprin “is that there is no horror.” The senseless quality of violence in modern Australia should horrify. When it no longer shocks, the impetus for change is lost.

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the adelaide REVIEW february 2013

FEATURE

From paradise of dissent to paradise of diversity Appointed as South Australia’s adviser on international engagement last May, Sydneybased Tim Harcourt speaks to The Adelaide Review about his role and rebranding the state. Tim Harcourt

David Knight

W

ith a new South Australian brand about to be launched, Australian economist Tim Harcourt (aka The Airport Economist) thinks this is an exciting time for South Australia to have a conversation about how others perceive us and how South Australia perceives itself. “There’s been a lot of very impressive creative work and it’s great to see so many people in SA excited and wanting to make a contribution,” Harcourt says of the

rebranding. “Some of the entries I have seen from people all over the state were highly original and creative. I think people will be excited about what will be unveiled. And it will be the start of a discussion on brand and how we promote ourselves internationally.” W h e n t h e f o r m e r A u s t r a l i a n Tr a d e Commission (Austrade) Chief Economist, and the current J.W. Nevile Fellow in Economics at the University of New South Wales, was appointed to the part time role, Premier Jay Weatherill said the state had a clouded international image. “There was a lot of talk about a name change

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and how South Australia is confused with South Africa etc. In many ways this was a good way to start the conversation and have people thinking about the state’s brand and image. Actually South Australia (and Western Australia) are good state names really. Funnily enough, when I say I work at the University of New South Wales, some global media outlets think I am in Cardiff, Wales (with my accent!) and a Chinese TV station once said I was from University of New South Whales (and it’s my brother who is the marine biologist!).” Harcourt, who has visited 57 countries over the last five years, thinks South Australia has a solid overseas reputation. “We are good team players. We work well with Austrade (whilst other states sometimes put their state interests internationally ahead of the national interest). I think that is ultimately a better more sustainable strategy than being parochial and going for quick wins at the country’s expense. South Australians are not natural braggers, so we hold back a bit. But I would say we could be more confident (without crossing the line into being cocky). Adelaide doesn’t have tourist icons like the Sydney Opera House or Uluru or Kakadu but we are a very civilised society with a good quality of life. There’s no way we should try and be the biggest and brashest, but we can go for high quality and good value as a livable destination for work, rest and play.” Harcourt attended Unley High School before studying at the University of Adelaide, the University of Minnesota and Harvard.

While there is talk of South Australia’s brain drain, where our best and brightest move interstate or overseas, Harcourt doesn’t see this as a problem as it’s beneficial to have South Australians in high positions across the globe. Also, many expats return to Adelaide after gaining experience interstate or overseas. “Having a leading light at Oxford like Amanda Stranks, or Andrew Hough, a young scoop doing his bit in the British media, Andrew Grill, a leading entrepreneur in London, Andrew Glynn, who sets up agricultural projects in Indonesia, or Steve Baker, a major SA chef in Shanghai, builds great networks for others. Recently a young designer from Adelaide, Emma Kate Codrington, headed off to Paris and London, to seek some international experience and the Adelaide Londoners ‘Generation Expat’ have rallied around to make her welcome and help her find work. I think many of these stars will return home and they’ll bring great experience and skills with them to South Australia.” Even though Harcourt has lived and studied interstate and overseas, he always considered himself a South Australian. “I am both a statriot and a patriot. I am a proud Australian but I am also very proud of South Australia’s reformist past – votes for women, universal suffrage, conciliation and arbitration, state schools, the housing commission, Aboriginal rights, Dunstan’s social reforms, and what we have achieved more recently, particularly in economic development, education, social inclusion, creative capital and environmental issues.” And how can we bring more investment and skilled workers to South Australia? “I have always thought South Australia, which started as a ‘paradise of dissent’ could become a ‘paradise of diversity’. Migrants really make the state. Research I did shows that 50 percent of exporters and two-thirds of our entrepreneurs were born overseas. What a great talent pool to draw from! They bring international networks, create wealth, generate exports and create jobs for fellow immigrants and South Aussies alike. And the restaurants improve too – look at the amazing culinary strip by the Central Market! I also think Adelaide’s status as a University town – particularly with the number of overseas students living in the CBD – could be a source of future entrepreneurial talent.”

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the adelaide REVIEW FEBRuary 2013

opinion

Darren Thomas

Why South Australia needs a brand T&R Pastoral CEO Darren Thomas argues that a new brand will attract more investment to South Australia and entice more people to the state.

Darren Thomas

I

n my business at T&R Pastoral, I get the opportunity to spend time with the grassroots people of South Australia, as well as abroad, in the international community where we export our meat products to more than 80 countries. For example, just recently I was on Kangaroo Island talking to a local sheep farmer and then a week later found myself in a famous New York restaurant where, by sheer coincidence, some fantastic South Australian lamb was being served on a plate to guests. As a proud South Australian, I want to see more of our state being showcased on the world stage like this, but as a business person I also know that if products are left unbranded they can look like any similar products and easily be overlooked. SA is a wonderful state and has many opportunities to grow and prosper, but despite some of the exceptional things we offer it is clear we are still underrated interstate and relatively unknown overseas. Unfortunately, the fact of the matter is we lack a clear identity both within Australia and internationally where there is considerable ignorance even about where Adelaide and South Australia are located on the map! It’s time that we stood out on our own, strengthened our unique reputation and started forging a more prosperous future for our state. This is what ‘place branding’ is all about. The geographic equivalent of product branding like Apple, Coca-Cola or Google,

SA is a wonderful state and has many opportunities to grow and prosper, but despite some of the exceptional things we offer it is clear we are still underrated interstate and relatively unknown overseas." place branding defines what is special about a place – be it a country, state, region or neighbourhood – and provides a common understanding of its features, people, characteristics, values and beliefs. It is not just a logo, slogan or tag line. Through place branding, South Australia can distinguish itself from other states, not just in Australia but globally. Place branding will allow us to start influencing how others think about SA and, just as importantly, change the way we think about ourselves to help stimulate new levels of pride within our own community.

As a member of South Australia’s Economic Development Board and at the request of Premier Jay Weatherill, I’m excited to be leading the development of South Australia’s new brand which I believe is one of the most defining projects in the state’s recent history. Over recent months, it’s been inspiring to see so many marketing, communications and policy professionals from across government and the private sector join forces to develop a brand in partnership with local communities, industries and individuals who have provided outstanding ideas about how our state should be portrayed. I’m excited to say that the new state brand will be unveiled to South Australia and the world very shortly, which we think will truly establish the essence of South Australia, its people and potential. The new brand will shape awareness and understanding of who we are and what we stand for, and provide that all-important point of difference in the global marketplace. We believe the new brand will help us attract more investment and entice more people to come to South Australia to be educated, to work, to enjoy holidays and to live. It must be said that establishing an effective brand is no easy task. More cities and states are seeking to be recognised in an increasingly global environment, and equally it’s become more difficult to distinguish one city or state from another. But, for those places doing it properly, the benefits are huge in terms of greater international trade, new investment opportunities, higher levels of tourism and enhanced cultural pride. Currently, and it pains me to say this, I can understand why people from interstate or overseas choose somewhere else when considering where to invest, where to send their children to university, where to visit for a holiday, or where to migrate. It’s certainly not because South Australia is inferior in any way. On the contrary, my travels over the years have only reinforced my long-held views that our state is as amazing as any in terms of agriculture, education, tourism, mining, manufacturing, food, wine and the arts. What lets us down though is that other regions, including other Australian states, are much more visible and much more vocal than us, and therefore better known around the world. For this reason alone, I believe in and am a strong advocate of place branding and establishing a differentiating brand for South Australia that is commonly shared and understood by locals and visitors alike. I, for one, can’t wait for the brand to be revealed shortly and our state’s message crystalised so that I can start spreading it loudly and clearly on my travels, in my business dealings and in my everyday life. I urge you and all other South Australians to do the same. Together, I am confident we can build recognition of our state and improve global knowledge of who we are and what we can do – to the ultimate benefit of every South Australian.

Darren Thomas is a member of South Australia’s Economic Development Board and Chief Executive Officer of T&R Pastoral – Australia’s largest family-owned business. brandingsouthaustralia.sa.gov.au

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12

the adelaide REVIEW february 2013

opinion

Australia through Zeitgeist eyes

really don’t get a look in. Forty percent of the top ten fashion brands searched for are online offers; ASOS, The Iconic, Victoria’s Secret and General Pants. While online retailing still only accounts for around five percent of all retail spend in Australia, it is nevertheless a reminder that if you’re in the women’s fashion game there’s a compelling need to develop strategies to compete against online retailers. Most searched Australian athletes:

Peter Singline & David Ansett

E

Here are how some of the categories researched play out:

ach year Google publishes its Zeitgeist report, a summary of the mountains of data they collect based on the search behaviour of the ‘hooked-up and linked-in’ citizens of the digital world. Previously, we have had annual snapshots of the nation, utilizing traditional market research to conclude who we are, what we think, and what we do when the lights are on and when they’re off. But because you never ever seemed to be personally included in the survey, or your cynicism has you feeling that the people only really answer what they think they should say, rather than what they actually do or think, you are often left wondering if they were a true reflection of our nationhood, warts and all. But Google’s Zeitgeist is different. It is not asking individuals ‘what they search on the internet’; it is reporting on exactly what they do search. Given that a 2012 report by Swinburne Universities ARC Centre reports that 87 percent of Australians had used the internet in the past three months, it is truly representative of where our interests reside. Google’s report is filled with sparkling insights into the brands that genuinely capture our interest across a number of categories – even if they’re not the most aspirational of their peers.

OPEN THE

DOOR

Most searched car brands: • Toyota • Ford • Holden • Nissan • Honda

• Mazda • BMW • Hyundai • Subaru • Suzuki

• Stephanie Rice • Sally Pearson • Tomic Bernard • Lleyton Hewitt • James Magnussen

• Cadel Evans • Lauren Jackson • Lissel Jones • Anna Meares • Liz Cambage

At first glance the list of car brands makes a lot of sense with a reasonable correlation between online search and sales data. The interesting car brand here is BMW, the only European car on the list. The BMW brand sells on aspiration and has very strong ranking in online searches relative to the number of cars it sells.

Interesting by way of the potential for sponsorship and brand alignment these Australian athletes represent. With the exception of ‘bad boy Bernard’, an appearance on this list represents the widespread interest of a big chunk of the Australian population, providing a clear insight into which sporting star personal brands carry the most brand interest. Whilst it’s been an Olympic year, spotlighting our swimmers, what is more interesting is the focus on international sports and sportspeople and the lack of representation of athletes from the strongly dominant domestic sports of AFL, cricket and rugby.

Most searched fashion brands

Most searched food and beverage brands:

• ASOS • Forever New • Country Road • Witchery • The Iconic

• Victoria’s Secret • General Pants • Mimco • Portmans • Lorna Jane

As a snapshot of a category, this search data is strongly skewed towards women’s fashion. Men

• Pizza Hut • McDonalds • Coffee • Lite N Easy • Eagle Boys

• KFC • Dan Murphy’s • Subway • Dominos • Hungry Jacks

The prevalence of fast food chains suggests membership of this top 10 list may be skewed by a

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Most searched beer brands • XXXX • Carlton Draught • XXXX Gold • Skinny Blonde • Crown Lager

• Tooheys Extra Dry • Tooheys New • Victoria Bitter • Melbourne Bitter • Brisbane Bitter

When it comes to beer our search habits are strictly old school. With barely an imported or boutique beer to be found, the Zeitgeist list of most searched beer brands reads like a back porch beer fridge anywhere in suburban Australia. The dominance of two XXXX brands suggests either a very active digital media campaign, or an unfortunate overlap with searchers of the adult entertainment kind. As with any report of this nature, the interest is in the detail rather than the ability to draw any sweeping conclusion on what it all says about us as a nation. But like a good session of people watching, the delicious detail reveals a deeper glimpse of our friends, neighbours and fellow countrymen – a fascinating perspective that perhaps allows us to see a truer, sharper picture of ourselves.

Peter Singline and David Ansett are co-founders and directors of Truly Deeply, a Melbourne based brand strategy and design consultancy trulydeeply.com.au

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search for nearest store location and home delivery details. But beyond that we get some insight into a pecking order of interest in a number of brands that offers up some surprises. The non-delivery fast food brands still have a very strong showing, as does the Woolworths Ltd owned Dan Murphy’s as the only liquor brand on the list, demonstrating brand dominance in that category. Also of interest is the Pizza category which represents 30 percent of the top 10 searched brands – possibly skewed by the home delivery habits of pizza lovers. But what is most interesting is the dominance of Pizza Hut, a brand that’s been trying to reinvigorate itself and has the least number of stores of the big three with 270. Eagle Boys Pizza who come in at number five have around 300 stores, and Dominos who dominate the pizza landscape with more than 400 stores were the least searched brand of its peers – a result at odds with what their scale should provide.

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the adelaide REVIEW FEBRuary 2013

13

opinion

LETTER FROM EUROPE Alexander Downer

T

his summer my reading included a stunning new history of the causes of the First World War called The Sleepwalkers, written by the Cambridge based historian Christopher Clark. The book is a confronting reminder of how power politics and nationalist rivalries plunged the world into a war, which killed over 16 million people. At the same time, I was also struck by the current debate in Britain about its membership of the European Union. As someone who spent several years living in Brussels working at the Australian Mission to the EU, I’ve embraced with some passion the leitmotiv of the European

Anne & Gordon Samstag Museum of Art University of South Australia

Union: that Europeans will avoid repeating the horrors of the 20th century by restructuring the whole continent in a co-operative Union. At one level, the European project has been a stunning success. The French and Germans work hand in hand, day by day to manage harmoniously the affairs of the Continent. And for all the uncertainties of the euro in recent years – and the euro was a mistake – the ugly power rivalries and obsessive nationalism of Europe have been tamed. Then there is Britain. It decided not to join the European project at its birth in the 1950s. It was a huge mistake. In 1957 Britain was the most powerful nation in Europe. It could have moulded the new European institutions to its liking and been at the centre of Europe’s power structure. Instead, it chose to remain aloof with its traditional European policy of what was once called “glorious isolation”. Finally, in 1973, Britain joined the EU but by then all the rules and institutions had been set up by the French and Germans. As a new member, Britain just had to go along with

those rules. For the British, it was like a rugby player joining a soccer team. Since 1973, Britain has gained economically from the EU. It has increased its trade, helped with investment flows and the EU has been an important source of skilled and semi-skilled migrants. These days, London is the fifth largest French city in the world. Yet Britain has failed to make the most of its EU membership. It has marginalised itself too often allowing the French and the Germans to continue to dominate the EU agenda. Mind you, Britain was right to remain outside the euro. That was the one really valuable contribution Gordon Brown made to Britain. But it would have been far better if Britain had stopped the euro in the first place. And that’s the problem. France and Germany are making the policies and Britain allows them to do so. And only once the policies have been made does Britain object. No British prime minister has managed the EU relationship effectively since 1973. Even Margaret Thatcher struggled with Europe. Well now there’s a debate about whether Britain should remain in the EU at all. This is gaining considerable momentum. Opinion polls show more Britons would rather leave the EU than remain in it. There is an important political angle to this, which is causing an excruciating dilemma for the Prime Minister, David Cameron. The antiEU UK Independence Party is polling around 10 percent of the vote. Most of these voters are disillusioned Conservatives. They’re not just driven by EU issues; plenty of Conservative voters are unhappy with the performance of the government in general and UKIP is somewhere for them to park their votes rather than switch to the opposition Labour Party. So Conservatives from Cameron down want to win back these voters and they see Europe as a way of doing it. They believe – mistakenly – that downgrading still further Britain’s role in Europe will do the job. It won’t. Good economic management will kill off UKIP, not euro scepticism. The worry about Britain is that it is sleepwalking out of the EU. No one is e x p l a i n i n g t h e c a s e f o r B r i t a i n ’s E U

Britain has failed to make the most of its EU membership. It has marginalised itself too often allowing the French and the Germans to continue to dominate the EU agenda. Mind you, Britain was right to remain outside the euro. That was the one really valuable contribution Gordon Brown made to Britain."

membership. They should. If Britain leaves the EU it will be substantially weakened both politically and economically. Politically, Britain will lack the strength it gains from being part of a 27 member t r a n s n a t i o n a l o rg a n i s a t i o n , w h i c h i s , collectively, the biggest economy in the world. Economically, Britain risks that free access it has to a market of 500 million people as well as the benefits of a liberal investment zone. So leaving the EU would be suicidal for Britain. It would leave it cold and alone in North Western Europe. Even its closest ally, America, wouldn’t want to see that. As a great friend of Britain’s, we should be telling the British government it’s in Australia’s interests as well as their own they remain active in the EU, not withdraw into undignified isolation. Sure, the EU has its weaknesses. It has huge weaknesses. But Britain needs to work to rectify them. In 1914, Britain should have been trying to constrain Austria, Germany, Russia and France but instead just sat back and let war happen. They should learn the lessons of history.

27 February 2013 Simon Terrill Crowd Theory Adelaide

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Crowd Theory Adelaide is a project by Simon Terrill, for the Samstag Museum of Art. The event in February wil be followed by an exhibition in May 2013 the Samstag Museum. Photograph Simon Terrill

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21/1/13 3:33:59 PM


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the adelaide REVIEW february 2013

opinion

Free Event

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NoWar convenor Mike Khizam addressing the rally from Parliament House steps. Photo: Fernando M. Goncalves

The march of 100,000

February 16 marks the 10th anniversary of the NoWar demonstration against the then looming war against Iraq.

David Faber

T

WWW.THESPIRITFESTIVAL.COM

he demonstration brought an astonishing 10 percent of metropolitan Adelaide’s population onto the streets in a peaceful celebration of people power in 2003. The United States, British and Australian governments had already determined for war without parliamentary sanction. While the demonstration and others like it held around the world could not and did not stop the war, it did ensure that war could not be made in the name of the people, isolating the government politically and confirming opinion polling against the war. This was no mean political achievement. It all began on September 17, 2002 in a hired meeting room at the Pilgrim Church in Flinders Street. It was filled to capacity by about 30 representatives of peace, human rights and social justice activists called together by Irene Gale of the venerable Australian Peace Committee SA Inc to discuss opposition to the looming war on Iraq with the intention of planning joint actions. (Irene had begun her career in activism at the age of six holding a concert with her sisters to raise contributions for Republican democracy against fascism during the Spanish Civil War.) Among those represented were the Catholic and Uniting churches, the Medical Association for the Prevention of War, Socialist Alliance, the Communist Party, unions and other

organisations. The upshot was that those interested in organising a rally reconvened later that evening in the Greens Party office in Wright Street, giving birth to an unincorporated association of activists organised as a collective around the fulcrum of convenor Mike Khizam, who had a long record of activism around Middle East solidarity work, and secretary Jeanie Lucas who hailed from the women’s movement. This collective grew at its height to include some 80 people. By way of example of the many contributions made, one might recognise Greens Party secretary and activist of Vietnam War, Anne McMenamin, who was amongst other things our chief badge maker, Democrats exponent Ruth Russell, Socialist Alliance activist Renfrey Clarke, who offered sage counsel, Don Jarrett, who furnished useful links with the labour movement, Peter Combe, who sang for peace, Colin Mitchell who had a literary knack for getting letters into The Advertiser, webmaster Max Baumann, and Stephen Darley who had been active in the peace movement in the 80s. I was the historian of the movement and contributed to its output of literature. The collective approach mobilised enthusiasm for direct democracy at the price of sometimes laboured decision making. The interaction of extrovert personalities sometimes frayed nerves. But progressively larger rallies were held at least monthly as war psychology ramped up to the eve of hostilities in February.

By Friday the 14th Mike and Jeanie were in receipt of so many incoming inquiries that they estimated 25,000 would attend the Sunday rally. The police expected 15,000. On the day, as the organisers foregathered to marshal the rally, we had no idea that the public transport system was straining to deliver unprecedented numbers to Victoria Square. When the head of the march arrived at Parliament House steps, Mike addressed the alienation and disenchantment of the liberal democratic citizen, telling the multitude, “Look around you. You are not alone.” Magistrate Brian Deegan in the name of his son Josh (lost in an undeclared war on terrorism) voiced a sense of the government’s cynical betrayal of the victims of Bali. Ruth Russell announced she would be going to Baghdad as a Human Shield. We do not remember the facts of history for the sake of it. The important thing is that the legacy of the march lives on in the memory of the people as an example of what can be achieved together when the moment is ripe and the initiative is seized. The people can and will march again, and be active in a myriad of other ways which can be sustained over time. All that is necessary is courage, intelligence and imagination, which are there amongst the people to be tapped. Nonetheless some of the problems which faced us in 2003 remain. A Prime Minister can still take the country to war on his or her own cognisance, without a majority vote of a joint sitting of both Houses of the Commonwealth Parliament. Iraq was bombed back to the stone age by shock and awe tactics, and a low grade civil war only occasionally reported in the back pages of our mainstream press still continues there with democracy having failed to take root at gunpoint. Also remaining with us, despite a change of government, is the risk of war with Iran. There is work which remains to be done.

Dr David Faber is a labour historian and Visiting Research Fellow in the School of Economics at the University of Adelaide. He acts as historian for the Australian Friends of Palestine


the adelaide REVIEW FEBRuary 2013

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business / finance


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the adelaide REVIEW february 2013

science

Science everywhere

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

Paul Willis

I

’m sitting at my desk thinking through what I’m about to write – something about how science is all around us – and my attention is caught by the small bowl of mixed nuts that I’m working my way through as a snack. Where’s the science in that you may ask? Well, where do I start? Being an historical biologist, I can’t look at any living or once-living organism without trying to place it in my understanding of the greater tree of life, its evolutionary history – how it got to be here. Now my knowledge of plants is very limited but I see a variety of fruits from angiosperms – the group of flowering plants that started life towards the end of the reign of the dinosaurs. My snack has its origins more than 65 million years ago. And what are seeds and nuts? They are the energy stores and genetic library for the creation of a new organism. Packed in that little case (most of which has all been removed in my bowl of nuts) is all the energy that the new plant needs to grow for the first few weeks of life – a period of time without any other energy before it develops its first green parts and begins to photosynthesise. My snack is a bowl full of baby plant batteries. They’re also more than something of benefit to the plant in each nut. Many groups of plants produce seeds with larger stores of energy than they actually need to nourish the embryonic plant within. This extra bounty attracts a variety of animals that then take the seeds (often in their gut) and distribute them across the landscape – a co-evolutionary relationship that benefits both the plant and animal – an evolutionary win-win. We humans have co-opted this tendency for plants to over-produce stores of energy in their seeds and selectively developed even more succulent and abundant seeds. In most cases this artificial selection process goes back thousands of years and has resulted in seeds and nuts much larger than those of their wild ancestors. While this process

of selection and breeding has only recently been codified into agricultural science, it was science all along – we just didn’t know that we were doing it. And I could go on unravelling more science from my bowl of nuts. The physics of their colour, the mathematics of their shape, the chemistry of their contents, the applied technologies required to harvest them, package them and deliver them to the shop that I bought them from this morning. Of course science is not restricted to my bowl of nuts. There is science behind every object and process that we come into contact with every moment of our lives. Science is what we understand about the world around us, how it all came about and how we can use it to our advantage and the benefit of others. There’s a famous passage in one of the autobiographical books by physicist Richard Feynman where an artist friend of his holds up a flower and says: “Isn’t it beautiful?” Feynman agrees and then the artist says: “I, as an artist, can see how beautiful a flower is. But you, as a scientist, take it all apart and it becomes dull.” That’s a red rag to a bull like Feynman who responded that, as a scientist, he can still appreciate the aesthetic beauty of the flower just as well as the artist but his knowledge of science only adds to his appreciation of that beauty. A knowledge of science can reveal in a single flower the deeply hidden secrets of the history of life and the nature of matter. How extraordinarily beautiful is that? And when it comes to communicating science, I’ve often used the corrupted axiom that, “Don’t tell them it’s science and they’ll eat it by the box full”. Many people are either scared or turned off by labels of science so it’s best not to scare the horses. Here at RiAus we often hide the science within our offerings only to reveal it once we have the audience’s attention. We put on art exhibitions in our exhibition space that attract many visitors for the visual splendour but there are messages from science within. At the

The Science Exchange, 55 Exchange Pl Adelaide Bookings: riaus.org.au | t: 7120 8600

Carnevale - Renaissance Science Saturday, February 9, 12.30pm – Science and art in the Renaissance, and 5.30pm – How Galileo changed the worlds of art and science Adelaide Showground Rose Terrace, Wayville Free with entry to Carnevale

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Fringe Opening Night Friday, February 15, 5-11pm

moment we have Illuminations, where artist Andrew Baird reveals the science behind the people in his portraits. During Fringe we have a number of events that are straight out comedy but with a twist of science such as a walk through the mixed up mind of comedian James Colley or a trio of thinking funny guys delivering Peer Revue. We even have rock and roll science! Ologism is a rock band specialising in the wonders of science.  Science  as  entertainment and science in entertainment. Life is richer with science because you more fully appreciate the world in which you live. Here at RiAus, we’re all about that journey of discovery. The history of life, the wonders of the universe – it’s all there in a bowl of nuts if you know where to look.

Dr Paul Willis is the Director of RiAus

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Fringe @ The Science Exchange Friday, February 15 – Saturday, March 9 The Science Exchange 55 Exchange Place, Adelaide

Discover some amazing science comedy from Peer Revue; James Colley (vs His Own Stupid Brain); and Seaton and Jazz (Where, Why, Where? & Earth: May Contain Traces of Human). Music and science will combine with rock performances by Ologism; and a showcase of amazing soundscapes from Sacred Resonance. Includes Andrew Baird’s Illuminations.

Illuminations by Andrew Baird Friday, February 15 – Friday, April 12, 10am5pm weekdays (and during Fringe shows) The Science Exchange 55 Exchange Place, Adelaide

Andrew Baird’s collection of portraits is a field study in the community of scientists. These unsung heroes, who work for our common good, are shown with illuminated depictions of their work.

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RiAus at The Science Exchange, Exchange Place, Adelaide Feb 2013.indd 1

10/01/13 5:09 PM


the adelaide REVIEW FEBRuary 2013

17

business / finance

Lucky country for some

slowing economy. We shouldn’t make it harder than it already is for them by depriving them of the income they need to avoid an impoverished existence. Boosting income support in Australia is not just the right and decent thing to do; it will have a stimulatory effect on the Australian economy. Cycling Saga Continues

A ‘newstart’ is needed on income support in Australia, as the unemployment rate and the Aussie dollar are set to rise.

John Spoehr

C

ould you live on $35 per day and should we expect others to? Thousands do and many more are set to over the next 12 months as unemployment rises, driven by global instability and the high Australian dollar. For the vast majority of Australians, unemployment and underemployment are an involuntary experience. Many have few alternatives available to them while others find the jobs they are looking for. Personal support and further education and training help many. Whatever their circumstances all Australians deserve to live decent lives. The foundation for this is a fair income support system – one that is linked to a much more pragmatic view about cost of living in the 21st century. The meagre Newstart allowance of $245 per week is not only out of step with what it costs to live a decent life in Australia, it entrenches poverty. Average weekly earnings in Australia are around five times greater while the poverty line (inclusive of housing costs) for a family of four is around $880 per week. It is time that it was increased significantly to lift rather than dampen the spirits of those who are forced to endure difficult times unemployed and have responsibility caring for others. Australia

should aspire to be a nation that measures its success by the wellbeing of all who live in it, not just the success of those who are privileged. We must provide much greater support to those who are least advantaged, those who are the victims of workplace closures, layoffs and restructuring. We do nothing to dignify the lives of others by offering them allowances that fail to alleviate hardship and lift them out of poverty. We do no favours to the economy by dampening the purchasing power of Australian income support recipients. The opposite is true. As cost of living pressures bite further into low income household budgets, those households will spend less in shops on food and clothes, placing further pressure on the retail sector in Australia and increasing demand on non-government emergency assistance providers (funded by government). Low income households tend to consume more locally produced goods and services than higher income earners, generating positive balance of payments pressures at a time when we need it. If the Australian economy wavers in 2013, which it may well do in the face of sustained global instability, then these pressures will intensify. More Australians will be dependent

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on income support, further dampening domestic consumption. A vicious cycle of self-reinforcing decline will result if the Australian and State governments fail to bridge the investment gap. The Federal Government did this pretty well on the eve of the Global Financial Crisis Mark 1. It put cash in the hands of consumers and it embarked on a major infrastructure investment program. While some of its programs could have been better managed the net effect was positive – Australia dodged the recessionary bullet. This time around government investment to stimulate demand for goods and services should be targeted at low-income households. It should increase income support payments at the same time as boost employment opportunities in the education, health and aged care sectors. The need for modernisation of these is great and the workforce growth trajectory particularly high in the health and aged care sectors. The time has come to increase the Newstart, Abstudy and Youth Allowance rates in Australia to bring them into line with the realities of cost of living pressures and to provide a decent standard of living to people while they study and search for work. Despite their credentials many people will continue to find it difficult to find work in a

You might remember a personal story I wrote at the end of last year about an accident I had riding on the Linear Park. The good news is that after 12 months I have regained nearly all the movement in my arm. A nasty consequence of a broken elbow was shoulder bursitis, an infliction more painful than the five fractures. The most frustrating part of the story has been the failure of both the rider to come forward and the City of West Torrens to recognise its responsibility to provide a safe environment for riders – the underpass has claimed plenty of victims over the years it seems and is a nightmare for many riders that approach it. After trying in vain to get the Council to do something about re-engineering the black-spot I was forced to explore legal remedies. The response from the Council has been underwhelming even though they admitted to me that the black-spot is a problem and I have evidence of a previous accident at the site, which they have failed to act on. So what now? It is easy to see why most people give up the fight. The lawyers advising me have been great but the bottom line is that more proof is needed to demonstrate negligence and this doesn’t come without cost. There is also considerable uncertainty about whether the investment would make a difference. I might take the gamble but most people can’t afford to – another reminder how important your income is to the pursuit of justice. Time to ratchet up the pressure to see what happens. Stay tuned.

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

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18

the adelaide REVIEW february 2013

FEATURE

On the Abolition of All Political Parties

Simone Weil in Spain, 1936.

Before she died at the age of only 34 in 1943, French philosopher Simone Weil left behind an intense body of work around Christian philosophy, mysticism and political activism. One of her most famous essays has been newly translated into English by renowned essayist and critic Simon Leys.

Simone Weil

W

hen someone joins a party, it is usually because he has perceived, in the activities and propaganda of this party, a number of things that appeared to him just and good. Still, he has probably never studied the position of the party on all the problems of public life. When joining the party, he therefore also endorses a number of positions which he does not know. In fact, he submits his thinking to the authority of the party. As, later on, little by little, he begins to learn

these positions, he will accept them without further examination. This replicates exactly the situation of whoever joins the Catholic orthodoxy along the lines of Saint Thomas. If a man were to say, as he applied for his party membership card, ‘I agree with the party on this and that question; I have not yet studied its other positions and thus I entirely reserve my opinion, pending further information,’ he would probably be advised to come back at a later date. In fact – and with very few exceptions – when a man joins a party, he submissively adopts a mental attitude which he will express later on with words such as, ‘As a monarchist, as a

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Socialist, I think that …’ It is so comfortable! It amounts to having no thoughts at all. Nothing is more comfortable than not having to think. As regards the third characteristic of political parties – that they are machines to generate collective passions – this is so spectacularly evident that it scarcely needs further demonstration. Collective passion is the only source of energy at the disposal of parties with which to make propaganda and to exert pressure upon the soul of every member. One recognises that the partisan spirit makes people blind, makes them deaf to justice, pushes even decent men cruelly to persecute innocent targets. One recognises it, and yet nobody suggests getting rid of the organisations that generate such evils. Intoxicating drugs are prohibited. Some people are nevertheless addicted to them. But there would be many more addicts if the state were to organise the sale of opium and cocaine in all tobacconists, accompanied by advertising posters to encourage consumption. ////////////////////// In conclusion: the institution of political parties appears to be an almost unmixed evil. They are bad in principle, and in practice their impact is noxious. The abolition of parties would prove almost wholly beneficial. It would be a highly legitimate initiative in principle, and in practice could only have a good effect. At elections, candidates would tell voters not, ‘I wear such and such a label’ – which tells the public nearly nothing as regards their actual position on actual issues – but rather, ‘My views are such and such on such and such important problems.’

Elected politicians would associate and disassociate following the natural and changing flow of affinities. I may very well agree with Mr A on the question of colonialism, yet disagree with him on the issue of agrarian ownership, and my relations with Mr B may be the exact reverse. The artificial crystallisation into political parties coincides so little with genuine affinities that a member of parliament will often find himself disagreeing with a colleague from within his own party, and in complete agreement with a politician from another party. How many times, in Germany in 1932, might a Communist and a Nazi conversing in the street have been struck by a sort of mental vertigo on discovering that they were in complete agreement on all issues! Outside parliament, intellectual circles would naturally form around journals of political ideas. These circles should remain fluid. This fluidity is the hallmark of a circle based on natural affinities; it distinguishes a circle from a party and prevents it from exerting a noxious influence. When one cultivates friendly relations with the director of a certain journal and with its regular contributors, when one occasionally writes for it, one can say that one is in touch with this journal and its circle, but one is not aware of being part of it; there is no clear boundary between inside and outside. Further away, there are those who read the journal and happen to know one or two of its contributors. Further again, there are regular readers who deriveinspiration from the journal. Further still, there are occasional readers. Yet none would ever think or say, ‘As a person related to such journal, I do think that …’ At election time, if contributors to a journal are political candidates, it should be forbidden for them to invoke their connection with the journal, and it


the adelaide REVIEW FEBRuary 2013

19

FEATURE should be forbidden for the journal to endorse their candidacy, to support it directly or indirectly, or even to mention it. Any ‘Association of the friends’ of this sort of journal should be forbidden. If any journal were ever to prevent its contributors from writing for other publications, it should be forced to close. All this would require a complete set of press regulations, making it impossible for dishonourable publications to carry on with their activity, since none would wish to be associated with them. Whenever a circle of ideas and debate would be tempted to crystallise and create a formal membership, the attempt should be repressed by law and punished. Naturally, clandestine parties might appear. It would not be honourable to join them. The members of these underground parties would no longer be able to turn the enslavement of their minds into a public show. They would not be allowed to make any propaganda for their party. The party would have no chance of keeping them prisoner of a tight web of interests, passions and obligations. Whenever a law is impartial and fair, and is based upon a clear view of the public interest, easily grasped by everyone, it always succeeds in weakening what it forbids. The penalties that are attached to infringements scarcely need be applied: the mere existence of the law is itself enough to neutralise its target. This intrinsic prestige of the law is a reality of public life which has been too long forgotten and ought to be revived and made good use of. The existence of clandestine parties should not cause significant harm – especially compared with the disastrous effects of the activities of legal parties.

Generally speaking, a careful examination reveals no inconveniences that would result from the abolition of political parties. Strange paradox: measures like this, which present no inconvenience, are also the least likely to be adopted. People think, if it is so simple, why was it not done long ago? And yet, most often, great things are easy and simple. This particular measure would exert a healthy, cleansing influence well beyond the domain of public affairs, for the party spirit has infected everything. The institutions that regulate the public life of a country always influence the general mentality – such is the prestige of power. People have progressively developed the habit of thinking, in all domains, only in terms of being ‘in favour of’ or ‘against’ any opinion, and afterwards they seek arguments to support one of these two options. This is an exact transposition of the party spirit. Just as within political parties, there are some democratically minded people who accept a plurality of parties, similarly, in the realm of opinion, there are broad-minded people willing to acknowledge the value of opinions with which they disagree. They have completely lost the concept of true and false. Others, having taken a position in favour of a certain opinion, refuse to examine any dissenting view. This is a transposition of the totalitarian spirit. When Einstein visited France, all the people who more or less belonged to the intellectual circles, including other scientists, divided themselves into two camps: for Einstein or against him. Any new scientific idea finds in the scientific world supporters and enemies – both sides inflamed to a deplorable

degree with the partisan spirit. The intellectual world is permanently full of trends and factions, in various stages of crystallisation. In art and literature, this phenomenon is even more prevalent. Cubism and Surrealism were each a sort of party. Some people were Gidian and some Maurrassian. To achieve celebrity, it is useful to be surrounded by a gang of admirers, all possessed by the partisan spirit. In the same fashion, there was no great difference between being devoted to a party or being devoted to a church – or being devoted to anti-religion. One was in favour of, or against, belief in God, for or against Christianity, and so on. When talking about religion, the point was even reached where one spoke of ‘militants.’ Even in school, one can think of no better way to stimulate the minds of children than to invite them to take sides – for or against. They are presented with a sentence from a great author and asked, ‘Do you agree, yes or no? Develop your arguments.’ At examination time, the poor wretches, having only three hours to write their dissertations, cannot, at the start, spare more than five minutes to decide whether they agree or not. And yet it would have been so easy to tell them, ‘Meditate on this text, and then express the ideas that come to your mind.’ Nearly everywhere – often even when dealing with purely technical problems – instead of thinking, one merely takes sides: for or against. Such a choice replaces the activity of the mind. This is an intellectual leprosy; it originated in the political world and then spread through the land, contaminating all forms of thinking. This leprosy is killing us; it is doubtful whether

it can be cured without first starting with the abolition of all political parties.

This is an extract from On the Abolition of All Political Parties by Simone Weil, translated by Simon Leys, published this month by Black Inc., $16.99. blackincbooks.com

TOUR DE LEGACY COMMUNITY RIDE CRAFERS TO ADELAIDE Ride from Crafers to Victoria Square with a group of elite road riders who will be completing an 8 day odyssey from Melbourne to Adelaide in aid of Legacy. His Excellency the Governor of SA will lead the Community Ride.

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the adelaide REVIEW february 2013

FEATURE

Seeing through wood: the tree of life Stephen Forbes

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cross diverse environments trees achieve fantastic feats of persistence in the face of tidal and freshwater inundation, drought, fire and cold. In benign situations trees, supported by wood, reach massive proportions and are the largest living creatures on Earth. Wood, if carefully stewarded and harvested, is renewable and provides an enduring storehouse of accessible solar energy as well as a material of unrivalled diversity in terms of strength, durability, malleability, resilience and buoyancy. As a result of these remarkable qualities wood has always been prized for a myriad of purposes ranging from implements and weapons, to dyes and poisons and to structures and fuel. The achievement of trees in harvesting sunlight, water and carbon dioxide through photosynthesis is critical to life on Earth. As well as producing oxygen for us to breathe, the capture of carbon in wood is a critical element of climate security. The 2000 Global Forests Resources Assessment estimated the Earth’s forests contained 422 billion tonnes of wood. Wood represents about half of the total carbon stored in forests – taken together with the leaves and branch-wood, leaf litter and carbon in soil the total carbon stock of forests is in the order of 670 billion tonnes and is greater than the total amount of carbon in the atmosphere. Trees and wood represent key elements of our relationship with environment generally and place specifically. The peculiar challenges of the stewardship and cultivation for trees that might take generations to mature and the strategic importance of wood sees trees as central to many of our historic and contemporary narratives.

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Fiona Hall, Grove 2009. A commissioned artwork by the Board of the Botanic Gardens & State Herbarium for the Santos Museum of Economic Botany. Photo: Grant Hancock

The expressions of wood and our relationship with this embodiment of harvested sunlight provide the basis for an exhibition opening at the JamFactory and the Santos Museum of Economic Botany at the Adelaide Botanic Garden on Friday, February 15. WOOD: art design architecture, co-curated by Brian Parkes and Elliat Rich, is an incredibly important (and bizarrely rare) opportunity to celebrate and explore the significance and beauty of wood and our relationship with forests, trees and wood. WOOD: art design architecture includes the work of 28 contemporary artists, designers and architects whose work addresses wood respectfully to embrace a broad range of perspectives of wood’s beauty, utility, diversity and significance. Brian and Elliat have effectively navigated an immensely diverse and complex terrain ranging across diverse vistas for the utilisation of wood in buildings, furniture, sculpture and objects to our relationship with woodlands and forests, trees and wood. As a botanist I’m immediately engaged by the botanical diversity on view. The wood explored extends across plantation species such as hoop pine and eucalypts, recycled timbers including kauri and presumably huon pine, salvaged timbers such as Cupressus macrocarpa from farm windbreaks and driftwood, and incense cedar (Calocedrus decurrens) in the form of pencils as the substrate

for Lionel Bawden’s requiem (spirit of the beehive). Peter Walker’s hollow surfboard of Paulownia wood with a marine-ply internal skeleton decorated with Gerry Wedd’s hand-painted cherry-pink imagery of the wood anatomy of the Paulownia also explores the nature of wood as a material. Brian and Elliat haven’t shied away from significant elements in this diverse and complex terrain because they don’t fit neatly into a display space. For example, Brian Hooper and m3architecture’s Tree of Knowledge Memorial at Barcaldine in Queensland finds a place in WOOD: art design architecture as, ‘… equal parts landscape architecture, public art and political shrine’. The Ghost Gum (botanically this is Corymbia aparrerinja, formerly known as Eucalyptus papuana var. aparrerinja) that shaded the beginnings of the Australian Labor Party during the Great Shearer’s Strike of 1891 was killed by vandals in 2006. Hooper and m3architecture’s subsequent commission reflects the importance of the so-called Tree of Knowledge. The evocation of other places is also apparent in Gary Warner’s WoodWorked that provides the soundscape for the exhibition. The partnership between the JamFactory and the Botanic Gardens of Adelaide through the inclusion of exhibits in the Santos Museum of Economic Botany continues Brian and Elliat’s consummate navigation. In the 1860s and 70s the wood collection at the Adelaide Botanic Garden was so large and

important to the Garden that even when the new Museum of Economic Botany was constructed in 1879 the Rustic Temple remained a timber museum until 1894. The timber collection now resides in the Santos Museum of Economic Botany flanking Fiona Hall’s working forest – Grove, with the Museum itself surrounded by the Garden’s rich tree collection. Brian and Elliat have also co-edited a beautifully designed and accessible catalogue that explores both the exhibits and the exhibition’s themes in text and images. WOOD: art design architecture has been supported by Forests & Wood Products Australia through their Wood. NaturallyBetter.™ campaign. The exhibition will also tour to Mount Gambier and nationally through the Commonwealth Government’s Contemporary Touring Initiative.

WOOD: art design architecture JamFactory GalleryOne and Santos Museum of Economic Botany Friday, February 15 to Sunday, April 7 Stephen Forbes is the Director of the Botanic Gardens of Adelaide

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the adelaide REVIEW FEBRuary 2013

21

FEATURE

THIRD AGE

All tragic to the moon Shirley Stott Despoja

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nother Australia Day has come and gone. Picture poor old Shirley, sitting like patience on a monument, smiling at her disappointment. No republic, no good national anthem, no national flag that represents us properly. Life’s disappointments in one month’s hit. I had also believed, when young, that religion would be a niche interest by my life’s end. How wrong could a girl be? But I don’t think I am wrong about a republic. Many Australians share that disappointment. If it has to entail a referendum and agreement by major parties to sponsor it, and becomes the subject of the sort of extreme political abuse we have seen in and out of the parliament recently, we’ve got Buckley’s. Don’t even go there. You’ll just get the tosh about,  “if it ain’t broke, don’t fix it”  - a foreign expression, to add insult to injury, to insist on Australia’s being tethered to a monarchy. The national flag for me will always be the beautiful blue and white flag of Eureka. Not much hope all will adopt it.  Any change to the flag immediately brings up “Men (and women, if they remember) fought and died under our present flag”. End of conversation. It is too touchy a subject while there are still young people being sent to fight and sometimes die “for their country” overseas.

Too hard, the flag. Another lifetime perhaps. Though Canada did it. And now PNG is talking about it. So that leaves the anthem, or national song, as I prefer to call it, since anthem is usually an address or appeal to God. God is always being badgered to defend or save or something. Or God-Understood called upon to advance us… But who says that has to remain the case?  Let’s talk about a song to be played to represent our nation. Not only on the podium, but when we feel our hearts stirred by our ancient, lovely, threatened land. Surely no one is going to go to the barricades for the present dirge about girt. For me and many other people, the real national song exists, and is our national song simply because it is what we sing when we are most moved by love of country, (and yes, it is sung by soldiers); whose first notes always find spines to send a shiver up, whose atmosphere is mysterious, whose subject… is different. But it speaks volumes about our land. As a national song it will be esoteric, enigmatic. Not militaristic or belligerent. God, as they say, forbid that. We should have the confidence as a nation by now to make Waltzing Matilda our national song for all occasions, to hold our head high and embrace the folk tradition of our music. Tough call. I fear it’s the swaggie that most upsets urban elites, though Dennis O’Keeffe, in a 2012 book, Waltzing Matilda: The Secret History of Australia’s Favourite Song (Allen and Unwin), points out that swagman, when

the lyrics were written by Banjo Paterson, and the music adapted by Christina Macpherson, meant an itinerant rural worker. A matilda was the blanket swaggies carried. Waltzing Matilda is much more than ‘a simple song about a petty thief stealing a sheep’. Then look at the alternative. There is one poem with one phrase that always pulls me up sharp and makes me think of my feeling about my country. It is a cry, almost a passionate wail: “Core of my heart, my country.” Dorothea Mackellar was a good sort. In what is known now as I Love a Sunburnt Country, she really set out her spiritual feelings about Australia. ‘A stark white ringbarked forest / all tragic to the moon. / The sapphire-misted mountains / The hot gold hush of noon…’ A child can understand and be moved by this. And I would think so could every Australian. ‘Her beauty and her terror…’ Advance Australia Fair is nothing compared to it. I know there are musical settings of the poem, some of them lovely, but perhaps not robust enough for a national song. Yet the possibility is there. ‘Core of my heart….’ Wonderful stuff: and a challenge for our wonderful contemporary composers. …. I know perfectly nice and smart people who talked last year about those who govern us with a vehemence that shocked me. Politicians were being de-humanised to make this level of abuse possible. It doesn’t make sense. We elected them. There was a choice. We have a freedom that is the envy of the world.

It must be scary to be the focus of everyone’s discontents. No wonder politicians get carried away in the Parliament. It is certainly dangerous for our democracy to allow political conversation to become abuse. And don’t blame the internet. You can escape Twitter and the like if you want. What you can’t escape is a mouthful or a hideous poster. Stop it. Celebrate our freedom. Don’t trash it.

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Women In Project Management celebrate International Women’s Day. The Gender Agenda: Gaining Momentum.

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adelaide Zoo’s Mcdonalds ZooMobile, coMe and try sports, aFrikarts, clowns, Free Face painting, kindercheFs, paint to Music (brought to you by dulux) & Much More

www.kidsFringe.com.au

Celebrate this landmark event on Wednesday 13 March at The Crowne Plaza, Adelaide. Ticket price includes a two course lunch, drinks, networking and presentations by 3 inspiring speakers. Tickets - $70.00 AIPM member tickets - $55.00 – This event attracts 6 CPD points for RegPM holders.

Book online www.aipm.com.au or phone 08 8223 6349. Seats are strictly limited WIPM events are open to both women and men. Proudly supported by Austraining International


22

the adelaide REVIEW february 2013

health

Childhood Obesity A family and community affair

Professor Avni Sali

R

ates of childhood obesity are now increasing with each generation. Children today not only will, on average, be heavier than their parents but also, for the first time in recorded medical history, will potentially face a reduction in average life span, meaning they will live shorter lives than their parents’ generation. This is alarming given modern medicine has, for decades, increased average life span. Obesity increases the risk of death far greater than does smoking. Statistics indicate that one-third of children in Australia are classified as overweight or obese. The obese child typically becomes the obese adult and the need to address issues of weight gain very early in life is now considered one of the most important interventions we can make in an attempt to reduce adult obesity and mortality. At the core of Integrative Medicine is an approach to health that is preventative and health creating. Integrative Medicine provides us with an opportunity also to look beyond the individual or self to focus more comprehensively on the family, children and the future. Studies indicate that obesity runs in families. The news that obesity is on the rise is not unfamiliar. Every day we are told that obesity rates are unacceptable and most people can list the reasons why – too much screen time, too much junk food, not enough activity and so on. But knowing about obesity and doing something about it (which involves real and lasting behavioural change) is clearly a more difficult transition than we, as a population and as healthcare providers, can manage on our own. Through Integrative Medicine, we can develop programs that provide a wealth of opportunities to bridge the gap between knowing what to do and actually doing it. While diet and exercise are the two main

weight management strategies offered, the integrative approach also looks at issues related to environment, stress, culture and family structure. Weight and mental health are listed as the two most common health issues for children. A study from 2012 indicates one in seven adults experience severe stress, with stress levels in young people higher than those in older people. Paediatric depression, anxiety and stress are emerging as significant health issues, and youth mental health is now a priority in healthcare. Over 30 years ago, I conducted research into the eating habits of primary school children – over one-third were obese or overweight, two thirds did not consume adequate fruit and vegetables and over a third suffered from constipation. With research findings today showing similar trends we need to approach children’s health, and in particular children’s obesity, from a fresh and integrative perspective. It is important to start before a child is even born. High birth weight in infants, the mother and father’s BMI (Body Mass Index), rapid weight gain in infant years and having an overweight mother who smoked in pregnancy have all been shown to increase the risk of obesity in the childhood years. Mothers who were overweight before becoming pregnant had children that were up to four times more likely to be overweight by age seven. Children of smoking mothers (during pregnancy) were 47 percent more likely to be overweight compared to children of nonsmoking mothers. In contrast, infants who were breastfed for longer than one year were less likely to become obese children. It appears that the early introduction of solid foods may be linked to excessive weight in preschool years. Even those who were breastfed only briefly had less weight gain. The decisions a mother makes about nutrition and food


the adelaide REVIEW FEBRuary 2013

23

health intake during her pregnancy will influence the child’s propensity towards obesity through genetic changes of the foetus. The changes to carbohydrate metabolism, more specifically glucose, influence the various developmental tasks and phases involved in the growing foetus, and become specific and deeply coded physical and genetic programs that the child carries for life. Research shows that exerting excessive control over what and how much a child eats may contribute to that child becoming overweight. Quality relationships, such as developing strong emotional bonds with children in their early years, can have a significant impact on obesity rates in adolescent years. Parenting styles that respond to a child’s emotional states with comfort, consistency and warmth may provide a sense of security and attachment that helps a child manage stress levels throughout their entire lives. The effect of stress on the human body is now understood to be directly related to weight gain as the increased cortisol related to stress and anxiety has an effect on insulin levels and a series of complex biochemical reactions in the brain and body. Children, just like adults, can benefit greatly from learning stress management and relaxation techniques, and sound sleep behaviours. Inadequate sleep for children is directly linked to obesity. In children each one-hour reduction in sleep was associated with a 40 percent increase in the risk for obesity. Although average sleep varies by age, research indicates approximately ten and a half hours sleep a night is required by primary school-aged children. At school, something as simple as children having recess directly before lunch (rather than lunch first) resulted in a higher consumption of vegetables and fruits, better behaviour in the afternoon and a reduction in visits to the school nurse of over 40 percent. Strategies at a collective level, even those as simple as a rethink on school lunchtimes, are now considered essential. The World Health Organisation considers obesity a global epidemic similar to cancer or diabetes and one that needs a collective approach, not only a focus on the individual. Family and community, plus an integrative approach, are key. Although genetic and environmental factors play a role, the family influence carries the most significant ‘weight’ in how children develop and sustain eating behaviours, attitudes to food, over-feeding and knowledge

Research shows that exerting excessive control over what and how much a child eats may contribute to that child becoming overweight. Quality relationships, such as developing strong emotional bonds with children in their early years, can have a significant impact on obesity rates in adolescent years." about foods in general. Research shows children who cook are hungrier for healthy foods. How babies are weaned can impact on their preference for healthier foods. A new study by psychologists at The University of Nottingham has shown that babies who are weaned using solid finger food are more likely to develop healthier food preferences and are less likely to become overweight as children than those who are spoon-fed pureed food. While nutrition and exercise are essential components of a healthy lifestyle, research is now showing us a range of factors that influence how we think and behave around food, and how our bodies process or manage energy in and energy out. For example, we are developing a better understanding about the role environmental toxins play in obesity (and in health generally). Phthalates, a human-made, endocrine-disrupting

chemical which is found in cheap chemically processed foods, mimic hormones in the body which are linked to childhood obesity. Another emerging aspect to do with weight management is the role of the numerous gut bacteria. The disruption of gut bacteria by poor diet and antibiotics is shown to be a factor in weight gain. The National Institute of Integrative Medicine, supported by the Ponting Foundation, is developing a pilot program for school-aged children that focuses on children’s wellness through a totally integrative approach. This community-based, multifaceted, holistic and integrative approach will focus on children and their families within a supported environment. Children will learn new ways to live well that will not only create healthy models for their future, but also create lasting change for families today.

Professor Avni Sali is Founding Director of the National Institute of Integrative Medicine (NIIM). He oversees the facilitation of the practice of Integrative Medicine at NIIM, as well as the promotion of education and research. niim.com.au


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the adelaide REVIEW february 2013

fashion

Thriftshop There’s a new kid on the block for this year’s Adelaide Fringe. At the former Adelaide Central Bus Station, The Depot is set to comprise a series of spaces capable of catering to both small and large numbers of festival-goers and featuring themes that will be ever-changing throughout the Fringe season. The Depot taking shape

P

romising surprise and intrigue, the new venue will host some of Adelaide’s finest pop-up restaurants and cocktail bar operators, as well as a retail element in the form of Thriftshop – Cassandra Liebeknecht’s homeware and clothing stall offering salvaged and battlehardy vintage goods. “If you love great vintage buys, you should have a look at what we’ve got,” says Liebeknecht, who is also the director of the Adelaide Vintage Expo. “I’ve just acquired 50 kilos of vintage items from Europe, which includes male and female fashion. People can pick up some really wild and wonderful, interesting stuff. There will also be some brand new stuff direct from the USA, like Bernie Dexter and Bettie Page, which have some really beautiful 1950s and 1960s dresses. My personal favourite item would have to be the more classic 1950s stuff, though I’ve just received some great boho maxis. I personally don’t do boho very well but I love these and they’re perfect for when you’re going out, seeing live music, eating out or just having a great time. There’s nothing better than chucking on a dress that is super-cool and psychedelic with amazing patterns.” A collaboration between the Adelaide Vintage Expo and The Depot, Liebeknecht says Thriftshop is in line with the vintage theme of the new Fringe venue which itself is about to be a reclaimed space, “unloved at the moment” but not for long, as she puts it.

“I love that the venue is made of old shipping containers which have been salvaged and injected with new life. In relation to what The Depot looks like, it fits in with the whole vintage theme. The concept of ‘vintage’ is about breathing new life into beautiful old items before they are thrown away. It’s about reclaiming them and re-loving them and turning them into something beautiful again. What’s the appeal about ‘vintage’? It’s unique! Since I’ve been dealing with antiques and vintage items, in my time I have not often seen something come along twice. If it does, it’s a very rare occasion. People that enjoy the Adelaide Fringe clearly enjoy alternative things – the entertainment, the music, but also the fashion and looking different. They don’t want to look like they’ve just walked out of David Jones or something; they want to dress like an individual. And the quality is so much better too most of the time – the fabric and the way things are made is so much better than what we get now from China, for example.” According to Liebeknecht, who is also a stylist by trade, how one dresses is a direct reflection of personality and beliefs – your clothes say a lot about your personal brand. “It’s important in that regard. What you wear is kind of what you give out to the rest of the world, it’s definitely a reflection of your personality. When people buy vintage, retro and second-hand items, they’re sort of buying what they believe in and have a love for.” In that way, clothing and architecture are quite similar, as Dino Vrynios – Grieve Gillett architect and The Depot’s creative manager – adds.

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the adelaide REVIEW FEBRuary 2013

25

fashion

FASHION RENDEZVOUS GILLES STREET MARKET Sunday, February 3 10am to 4pm 91 Gilles Street, Adelaide gillesstreetmarket.com.au

I love that the venue is made of old shipping containers which have been salvaged and injected with new life. In relation to what The Depot looks like, it fits in with the whole vintage theme. The concept of ‘vintage’ is about breathing new life into beautiful old items before they are thrown away." “Architecture is based on the same principle in that you fill your house with items which reflect the things you love, your personality. Your identity should be reflected in both cases. As an architect, I hate the stereotype that all architects just wear black colours, for example. As a creative person, that doesn’t appeal to me. We made it so the idea behind The Depot is to have a temporal venue that will always be changing and evolving and being layered up

as we go through the Fringe period. We have a slogan for The Depot: ‘You’ll never be the same again’, which is based on the idea that you’ll end up doing something on a night that you’d never normally get to do. It totally takes you out of your comfort zone, it’s a one-off. The Fringe Festival was basically born out of the same situation a long time ago – it was about shows that were not suitable for the Adelaide Festival because they were a bit off-beat and random.” The surprising, the unexpected and the unknown are the concepts behind The Depot, Vrynios explains. While having a venue featuring shipping containers is cost-effective, it’s also a terrific way for helping define ‘space’. “It’s the Melbourne laneway type of aesthetic. Out of these containers, we’ve created new doorways which may take you somewhere unexpected. There’s a grungy feel to it. Cassandra’s Thriftshop fitted right into the whole idea and we’d actually been looking for a retail element in the space. Being a vintage retailer, it made sense given the nature of the space, it was perfect. Every day we will have an array of containers which will pop up and they will never be the same each time you come back to the venue. Ultimately, the emphasis on recycled materials coupled with patron participation will enhance the experiential qualities of the space. The Depot promises the coming together of space and performance for a truly ‘one night only’ experience.”

the-depot.com.au

02

/13

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.

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the adelaide REVIEW february 2013

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Le Gateau Chocolat

Circolombia

The Scandalous Lillian Lushlife

Chaplin - No Longer Silent!

The Garden of Unearthly Delights, Rundle Park Saturday, February 16, 3pm

The Promethean, 116 Grote St Saturday, February 23, 7.30pm

Witness the street life of Colombian city Cali explode into colourful life as the performers jump, somersault, fly, tumble and breakdance their way through the astonishing stories of life on the streets of their extraordinary home city. A revolutionary circus experience – commissioned by London’s Roundhouse and a hit in Edinburgh, Paris and New York.

Join the talented and sassy Jennifer DeGrassi as Weimar Diva Lillian Lushlife, in the dark and exotic world that is 1920s Berlin cabaret. Songs, laced with absinthe and decadence, by Weill, Porter, Spoliansky and The Dresden Dolls. Special guest is Flavella L’Amour performing her famous Peacock Dance.

The Wheatsheaf Hotel 39 George St, Thebarton Tuesday, March 12, 8pm



Various cinemas From Thursday, February 7 As the Civil War continues to rage, America’s president struggles with continuing carnage on the battlefield, as he fights with many inside his own cabinet on the decision to emancipate the slaves. Directed by Steven Spielberg. Stars Daniel DayLewis, Sally Field and David Strathairn. 

Elles Palace Nova Eastend Cinemas From Thursday, February 7 This provocative, adults-only drama stars Academy Award-winner Juliette Binoche in the most fearless performance of her career. Binoche is a magazine journalist who leads a perfectly bourgeois life in Paris until her research for an article on student prostitution leads her to question her most intimate convictions about money, family and sex. Directed by Malgorzata Szumowska. Stars  Juliette Binoche,  Anaïs Demoustier and Joanna Kulig.

Le Gateau Chocolat – I Heart Chocolat The Garden Of Unearthly Delights, Rundle Park Friday, February 15, 10.15pm Adelaide’s favourite opera-loving, larger-thanlife maestro returns to the Garden with his new sequin-studded, lycra-clad extravaganza. Direct from London’s Chocolate Factory, the Sydney Opera House and Melbourne’s Forum, the cheekily charming star of La Clique and La Soiree is joined by the crème de la crème of Fringe celebrities and backed by his own live band.

Bundaleer Festival


Palace Nova Eastend Cinemas From Thursday, February 21

Bundaleer Forest, Jamestown Saturday, March 23, 3pm to late


What would happen if the laws of gravity were to suddenly change? This is the unusual journey of an otherwise ordinary man whose world becomes physically unhinged. He is a lone man with a small suitcase, whiling away time in a nondescript room. But as time passes he becomes increasingly aware that all may not be what it really seems in his ordinary world.

Georges and Anne are in their 80s. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has an attack. The couple’s bond of love is severely tested. Directed by Michael Haneke. Written by Michael Haneke.  Stars  Jean-Louis Trintignant, Emmanuelle Riva and Isabelle Huppert. 

A magical weekend of fine music, wine, food and art in the spectacular Bundaleer Forest. The Saturday night Twilight Concert features Greta Bradman and Rosario la Spina performing with the Adelaide Art Orchestra and State Opera Chorus, jazz singer Emma Pask and the Bruce Hancock Septet, African percussionists Seneoz, barbershop quartet The Fishbowl Boys and many others. 

Ponydance

Thursday by Bryony Lavery


The Garden of Unearthly Delights, Rundle Park
 Sunday, February 17, 10pm 


Norwood Concert Hall 175 The Parade, Norwood
 Monday, February 25, 8pm 


Autumnal Cooking Class with Saskia Beer

The Garden of Unearthly Delights, Rundle Park
 Sunday, February 17, 4pm


Everybody loves ‘the Ponies’. Who knew dance could be so funny? A disco infused time warp where incredible moves, slick routines and laugh out loud comedy collide. Their dance moves are sharp but their comic timing is even sharper. Winner 2012 BankSA Best Dance Award.

Glory Dazed Holden Street Theatres, 34 Holden St, Hindmarsh Thursday, February 21, 6pm A darkly comic, acerbic look at the impact of war upon returning soldiers, developed with exservicemen prisoners at HMP & YOI Doncaster.

Zephyr Quartet: A Rain from the Shadows CD launch
 Wheatsheaf Hotel George St, Thebarton
 Thursday, February 21


The Depot - VIP Launch Party


Adelaide’s award winning Zephyr Quartet launch their third CD, featuring compositions inspired by and inspiring poetry. Grab a beer from the bar and share a memorable evening of original live music with friends.

111 Franklin St 
 Friday, February 15


Cellar Door Wine Festival

Win a ticket for you and three of your friends to the exclusive VIP launch party at The Depot, where you will mix with media personalities and special guests. Enjoy The Depot hospitality including beverages for two hours in this exciting new Fringe venue. You will never be the same again.

Five Charlie Chaplin short films are accompanied by a live performance of original scores by Bestseller. The traditional jazz trio is augmented with some unusual instrumentation to produce sounds at times spiky and at others sweet.

Amour

Leo Lincoln

Circolombia

Adelaide Convention Centre, North Terrace
 Friday, February 22 to Sunday, February 24 Win a double pass that grants the winner and a friend entry into the festival on any one day of the event. Also receive a Riedel glass to keep; unlimited wine tastings, festival passport and a calico shopping bag.

Thursday, by Tony-nominated UK writer Bryony Lavery, is inspired by the story of London bombings survivor Gill Hicks. Beautiful, fragmented and poetic, this international co-production between Brink Productions and English Touring Theatre enjoys its world premiere in the 2013 Adelaide Festival. 

The Farm, Barossa Function Centre Pheasant Farm Rd (off Samuel Rd) Nuriootpa Monday, April 1, 12pm Win two places in the kitchen with Saskia Beer for a cooking class on simple ways to prepare delicious ‘Autumnal’ Barossa feasts. Learn about dishes inspired by this famed food region and Saskia’s own Barossa upbringing at the Beer family table.

Luka Bloom – The Heartman Tour

Chitty Chitty Bang Bang

The Gov, 59 Port Rd, Hindmarsh Wednesday, March 6, 8pm

Festival Theatre, King William Rd Sunday, May 5, 1pm

Much loved Irish troubadour Luka Bloom is a master of the concert stage. His incredibly gifted electro-acoustic guitar playing guarantees an impassioned live performance of his original, poetic and melodic songs. Luka’s concert arsenal includes both tender and dynamic original material and a surprisingly eclectic selection of other people’s work.

Sensational sets, stunning special effects, Ian Fleming’s irresistible story and an unforgettable score by the Sherman Brothers all add up to a blockbuster musical that everyone will love. Starring David Hobson, Rachael Beck, George Kapiniaris, and Alan Brough, this multi-million dollar production is a marvel of stage magic!

Musica Viva presents Karin Schaupp & Pavel Steidl 
 Adelaide Town Hall, 128 King William St
 Tuesday, March 12, 7.30pm Two of the world’s finest guitarists present a concert of stories and music, which celebrates the history of the guitar. An entertaining concert experience with duo and solo works by Mertz, Sor, Paganini, Granados, Albéniz and others.


the adelaide REVIEW FEBRuary 2013

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performing arts

How high can Strut & Fret go? Strut & Fret return to the Adelaide Fringe to premiere perhaps their most spectacular production to date, Limbo. But how can the Cantina creators top their previous productions?

David Knight

F

rom Tom Tom Crew to A Company of Strangers and Cantina, Melbourne’s Strut & Fret have a history of producing staggering spectacles that, with a contemporary twist, blend circus with cabaret and acrobatics with music. Usually premiering their productions in Adelaide before touring the globe, Strut & Fret’s Director Scott Maidment admits there is a “little bit” of pressure to constantly out perform what came previously. “I do think about that and go, ‘what next’? But it’s not like we have to do that, we don’t have to make a show,” Maidment explains. “We’ve had a history of that [producing and premiering spectacles for the Fringe] in Adelaide and it makes us excited about making a new show. We’re excited about it but we’re not feeling pressure from it.” Maidment believes there is a hunger for Strut & Fret spectacles from Adelaide audiences. “The expectations of the audiences are getting harder and harder to please because they are becoming more sophisticated in their tastes and want something bigger and better.” The exotic and mystic Limbo will feature a world, or netherworld, that promises to feature spirits, domination, illusion and suspension. It will showcase the usual Strut & Fret elements: cabaret, circus and acrobatics. But Limbo comes with a major magic element, created by UK illusionist Paul Kieve. Music will also be a dominating force of Limbo with New York’s Sxip Shirey composing exclusive music for the show. His compositions are an urban twist on New Orleans street music, which he calls jank, and he’ll play it live with a band when the performers are on stage. This is where Limbo

will differ from other cabaret and circus shows, as the music will drive the production. “We cast the musicians, the band, before any of the other performers and not the other way around,” Maidment says. “It’s not going to be the backing to the act, it’s going to be the thing in the front and the acts will perform to the music, which is exciting.” Sxip Shirey is an eclectic and acclaimed New York musician who was first introduced to Australian audiences by Strut & Fret for the Adelaide Festival 10 years ago. He reconnected with Maidment when Strut & Fret’s director was looking for New Orleans street music; think the soundtrack to HBO’s wonderful Treme, to drive Limbo. “I was part of a pyrotechnic Buster Keaton style comedy troupe called The Daredevil Opera Company,” Shirey explains. “Strut & Fret brought us out to perform at the Adelaide Festival and the show went on to the Sydney Opera House and I was one of the composers on the show. We performed at the Adelaide Festival and I did about three solo shows at the Fringe, at the Umbrella Revolution, Strut & Fret’s tent. At that point, there were only two tents in the Garden, this year it’s exciting because I’m coming back – I haven’t worked with Scott since then – and I hear there’s now 12 tents.” Shirey will compose mainly jank-style music for Limbo, which is party music with a New Orleans feel. “That [jank] music uses electronic loops, New Orleans-style tuba and harmonicas and trumpet players. It’s music you can improvise with. I’ll be stealing from myself for some of the more fun music and then I’ll be writing new stuff depending on just what the show needs.” Aside from Sxip Shirey, one of the major elements to Limbo will be the magic component,

Limbo

which is being coordinated by Paul Kieve, an illusionist consultant to the stars, who has worked on films such as Hugo and the Harry Potter series, as well as big budget Broadway productions. Kieve won’t be in Adelaide for the production but he’s been involved with Limbo since the beginning. “We’ve chosen big illusions and tricks that all the cast can do,” Maidment says. “It will be integrated through the show. He [Kieve] is very busy at the moment; he’s got two shows in America and one in London. He was the only magic consultant for the Harry Potter movies and he’s just been nominated for Tony Awards for Ghost The Musical on Broadway. He’s a really interesting person and brings years of experience.”

After the Fringe, Limbo will relocate to London for a five month stint with Maidment expecting at least a two to three year global run for Limbo. “Due to the history of shows like Cantina, which is now in its fourth year of touring, and Tom Tom Crew, which we made for one festival and it toured for seven years and is still doing gigs, they kind of have a life of their own.”

Limbo Paradiso Spiegeltent Friday, February 15 to Sunday, March 17 gardenofunearthlydelights.com.au

“Brink Productions’ shows are always a must see.” (InDaily) Brink Productions and English Touring Theatre’s

T H U R S DAY …

BY BRYONY L AVERY, DIRECTED BY CHRIS DRUMMOND

From the makers of When The Rain Stops Falling comes a powerful new collaboration inspired by the story of London bombings survivor Gill Hicks. Nor wood Concert Hall (Mon 25 Feb - Sat 16 Mar) Brink Productions has been assisted by Arts SA and the Australian Government through the Australia Council for the Arts.

Thursday received special funding from Major Commissions and Festival Commissioning Fund through Arts SA and the 2013 Adelaide Festival.


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When people come to Africa they come to see the animal geographical wonder because there is no real practising of heritage. I think it’s really important to rectify that."

CAFÉ ZIMMERMANN III Saturday 23rd February 8pm Doors open 7.30pm Burnside Town Hall Ballroom Corner Greenhill and Portrush Roads, Glenside

Hugh Masekela

Still grazing Cafe Zimmermann III follows sell-out performances in previous years and is a fantastic evening of Baroque music in cabaret style shared with friends. BYO supper and drinks Program includes works by GP Telemann, GF Handel and JS Bach’s Brandenburg Concerto No 4 in G Major Soprano – Louisa Perfect; Violins – Ben Dollman, Simone Slattery, Katerina Stevens; Viola – Anna Webb; Cello – Kate Morgan; Recorders – Brendan O’Donnell, Lynton Rivers; Harpsichord – Lesley Lewis Reserved seating in cabaret style - tickets $40/$30 concession or purchase a table and save! Bookings - www.trybooking.com/CFSD or contact manager@adelaidebaroque.com.au / 0400 011 491

www.adelaidebaroque.com.au

Arguably the most celebrated musician on WOMADelaide’s 2013 bill, 73-year-old Afro jazz pioneer Hugh Masekela will perform his only Australian show at WOMAD.

Christopher Sanders

T

he creator of jazz standards such as Grazing in the Grass and Stimela (Coal Train), Masekela is also responsible for the Nelson Mandela anthem Bring Him Back Home. With a career spanning more than 50 years, the flugelhorn player, composer, singer and bandleader left South Africa in 1960 to study at the Manhattan School of Music. Also in New York were his future wife, the late Miriam Makeba, and peers including Miles Davis and mentor Harry Belafonte. “I studied at the Manhattan School Of Music, which at the time was a classical conservatory university but I went there during the golden

age of jazz and the beginning of rhythm and blues,” Masekela explains. “I was really a pig in dirty mud because I just had everything. I was very lucky. It was a very active period and a lot of people helped me. It was a very rich learning era for me.” The two-time Grammy winner hit number one on the US charts with his 1968 record Grazing in the Grass, which held the Rolling Stones’ Jumping Jack Flash off the number one position. Rather than be shocked by his fusion of jazz and African sounds, Masekela says the public was fascinated by it. “At the time they were also very fascinated with Miriam Makeba. There were very few African artists; I think we were two of the first, so it was refreshing for international artists. African music has taken a very great part in international music festivals.” Especially festivals such as WOMAD. Away from WOMAD, Masekela was involved with some historic music festivals. He performed at the Monterey Pop Festival in 1967. He co-organised the infamous Zaire 74 concert, which accompanied the Muhammad Ali and George Foreman Rumble in the Jungle fight, where African American and African music giants including James Brown, Bill Withers, BB King and Miriam Makebe performed to more than 80,000 people. The concert was featured in the documentaries When we were Kings and Soul Power. With more than 40 albums to his name, Masekela released two albums last year, Playing @ Work and the collaboration album Friends with Larry Willis. He will feature some of Playing @ Work’s tracks at WOMADelaide. “We’re planning on playing some from Playing @ Work because the album with Larry was just duets, and we’re doing our first mini tour in the States with Larry in June but I will be with the

band [at WOMAD], so we’re playing our regular favourites and some of our new songs.” Away from music and there is a biopic on Masekela and his son the ESPN commentator Sal Masekela in the works. “Sal is the one that’s really doing it. He’s got financing to do a movie on his life and I’m just supporting him with it.” And an original novel, Honky. “I have it with a few editors and publishing houses looking to see if they’re interested but there’s no real particular hurry [to publish].” In 2010 Masekela set up his studio and label House of Masekela, where he recorded Playing @ Work. Masekela will use the studio and label to record and release up and coming acts. “We’re not doing mass production, we’re trying to raise the bar and do high level musicianship productions. We can’t fast forward everything. We’re not using the programming style they do now where everything is digital. We play live music.” Masekela says there is young South African jazz talent, but the problem for the talented kids is the lack of venues. “There are no real places for them to play. Something happened in the last 10 years where clubs and community centres sort of became unavailable and the clubs closed. There are no real places for young musicians to show off their talents but there is a drive to try and establish more places where people can upgrade their skills.” One of Masekela’s big passions is Heritage Restoration – to preserve African culture. “It’s a major obsession for me and right now I’m working with seven other people, actually, around the African world to create academies and venues for heritage performances, integrated performances and the return of native languages, arts and crafts and history. All the things that seem to have been sidelined by, for lack of a better word, the monsters that technology has produced where people have forgotten about the past and are interested in futuristic stuff only. Of course all of those things are basically western-based but the African Diaspora Choir has major content, which is completely invisible. When people come to Africa they come to see the animal geographical wonder because there is no real practising of heritage. I think it’s really important to rectify that because otherwise my grandchildren, when they grow up and they’re asked who they are, they’re only going to be able to say they used to be African long ago.”

Hugh Masekela WOMADelaide Saturday, March 9, 10pm Botanic Park hughmasekela.co.za


the adelaide REVIEW FEBRuary 2013

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FEATURE


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Thursday Jane Howard

A

s Adelaide scorches towards 40 degrees, and London hovers around zero, Rachel Tackley, director of English Touring Theatre, sends me an email from London. She’s been in touch with the team of artists her company has sent to Adelaide to work with Brink Productions, on their collaboration Thursday. “They all arrived safely and I am hoping to join them for the first day of rehearsals by Skype,” she writes. “It’s weird, we have two shows going into rehearsals on the same day, one in London and one in Adelaide. How fantastic is that!” In 2008, ETT’s Executive Producer, Jane Claire, came to the Adelaide Festival on the search for international collaborations. There she saw When the Rain Stops Falling, and met with Brink’s Artistic Director Chris Drummond. Five years on he’s preparing to welcome the English team to Australia for the world premiere. After that first meeting with ETT, he tells me about recalling an Enough Rope interview with London Bombing survivor Gill Hicks. Right away he thought, “‘Hang on, an Adelaide woman in London and an Adelaide company and a London company’. Of course the second I sent it over, the director Rachel Tackley said, ‘Yeah, that’s the idea. Let’s do that one.’”

Bryony Lavery and Chris Drummond. Photo: Suzie Jay

Says Tackley: “From the get-go we all agreed that this was going to be a 50/50 collaboration. Straight down the line. Actors, creative team, production team. Neither of us wanted it any other way.” With the decision made to have the premiere and rehearsals in Adelaide, this saw Drummond making several long journeys to London for the development process. In 2009, Drummond met several playwrights

for the project, including Bryony Lavery: “The moment I met her it was like two souls,” he says. “We absolutely connected.” In 2010, Drummond returned with two Australian actors where, with four London based actors, the team played with the inspiration he had found in Hicks’ story. Hicks was the last person to be pulled alive from the tunnel and Drummond was struck: “She said she’d been stripped of all of the hallmarks of her humanity, and what amazed her was that strangers would risk their lives to go down into that hell and fight to save her life. She could have been the bomber, she could have been anybody, she was simply just a human life.” From this, Drummond wanted to build a work not directly about Hicks or the bombings, but about “what constitutes our humanity, what our identity is, and how as a species we’re kind of interconnected together”. With Drummond back in Adelaide, Lavery worked on creating a script that could “capture the ferocity and wonder of the creative development”. Marred by conversations taking place through emails across oceans, Drummond described to me the “almost 14 months of torturous agonising work”. Despite false starts in finding the right story, Drummond says Lavery was fearless. “She was amazing. And it was after about eight-and-a-half months of almost full-time writing she went ‘What if we start here?’, and suddenly it flared into life.” With this draft finished at the end of 2011, at the beginning of 2012, Drummond was back in London with a script-polishing workshop. Now, in 2013, the two companies are ready to show their work to the Adelaide Festival – and beyond. The international co-production, bringing together Australian and British perspectives to tell the story, brings with it interesting questions of cultural differences. Sitting in Adelaide, looking back on the 2005 bombings, Drummond ruminates: “There is something about the Australian perspective to me in that we are part of the world, but we kind of feel like we’re not quite on the same step.” Says Tackley: “I think everyone who was living or working in London on that Thursday has a different perspective, and a different memory, so it’s difficult to speak on behalf of a city. It’s a very cold thing to say but London is a city that is used to bombs and terrorist attacks (The Blitz, and more recently the IRA) and the city refuses to be intimidated.

Thursday

“I do think the piece will speak to Londoners in a different way, not just about the most recent attacks, but about generations struggling to find their own ‘new normal’ after horrendous attacks.” For Drummond, though, the interesting questions remain about the people, not the events. “Where do you put your anger when the person that you’re angry with is not there, or is only a negative or empty space?” he asks. From Hicks, he took her message: “You don’t have to be defined by the injustice or the rage, you can be defined by the justice and the compassion. “And they’re hard things to talk about without sounding sentimental, or without sounding a bit twee. And that’s why you do a piece of theatre. Because you can do all of that to very eloquently say one little thing.”

Thursday Norwood Concert Hall Monday, February 15 to Saturday, March 16 adelaidefestival.com.au


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Festival dance This year’s Adelaide Festival dance program is a showcase of dance legends and Festival veterans.

Alan Brissenden

A

t a time when most ballerinas have hung up their shoes and taken to teaching or something else, at 47 Sylvie Guillem is commissioning choreographers to create works for her to perform before adoring crowds. And not just ordinary choreographers – for 6000 Miles Away that she is bringing to the Adelaide Festival she chose Jirí Kylián, Mats Ek, and William Forsythe, who created In the Middle Somewhat Elevated for her way back in 1987. Famous in the classics, a protégé of Nureyev, who made her at 19 the youngest ever étoile of the Paris Opera Ballet, we last saw Guillem in the 2008 Festival with Akram Khan in their compelling duet, Sacred Monsters, his Kathak movement driving into the earth, contrasting, arguing with her airborne balletic lightness, both astonishing in their speed and sinuosity. Her performances have been glowingly praised in this new program, which premiered in London in July last year. Though some of

the choreography was lambasted, whatever she dances, Guillem is a superstar. As is another veteran, Canadian Louise Lecavalier, still dancing at 54 no less. Inspiration for Montreal choreographer Edouard Lock and lead dancer in his company La La La Human Steps from 1981 to 1998, she excelled in Lock’s high energy, sometimes violent, works and is joined by former La La La colleague Keir Knight for A Few Minutes of Lock, which includes a brief burst from Human Sex (1985). But the main piece on the 70-minute program is Children (2009), created by Nigel Charnock, co-founder of DV8 (Adelaide Festival 1996, 2008), who died last August at only 52. An explosive exploration of an evolving relationship, it is danced to music from such as Miles Davis, Janis Joplin, Leonard Cohen and Maria Callas. It will be more than interesting to compare Lecavalier’s style with what we will be seeing from Larissa McGowan, whose choreographic star is rising fast. A multi-award-winner, she will be appearing in her newest work, Skeleton, alongside four other dancers. Her first long piece, it was

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Sylvie Guillem

David Sefton has netted some big names, and it’s an exciting prospect. Let’s hope Wim Vandekeybus is right and Ultima Vez will be back later with their newest work." inspired by the work of artist Ricky Swallow, examines how human bodies interact with previously experienced objects. Considering her long association with Australian Dance Theatre, it will be fascinating to see to what extent, if any, McGowan has been influenced by Garry Stewart’s use of technology and athletic choreography in which she has so dazzled audiences. From something brand new to something from the contemporary dance archive – Wim Vandekeybus’s What the Body Does Not Remember, acclaimed as groundbreaking at its premiere in 1987, and brought back into the repertoire only recently. The New York Times’ Anna Kisselgoff called it “Tough, brutal, playful, ironic, and terrific”, “extraordinarily innovative” and a “mind-boggling display of intense physicality”. When I asked him in a recent phone conversation why he wasn’t bringing his latest work, Booty Looting, he replied, “You’ll have to ask [Festival Director] David Sefton that. I would have liked to have come with the first piece and the last [but] I think it’s a good strategy …. David will be here for several Festivals, and he’s thinking I will come later with another work.”

Vandekeybus has made 27 pieces, all very different – “I would like to bring them all to Australia”, he said – but the first shows his basic interests: violence, instincts, emotions, reality – it’s about how the body reacts in certain situations. He has been in Adelaide before, as a naked king in Jan Fabre’s The Power of Theatrical Madness in the 1984 Festival. Then 24, he left Fabre soon after and in 1986 formed his own group, Ultima Vez (Last Time), developing his own physical, confrontational style. Most recently he has been making a film in Hungary, which he characterises as “a disaster” at present, but a “very interesting country”. Another filmmaker, Spain’s Carlos Saura, finishes the Festival dance program with Flamenco Hoy (Flamenco Today), a spectacular extravaganza guaranteed both to have the audience on its feet at the end and to displease the purists. Saura combines flamenco with ballet, jazz and other dance forms, while keeping the essential elements of flamenco song and music. David Sefton has netted some big names, and it’s an exciting prospect. Let’s hope Wim Vandekeybus is right and Ultima Vez will be back later with their newest work. And another opportunity awaits. Apart from the Australian Ballet’s annual visit, Adelaide misses out on good classical companies – the touring Russians are second rate at best – and there is a very good company close by. Ethan Stiefel, former brilliant star of American Ballet Theatre, now directs the Royal New Zealand Ballet and the reports are that he is a great success. But he will not be there forever. Why not bring him, his dancers and their marvellous new production of Giselle over in 2014?

Adelaide Festival Friday, March 1 to Sunday, March 17 adelaidefestival.com.au


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Dr Anita Heiss

The Spirit Festival Rymill Park Saturday, February 16 to Sunday, February 17 thespiritfestival.com Local Kaurna dancers

Spiriting on The annual Spirit Festival celebrates its fifth anniversary with big name Indigenous singers and a program of Aboriginal and Torres Strait Islander culture that includes dance, literature and art. Christopher Sanders

B

eginning in late 2008 as a Social Inclusion funded expo of health and social issues with an arts program, the Tandanyapresented Spirit Festival partnered with Arts SA and the Adelaide Fringe to become an exclusive arts festival in 2011. “It was more of an expo of health and social issues that were affecting people in the community at that stage through the Social Inclusion committee, so it was more than just art,” Tandanya’s Artistic and Cultural Director Tim Ritchie explains. “It was social issues as well, so looking at positive influence through sport but we moved from that and dropped it to just purely art, culture and diversity.” “The feedback from the audience was that they wanted more art and they wanted more culture rather than an expo,” Spirit Festival Manager Gina Rings explains. “Around the country many other Indigenous festivals do exactly that, they deliver art and culture to its highest degree and get so many brilliant artists on board. I think in South Australia, with this festival, we’ve got a chance to do that here as well. During the many years

that I’ve lived here, it has been such a struggle for people to understand what we’re trying to say as Indigenous people with our art and how strong and beautiful it is. And how it actually has to be captured in that light rather than mixing everything up. It’s just such a strong identity.” “In the past it was an expo event where they had a lot of government organisations handing out information about some of the programs they run,” Ritchie continues. “It has moved away from that but it’s still connecting with the social issues and the health aspect, as well. It’s about how we can uplift through performance, the arts and the writers’ program, so we’ve taken it in a different direction but it’s still a positive direction.” Currently working on year-to-year funding, Tandanya will apply for a three-year grant for The Spirit Festival, after the 2013 event, which will allow more time to plan the Ruby Award winning festival. “We want this one to be the showcase that Tandanya can deliver a nationally recognised festival,” Ritchie says. “Our partnership with the Fringe has been great, we’ve had a lot of support from Greg [Clarke, Fringe Director] and his staff, who’ve come in here and supported us right through. We’ve got a great relationship with them and we want to build on that and bring that cultural component to the Fringe as well.” Featuring star Indigenous performers such as Jessica Mauboy, Troy Cassar-Daly and The Medics, Spirit features art, a writing program (including Dr Anita Heiss and Dylan Coleman), dance, as well as many youth activities including the Spirit Festival Dancers. “This is a partnership with Ausdance South Australia and we’ve got them involved in a flash mob dance routine when Jessica Mauboy sings,” Rings explains. “She will sing, Gotcha, one of her top hits, and they’re pretty much putting it out there for everyone to be involved with the flash mob.”


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It’s the male being honest, looking back on the murder, going back on his life to tell it as an exorcism, looking for some sort of forgiveness."

Barry Otto

Strangers on a train On a hot day in Melbourne, Barry Otto is rehearsing his one-man performance in the State Theatre Company’s The Kreutzer Sonata. Based on Leo Tolstoy’s infamous novella about jealousy, marriage and murder, Otto is currently inseparable from the script.

David Knight

It’s just taken up all of my time,” Otto says. “I carry the script everywhere like a Linus blanket. I can’t get away from it.” The enigmatic acting veteran is excited but terrified about the challenge to perform Tolstoy’s late career work on stage, alone. “I find it a great piece for an actor. I’m slightly daunted too, because it’s a terrifying challenge. There are a lot of emotions to go through in it and technically and vocally it moves on and sweeps along. I’m working very, very hard and I want to be so good in it. It’s a big one, I can tell you.” Written by Leo Tolstoy in 1889, The Kreutzer Sonata was censored in Russia on publication while Theodore Roosevelt’s response to the novella was to call Tolstoy a “sexual moral pervert”. Inspired by Beethoven’s Violin Sonata No 9, the novella’s main character Pozdnyshev tells a train of commuters a story about the events

leading up to him murdering his wife. Believing the mother of his children was having an affair with a younger man and a fellow musician, the two perform Beethoven’s Violin Sonata No 9 (aka The Kreutzer Sonata). Pozdnyshev finds the two together and murders his wife while the young violinist escapes with Pozdnyshev escaping arrest on grounds of adultery. Controversial for its views on sex, marriage and celibacy, director Geordie Brookman wanted to stage it after rediscovering it and thinking it was a powerful work about the destructive side of men. “And the dark tendency men have to demand ownership and dominance both over their world but in particular their women,” Brookman told The Adelaide Review last year. “It’s an issue that remains incredibly current. We make strides towards gender equality and then we keep getting them pulled back and I’m really interested in what is that core element deep down in many that is so destructive.”

Otto: “It’s a 32-page monologue, really. And it’s an enormous amount to get into your head but I need it in my head to tell this story. I have to have the whole thing there. We’re thick into rehearsals now and it’s great pulling it to bits, we’ve got Geordie and Sue Smith [scriptwriter] here. I’m in pretty good hands. It’s a great piece and we’ve got the other major component to come, the music [which will be overseen by Gabriella Smart], which is another emotional experience all on its own. “The music is an accompaniment to the story which was Tolstoy’s inspiration; taking that erotic piece and putting together this incredible story, which is an amazing piece about a marriage. It’s so well told, you know, in open truth from the male point of view, because it’s his story. It’s the male being honest, looking back on the murder, going back on his life to tell it as an exorcism, looking for some sort of forgiveness. ” The father of actors Miranda and Gracie, Otto is a former graphic artist who appeared in theatre and television before his big break came as the lead in Ray Lawrence’s weird and wonderful, Bliss. With supporting roles in Australian standards such as Strictly Ballroom and Cosi, Otto was one of the founding actors of the Queensland Theatre Company. After The Kreutzer Sonata he will be seen in Baz Luhrmann’s The Great Gatsby, due for release in late March. Otto has no plans once he finishes The Kreutzer Sonata’s Adelaide run. “I haven’t got a clue really. I thought I might back off for things to do at home. My wife and I and two of my children live at home even though they travel, one of them travels a lot, Gracie [Otto, filmmaker, actress and model]. My son’s anchored here at home with us. Miranda [Otto, actress Lord of the Rings: The Two Towers and Return of the King, The Thin Red Line and War of the Worlds] and her husband Peter O’Brien [Underbelly, X-Men Origins: Wolverine] live mostly in Australia, but they’re all over the place sometimes too, in America and Europe. But I’ll probably back off for a rest after this [The Kreutzer Sonata] as I’ve got a mountain to climb here.” Otto says the mountain that is The Kreutzer Sonata affects him as it explores the dark side of men and relationships. “It starts with falling in love and then you go round and round, and there are five children, it is something that goes off, gets derailed – like a lot of marriages. They last even less time nowadays, a lot of them. It’s a very honest look at two people in a relationship, in a marriage, and the complexity of it.”

The Kreutzer Sonata The State Theatre Company Scenic Workshop, Adelaide Festival Centre Friday, February 22 to Sunday, March 17 statetheatrecompany.com.au


the adelaide REVIEW FEBRuary 2013

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performing arts

Defying gravity

well and that gives his moves and cascades a certain supremacy – even elegance – and makes it very interesting to see him play. I also think the contrast between his frozen face and the overly agile body is intriguing.” When viewing LEO, should you watch the live action as well as the projection? “I think the natural flow is that everybody bounces back and forth in the beginning of the piece to understand how the magic actually happens. After a while the story is a little bit more fun to look at on the screen and people focus there, which is fine! Towards the end, as the piece gets more acrobatic and opens another visual layer, I trust people will soak up the stage setup as a whole again. But no matter where you look throughout the piece, you will stay tuned.” Aside from admiring the effects, physical comedy and acrobatics, what does Wegner want the audience to take away from the show? “I would love them to a) feel like the power of gravity is slightly overrated on earth and that it should be challenged from time to time and b) embrace the fact that if you look at the same thing from a different perspective it can easily become something else...”

The gravity defying spectacle of Tobias Wegner’s LEO is set to stun Adelaide Fringe audiences just as another silent physical comedy production, The Boy with Tape on his Face, did in 2009.

Christopher Sanders

D

eveloped in cooperation with Circle of Eleven (Soap), Wegner showcases the ancient ‘gravity defying’ camera effect with LEO. The production astounded Edinburgh Fringe audiences in 2011, winning the Best of Edinburgh Award, and since then the German clown and physical comedian/ acrobat has performed LEO close to 200 times across five continents with Time Out New York calling LEO a “deeply impressive work of sustained absurdist magic”. LEO begins with Wegner sitting in a room/box with a screen next to him projecting his actions in real time – but at a different angle, so when Wegner performs a handstand the screen shows him hanging in mid air with his hands on the wall. In an age where CGI effects have transformed cinema, this old gravity-defying technique lets people view live vintage and tangible special effects.

It is the mix of the effects with physical comedy, dance and magic, which was performed by the classic cinema masters such as Buster Keaton, Fred Astaire and Charlie Chaplin, which speaks to today’s audiences, as these are mysterious and foreign feats in a modern age. Once the audience understands the trick, Leo and the audience’s world opens up and the magic happens. “The trick is exposed right from the beginning,” Wegner explains. “So the audience actually becomes a grinning accomplice, but then gets dragged into a coherent story of a man who is simply trying to solve problems in the beginning but who, over the course of the piece, discovers his creative power and imaginary potential through new circumstances. In the end he only has the biggest of all problems to solve, but everybody is with him.” Buster Keaton is a major influence with Wegner saying he set the benchmark for silent and physical comedy. “He was actually a hell of an acrobat as

Tobias Wegner in LEO

LEO The Garden of Unearthly Delights (The Vagabond) Friday, February 15 to Saturday, March 16 adelaidefringe.com.au


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the adelaide REVIEW february 2013

performing arts

Taking it to the next level When Barrio’s line-up was announced it was easy to skim the international guests to feast your eyes on two locals playing long-awaited solo shows at Adelaide Festival’s late night club: Surahn Sidhu and Ross McHenry.

Ross McHenry

this debut live show. It’s been a long time coming and sharing these songs will be exciting. I only just finished the album and it’s being mixed in LA right now, so it’s actually going to be the first time people hear a lot of this new material before the album drops.” McHenry’s Future Ensemble will showcase more jazz and electronic influences than his other projects. His band will not only feature his Adelaide crew from the Transatlantics and Shaolin Afronauts but an international pool of musicians that includes LA’s Mark de CliveLowe. McHenry met de Clive-Lowe when the former UK musician was playing a show with Miguel Atwood-Ferguson (a legendary American new jazz composer who mentored McHenry in 2011) in Los Angeles. Aside from playing Barrio, McHenry’s band will tour the country and record an album.

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Ross McHenry Future Ensemble plays Barrio on Sunday, March 3

FRINGE SEASON

S

urahn and McHenry have long been two of the most interesting musicians to hail from Adelaide. Though they come from different ends of the music spectrum, there are similarities: they’ve released on international labels, collaborated with high profile global names and both are primarily bass players who are talented songwriters. Surahn was the singer of the rock outfit Morals of a Minor and bass player of the nu-disco trio The Swiss. He set up the club label Bark Bang releasing modern disco tracks under his pseudonym Sidwho? and was a touring bass player for the global phenomenon Empire of the Sun. McHenry, on the other hand, won the Tommy Norman Jazz Bass Award in 2007 before setting up his deep funk and soul outfit The Transatlantics and the ARIA-nominated Afro-beat collective Shaolin Afronauts. The two bands released their first two albums through the UK imprint Freestyle Records. Given their pedigree, potential and commitment, it’s fitting that Surahn and McHenry will headline solo shows at Barrio under the names the Ross McHenry Future Ensemble and Surahn alongside international acts such as Soul II Soul, Toro Y Moi and Gramatik. McHenry will also join Surahn as part of his live band with members of The Transatlantics. “I’ve been aware of Surahn’s work for many years now,” McHenry explains. “I’ve always dug his solo stuff and as a member of his other projects we’d always run into each other from time to time at various festivals and events. He’s a great bass player and a fantastic songwriter.

As Surahn plays bass in many bands, and so do I, the opportunity to work together didn’t come up until now, as Surahn’s solo stuff will see him fronting the band rather than laying it down at the back of the stage. We’ve been talking about working together since early last year, so it’s taken a while to get it together. Surahn approached me about putting together the band for this live show, so it was natural for me to think about how that might come together with the people that I know.” Surahn says McHenry has been instrumental in helping him put together his live show. “He is a great player himself and a wonderful man. A lot of the songs are love songs, so it’s essential for the people involved to be lovers and not haters. Working with haters can be really negative and drags the whole process into an unpleasant space.” Surahn recently released his first solo EP under his real name through James Murphy’s (LCD Soundsystem) hip imprint DFA. He is best known for disco jams but his EP showcased love songs, not club tracks, that have a 70s West Coast feel to them. Surahn will be looking to release his debut album (which is currently being mixed in Los Angeles) this year. Despite releasing solo tracks under Sidwho? and now Surahn, Barrio will be his debut solo show. “I have been itching to perform my own songs in front of an audience since their inception,” he explains. “I have spent a lot time on the stage with other projects and it becomes a kind of addiction, I guess. I think songs don’t become real until you perform them to people. They take on a life of their own. I’m really sentimental about

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Surahn Sidhu

“I’d seen Mark doing solo shows in Adelaide and London but what really blew me away this time was seeing him play live keys and electronics with an improvising band. I was aware of how dope he was as a producer but what he was doing live was really something special. I knew from then on I wanted to do something with him. I’d been talking to the Adelaide Festival for some time about doing a special collaborative show that showcased Adelaide talent with internationally established artists. I was extremely fortunate that they were open to the idea. They gave the project the budget and credibility it needed to succeed and from there I turned it into a national tour and recording project. “Once I had the green light I met with Mark in Melbourne last year and discussed the idea with him and he was into it and after hundreds of emails and negotiations we have arrived here. The Adelaide Festival have demonstrated, yet again, that they are the most important cultural event in the calendar year by having the foresight and vision to invest in the Adelaide arts industry, not only in terms of programming international artists, but also by valuing Adelaide-based artists on the same level as those operating outside our state border. Sounds like a no-brainer but most organisations in Adelaide do not value what’s in our own backyard unless it suits them.” McHenry raised money to record the Future Ensemble album through the crowd-funding site, Pozible. McHenry hopes to release the album in the middle of the year, which will be primarily influenced by future jazz and LA beat. “It’s influenced heavily by those things but it will be unique. It’s hard for me to put a label on anything, let alone something I’ve not heard in its complete form, so I’m reluctant to say it’ll be too much of one thing or the other. I’ve been following closely the musical innovations of LA and NYC for a long time now and have been deeply affected by both cities’ musical discourse. I hope that I’ll be able to incorporate elements of both these great cities into my music. I envisage it as a relevant, contemporary improvising ensemble made up of some of the greatest exponents of new music on the planet.”


the adelaide REVIEW FEBRuary 2013

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FEATURE

From the shadows Nina Bertok

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ainting a unique and sensual picture of contemporary classical music in Australia, the Zephyr Quartet have returned with their third album A Rain from the Shadows, combining their compositions with the works of acclaimed local and international poets. While founder and cellist Hilary Kleinig says the recording process was finalised last July, the upcoming Adelaide Fringe season seemed to be the perfect time to launch the collective’s latest collaboration project. “We’ve been collaborating with poets for the last six years or so,” Kleinig says. “Initially we met a couple of poets through doing a school concert for Musica Viva and we were extremely inspired by the collaborative experience. The idea for this project was to do a poetry CD, basically. We took a unique approach to it for the album though – we thought, ‘Why not ask some poets to write poetry in response to the music we make’, which isn’t the way it’s normally done. Usually musicians use poetry as inspiration for

Zephyr Quartet

making their music – I don’t know if it happens the other way around so much!” Featuring published poetry from US-based Gary Soto, South Australian Rob Walker and Iraqi-born/ Adelaide-based Yahia Al-Samaway, Kleinig says the Zephyr Quartet commissioned new and original verse from Nicki Bloom, Mike Ladd and Finegan Kruckemeyer to be written exclusively in response to their music. Also featuring stunning artwork by Barbara Coddington of Little Red Studio, A Rain from the Shadows touches on two main themes – a fascination with the natural landscape and human emotions. “There are lots of references to the physical

landscape, whether that be in Mexico – where Gary was born – or in central or coastal Australia... There is a large focus on poems inspired by nature. Quite a few of the songs also deal with elements of humanity, such as grief, longing, sorrow and love. I’d say they are the two main themes that seem to crop up a fair bit as an overriding vibe.” It’s quite a different project in comparison to the Zephyr Quartet’s previous two albums, too, as Kleinig explains. The first album, Zephyr, was experimental in that the group was still attempting to find its feet. With second album, Esque, they came somewhat closer to self-discovering.

“Though not quite yet,” Kleinig says. “The first album had a very young vibe to it. It had all sorts of vocals on it – I did some singing, other friends sang, other people did some electronic beats, my now-husband played the sax, so it wasn’t really just a ‘string quartet’, it was lots of things. The second album, Esque, featured more composition by Belinda [Gehlert, violinist] and myself and it was more about songs that we really liked and wanted to just put on the album without having a certain theme.” A decade since the collective’s formation, Kleinig says she is surprised they’re still around to make album number three. What initially started out as the founder’s hobby while studying at uni is still going strong three albums later, and stronger than ever. “I had no long term plans – I just asked some friends to be in a string quartet and do a concert. I never thought I’d dedicate 10 years of my life to it and have it at the stage where it’s at now. I’m the only remaining original member of the group but Belinda and Emily [Tulloch, violinist] have been dedicated members for around eight years now. Zephyr Quartet doesn’t necessarily revolve around a particular person, though, it’s become its own thing now.”

Zephyr Quartet A Rain from the Shadows launch Wheatsheaf Hotel Thursday, February 21 and Saturday, February 23 zephyrquartet.com

TURNER FROM THE TATE

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STORM MUSIC WITH ENSEMBLE GALANTE Experience brooding and tempestuous orchestral and chamber music by Vivaldi, Mozart, Boccherini and CPE Bach, performed on period instruments and set against a large-scale projection of images by J.M.W. Turner. Saturday 16 February, 12 noon; Sunday 17 February, 1 pm and 3 pm

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detail: J.M.W. Turner, Waves Breaking on a Lee Shore at Margate (Study for ‘Rockets and Blue Lights’), c.1840. Photo © Tate, 2013


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the adelaide REVIEW february 2013

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Ways t’yearn About to release their first album in 14 years, Melbourne’s the Underground Lovers will preview the LP, Weekend, at the Garden of Unearthly Delights in March with some of their classic material. Underground Lovers

David Knight

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lmost qualifying as Australia’s greatest forgotten band, the Underground Lovers have reengaged with the public over recent years. The dreamy experimental pop outfit’s retrospective, Wonderful Things + Everybody’s Favourite, was released in 2011 while their second album Leaves Me Blind

Jennifer DeGrassi as

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was included in the 2010 publication, The 100 Best Australian Albums. The band, which was started by leaders Vince Giarrusso and Glenn Bennie in 1990, reunited for shows in 2009, their first since supporting New Order seven years earlier. This year ‘The Undies’ will release their first album since 1999’s Cold Feeling. Called Weekend the album is inspired by a Jean-Luc Goddard film of the same name. “We got offered some live shows and we did

those and it sort of connected straight away,” singer/songwriter Vince Giarrusso explains about their reunion. “It’s a bit of a cliché actually but it just happened and we had some money left from a grant, so we thought, ‘Let’s just go into a studio and see what happens’. We recorded about eight songs in two days and some of those recordings made it onto the record. One song we made up on the spot. I didn’t have lyrics, I just mumbled my way through the lyrics and they [the band] had the melody, so it just sort of happens when we get together, I think. We just fit musically.” The Underground Lovers debuted with their self-titled album in 1990 before releasing six more studio LPs under the Underground Lovers banner during that decade. Inspired by bands such as Joy Division, New Order, My Bloody Valentine and The Cure, the band became an eclectic force in Australia’s alternative music scene. Changing styles constantly they would go from raw rock and pop on one record to electronica for its next. Never officially splitting, the band was on hiatus for almost a decade to work on side projects. Giarrusso took the break to concentrate on film. The former social worker wrote and directed the Cannes selected Mallboy in 2001 and currently lectures at Swinburne University of Technology while he completes a PhD in film production, methodology and the creative process.

Never rockstars or the hip Aussie hype band, the Underground Lovers were an honest collective that delivered the goods album after album complete with a hypnotic and visually rich live show. Not that they were completely ignored. The band won Best New Talent at the 1992 ARIAs, best Australian album of 1992 by Rolling Stone and the single Losin’ It reached 19 on Triple J’s 1994 Hottest 100. Aside from the albums, the band left an impressive collection of singles, from the aforementioned Triple J favourite to the stadium chorus of Las Vegas, to the slammin’ techno melancholy pop of Starsigns and the downbeat electronica of Cold Feeling. Bizarrely, given their quality discography, it seemed the Underground Lovers were forgotten when on hiatus. “We didn’t play as much and stuff like that,” Giarrusso explains. “We were always difficult to pigeonhole and we sold okay amounts, which I thought was pretty good but it wasn’t heaps. We couldn’t be pigeonholed into Oz rock and all those other genre types, so that was difficult. Overseas people didn’t know where we were from and we kind of think that’s a positive. It’s actually something that you’d be striving for.” The band would also completely change direction from album to album going from the highly produced Dream it Down to the stripped back rock and pop of Rushall Station to electronica for their final two albums Ways T’Burn and Cold Feeling. “We are hard task masters of our audience,” Giarrusso admits. “I really believe that. I think audiences are super smart and you have to really push them and if they come along, they come along, but I’ve been proven wrong. Again it’s that double-edged sword.” The Undies previewed their first track in 14 years on Facebook late last year. Titled Dream to Me, the album track is classic Underground Lovers, mixing electronic ambience with melancholy guitar elements. Giarrusso says Dream to Me is an indicator to the rest of the LP, Weekend, but that it’s a different kind of album. “There are tracks [on the album] that are hard to describe, where they pushed our ideas about rhythm, music and repetition and all those sorts of things. There are a couple of tracks on there that are Underground Lovers but they’re kind of not as well. So it’s a kind of progression, I think, in a way.” Another new Underground Lovers track, Au Pair – an upbeat 60s pop sounding track with an Underground Lovers twist – was recently uploaded to YouTube featuring footage from the film, Weekend. With the album of the same name due this year, Giarrusso says the band doesn’t want to get nostalgic about the past. “It feels very in the moment still and when we play live we never know what is going to happen – it just has that intensity and this record reflects that as well. There are bands that come out and you can tell that they’re still in the moment; still making music, still vibrant and it’s important for them.”

Underground Lovers Paradiso Spiegeltent (Garden of Unearthly Delights) Thursday, March 14 gardenofunearthlydelights.com.au


the adelaide REVIEW FEBRuary 2013

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the adelaide REVIEW february 2013

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Zen and the art of gamba playing Following his first Adelaide Festival appearance in 1996, the renowned Catalan viola da gamba player Jordi Savall returns to perform solo works by Bach, Marais, Abel, Sainte-Colombe and others, as well as a WOMADelaide performance. Jordi Savall

Graham Strahle

I

f one thinks of Pablo Casals as the defining cellist of modern times, and Andrés Segovia as having established the classical guitar as we know it today, the same may well be said of another Spaniard, Jordi Savall, and the viola da gamba. The instrument itself, which looks coincidentally rather like a cross between the cello and guitar, reached its zenith with the redoubtable French virtuosos Monsieur de Sainte-Colombe and Marin Marais during the reign of the ‘Sun King’, Louis XIV, and his successor Louis XV. Indeed, it was Savall’s recreation and performance of these composers’ exquisitely beautiful pieces for the 1991 film Tous les matins du monde that brought him worldwide attention – the soundtrack has sold more than a million copies. Before Savall appeared on the early music scene in the mid-1970s with his celebrated group Hespèrion XXI (then called Hespèrion XX), the gamba was an obscure instrument whose practitioners, mainly cellists looking for something different to do, could be counted just about on the fingers of one hand. But through lengthy personal study of the gamba’s sources and music, Savall says he was able to understand the instrument more fully. “When I was starting to study viola da gamba, I had to develop my

own ideas for playing it. The teachers then were making the transition from cello to viola da gamba. I started to practise it in 1965 but worked for 10 years before giving a concert, playing the music and thinking about the relationship between the instrument and one’s body.” This relationship was something Savall explored through meditation, which he says became key in developing his unique sound and way of playing the gamba. “I was interested in finding out how to transform one’s energy to the instrument in the most direct way,” says Savall. The book The Sacred Art of Bowing: Preparing to Practice, by Buddhist writer Andi Young, helped, he says. “This book puts forward a Zen philosophy that says if you practise while concentrating on your physical being, after many years you don’t need to think about this and the fingers find their own way. You become so together with the music that you talk through the music.” Savall says he continues to practise regular meditation. “I do 45 minutes every day. I do this always. Then, when I play, I start off with very slow sounds. I let my body feel the sounds and play a simple phrase or scale, feeling how my body responds. I also meditate when I am conducting. If you’re quiet, there is a serenity that flows onto the musicians. If you’re nervous, all the musicians are nervous. You transmit these signals.”

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More than other early musician, Savall has looked keenly into the importance of Middle Eastern, Moroccan and other Mediterranean influences on European music of earlier centuries, and the result has given his solo playing, and Hespèrion XXI’s performances, a unique colour and inimitable vivacity. Perhaps this is why the Spanish master is distinctly unpreachy on the subject of authenticity, unlike a lot of other early musicians. Savall regards authenticity as more connected to one’s personal feelings for the music, which he says he realised when he started teaching at Basel’s Schola Cantorum in 1974. “I came to the view that you can teach the musician everything concerning style, sound, improvisation and so on, except for emotion, beauty and communication. Purity itself is a mistaken notion. We all belong in the present. If we play Bach today, the only way to listen to his music like audiences would have in his day would be to travel in a time machine, and to have never heard jazz, pop and so on. Authenticity means not to play like Bach or Marin Marais but in your own musical way. You have to be in love with the music, and then you will communicate it. The important thing is not purity; rather it is the way of regarding the music, and how a person has looked at the music and the sources. A good musician has to study the period, the music, with respect.”

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He says that playing the soundtrack for Tous les matins du monde changed his views even further. “The experience made me realise that my approach had to be different. This is not a concert. You have to be Marin Marais playing before a person who is dying. It is just like Hamlet saying ‘To be, or not to be’; a play is not like a concert, because you have to engage like a person in real life.” With a discography consisting of more than 160 albums, many of which he has released on his own Alia Vox label, Savall has covered a vast territory of music across the centuries. He has even recorded Beethoven with his orchestra, Le Concert des Nations, which he formed in 1989, and which he conducts. Savall says the composers who have given him the most joy to record are Purcell, Dowland, Tye and Jenkins for viol, and for orchestra, Monteverdi, Rameau and Beethoven. “But every recording occupies a special moment in my life,” he adds. “It’s to be in love for the first time. Every piece is like falling in love with a new person for the first time.” Savall’s wife, the soprano Montserrat Figueras, whose singing also elevated Hespèrion XXI to become the world’s leading early music group, sadly succumbed to cancer in 2011. He says her passing was a very great personal loss. “I’ve accepted the sadness as a good friend. You have to live with this sadness. But I now do more concerts than ever. Last year I did 160; this year it will be similar. When I play in concerts, I am in contact with Montserrat. I’ve started again to have pleasure with my friends and children. The thing is, we’re not here forever. The price you pay is ultimately to have sadness, but one can learn to live with experiencing that.”

Jordi Savall Adelaide Festival Les Voix Humaines St Peter’s Cathedral Thursday, March 7 WOMADelaide The Celtic Viol Friday, March 8 to Monday, March 11

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the adelaide REVIEW FEBRuary 2013

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performing arts

See the music, hear the art Christopher Sanders

A

collaboration between longtime friends Niki Vasilakis and Claire Foord will match visual art with music at Norwood’s new Fringe venue, The Alley. The work, Sensorial, sees violinist Niki Vasilakis perform an original composition live and during the performance a video of Claire Foord painting in reaction to Vasilakis’ composition will be shown. “The video shows the development, evolution, growth and movement of the artwork in line with Niki’s performance,” Foord explains. “You won’t see me painting as such but rather the artwork building in correlation to the sound and movements of Niki’s composition. The final piece will unveil just as the composition ends.” Foord and Vasilakis are both talented local artists who are globally recognised. Foord was based in Montreal for a year and has been part of group exhibitions in the US and Canada. She will hold a solo exhibition in Hamburg

this year. Vasilakis, on the other hand, has performed with some of the finest orchestras in the world and is a former Young South Australian of the Year and is the Adelaide Festival Centre’s Youth Patron. The two have been friends since school. “We have followed each other’s careers and been friends for years,” Foord explains, “but Sensorial is not just a premiere Fringe event it is also our first time collaborating on a show together.” Having always wanted to work together the pair decided to collaborate last year when they realised they would both be in Adelaide for the 2013 Fringe. They decided to create a work that would respond to Vasilakis’ music. “Art and music have so much in common,” Foord explains. “You can feel both art forms with such depth. Niki visualises her music as she plays it and likewise I visualise colours as I hear it - it’s a perfect match. Through Sensorial we seek to create art that is heard and music that is seen; an emergence of both art forms crossing over the other and becoming one and the same.” Foord says Vasilakis has created an emotional and expressive composition that is influenced by nature as well as modern culture. When working to the music, Foord says her work went to new places. “Obviously my head space, mood and environment have an influence on the artwork too. Each day the style would change, if only slightly, or in quite a bold contrast.” Sensorial will be performed at the new

Magill Road Fringe space, The Alley, which is a warehouse that has been transformed into a Fringe venue. “Each show will be a two-hour experience with the main event Sensorial taking place at its core,” Foord says. “Pre and post entertainment includes a magician, a jazz quartet, soul singer and video artist with events varying on each show night. With a garden, stage, gallery space and outdoor bar, Fringe goers will have much to experience.” As a bonus, Foord says her Sensorial work will be for sale. “The final work will be exhibited with a selection of other original artworks created in direct response to the Sensorial sounds. All works will be available for sale.” Niki Vasilakis

Sensorial The Alley 46 Magill Road, Norwood Every Friday at 8pm from Friday, February 15 to Friday, March 15 nikiclaire.com

Claire Foord


42

the adelaide REVIEW february 2013

performing arts

Champagne for Gypsies There ain’t no party like a Goran Bregović party, as the Balkan bandleader will prove with exclusive Australian performances at the Adelaide Festival and WOMADelaide. Goran Bregović

Billy Huston

A

former European rock star, Goran Bregović’s music career has taken many twists and turns during his four-decade career. Starting his professional life as a strip bar guitarist in Italy, the Bosnian Serbo-Croat’s life changed when he heard Eric Clapton’s band Cream, which led him out of the strip bar to form Bijelo Dugme, one of Yugoslavia’s biggest and most influential rock bands. If life was represented by three acts, then Bregović’s rock ‘n’ roll life was his first. His second occurred after he quit

rock and director Emir Kusturica asked him to score his film Time of the Gypsies (1988), which led to more soundtrack work. Bregović’s third and (likely) final act arrived when he formed the hugely popular Weddings and Funerals Orchestra. It’s a career that no one, including Bregović himself, could have predicted. “No one could have foreseen that the 18-yearold guitarist playing in strip-tease bars in Italy would have this career - I seem to have lived several lives in one,” Bregović says. “At the end of the 80s, after 10 years of rock star whirlpool, I retired. I didn’t want to play anymore, I’d had enough. Kusturica asked me to compose

State Theatre Company in association with the Adelaide Festival presents

statetheatrecompany.com.au

based on the novella by leo tolstoy In a new adaptation by Sue Smith

starring barry otto

22 february — 17 march

State Theatre Company Scenic Workshop BASS 131 246

music for his film Time of the Gypsies and my film composer career began. In 1992, when the war in Yugoslavia started, I was in Paris finishing the music for Arizona Dream. I could not go back to Sarajevo, and for a while I took what was offered - music for publicity and films. Then I was asked to compose a string quartet for the Balanescu Quartet and that’s how my third career started. I adapted my film music for stage (played with a full symphony orchestra at first), wrote some new songs and my Weddings and Funerals band was born. We first toured Greece, Poland, Spain and Italy... then it spread like wildfire. In a way I am a war profiteer – my third, international career started because of the war.” Currently working on his next opera, Orfeo Di Bregovic, for the Festival Della Taranta in Southern Italy, Bregović will bring an 18-piece band, which sometimes expands to 37 members, to Australia. His band, the Weddings and Funerals Orchestra, is an infamous good time orchestra, which features an out-of-tune brass section. “Brass bands stem from the military tradition and now count by hundreds between Istanbul and Bucharest. Most of them still play on the same old tattered military trumpets, instruments very difficult to tune. This is precisely the reason why I like to work with these bands; they make me think of early punk, of times before God Save the Queen was recorded – the first punk piece produced by a serious producer. Punk was touching and human until producers started using elaborate instruments with tuning machines. Punk died after it was tuned. I still find something out of that human out-of-tune playing in my Gypsy bands. “Some 15 years ago, I started playing concerts again, I began with a classical formation of a mixed choir and a symphony orchestra (120 people on stage). Then I threw out of the orchestra everything that disturbed me – and what disturbed me the most was that inhuman in-tune playing. I threw out the woodwinds and replaced them with traditional flutes. I threw out the beautiful women’s voices and replaced them with four Bulgarian singers. I took a male choir from an orthodox church, and replaced the brass players with a Gypsy brass band and added traditional percussion instead of timpani. I continued to scale down because the full Weddings and Funerals Orchestra experience comes from the texture of the music rather than from the numbers.”

Punk was touching and human until producers started using elaborate instruments with tuning machines. Punk died after it was tuned. I still find something out of that human outof-tune playing in my Gypsy bands."

It is likely that the Balkan and Gypsy sounds of his Weddings and Funerals Orchestra will be his final artistic movement. “When I was younger I thought there were thousands of possibilities to research. At this age I am aware of how short life is, and when I know that there is only one possibility to be searched wholeheartedly, I stopped searching in the sense that I am trying to say something with my music. I have limited myself to being a Balkan composer.” Bregović’s rock ‘n’ roll upbringing still influences, as he keeps the hedonistic streak from his previous musical life alive in his songs and live show. “Whether I write simple things for children’s instruments or more complicated ones for choirs and orchestras, I must always have fun. And I know that when I have fun, my audience also has fun.”

Goran Bregović and the Weddings and Funerals Orchestra Adelaide Festival Festival Theatre, Tuesday, March 12 WOMADelaide Monday, March 11 goranbregovic.rs


the adelaide REVIEW FEBRuary 2013

43

performing arts Tognetti’s Mozart

This month

Adelaide Town Hall Tuesday, February 5, 8pm

Richard Tognetti will perform one of Mozart’s

The Adelaide Review’s guide to February’s highlight performing arts events

most enchanting violin concertos (Violin Concerto No. 3) with the Australian Chamber Orchestra. Aside from Mozart, and Haydn’s Symphony No. 49, this night features the Australian premiere of

Tognetti’s Mozart

aco.com.au

Brett Dean’s new concerto for electric violin.

The Necks

Brazil Film Festival

Sunday, February 3 The Governor Hindmarsh

February 21 to 24

thenecks.com

Mercury Cinema brazilfilmfestival.com.au

Australia’s acclaimed The Necks, labelled

The Brazil Film Festival returns to Adelaide with

by The New York Times, are returning

10 films across four nights at Mercury Cinema.

Hindmarsh. The three-piece is famous for a wall of sound by mixing jazz, minimal,

Michelle & The Gentlemen’s Club

ambient and experimental sounds.

The Promethean jonesbevan.com

A hit at the 2012 Adelaide Fringe, this extraordinary Adelaide-based duo will launch their new CD Still with a set of compelling new originals mixed with their unique arrangements of Brazilian pieces and some familiar jazz tunes.

Sunday, February 17, 6pm Charmaine Jones & Mike Bevan

Sunday, February 10, 6pm

Fonesco’s Heleno, which stars Rodrigo Santoro (Che, 300 and I Love You Phillip Morris).

its breathtaking, hypnotic live sets that build

Charmaine Jones & Mike Bevan

The opening night’s film is Jose Henrique

The Governor Hindmarsh

Adelaide’s Michelle Pearson is set to premiere her first solo show in the 2013 Adelaide Fringe, backed by a quartet of Adelaide’s most eligible gentlemen and an orchestra hand-picked and musically directed by the award-winning Peter Johns. The show will mix cabaret, jazz, blues, musical theatre and Pearson’s unique take on Australian rock.

Michelle & The Gentlemen’s Club

to Adelaide, playing the Governor

The Necks

as one of the ‘greatest bands in the world’


44

the adelaide REVIEW february 2013

INNER W ® D R A AW ACADEMY NOCHE

performing arts

I B E T T E I L JU

S S E L R A E F OST ER CAREER IN THE M H ANCE OF PERFORM

“SUPERBLY ACTED

and beautifully photographed. A film by women, about women.” LYNDEN BARBER, ABC LIMELIGHT

“The deeply felt moment-to-moment experience of a woman… played with astonishing sensitivity and commitment by Binoche.” A.O SCOTT, THE NEW YORK TIMES

“A SHARP, HONEST take on friendship, sexuality and desire.”

Lincoln (M) Christopher Sanders It is intriguing that America’s horrific slave past has been the subject of two recent high profile films, Quentin Tarantino’s outrageously brave spaghetti western Django Unchained and Lincoln. The latter, directed by Steven Spielberg, recounts the last months of Abraham Lincoln’s (Daniel Day-Lewis) life as the American (and Republican) president championed the 13th Amendment to abolish slavery while finding a conclusion to the Civil War. Probably coincidental that two of America’s most well-known directors have tackled this issue, it is refreshing that both deliver essential films for 2013, as we view the evil atmosphere of the past while understanding that sexual slavery still exists away from the public’s gaze. Based on Doris Kearns Goodwin’s book Team of Rivals from a script by Angels of America and Munich scribe Tony Kushner, Lincoln isn’t a biopic as such, more an ‘amendment pic’. It’s a thriller about changing the law, as we view the 13th Amendment get debated in the US House of Representatives, and the dodgy backroom deals

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Quentin Tarantino’s latest, a mighty, historyrewriting epic that transposes the ultra-violent wish-fulfillment of his Inglourious Basterds to the old West (actually South), has upset many (including QT’s grumpy pal Spike Lee) for its ‘trivialising’ and/or ‘sensationalising’ of America’s shameful past, and perhaps present, of slavery and the most vicious racism, as well as its liberal use of (you guessed it) ‘the N word’. And yet there is a morally upright point here amid the splashiest gore in Tarantino’s canon, as this is, as always, about the movies, the lies they tell and the truths they carefully omit, and how they can also be used to boldly remind audiences of the ugliest and most long-hidden of truths.

needed to make it pass, which is riveting viewing. Unusually for a Spielberg film, especially an epic, the grey looking film isn’t a feast for the eyes. It’s an actors’ film. With a formidable cast of talented veterans and indie stars, the Schindler’s List and Saving Private Ryan director lets the performers take control. And what a cast: David Strathairn as Secretary of State William Seward, Tommy Lee Jones as anti-slave Republican Thaddeus Stevens (Lincoln’s most interesting character), Sally Field as Lincoln’s wife, Mary Todd Lincoln, Jared Harris as Ulysses S Grant etc. Despite the cast and amazing performances, from Jones and Day-Lewis especially, the film does get bogged down with a few ‘this is acting’ scenes, especially the husband and wife scenes between Day-Lewis and Field, which account for a large part of the family drama portion of Lincoln, the least successful arc of Lincoln. But it wouldn’t be a Spielberg film if the family tensions (husband and wife, father and son) were absent. These themes are far less captivating than the politics, or the family dramas embedded in other Spielberg epics such as ET, Close Encounters of the Third Kind and even War Horse. Family drama aside, Lincoln is an important historical thriller. One that shows an important time in America that contains much interest for those living outside the US of A. Unbelievably; it has moments that are very funny. Lincoln’s tendency to interrupt important historical junctures with ’I’m just an old small town lawyer’ stories are particularly amusing as are the trio of dodgy lobbyists (James Spader, John Hawkes and Tim Blake Nelson) at Lincoln’s employ to conjure up some dubious deals (as well as the comic relief) to pass the 13th Amendment. Lincoln is another triumph for Spielberg, who (the last Indiana Jones installment aside) continues to fascinate 38 years after Jaws.

Set two years before the Civil War, this opens after deliberately ‘grindhouse-ish’ and ‘spaghetti western’-style credits with a chain of slaves making their way through a cold night and approached by travelling dentist Dr King Schultz (Christoph Waltz, aka Landa ‘The Hunter’ from Basterds), who wants to purchase one for his work which, of course, actually turns out to be bounty hunting. Selecting Django (Jamie Foxx) from the group, Schultz finds that the guy is a natural (“Kill white men and get paid for it? What’s not to like?”, he notes) and, after a winter of successful executions, big paydays and cult cameo players galore, Schultz fulfills his side of their bargain by accompanying Django to the Mississippi plantation ‘Candyland’ to assist in the forced freeing of Django’s wife Brunhilde (Kerry Washington), which pits them against psychopathic dandy Calvin Candie (Leonardo DiCaprio, who almost played Waltz’s role in Basterds) and, more uneasily, Steven (longtime Tarantino mate Samuel L. Jackson), head servant, collaborator and apologist (and the character that would have most offended Spike Lee – if he’d actually watched the damn thing). QT’s longest movie yet again demonstrates that his getting-on mind is still like some pop-cultural magpie’s nest, with a lovely tip of the hat to ‘the other Django’ Franco Nero, a soundtrack that veers from Ennio Morricone scoring to the heaviest hip hop, cinematography and sweaty atmospherics that somehow manage to be both sumptuously beautiful and deliberately artificial, and a handful of electrifying performances, particularly in the murderously chummy interplay that goes on between Foxx and Waltz. And while it certainly courts controversy like rabble-rousing Hell, it is not a racist film, as this longtime-hip auteur pulls out all the cinematic stops to show you the past that the awfully white American cinema never dared depict.


the adelaide REVIEW FEBRuary 2013

45

performing arts BEST PICTuRE • dIRECTIng • FOREIgn LAnguAgE FILM ACTRESS In A LEAdIng ROLE & ORIgInAL SCREEnPLAY

Zero Dark Thirty (M) Nigel Randall

Amour (PG) Christopher Sanders After its infamous opening scene, Amour introduces us to an elderly Parisian couple living a dream retirement life, attending concerts while discussing art in their spacious apartment before a stroke changes everything. The latest from Austrian auteur Michael Haneke (Funny Games, The White Ribbon) won Haneke his second Palme D’Or for best film at Cannes and received five Oscar nominations. Starring JeanLouis Trintignant and Emmanuelle Riva as Georges and Anne, former music teachers who are in their 80s, the pair are brilliant as the lifelong couple as you feel the 60 years of love, quirks, pet-hates and warmth between the two. When Anne suffers a stroke, their relationship changes as she slowly desecrates and Georges is left to care for her. The second half of the film can be hard viewing. Haneke doesn’t sugarcoat reality. And it is a realist portrayal that feels more real than a documentary with Haneke’s minimal, but beautiful, approach. Amour is a stunning look at the last years of life and a life of love.

Gripping, intelligent, innovative, powerful. Critics on a regular basis bandy about these words. Some readers might argue not often enough, for too few films truly deserve such terms. You will no doubt hear such superlatives used to describe Zero Dark Thirty and most probably herein (consider it done). You will also read much about the controversial torture scenes that open the film and ongoing debate they sparked in the US. They are difficult to watch. Perhaps because they are presented within a moral vacuum, much like they occurred in actuality. And that’s how director Kathryn Bigelow styles this exceptional piece of journalistic procedural thriller. She, like her central protag Maya (Jessica Chastain), doesn’t shy away from hard and horrible truths and possesses a coolly obsessive bent for details in going about her job. The job onscreen is the decade long search for Osama Bin Laden, and whilst this was obviously a collective imperative, it is crystallised here into the utmost single purpose in CIA agent Maya. To say she makes Clarice Starling look like Inspector Clouseau is over-stretching a little and perhaps unfair to both Jodie Foster and that film, but serves to illustrate a point. That’s how good Chastain is, in an equally remarkable role based on a hitherto unnamed real female operative. Zero Dark Thirty begins with a collage of real life audio from 9/11; an event that

still resonates emotionally from this effectively cut series of sound bites. What proceeds is a fascinating and detailed account of how a small team of CIA agents based in Pakistan track down the impossibly elusive Al-Qaeda head. The “enhanced interrogation” techniques used by Dan (Jason Clarke) and soon after by Maya, are just one part of the information gathering. It is a seemingly unreliable one at that (to what extent is the contention), but is depicted all the same as contributing to the overall mission’s final result. Mostly what is gleaned from the broken detainees is a mere starting point of slippery mistruths to be decoded and analysed into actual leads. It’s riveting to watch how the process, as meticulously scribed by screenwriter Mark Boal, plays out in stunningly staged action sequences, not least the climatic final half hour as Navy Seals infiltrate Bin Laden’s compound at 12.30am (to which the film’s title refers). It’s eerily slow and intensely suspenseful despite the outcome being something of a foregone conclusion. But that’s testament to Bigelow’s talent for creating the pure cinematic entertainment that is Zero Dark Thirty.

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46

the adelaide REVIEW february 2013

visual arts

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Image: Mrs Fairweather and Millwright, Squire, (detail)

J.M.W. Turner, Venice, the Bridge of Sighs, exhibited 1840. Photo: (c) Tate, 2013

Mrs Fairweather and Millwright 3 – 24 February 2013

More than meets the eye

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

The first major Australian exhibition of JMW Turner’s work in 20 years explores the evolution of a master.

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Mediterranean Bay (detail), watercolour, by Deirdre Boyd

Beyond the surface (detail), mixed media, by Tracy Vandepeer

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Mike Leigh-directed film on the English Romantic artist JMW Turner is scheduled for 2014. This biopic will be a bells and whistles version. “You don’t make a film about Turner,” Leigh commented, “and cut the exteriors. This is a guy who strapped himself to the mast of a ship to paint a storm. He’s for real.” The National Portrait Gallery holds a death mask,

ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC. RSASA Summer School Tutors Exhibition

which reveals that at the end of his life Turner had lost all his teeth. So actor Timothy Spall, who has been chosen to play Turner in Leigh’s movie, will have his work cut out sucking in his cheeks while uttering deathless lines like ‘light is therefore colour’ or ‘painting is a rummy business’. Across his lifetime Turner avoided being drawn or painted and it was left to some fellow artists and caricaturists to fill the gap, with most versions resembling Mr Punch. Now the exciting news for Turner spotters.

Neville Assad-Salha Between Two Spaces Ground Floor Gallery 15 Feb- 21 April 2013

3 – 17 February An exhibition of artworks by tutors, Hugh Adamson, Betty Anderson, Cathi Steer, Deirdre Boyd, Gillian Napier, Uta Mooney, Tony Wynne, Tracy Vanderpeer, Heather Lorenzon in painting, mixed media, textiles & printmaking.

Tassels & Tales, Members Fringe Exhibition 24 February – 24 March

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.

A drawing of Turner by a contemporary, the artist Cornelius Varley, may be the real thing. Silent Witness has nothing on this story. An MA student at Dundee University has superimposed an image of Varley’s 1851 drawing onto a 3D laser scan of Turner’s death mask. Bingo. Well Bingo-ish. Forensic scientists and Turner experts at 10 paces. While more prosaic souls continue this quest to uncover hard evidence of the life of this most elusive and enigmatic of artists,

Bay Discovery Centre Glenelg Town Hall, 1 Moseley Square, Glenelg Ph 8179 9508 holdfast.sa.gov.au


the adelaide REVIEW FEBRuary 2013

47

visual arts the rest of the world can celebrate the fact that, through his work, Turner has left a vast collection of self-portraits - of his inner imagination and soul. The reason the world knows about the artist is that his reputation as one of the giants of Romantic landscape painting precedes him. His life’s work is visual art’s counterpart to the inspired expression of the Romantic poets, Wordsworth, Keats, Byron and others. They all drank at the front bar of the Sublime. For the Romantics, sublime experience was associated with nature at its most awesome. For artists, including Turner, nothing could beat a good Alp, or craggy gorge for that matter. Turner had his fill when he made the first of a number of journeys to Europe. One painting, The Devil’s Bridge, near Andermatt, Pass of St Gotthard, 1802, is a fine example of the artist’s free-spirited ‘attack’ on the subject. It also provides an insight into Turner’s determination to capture the moment in both visual and emotional terms. By the time Turner crossed the Channel he was primed to engage with all that nature could offer him. His landscape as well as marine subject apprenticeship had been long and fruitful, tramping the English countryside in the late 1700s. Atmospherics, particularly the play of light and fleeting weather conditions, are the central focus of many of the studies he made while travelling. Humanity and nature, the grand themes of Turner’s art, are everywhere to be found in the Turner from the Tate: The Making of a Master exhibition, at the Art Gallery of South Australia from Friday, February 8. This is the first major Australian exhibition of Turner’s work in 20 years. Embedded within almost 100 works (including a number never previously exhibited) are all the narratives which continue to define Turner in the public imagination as a landscapist, an observer of modern life, a life-long student of tradition, shrewd businessman, sometimes a rebel and above all a romantic spirit who, in his later luminous paintings in particular, speaks directly to contemporary audiences. Much has been written about this aspect of Turner’s work, particularly the ‘abstraction‘ of late works. One perspective is that this claiming of Turner as a proto-modern, an impressionist certainly, abstract expressionist or even a minimalist artist has been driven by a need to give the modernist project some historical roots. Another has been to associate the late Turners with like works

from later generations. An example is the 2012 Tate Liverpool exhibition Turner, Monet, Twombly: Later Paintings exhibition which ran Turner landscapes against some Monet Water Lilies and works from American later 20th century artist Cy Twombly’s Blooming series. In such company the late and the ‘unfinished’ Turners look kindred spirits. But as Turner scholar Andrew Winton comments, this retrospectivity may come at a cost. This ‘Turner is great because he is so modern’ mindset, he suggests, discounts the worth of the artist’s earlier work which to eyes primed for essentialist expression look dark and overcrowded with details. Wilton’s advice is to celebrate the numinous passages of colour and brushwork but also make the connection with the narrative and symbolic elements that run throughout his entire work. His other advice is that Turner, from his earliest years, was an innovator, and as an example, considers Turner’s watercolour studies, made in Snowdonia in 1799 when the artist was 24, to be among his most original contributions to the history of art. Exhibition Curator Jane Messenger supports this perspective. “What makes the exhibition so remarkable is that it traces Turner’s evolution as an artist … He really did change the possibilities of what art could be and you only, fully appreciate that by seeing his early work.” Art aside (if possible), one of the most fascinating aspects of Turner’s practice to be encountered in the exhibition, is the artist’s engagement with the modern world. It is extraordinary. Here is a man who paints works that are steeped in an understanding of the classical and old master traditions. Yet the same artist has an eye for the advent of the modern era as seen in Peace – Burial at Sea (1842), one of Turner’s classic ‘steam & sail’ images, and for contemporary social issues as seen in A Disaster at Sea c. 1835, based on the wreck of the convict ship The Amphitrite, and the avoidable death of nearly all on board, mostly women and children bound for a new life in Australia. As always with Turner there is more than meets the eye.

J.M.W. Turner, The Devil’s Bridge, near Andermatt, Pass of St Gotthard, 1802. Photo: (c) Tate, 2013

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Ferment

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aloma treister essence ii 9 – 23 February 2013 www.hillsmithgallery.com.au


48

the adelaide REVIEW february 2013

fringe feature 1.

4.

2.

6.

3. 5.

1. RSASA GALLERY

2. FLINDERS UNIVERSITY CITY GALLERY

The Royal South Australian Society of Arts

3. JAMFACTORY

4. T’ARTS COLLECTIVE

Co-curated by Brian Parkes and Elliat Rich,

T’Arts’ Fringe exhibition will feature all three of

presets Tassels & Tales, a mix of painting,

The result of a yearlong project initiated by

this exhibition explores innovative and

T’Arts’ windows with current and past members

photographs, textiles, mixed media and 3D

Country Arts SA, tough(er) love explores the

outstanding uses of wood in contemporary

contributing to celebrate the fact that it’s T’Arts

sculpture by RSASA members.

complex relationships twelve ‘West Coast’ artists

Australian art, design and architecture. It is the

10th birthday in March. The two main windows

have forged with the Eyre Peninsula. Curated by

result of a collaboration between JamFactory

will be a free-for-all with no specifics in mind,

John Neylon, it features new work by Indigenous

and the Botanic Gardens of Adelaide. Before

just the best work to celebrate T’Arts’ 10th year

and non-Indigenous painters and sculptors.

embarking on a two-year national tour, this

in business. Any style. Any colour. Anything! The

groundbreaking exhibition will premiere in

third window will feature work from T’Arts’ 10th

Adelaide across two venues: JamFactory and

birthday book, which will be launched as part of

the Santos Museum of Economic Botany.

the Fringe.

RSASA Gallery Tassels & Tales

Flinders University City Gallery

JamFactory, GalleryOne

T’Arts Collective

Sunday, February 24 to Sunday, March 24

tough(er) love

WOOD: art design architecture

T’Arts are turning 10!

Level 1, Institute Building, North Tce and

Saturday, February 23 to Sunday, April 28

Friday, February 15 to Saturday, April 6

Sunday, February 10 to Sunday, February 17

Kintore Avenue

State Library of SA, North Tce

19 Morphett St

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the adelaide REVIEW FEBRuary 2013

49

fringe feature 7.

1. Coralie Armstrong, Moments in Time, Water Colour | 2. Beaver Lennon, Head of the Bight, 2012, acrylic on canvas, 82 x 106 cm. | 3. Sherrie Knipe, Boot Lace, 2010, pine veneer and cotton, 37 x 63 x 23 cm (each boot). | 4. Maude Bath, White Butterfly Top | 5. Jagath Dheerasekara, Manuwangku Under the Nuclear Cloud | 6. John Waters, The Weight, Oil on canvas, 105 x 105 cm. | 7. Gary Campbell, Saturday Upper, Giclee Print, 21X 29 cm | 8. Luna, Cheetah, Acrylic on Canvas | 9. Neville Assad-Salha

9.

9. Bay Discovery Centre Glenelg’s Bay Discovery Centre hosts two exhibitions during the Fringe. The Ground Floor Gallery sees South Australian ceramicist Neville Assad-Salha present a body of work (Between Two Spaces) created and developed whilst living between two vastly diverse cultures. The resulting works providing a visual connection of subtle influences, mark making and form while in the Mezzanine Gallery is a collection of intimate artworks produced in the Tutti Visual Art and Design program

8.

Bay Discovery Centre Between Two Spaces and Tutti – Small Things Friday, February 1 to Sunday, April 7 (Small Things) Friday, February 15 to Sunday, April 21 (Between Two Spaces) Glenelg Town Hall Moseley Square Holdfast.sa.gov.au

5. THE LIGHT GALLERY

6. HILL SMITH GALLERY

7. Red Poles

8. PEPPER STREET ARTS CENTRE

The Light Gallery hosts an exhibition by

Hill Smith Gallery hosts three exhibitions

Red Poles’ group Fringe exhibition, Ferment,

human rights activist Jagath Dheerasekara,

during February as part of Adelaide Fringe.

opens of Sunday, March 3 and includes

Manuwangku, Under the Nuclear Cloud. The

The artists are Aloma Treister (exhibition:

artists such as Ruby Chew, Lois Turner and

with a feline theme by 30 South Australian

photographic exhibition is a testament to the

Essence II), Jessica Mara (Some Place Near)

Rohan Fraser. The exhibition’s theme relates

artists. This exhibition will include depictions

resilience of the Manuwangku community

and John Waters (Four Walls).

Crazy for Cats: An exhibition of mixed media

to McLaren Vale’s vintage. However, the

of both big cats, such as tigers, cheetahs and

and captures the determination of people

work does not have to focus on wine or wine

lions as well as many domestic cats. Visitors

bound together through a common struggle

making, but may be a consideration of the

can expect to see a wide variety of artworks

to keep their traditional land free from

definition of ferment itself.

including paintings, jewellery, printmaking,

nuclear waste.

paper mâché sculptures, textiles, ceramics,

pastels, photography and more. Hill Smith Gallery

The Light Gallery

Various exhibitions

Red Poles

Pepper Street Arts Centre

Manuwangku - Under the Nuclear Cloud

113 Pirie St

Ferment

Crazy for Cats

Thursday, February 14 to Friday, March 22

Exhibitions run from Friday, February 9

Sunday, March 3 to Sunday, April 14

Begins: Sunday, February 17

138 Richmond Rd, Marelston

to Friday, February 23

McMurtrie Rd, McLaren Vale

558 Magill Road, Magill

lightgallery.ccp.sa.edu.au

hillsmithgallery.com.au

redpoles.com.au

pepperstreetartscentre.com.au

Jess Mara some place near 9 – 23 February 2013 www.hillsmithgallery.com.au


50

the adelaide REVIEW february 2013

visual arts

It’s a great opportunity to have your work seen by such a large majority of the arts community, both local and interstate. When people remember your work after seeing it in an exhibition like this, they will often keep you in mind for other opportunities that come along."

Carly Snoswell, Untitled

The best graduating artists from Adelaide’s three tertiary art institutions will be showcased at Helpmann Academy’s 17th Graduate Exhibition featuring 35 artists from the Adelaide Central School of Art, UniSA’s School of Art, Architecture and Design and the Adelaide College of the Arts.

Billy Huston

T

he unique multi-institution graduate exhibition opens on Friday, February 15 at Torrens Parade’s Drill Hall and features more than $13,000 worth of awards, to be announced on opening night. Art Gallery of South Australia curator Lisa Slade is the opening night speaker and one of the exhibition’s jury

members. Slade, who moved to Adelaide from NSW three years ago, opened all three of the individual tertiary graduate exhibitions last year, and says the Helpmann Academy exhibition is great for the public, as they get to see the work that is being delivered from each of the institutions. “As much as all of our art institutions are very sophisticated they also have distinct characteristics and I think those things shine through,” Slade says.

ANDREW BAINES

The graduates

“If you can call the Adelaide Central School of Art the boutique model, because it’s a smaller scale private model, through to the university model [School of Art, Architecture and Design] and then there is the TAFE model [Adelaide College of the Arts]. I think it’s a great chance for people to see, particularly potential students and their parents, the different offerings because seeing the outcome is a great way to view the strengths of those institutions.” Slade says just being selected for the exhibition is an honour. “The awards themselves, some of them are privately driven, which is great but it’s reflective of a private individual, so I think the honour of being selected by your institution is a great one, much more important than being awarded a particular award, I think. That’s my personal take on it.” One of the exhibiting graduates, Carly Snoswell, says the exposure from the Helpmann is unlike anything else. “It’s a great opportunity to have your work seen by such a large majority of the arts community, both local and interstate. When people remember your work after seeing it in an exhibition like this, they will

ARCADIA series

John waters four walls 9 – 23 February 2013 www.hillsmithgallery.com.au

often keep you in mind for other opportunities that come along. It also very satisfying, after spending all that time at uni on one project, to be able to exhibit it again, and unlike the university grad show, we’ve all now had a bit of time to relax and can really appreciate the result of all our hard work.” Snoswell’s colourful work was created using plastic loop ties. “I began joining them end to end, creating one long unending trail of ties. As the length of the loop ties grew, they began to tangle and create a form of their own. The loop ties would wildly spread across the floor and in an attempt to contain them I simply bundled or wrapped them up. This was an automatic response to how the materials were behaving, and as a result became a subsequent gesture to the initial action. Through this work I aimed to display the materials intentions along with intuitive process to display a never-ending cycle, and a constant state of making.” Photographer Hailey Lane, who graduated from the University of South Australia last year, will showcase her unique nature photographs from her collections A Tale of Two Peripheries and Dreamers. “Once I started my degree in 2010, my understanding of the natural world changed; I began to look at landscape as more emotional than physical,” Lane says of her work. “This opened up a whole new creative world for me, and I developed a practice based on my relationship with the natural world around me; instead of taking beautiful pictures of nature, I began telling stories through my images. My works are inspired by the Romantic landscape tradition of the 19th century, where my interest lies in the physical and psychological contemplation of the sublime in nature. I seek to incite awe, wonder and emotion from scenes of splendour and destruction.”

1 – 16 February 2013 31 - 33 North Street | West End Adelaide | South Australia 5000 T +61 8231 4440 | M 0424 687 915 | art @bmgart.com.au www.bmgart.com.au Gallery Hours Tues to Fri 11am to 5pm, Sat 2pm to 5pm Cathartic Corporate 2012, Acrylic on canvas, 85 x 85cms

Helpmann Academy Graduate Exhibition 2013 Friday, February 15 to Sunday, March 10 Drill Hall, Torrens Parade Ground helpmannacademy.com.au


the adelaide REVIEW FEBRuary 2013

51

visual arts

Hugo Michell Gallery Thursday, February 14 to Saturday, March 16

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

hugomichellgallery.com

Melbourne artist Tony Garifalakis’ latest collection Angels of the bottomless pit explores the apocalyptic notions of the Anti Christ in relation to conspiracy

Simon Terrill

theory thinking. Garifalakis’ work has mined popular culture to explore our

Crowd Theory Adelaide     

follies and anxieties through recurrent

Victoria Square

themes of conspiracy theories,

Wednesday, February 27, 7pm

extremism, anarchism, cults and the Simon Terrill, Swarm

Register: crowdtheoryadelaide.com.au

Crowd Theory Adelaide is a large-scale photographic event by artist Simon Terrill. Anyone who has an attachment to Victoria Square, current, recent or historical, is invited to be a part of the image.

Dan Withey

apocalypse.

Andrew Baird Illuminations RiAus, FutureSpace Gallery Friday, February 15 to Friday, April 12 riaus.org.au

Illuminations is a collection of portraits

Visible Ink

of scientists that highlight the work

Dragonfly Bar and Dining

of the individual as part of the greater

Continues until Saturday, February 9

project of science. As a collection, the

facebook.com/pages/Dan-Withey

portraits emphasise the collaborative

A few months after his Withey or Withoutey

nature of scientific work and celebrates

exhibition at Magazine Gallery, English-born

their research to show how indebted we Dan Withey

local illustrator and painter Dan Withey is holding a new exhibition, Visible Ink, at Dragonfly. Visible Ink is a combination of the two series Unfair Navigation and Spore.

CRAZY FOR CATS

are to their work.

exhibitions gallery shop

TANDANYA – NACI presents

An exhibition of mixed media with a feline theme by 30 artists

8 February - 3 March

17 February - 22 March 2013

TWO EXHIBITIONS

Pastel Strokes

Elise Leslie-Allen, Detail of Bengal

artworks by members of the Pastel Artists of South Australia

Opens: Sunday 17 February at 2 pm Launch Guest: David Parkin Mayor of Burnside Live music by Tin Can Alley Free face painting Artist demonstrations Wear your best cat outfit to win a prize

Free entry - all welcome!

Burthurmarr Christopher Crebbin, The start of another journey, 2005, 65 x 120 cm, mixed media. OPENING LAUNCH SATURDAY 16 FEBRUARY 4:00 – 6:00PM

SPEAKING WAVE Tandanya Permanent Collection & the South Australian Aboriginal and Torres Strait Islander Storytellers’ and Writers’ group. Local storytellers and writers have been invited to view the Tandanya Permanent Collection and respond to the artworks through poetry and prose. Writers participating in the exhibition will be reading their works throughout the day on Sunday 17 February as part of the 2013 Speaking Wave Writers Forum.

IN OUR LIFETIME Burthurmarr Christopher Crebbin A talented local resident, Burthurmarr returns to Tandanya with a selection of old and new works including paintings, carvings and artefacts. Burthurmarr will be presenting an artist talk in conjunction with his exhibition. Please check the website for details.

Pepper Street Arts Centre Exhibitions. Gift Shop. Art Classes. Coffee Shop. 558 Magill Road, Magill PH: 8364 6154 Hours: Tuesday to Saturday 12 noon - 5 pm An arts & cultural initiative funded by the City of Burnside

www.pepperstreetartscentre.com.au

images by: (clockwise from top left) Margaret McEntee Carol Coventry Suzie Riley

From the Gallery Walls of the Imagination contemporary paintings by Uta Mooney

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

‘Meet the Artists’ from both exhibitions Sunday 17 February, from 1.30pm Gallery M, Marion Cultural Centre 287 Diagonal Rd, Oaklands Pk SA P:8377 2904 info@gallerym.net.au

www.gallerym.net.au

Andrew Baird, MH01, Green Chemist, Monash University

This month

Angels of the bottomless pit

Tony Garifalakis, Branch of the Terrible Ones (detail)

Tony Garifalakis



52

the adelaide REVIEW february 2013

visual arts

Profile: Harry Thring

canvas. The way I paint is a lot of trial and error. I slop the paint on and take it off. It’s a bit like journalism – I put this down, edit it back, put something else on, if I like it I keep it.” In his first solo exhibition with Peter Walker Fine Art in 2011 Thring was reflecting on his childhood, looking back to simpler times. “I was obsessed with superheroes. Cartoons like Tintin, Batman, Superman and Spider-Man, all that stuff. So that was my focus and the works include images of that,” he says. His second solo exhibition follows on from this and explores similar themes but delves deeper into Thring’s own personal growth. “I am at that stage in my

Jane Llewellyn

life where lots of things are starting to change

A

and you’ve entered the workforce and you are

rt and sport are often worlds apart but in artist Harry Thring’s world they combine to create a fine balance. “I have always loved sport and I have always loved art and I don’t see why they have to be mutually exclusive,” he says. “I’m not sure if I had all of one thing I would be happy. I need a bit of both.” Thring has a dual career as both a sports journalist, currently working as an AFL reporter, and as a practicing artist just about to embark on his second solo exhibition with Peter Walker Fine Art. Even though the artist/sports journo combo is an unusual mix he says, “I like the contrast and conflict between it. It gives you inspiration to draw on. I like that ebb and flow.” Without any formal training Thring has developed his own style. “I work in acrylic on

struggling to come to terms with where things are going personally with your relationships and family members. The dynamic changes a little bit.” Much of Thring’s work comes from a very personal perspective. “Some of the works I have produced are very raw and I am almost

A Swollen Sun, acrylic, oil, charcoal, ink and collage on canvas, 182cmx136cm

a little embarrassed to explain the meaning of them because they are so personal.” In his latest exhibition Thring has introduced some larger canvases allowing him to explore his technique with greater freedom. “My style is of big slabs of colour on the canvas and then I write and draw into it and then I might stick some things on and then paint over it again. So it’s great to have a big space to do this in.” Working full time as a sports journo takes some of the pressure off Thring allowing him to be creative without having to think about sales.

The way I paint is a lot of trial and error. I slop the paint on and take it off. It’s a bit like journalism – I put this down, edit it back, put something else on, if I like it I keep it."

Melrose wing The Art Gallery of South Australia held an exclusive preview of the new Melrose Wing of European Art on Friday, January 18. From left: Nick Mitzevich and Jane Messenger; Paul Cammell and Jackie Cammell; Anne Edwards and Michael Zavros; Margot Osborne and John Neylon

Photos: courtesy of the Art Gallery of South Australia

He doesn’t see art and sport as worlds apart with both areas of his life reflecting the fast pace of today’s society. “I love the immediacy of sports journalism at the moment and that’s very similar to my art. I’m not a patient person. I can barely wait for the paint to dry. Sometimes I make the mistake of not waiting quite long enough.”

Harry Thring Peter Walker Fine Art Thursday, February 21 to Saturday, March 9

An Awkward Philosophy, acrylic, ink, pencil and collage on canvas, 50x61cm


the adelaide REVIEW FEBRuary 2013

53

books

Street to Street is a paean to the creative life with all its costs and burdens. Both Brian Castro and this slim masterpiece are to be cherished."

Street to Street Brian Castro Giramondo

The Bat

The Fields

Jo Nesbo Harvill Secker

Kevin Maher Little, Brown

Roger Hainsworth

Helen Dinmore

If like most of us you begin reading Jo Nesbo’s Harry Hole stories with The Redbreast (the first to be translated into English from the original Norwegian) you will have an uneasy sense you have missed something. There are earlier episodes in the eccentric police detective’s career that are tantalisingly referred to but not explained. There are hints of scandal (only too likely) but also of investigative triumph (also likely) that has saved his career. Even more tantalising, these episodes occurred in Sydney of all unlikely places to find an Oslo homicide detective. It appears there were two Harry Hole stories published in Norwegian prior to The Redbreast and in the very first his superiors send Harry to Australia to ‘observe’ the investigation of the murder of a Norwegian girl in Sydney. The Bat has now been translated into English 15 years after it first appeared. Harry surrounded by the blinding Sydney sunshine instead of the sombre tones of Nesbo’s Oslo takes a bit of getting used to. He has been ‘dry’ for some time but falls off the wagon under the stress of an increasingly traumatic investigation of what Harry discovers is a serial killer at work. Harry has a wonderful time with an Aboriginal police detective who is one of Nesbo’s more memorable characters, discovering aspects of Sydney (especially nocturnal King’s Cross) and former hippie capital Nimbin, the NSW Tourist Board would rather he had not ‘observed’. He falls in love with a Swedish-Australian; he gets to know more than he might have wished about Australia’s travelling boxing shows; and the last we see of him he has just jumped into space to experience sky-diving! This is not classic Harry Hole, but it is the first, and I found the description of Sydney immensely entertaining. However, I must confess a prejudice: I spent the first five years of my new Australian life in Sydney. ‘Great was it in that dawn to be alive but to be young was very Heaven!’

Journalist Kevin Maher’s literary debut is a whopper of a coming-of-age tale, set in 1980s Dublin, the author’s hometown. Teenager Jim Finnegan is the youngest of a rowdy Catholic brood. While his family thinks he’s still young enough for Star Wars action figures, his 17-year-old girlfriend, Saidhbh, reckons him old enough (just) for sex. If that’s not fuel enough for adolescent turmoil, around the same time his dad is diagnosed with cancer, Jim falls victim to the repugnant, sexually deviant parish priest, Fr O’Culigeen. The one thing Jim does with any surety is to love Saidhbh, but in the process he’s going to learn about life and death and all the love and violence in between. Humour, like everything else, is lashed on thick, and it’s the voice – hilarious, colloquial and unflinchingly frank on the darkest of matters – that sets this novel apart. The narrative digresses, richly, to the boundaries of Jim’s parochial world, and eventually beyond, to London. While the wacky, wholly unexpected denouement will leave many readers scratching their heads, it’s a hugely entertaining and absorbing read.

Humour, like everything else, is lashed on thick, and it’s the voice – hilarious, colloquial and unflinchingly frank on the darkest of matters – that sets this novel apart."

William Charles A new series of the innovative and quite brilliant ‘Shorts’ from Giramondo opens with this Brian Castro novella in which contemporary writeracademic Brendan Costa takes on the biographic challenge of Australian poet Christopher Brennan. As Brennan emerges from his own mythology, a towering figure steeped in classicism, while drenched in alcohol and social failure, Costa himself must confront questions around notions of art,

creativity and his own failure (that most grievous yet least examined of modern sins, along with its handmaiden, guilt). Castro has written a compressed, musical and remarkable work, a triumph of exquisite prose and dry humour. Few Australian novels in recent memory contain such a shimmering opening chapter, encyclopaedic and rich in lyrical imagination, and then manage to sustain that heightened sense of imagery, learning and excitement throughout. As the complex frustrations and triumphs of the life of a poet such as Brennan build, both the poet and his biographer Costa are magnificently drawn with feet of clay. Street to Street is a paean to the creative life with all its costs and burdens. Both Brian Castro and this slim masterpiece are to be cherished.

Happily ever after BOOK EARLY FOR WRITERS’ WEEK Be ready for

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adelaide.customers@dymocks.com.au Follow us on Twitter @DymocksAdelaide


54

the adelaide REVIEW february 2013

travel

Bali, Borobudur, Borneo and beyond Stephanie Johnston

I

won the lottery. The sibling lottery that is, to see who would accompany our mother on a luxury expedition by sea around Indonesia, in anticipation of her 90th birthday. Mum had been contemplating such a cruise for some time, and Australia-based Orion Expedition Cruises came highly recommended by Adelaide friends, for their West Australian Kimberley Coast voyages in particular. The lure of the exotic won out though, and we chose a new Orion itinerary that would take us from Benoa, Bali, to Semarang, Java, (jumpingoff port for the World Heritage-listed Borobodur and Prambanan temple compounds), and to Camp Leakey, Borneo to mix it with orphaned and wild orangutans, gibbons, proboscis monkeys, macaques and numerous other intriguing rainforest dwellers. From there we would sail on to Pare Pare, Sulawesi, and overnight in the remote highland region of Tana Toraja, home to the distinctive Tongkonan architecture and megalithic tombs of the Torajan people. The

original itinerary included a final island stopover to visit pre-historic Komodo dragons, but that leg was cancelled ahead of departure, when a landslide on one of the road routes thwarted an already jam-packed itinerary. Founded in early 2004 by Australian Business Woman of the Year winner, Sarina Bratton, Orion are pioneers in offering the increasingly fashionable hybrid of combining expedition cruising to remote and unusual destinations with elevated levels of comfort, service and cuisine. With a crew and staff of over 70, and only three quarters of the 100-maximum passenger load on board, we enjoyed an incredible one-onone staff to passenger ratio on Orion II, a slick, newly refurbished vessel that had only recently joined the Orion fleet. This ensured a level of service appropriate to the stylish, spacious and sophisticated ambience on board. Being a cruise ‘virgin’, I had little idea of what to expect as Mum and I embarked. I suppose I envisaged a lazy 10 days’ lounging on deck or in the library, buried in a book, surrounded by other octogenarians, and accompanying Mum

time for adventure lland

oOADSH h s a e r d OW an T H A M E R I C A R SOU

on the occasional onshore diversion. I did know that the food would be great, as Orion’s menus are designed by Serge Dansereau, fabled father of the fresh food movement, and founder of Balmain’s legendary Bavers’ Pavillion. I was therefore somewhat unprepared for the depth and intensity of the cruise’s educational program, and the grueling nature of its onshore agendas. Days at sea were spent attending back-to-back lectures delivered by a variety of passionate on-board experts, so that each land excursion became a thoroughly informed experience. We learnt about Hindu, Buddhist, Islamic and Christian cultural influences over the centuries and witnessed first hand

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the catastrophic consequences for precious orangutan habitat, and global carbon emissions generally, of the rapid ongoing conversion of rainforest to palm oil plantations. (Look out for ‘palm oil friendly’ labeling on your nearest supermarket shelf. The stuff is as ubiquitous as that other rainforest devourer, the soybean, so I was happy to learn that my beloved Golden North ice cream is palm oil free.) When crossing the Wallis Line, which divides the Indonesian archipelago into two distinctive ecological zones, we were informed about the biogeographic history of the region, and the role of maverick British naturalist Alfred Russell Wallace, in proposing a theory of evolution and natural selection independently of Charles Darwin. In Borneo and Sulawesi we observed ancient animist rituals and heard about recent frightening massacres brought on by the disastrous forced migration policies of the Indonesian government. 89-year-old Mum took all the dawn disembarkations, day-long bus excursions, treks through temples, towns, forests and rice paddies, and late-evening returns in her stride. She only missed one outing, when the severity of the early morning equatorial sun on deck at breakfast caused her to pull out of a river day trip in a sun-exposed Zodiac inflatable raft. She’d already spent a day with orphaned orangutangs in sweltering jungle heat at an orangutan veterinary and quarantine facility the day before, so felt she could let go of the variation-on-a-theme experience at the Camp Leakey rehabilitation and release station, accessible only by river, in Borneo’s Tanjung Putting National Park. Her decision proved prescient, as our group’s klotok, (a traditional wooden river boat used for the return journey), gave up the ghost around sunset, necessitating an emergency rescue operation to get us back in time for the late-night sailing to our next destination. The highlands of southern Sulawesi were the highlight of the trip. They also provided Mum with her most memorable experience. As the eldest passenger she was invited to lead our procession across rice paddies and up a steep incline past dozens of slaughtered buffalo, to an extraordinary Torajan funeral ceremony, following crewmembers bearing aloft the gift of a squealing live pig. While this particular itinerary could do with some refinement to alleviate its rather taxing timetable, there is no doubt that Orion have used their experience bringing passengers into Australia’s pristine and sensitive wilderness areas to successfully develop a marine tourism blueprint that now offers a sustainable, ecosensitive international benchmark.


the adelaide REVIEW FEBRuary 2013

55

food, wine & coffee

Review: KoBa John McGrath

S

oup, a scattering of noodles, kim chee, chilli sauce, maybe a mussel or two, an un-cooked shaving of beef, tofu. That’s what I get on my shirt at KoBa. A linen/ cotton blend garment decorated in the exuberant Korean Jackson Pollock manner. A little more mannered and contemplative than a Pollock in full cry, swirling lines are still restrained by the feint grid of my shirt-maker, Mr Harris Scarfe. Ramrod burnt sienna sticks are intertwined with a labyrinthine squabble of noodles of a colour reminiscent of, golly, buckwheat noodles. Pollock’s straight lines are yet to be adorned with syphilitic nubbles. It is easily seen that Jackson has yet to free himself entirely from Picasso’s rigidity of cubes‘n’sticks that marked, early, more tentative, Pollocks. A champion of Abstract Expressionism is a few bowls away yet. The culprit in the best decorated shirt competition is me. More precisely me twirling Korean steel chopsticks. Give me wooden chopsticks and I can pick up lemon pips and terminate house-flies. Substitute steel, and I have to think what I am doing. I don’t. When you are juggling proper Korean buckwheat noodles in ice cold beef stock with implements that have transformed themselves into a couple of nine irons it would be easy to wimp out and meekly ask for a spoon and fork. This is not the proud Australian way. Battle on. Next time, bring a large napkin. Or in my case, a large plastic garbage bag with discreet arm-holes and a larger one for my head. No one will notice. You could have a chicken ginseng soup. Sounds simple? Not really. $17.80 brings a whole chicken in that soup. Stuffed with sticky rice laced with ginseng. The meal, as with every proper Korean meal, is accompanied by plates of kim chee of various

kinds. If you have not tried kim chee it may be best to tread lightly at first and remember that all those millions of Koreans can’t be wrong. By your second meal you will be hopelessly addicted. KoBa is in an ex-church. It needs all the space to accommodate the nests of seats surrounding dozens of charcoal grills that can cook almost anything. All without the slightest wisp of smoke. Another soup boosted with seafood (I won’t list it all, you will see the night’s offerings anyway) cooks a mixture of vegetables, noodles, dumplings and lastly, rice and a raw egg mixed furiously together. That could never, ever work, surely. Well it does work. Fabulously well. If you had told me that the result was actually a rare risotto from a forgotten village near the Swiss border with Italy, I would have bought the story. Except for the “forgotten village”. There is nowhere in Italy that hasn’t been over-run by crazed foodies. The perky but kindly waitress asked which Korean wine (Soju) I would like the best. I forgot that any Korean restaurant, or anywhere remotely close to Korea, will recommend plum flavoured Soju as a beginners’ tipple and mostly they would be right. Just because they drink many times the amount of the Australian budget in Soju it doesn’t mean we should have heard of it. Oh no. As usual I was off with the faeries and had to knock off the tiny bottle before Duck Woman arrived. Not true, actually. I shared some with her. Poor darling. Meanwhile DW was combing the wine list at top speed and came up with a 2010 Inigo Merlot from Jesuit Winemaker Emeritus Brother John May SJ (good title for a lovely man.) To be properly accurate, the wine is made by Liz Heidenreich. I am sure Brother John does something essential, like blessing the barrels. The Duck, normally up with these factoids, didn’t know that St Ignatius had a first name, the same as this wine, ‘Inigo’. According to her, the back label said that Inigo had devoted his life to improving the lives of others. “Defines any decent human being,” snapped the Duck. Grill yourself into a werewolf with a large plate of many cuts of meat – presented raw – so there is no hiding faults or gristly bits. You do the timing and the flip flopping. So if something fouls up; it’s your

Photos: Tony Lewis

rump. $52 for two. Less than a boring lump of steak. After battling to spend $50 a head, all up, to wrap ourselves in and around some of the deepest, cleanest, and most imaginative food around, served by enthusiastic and skilled staff. Chef Grace stepped out in the whitest, crispest uniform outside of a television studio. And this was on our first visit. On the second visit we were really fussed over. Get up a table of two or four or more. Reconfigure those jaded taste buds.

Don’t just book a hotel, book a Mount Lofty House experience Mount Lofty House offers you a boutique luxury accommodation and function venue in the Adelaide Hills superbly positioned overlooking the Piccadilly Valley in the Adelaide Hills wine region, yet only 15 minutes from the centre of Adelaide. Mount Lofty House features twelve unique venues across the estate, catering to your individual needs for – Personalised weddings • Innovative conferences • Boutique private accommodation • Indulgent dining & catering 74 Mt Lofty Summit Road Crafers, SA 5152 | P: 08 8339 6777 | F: 08 8339 5656 | E: relax@mtloftyhouse.com.au

KoBa 100 Grote Street Hours Lunch: Noon – 3.30pm Dinner: 5.30pm – 10pm (Last orders: 9.30pm)


56

the adelaide REVIEW february 2013

food, wine & coffee

Anything but secondary Richard Gunner

A

s a butcher who is also a farmer there is one major constant across every type of meat that we grow and sell. Some parts of the animal are less popular than other parts. For every beef tenderloin there is a brisket. For every lamb rack, there is a flap and for every pork belly, there is a pig’s head. Prior to opening up our own butcher shops, back when we just killed our own to eat, these other cuts were also in the bottom of our freezer. They were the last bits to be used before we started the process again or in many instances they were minced or turned into sausages, which is still a very common result for cuts like these when you are dealing with a perishable product like meat. Eleven years ago in the aftermath of one of the large supermarket chains reneging on a longstanding handshake deal to buy cattle from us, without warning, our family took the momentous step of selling the beef and lamb we grew in our own butcher shops.

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I had a dramatic career change and found myself behind the counter of the first butcher shop the family acquired, taking instruction form the skilled butchers who taught me how to wield a knife. It was a steep learning curve. I also understood from very early on, that the customers standing on the other side of the same counter also had a lot to teach me. It wasn’t long before I came to realise that selling the well known, primary cuts was straight forward: customers knew what they were, how to use them and sought them out. But there are a limited number of these ‘sweet’ cuts in every carcase and the challenge was to sell the rest, the cuts often referred to as ‘secondary’. I prefer to call them under-utilised. Because the truth is, with a little more knowledge, the customer who buys these under-utilised cuts can have a sensational eating experience and keep cash in their pockets. Over the last 11 years, I have learned a lot about getting the best from these cuts, through supplying some of Australia’s best chefs and being exposed to a lot more cooking techniques. There are cuts I never even knew existed because they are removed in a processing step, such as onglet or hanger steak, a beautifully tender and strong flavoured beef cut. There are also muscles that if trimmed differently, go from stewing meat into a tender grill steak, such as if you trim the oyster blade to reveal the flat iron or feather steak. The muscle on the cap of a rump actually runs against the grain of the rest of the muscles and if separated and cut across the grain, results in pichuana, a more versatile and yielding piece of steak. These alternative cuts can be harder to learn about as they have different names in different parts of the world. Also, often, if getting the best out of a cut is the challenge, then looking to the culture in which it is named and prized, is a good start. For example Koreans and Argentines love the beef short rib with good reason and can teach us a lot about cooking techniques. Look to the Taiwanese and Vietnamese for cues on preparing beef shin, the Greeks for cooking lamb and goat, and no one understands pork better than the Chinese. The list goes on. A misunderstood cut in Australia is brisket, which makes up seven percent of a beef carcase, but barely features in home cooking repertoires. There is a place that reveres brisket, a place that is occasionally likened to Australia, so it is to Texas we can look for lessons in serious barbequing. Though, what we call barbequing and the Texans call barbequing, are extremely different things. The Texan BBQ is fascinating to me, based on a ‘low and slow’ philosophy, so different from our often-searing BBQ hot plates. In some ways, the Texan style of BBQ is like sous vide, or cooking in a bag, combined with fire and smoke. You have the textural softness sous vide can deliver with the full on flavour that only a fire can provide. You may have had ‘pulled pork’, a now extremely popular dish that, if done authentically, follows Texan BBQ-style techniques. I had a lightening bolt moment and wondered why we couldn’t use the same technique for lamb. We did, as shown in accompanying photos, and it is spectacular.

This lamb shoulder was done in an American style BBQ, low and slow 16 hours in all, ‘til it could be pulled gently with a fork with the bones totally clean. We threw out the brioche bun popular with pulled pork and chose a flatbread and mixed yogurt with classic Greek flavours for lamb and then garnished it with foraged wild rocket, river mint and watercress. We have very high quality produce in Australia, but perhaps we have been too content with the obvious, happy to settle for the cuts we all know and understand. However, if we look to other parts of the world, there is much we can learn and the lessons are delicious.

Richard Gunner is the owner of Feast! Fine Foods. Richard’s recipe for slow roasted pulled lamb wraps can be viewed at adelaidereview.com.au feastfinefoods.com.au


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Coming here is always hugely nostalgic for me. Having lived in Australia now for some 14 years, I often forget the day-to-day smells, tastes and sights of the UK, so when I return it’s always a collection of beautiful moments."

CHEWIN’ THE FAT Jock Zonfrillo

J

anuary saw me depart Australia’s shores bound for the UK. From there it’s onto Madrid Fusion in Spain and then to my final destination, the Amazon. As I write this I’m at my good friends John and Pat’s farm near Leicestershire. It’s been snowing heavily for a few days, a stark contrast to the 45°C I’m told is sweeping Australia. I’m here to look at a few animals in particular, all of them of the Longhorn breed. I wrote about this little obsession five or six months ago in this very column. John and Pat are extremely passionate about the breed, so they have been super helpful in assisting

the arduous journey of bringing the breed back from extinction in Australia. They have identified a bloodline within their progeny, which has higher marbling and flavour, so cooking and tasting this meat was essential before we move forward to take embryos and select semen to send back to Australia. Coming here is always hugely nostalgic for me. Having lived in Australia now for some 14 years, I often forget the day-to-day smells, tastes and sights of the UK, so when I return it’s always a collection of beautiful moments of which tasting Longhorn is usually one. Eating a fish supper (battered haddock and hand cut chips), laced with salt and malt vinegar, as I walk and get lost in the streets of Glasgow, as it’s been that long between visits, is one such moment. Another is catching up with old friends in our industry, and not just recalling stories of old, but eating at their restaurants and seeing nods to the past hidden within their menus, cleverly positioned to make their diners smile

as they remember a childhood smell or flavour. I have certainly experienced many more of these moments on this trip; Restaurant Sat Bains with Rooms’ Fish Pie is an assault on the palate incorporating salt, sweet, sour, bitter and umami so familiar to me. The Fat Duck’s The ‘BFG’ – a double talking point here prompts a discussion of Roald Dahl’s Big Friendly Giant and then the dish itself – Black Forest Gateaux, delicious in flavour but also memory. Every course at Heston Blumenthal’s other restaurant in London – Dinner – was packed with nostalgia, the origins of each dish, inspired by historic British gastronomy and expertly executed by head chef Ashley Palmer-Watts, delivered one moment after another. Particularly the lamb broth, so decadent yet it still provoked

33 Chapel Street, Norwood 8363 9009 Parking available

youthful memories of dark and cold winters nights in Glasgow. Bo London’s Alvin Leung very cleverly fuses not only Chinese and British gastronomy but also nostalgia from both cultures. One dish in particular, Dead Garden featuring Enoki mushroom, caterpillar fungus, green onion and lime, somehow captured the visual of how a British garden looks in the middle of winter, but it contained British and Chinese ingredients and truly tasted of both, quite incredible. At Claude Bosi I ate a Scottish scallop with pork pie sauce and pink grapefruit, again an incredible mix of memories and unexpected flavours, which simply made me grin from ear to ear. Of course there are so many more restaurants I haven’t even mentioned and believe me they are all very, very good. So British Gastronomy is not only alive and well but better than ever and I’m looking forward to my next trip already. For now it’s onwards to Spain for Madrid Fusion, a chance to collaborate, learn and experience the knowledge of the world’s finest chefs, food psychologists, scientists, journalists and more. Until then friends, I’m off to have a look at Odin’s great grandsons to see if any of them will get to keep their balls or end up on the grill of some of Britain’s finest chefs.

Jock Zonfrillo is Magill Estate’s Head Chef twitter.com/zonfrillo

Trading hours Monday to Friday 7:30–4 Saturday 8–2


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FOOD,WINE & COFFEE

On Waymouth Street at The Adelaide Fringe Festival

2013

Howl The Moon is a new bohemian inspired night garden, popping up in Adelaide’s inner eastern suburb of Stepney for the Adelaide Fringe 2013. The venue has come together to not only showcase South Australian gypsy, blues and folk music, but to shine a spotlight on great local producers. The team at Bistro Dom will be cooking a menu that is all about southern slow food and showcasing the great Southern BBQ. Making appearances for all major shows.

Bistro Dom’s Great Southern Trendkill Menu South Carolina pulled pork with mop bucket swine sauce • Georgia 18 hour hot smoked brisket with the “devils hot sauce” • Mame’s fried green tomato slider with slack jaw slaw • Deep fried pickles with ranch dressing

Howl The Moon will open to the public on Thursday 14th February with a free Valentine’s concert by The Baker Suite at 6:30pm. Tickets for all official Fringe performances can be found at Fringetix and the public can enjoy free entertainment (vintage Djs, live performances and great southern food) every Sunday

So ya’ll come on down and support us!

BISTRO DOM

P 8231 7000 24 Waymouth St, Adelaide www.bistrodom.com.au

Welcome to Carnevale Eugene Ragghianti

F

ood has always played an important role at Carnevale celebrations – after all, sharing a meal with family and friends is an art to Italians! They like nothing better than to sit around a table chatting away about anything or nothing with a glass of wine, a plate of pasta or some other delicious concoction. The Italian clubs at Carnevale can boast of the authenticity of their traditional dishes – they are prepared and made with love by ‘mama in the kitchen’ and this heritage has been passed down for generations. Carnevale has nine clubs offering tantalising menus for this Italian weekend in the heart of Adelaide. The usual suspects are there, of course – pasta, gnocchi, pizze, bruschetta, arancini, trippa, salsicce, coffee and gelati but have you tried zeppole, porchetta, lupini, cavatelli or mustazzoli? To tell you what they are is too easy, you’ll just have to come along and find out! The outdoor food court, named Piazza Italia for the weekend, is a vibrant affair with tables, chairs and umbrellas – lots of room for everyone. And of course we must not forget the attraction of the Youth Stage and the Lagotto Romagnolo dogs – such lovely creatures. Also in the Piazza is traditional breadmaking by dough expert Gabriella Lincoln – that’s her married name - she’s

Italian! Her bread is out of this world! Carnevale is such a joyous time and an opportunity for families and friends to get together for food and beverages and to enjoy the wonderful array of things on offer – Carnevale boasts that there is ‘Something for Everyone’ and that is true – fashion, entertainment for all ages (three stages!), bocce, football, a motor show (those fabulous Ferraris), exhibitions, forums, golf and let’s not forget the San Remo Cooking Masterclasses with personalities and ‘foodie’ cognoscenti such as Adam Swanson, Natalie von Bertouch, Lisa Gabel, Stefano Guerra and the three Michaels – Weldon, Keelan and Angelakis. The entertainment lineup is a great mix of local, interstate and international talent. Headliner is ALFIO, the ‘Voice of Romance’, an Australian who has made the big time in the Big Apple where he resides. Exclusive to Adelaide! From Melbourne a top comedy act, Pavarotti meets Jerry Lewis, will have us singing and laughing along with MC, funny man James Liotta. The best of local talent – the ever popular Band of the South Australia Police, burlesque dancers, Phoenix Rose, traditional music from Campania with La Taccarata, Mary MacKillop College songbirds, Italcanti, tribute to the 60s pop group, The Rubys, new musical ensemble I Zanzarini da Molise, The Monteverdi Singers and a Smoking Ceremony from the Kaurna People with bands Lucky Seven, Blue Lagoon,

The Italian clubs at Carnevale can boast of the authenticity of their traditional dishes – they are prepared and made with love by ‘mama in the kitchen’ and this heritage has been passed down for generations."

Le Clique and Three Star General. Chill out with Lauren Cirocco & Jeff Leach, Claudia Migliaccio, Jess Gosti and have a laugh at the ‘Ready Steady Mangia’ Pasta Eating Competition. Yes – Italians can also see the fun side of eating spaghetti! The Pasta Eating Competition will leave you somewhat bemused!

Eugene Ragghianti, Carnevale & Special Events Manager


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FOOD, WINE & COFFEE

Carnevale’s festival of food The Italian festival Carnevale returns to the Adelaide Showground featuring two days of food, entertainment, forums and children’s events. Of special interest is the food, with many Italian clubs presenting authentic Italian dishes, including the Calabria Sports & Social Club who provided us with a recipe for trippa (tripe).

The Calabria Sports & Social Club The Calabria Sports & Social Club has been involved with the Italian Festival, known as Carnevale, from the very beginning when it was held at Rundle Mall, then Elder Park, followed by ymill Park and now held at Adelaide Showground. Some of our dedicated members are still with us from day one. We cook our food as close as possible to the traditional ways and our food consists of: Trippa (tripe) Quails Calzone Italian sausages BBQ sausages Patatini calabrese

Cut honeycomb tripe into halves. After rinsing, put in hot water and boil for 10-15 minutes. Remove from hot water and wash in cold water and white vinegar. Once washed, cut into long strips, chip size. Place in container, layered as follows: one layer tripe, one layer lemon rings then repeat until quantity is used up. Seal and leave container in fridge overnight.

TRIPPA RECIPE Ingredients: 3kg honeycomb tripe 5 lemons 250mL white vinegar 3 tablespoons tomato paste 1 jar tomato puree 6 large white onions 12 leaves basil 1 teaspoon of cracked black pepper 2 red long chilli (optional) 1 ½ cups olive oil Generous amount of salt Preparation (day prior to cooking): Cut off excess fat from tripe.

Maria Di Lorenzo, President

PS – it is very important that the preparation is done properly, otherwise trippe will leave an odour.

Molinara Social & Sport Club Pizza Calamari and chips Stuffed peppers Fruit salad Gelati Cavatelli Baccala

Rotary Club of CamPbeLLtown Porchetta Sweet corn Lupini Assorted Italian cakes

St Hilarion

Other club menus at Carnevale Arena Community Clubs

Our most popular item is tripe. We started with 50kg when we first began and now we cook up to 350kg at the Showground. No matter the quantity, we always sell out of tripe at the Carnevale. With the help of dedicated volunteers, committee members and their families we have a great time and have a successful Carnevale every year.

Cooking (day after preparation): Peel and slice onions thinly. Place oil in saucepan and sauté the onions. Add tripe (not the lemons), then add the tomato puree plus two jars of water and the tomato paste. Bring to the boil, then add the salt, pepper and chilli if desired. Lower temperature and simmer for two to three hours. If not enough water, then add more as the sauce will reduce over cooking time. Tripe is cooked after this time. If it is still firm, continue for an extra 30 minutes.

Zeppole Gnocchi Polpettine di riso Patatine fritte Crostoli e mustazzoli Continental cakes

Campania Sport & Social Club Spaghetti Cavatelli Zeppole Pizze Gelati

Italian Benevolent Foundation SA Bruschetta Salsicce con sugo e polenta Arancini Arancini Siciliani Peperoni ripieni Frittole

Zeppole Coffee Gelati

Coordinating Italian Committee Italian salsicce Lightly spiced BBQ spare rids with Italian salad Gelati

Lions Club of Adelaide Italian Pasta in ragu sauce Arancini balls Potato pizza BBQ chicken steak BBQ Italian sausages Surf and turf Panino Pepperoni fritti

Carnevale Saturday, February 9 to Sunday, February 10 Adelaide Showground carnevale-adelaide.com


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coffee

Unfair trade is a has-bean Derek Crozier

H

ippies preached to me when growing up about saving water, caring for the environment and only buying organic/fair trade consumables. I used to put it down to airyfairy tree huggers being over the top but now I understand and sincerely apologise. They were right: right about the environment, the water and the impact of buying organic/fair trade products. You may have seen the Fairtrade, Rainforest Alliance or Certified Organic stickers/logos on all sorts of products in cafes, restaurants and on supermarket shelves. I’m proud to say that even our beautiful Adelaide City Council was the first capital city council in Australia to be granted Fair Trade status. In the coffee industry fair trade means the farmers receive more ‘buck for their bean’, decent working conditions, local sustainability, and prohibits the use of forced child labour in

8100 4495

55 Frome Street, Adelaide

the developing world. By requiring companies to pay sustainable prices, fair trade addresses the injustices of the trade, which normally discriminates against the poorest producers. There are also additional sums of money for investment in economic and environmental development in their community, such as educational and medical facilities. Wherever you find fair trade coffee you’ll most likely come across organic coffee. I used to think that anything that was labelled organic meant that it was free to run around a farm and had developed in a positive, caring environment. With the amount of time farmers have to spend with their coffee plantations, I’m sure the love is there but somehow I don’t think the beans were running free around any fenceless farms. I learned that in terms of chemicals, coffee is one of the most heavily treated crops of any agricultural commodity so for coffee to have an organic certification, it must be 100 percent organic. This can mean chicken manure, coffee pulp, bocachi (a type

majestichotels.com.au

of fertiliser) and general compost is used as opposed to inorganic fertilisers such as synthetic nitrogen, phosphate, and potash. For more than 150 years, coffee had been widely grown under the leafy canopy of native rainforest trees. After the 1970s, traditional growers started clearing parts of the rainforest in order to mass-produce coffee, where the crops would end up receiving direct sunlight all-day. This all-day exposure to the sun weakens the immune system of the crops and makes them more vulnerable to pests and insects. Hence, it is one of the reasons that coffee requires such large amounts of pesticides and insecticides. Taste is very important to a lot of us when it comes to our coffee. So I can understand the doubt when I put the words chicken manure and espresso together but organic and fair trade coffee has the taste of passion from a happy farmer and the taste of well looked after crops from the earth. I find there is a

higher quality of natural taste from organic coffee and I imagine my ancestors would’ve also tasted what I taste due to no chemicals being used back then. Fairtrade, Certified Organic and Rainforest Alliance promote trade equality and justice. So by purchasing coffee with these logos attached, you can proudly say (just like those Hippies) that ‘I am making a choice that will have a positive impact on my life, the lives of others and the environment’.

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

Coffee Break with Simon Blight Sad Cafe is one of many reasons that Ebenezer Place is a hot spot for food and coffee lovers. Sad barista Simon Blight dishes out the secrets to their unique cups of coffee.

Specialty coffee houses have been popping up all over Adelaide recently. Why do you think this is? I think it’s a response to a few things. People are seeking a consistently good cup of coffee with attention to detail given to each step of creating a great coffee. People are also looking for somewhere unique to go and have a cup of coffee. Specialty coffee houses offer a point of difference in terms of fit outs and general feeling, compared to what coffee chains can offer. The smaller nature of specialty coffee houses offer a more personal approach to serving coffee, often in more tucked away areas of the city and suburbs. Finally, I guess, the influence of what is happening in Melbourne can’t be overlooked. People see what has been happening there and can see that smaller specialty coffee houses can, and do, work. The same can now be seen happening in Adelaide. What makes Sad’s coffee different to others you will find around Adelaide? All our beans are Fair Trade organic single origins roasted locally by De Groot Coffee Co, and our milk is organic biodynamic milk produced locally by Paris Creek. These elements signal a solid start to a great cup of coffee. Can you explain how you became a barista? I became a barista via a roundabout way. I really enjoyed coffee and was working as a coffee roaster’s assistant. Sad was opening and using the coffee beans I was assisting to roast. I felt it was a good opportunity to work somewhere that was new and doing something different in the East End. Some great training from David Moen helped to fine tune my skills, as he is both

a great barista and an excellent teacher. Dave has fine-tuned each step of coffee making and passed his knowledge to many other baristas in Adelaide via his teachings. Do you think Adelaide is entering an age of professional baristas? I sure do. Your first cup of the day - what is it? A Magic - a double ristretto flat white. What are some cafe pet hates that you won’t find at Sad? Being served a coffee where the milk is hotter than the sun.

Sad Cafe Shop 4, Ebenezer Place sadcafe.com.au


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food, wine & coffee

The precious legacy of Pedro X Charles Gent

E

ven my dartboard arithmetic can spot the disparity when a seven year-old winery releases a 30-year-old wine. But as it turns out, there’s no great mystery to reveal; it’s just another aspect of the symbiosis between Zar and Elena Brooks of Dandelion Vineyards and their far-flung partner vignerons. The Legacy of the Barossa, second place-getter in the latest Adelaide Review Hot 100 South Australian Wines, is a fortified wine made from the great Iberian Sherry variety, Pedro Ximénez. Up until a few years ago, when the European Union issued its fatwa against the use of Old World wine names overseas, The Legacy would have been called an Oloroso, after the classic style of Sherry that forms its character from years – sometimes decades – of controlled oxidation in the barrel. One distinctive quality of good Sherries is rancio, an aromatic nutty character which, while instantly recognisable, both textbooks and wine judges struggle to define. The Legacy of the Barossa has it in spades.

Pedro Ximénez, once commonplace in the Barossa and the Riverland, is now as rare as Sherry drinkers. A few growers haven’t quite given up on it, and among them is Carl Lindner, Dandelion’s man on the ground in the Barossa. The Lindner family, former owners of St Hallett Wines, have a local lineage that stretches back to 1845, with vineyards to match. Carl also maintains a solera, the traditional fleet of barrels in which different vintages of sherry-style wines can intermingle and mature. As well as providing old vine Shiraz and Cabernet for Dandelion’s various Barossa offerings, Lindner has been sitting on a trove of fortified wine stocks he bought from St Hallett when the company went public in 1974. The Legacy of the Barossa is the first time that any of this material has seen the light of day under a label. Usually a past master of back-label loquacity, Zar Brooks says the avoidance of any mention of Sherry, or indeed of fortification, on the Legacy label is a calculated bid to get people to drink the wine on its merits, without prejudice or preconceptions. Sold in a slim, clear-glass 500ml bottle to show off its autumnal tint, the wine has quite high residual sugar (and 19 percent alcohol),

but comes nowhere near the treacly sweetness of the “black sherry” style often adopted by Pedro Ximénez in Spain. The judges of the Hot 100 cited a “grilled nuts and cold citrus tea character” as well as “burnt orange toffee”, calling the wine “utterly delicious and hedonistic”. Drinkers evidently agree: “It’s been a hit everywhere, including all the trendy wine bars across Australia,” Brooks says. Brooks credits cellar master Rod Chapman for selecting oak barrels that steer a crucial course between inert and overt wood influence, and for avoiding clumsy sulphur treatment that can easily snuff out the hard-won rancio character. Given the long lull in popular interest in fortifieds, Brooks says that there is a real danger that the skills needed to make such wines are in danger of becoming a lost art. Fortunately, his wife Elena, Dandelion’s highly versatile winemaker, is keen to learn what she can, particularly as fortified wine production made up a significant part of her mother’s winery back in her native Bulgaria. The good news for those who do love aged fortifieds is that Lindner and Dandelion are looking to release another, this time a Shiraz-Grenache or Grenache-Shiraz, depending on how the blend shapes up. Whatever it is called, it won’t be Port. And while he says keeping up his solera is “bloody expensive”, Carl Lindner is intent on making a small batch of Pedro Ximénez each year to top up the stocks. “If you look at its true value, it shouldn’t be sold at 30 dollars a little bottle; it should be sold at a hundred,” Brooks said.

Hot 100 Wines

THE ADELAIDE REVIEW

SOUTH AUSTRALIAN


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the adelaide REVIEW february 2013

food, wine & coffee

A Resolution U to blend

pon reflection, Christmas required a lot of integration: family and families, love and laughter, new partners and old grudges, in-laws and outlaws, rivalry and revelry. Given this, it seems fitting we talk not of de-toxing or hangover cures or other such seasonally alcohol related themes, but of blending. Mixing different things together and getting a better result than what you started with takes a certain skill. In wine, the process of vinous

improvement from blending has been happening since the Persians first stumbled across naturally fermented grapes thousands of years ago. Most wines are blends – whether a blend of different batches made from the same variety, a blend of different varieties or a blend of different vintages. In all instances, the idea is to create a wine that is greater than the sum of its parts. Here’s a selection of blends for your mixed up pleasure. As for the best component parts for the festive season; well, we’ve got another year to think about that.

Andrea Frost

Voyager Estate 2012 Sauvignon Blanc Semillon

Brash Higgins Semillon/ Riesling Field Blend

Kangarilla Road Terzetto 2010

Wolf Blass Black Label 2008

Margaret River RRP $24 voyagerestate.com.au

McLaren Vale RRP $45 brashhiggins.com

McLaren Vale RRP $22 kangarillaroad.com.au

Barossa Valley RRP $130 wolfblasswines.com

Some things just go together. It’s as simple and complicated as that. Simple because it just is and complicated because it’s hard to know precisely why. Sauvignon Blanc and Semillon are two varieties that grow well in Margaret River and do well when blended; so much so that many call this blend a ‘classic’. It could be the way the two varieties complement each other like polite ladies at lunch. But I can’t help but wonder if it is because when you drink a Margaret River Sauvignon Blanc Semillon, you’re also blending it with blue skies, balmy afternoons, fresh seafood, a pleasing view and casual company. And in my mind, that is enough to cement anything into the realm of a classic. Tropical fruits and citrus abound with texture and balance and crisp dry finish. Drink now and drink ice cold.

Way, way back, sometime between the Persian wine discovery and last century, winemaking and viticulture was a lot less precise. Detailed information on the thousands of different varieties available was scarce. As a result, fields were often planted to a potpourri of different varieties and made into wine. Such wines were called ‘field blends’. As the wine industry progressed, more precise viticulture came to be admired and field blends all but died out. However, as certain pockets of the winemaking world are turning to the past to create the future, I think we’re seeing a few more of these field blends. This field blend from McLaren Vale’s Brash Higgins is made from Semillon and Riesling. A complex and delightful wine; the nose has aromas of citrus, lychee, vanilla and jasmine, while the palate is complex and textural from the wild yeast fermentation and some time in barrel. Refreshing, unique and an intriguing field blend.

Many of the world’s most famous wines are blends. The particular blend is so crucial to the wine that it is written in law; Champagne, Bordeaux, Châteauneuf-duPape can only be made from certain blends. Australia doesn’t have such restrictions on what can be grown where or blended with what so winemakers are free to plant, blend and experiment with any varieties that pass muster through quarantine. This wine is reason to be thankful for such liberal blending laws. It is a unique blend of Sangiovese, Primitivo and Nebbiolo making an alluring and complex wine with layers of spice, red fruits, rose and liquorice. Medium bodied, it has engaging tannins, a complex palate and a long and lovely finish. This is the first release of this blend; let’s hope it is not the last.

As well as wine, varieties and regions, this wine blends history, lore and legend. Wolf Blass the man made a name for many things including his skill for making blended wines that made an impact. The Wolf Blass Black Label is the most famous and awarded of these wines. Each year, the objective for the Black Label is to make the best red wine from South Australia and melds several things to achieve this. This wine is a blend of varieties – Cabernet Sauvignon, Shiraz and Malbec. A blend of regions – Barossa Valley, Langhorne Creek and McLaren Vale. And a blend of history – it is the 36th vintage release and has won the Jimmy Watson trophy an unprecedented four times since it was first released in 1973. Deep, dark and intense, this wine brims with blackcurrant, plummy fruit, vanilla and coconut and a mouthful of tannin. A big, intense and wildly successful blend.


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food, wine & coffee

CHEESE MATTERS

Cheese Etiquette Kris Lloyd

G

reat cheese will only ever be at its best when served at the correct temperature. There is nothing more frustrating than a cheese that is served straight from the fridge, icy cold. This will never allow the true flavour or texture to be revealed. As a cheese maker it is heart breaking when people serve cheese cold! We all talk about serving cheese at ‘room temperature’; however, clearly in the middle of our summer this is just a ridiculous concept. Therefore consideration needs to be given to the temperature on the day. In addition the size and style of cheese will determine how long a cheese should be left out before serving. As a general rule I would say if the temperature is over 30 degrees your cheese will only need to be out around an hour before serving. Make sure you leave the cheese in its original wrapper or box and cover it with a clean damp tea towel until you are ready to serve. Cheese will dry out very quickly in hot conditions, it will also sweat and, if ripe, it will ooze everywhere. On milder days the situation is quite different, allow around two hours before serving. Again where possible keep the cheese in all original

packaging, which is designed especially for cheese, allowing it to breathe and absorb any moisture. If you are serving whole wheels or large wedges of cheese then up to three hours on cooler days is ideal, particularly for dense cheese such as cheddar or semi hard styles. A simple test can be completed by placing your hand or three middle fingers in the centre of the top of the cheese. You should not feel any cold at all. Fresh cheeses such as ricotta, quark and goat curd need only a very short time out of the fridge. Serving them a little cooler is ideal to enhance the fresh character of this style. Only take out the amount of cheese you think you will use to avoid drying and being repeatedly warmed and chilled. Presentation of cheese should be given some thought. Choose large boards or plates so as

to not crowd the cheeses, this also makes it easier for your guests to cut. I prefer a separate knife for each cheese on the board and serrated edged knives are a definite no! Thin blades will always give you a cleaner cut. At times I like to incorporate natural materials such as fig and vine leaves on my cheese boards as the base. This can look fresh and cooling on a hot day! Baking paper as a base is another favourite and works well for a crisp, professional and simple finish. Cheese does not always have to be cut in the traditional wedge. Some smaller wheels present beautifully on a board cut horizontally through the middle, keeping the rind round and in tact. This is also useful when the cheese is quite ripe and runny creating a perfect serving vessel. I have learnt over the years that good cheese

etiquette means not hacking at a cheese and devouring the centre. To be fair, everybody needs to take a share of the rind. Many, however, do not like eating the rind. This is of course optional and in most instances the rind will possess most of the flavour, so I like to encourage people to at least try it. Offering a small plate and a knife and fork for your guests is ideal, so they can cut away the rind and leave it on their plate. Should your selection include a robust cheese, take care to keep it away from other cheeses that are delicate and may be contaminated by stronger flavours. The order of tasting cheese is always best to begin with mild cheeses and finish with blue or washed rinds. Consideration should be given to your guests bearing in mind not all people go for the smelly sock cheeses. If you are unaware of their cheese experience, a selection that offers at least one cheese with broad appeal is ideal. This could be Brie, Camembert or Cheddar. There are so many different styles of cheese to choose from we are very spoilt for choice. Be creative with your selection by considering different shapes, colours and finishes. Always take the time to explain to your guests the cheeses you have on offer. Ideally less is more and choosing quality over quantity will always hold you in good stead.

Kris Lloyd is Woodside’s Head Cheesemaker woodside.com.au

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the adelaide REVIEW february 2013

food, wine & coffee

FOOD FOR THOUGHT Annabelle Baker

W

ine for me is something that I may never truly understand or appreciate like others seem to. I certainly know that I don’t quite get crushed ants, tannins or notice when a wine has been in French oak for more than six months and more importantly I don’t care to spit! That said, wine for me is an important part of enjoying food and when paired together can provide an entirely new experience. Due to my amateur knowledge of wine my approach is simple and inspired by my time spent living in the Mediterranean. All the regions of France and Italy have their own local cuisine that seamlessly matches the wine produced in that same region; an innate relationship that has organically developed over generations. Living in the South of France I discovered Rosé. This blushing glass of wine was the perfect match to the local dishes. The local Rosé was perfect with the famous southern French dish, Pissaladiere. This French style pizza showcases the sweet onions of the south, the salty anchovies fresh from the coast and best of all the provincial black olive. Pissaladiere is a menu stable in all the

restaurants lining the Côte d’Azur and served with a compulsory glass of luke warm Rosé. The white wine, Vermentino is as crisp and pure as the ocean surrounding one of its biggest producers, Sardinia. The island’s energy feeds off the fresh seafood brought in from the local fishermen every morning. Seafood and white wine have an important relationship, deglazing a pan of steaming cockles provides you the perfect sauce for dipping crusty bread when all the cockles have all been devoured. You have to wonder if the anticipation of what the restaurants of Sardinia are serving, would be the same without the thought of enjoying a glass of the local wine with the catch of the day! The heavy and rich wine of the Bordeaux region calls for heavy and rich food. An area famous for Merlot, Cabernet Sauvignon and Sauternes; wines full of flavour and guts! The food also packs a punch, terrines, stews and copious amounts of intensely rich meat. Foie gras (goose liver) a speciality of the region and a personal favourite when seared to caramel perfection and served with sour cherry compote, the only thing that can improve on perfection is enjoying it with a glass of sticky Yquem. When feeling overwhelmed about the prospects of matching wine and food imagine, research and embrace its homage. Transport yourself to where it all began and rely on the traditions of the regions. Drink Rosé with the light, salty and flavourful food of the south of France, drink white varieties with the freshest of seafood dishes and match heavy with heavy with a rich glass of red.

Pissaladière

Dough 3 cups plain flour 1.5 teaspoons sea salt 2 teaspoons yeast 1 tablespoon extra virgin olive oil 1 cup of warm water

Topping ¼ cup extra virgin olive oil 6 red onions – sliced thinly ¼ cup of balsamic vinegar 2 garlic cloves Thyme Salt Anchovies Black olives For the dough combine all of the ingredients in the bowl of an electric mixer with a dough hook. Mix on a medium speed for 15 minutes. You may need to tweak the amount of water added, the dough should clean the bowl as it is mixing; adjust as needed. Move the dough to an oiled bowl and leave covered for 45 minutes in a warm place.

Sautee the onions, garlic and thyme in the extra virgin olive oil until soft and sweet. After 20 minutes add the balsamic and leave to reduce until all mixture is dry and sticky. Leave to cool. Generously grease a baking tray with olive oil and push the dough out to cover the tray. It may need some convincing, give the dough time to relax in between stretching. Spread the cooked onions over the base leaving a border of dough. Slice the anchovies in halves and place in a lattice pattern over the onions. Place the black olives on so they meet the cross section of the anchovies. Bake in a preheated 180 degree oven for 30 minutes or until the base comes away from the tray and is golden brown. Serve warm from the oven or cold.

twitter.com/annabelleats


the adelaide REVIEW FEBRuary 2013

FORM DE SI GN

P LA NN ING

I NNOVATION

Daniel Emma

Australian Institute of Landscape Architects

daniel emma The local design couple on their global achievements

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rethinking cities Steffen Lehmann will direct the new OzChina sustainable urban research centre

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this month Your guide to this monthâ&#x20AC;&#x2122;s design, planning and innovation events

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the adelaide REVIEW february 2013

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Daniel To and Emma Aiston

Daniel Emma Leanne Amodeo

W

hen Daniel Emma won the prestigious Bombay Sapphire Design Discovery Award (BSDDA) in 2010 it made a lot of people stand up and take notice; not that anyone should have been surprised. Since graduating from the University of South Australia’s industrial design course in 2007 the husband and wife design duo of Daniel To and Emma Aiston were already appearing on international design radars. In 2009 Wallpaper* magazine had them picked as emerging designers to watch and in that same year they were runners up in the BSDDA. Their 2010 win was a watershed moment from which commissions followed. “Winning the award was a stepping stone for us,” To says. “And it was a goal that we were adamant we needed to achieve.” It also generated a lot of media interest in the Rosewater-based designers, with much of the attention focusing on their decision to remain in Adelaide. “We lived in London for two years following graduation and we came back to get married,” Aiston explains. “We were going to go away again but stayed. Living in Adelaide allows us to have a comfortable lifestyle while still being able to save that little bit of extra money, which means we can travel.” The decision to remain may have been a personal one, but it also serves them professionally by creating a point of difference with international suppliers and manufacturers only familiar with Sydney and Melbourne.

Daniel Emma’s other major point of difference is the scale in which they work. At a time when so many industrial designers are creating larger scale work, To and Aiston’s vessels and objects are a refreshing change of pace. Amusingly, the choice to design on a small scale may have initially been borne of necessity due to a lack of space. “We lived in a small flat in London and we didn’t have a car, so we had to take the Tube everywhere,” To laughs. Whatever the impetus, the savvy design duo soon realised that no-one else was making desk accessories and so they carved out their niche. Not to be pigeon-holed, however, To and Aiston’s most recent collections are not for the desk. Their Sweets collection, which was exhibited in Vera Chapter 2 at the 2012 London Design Festival, consists of a vase, container and candlestick. It is an elegantly resolved expression of form and colour that exemplifies what Daniel Emma does best. Each product is breathtaking in its exacting simplicity and surprising in its robust solidity. Sweets also raises questions of influence via its vaguely 1980s postmodern Memphis aesthetic. According to Aiston, however, Daniel Emma’s influences are closer to home. “We’re not necessarily influenced by particular international designers or movements. We’re just designing things that we like and the things that influence these designs are from our everyday life.” To maintain a broad design perspective, To and Aiston travel to Europe once a year, which also allows them the opportunity to reconnect with their many networks. It means they are

We’re not necessarily influenced by particular international designers or movements. We’re just designing things that we like and the things that influence these designs are from our everyday life."


the adelaide REVIEW FEBRuary 2013

67

form regular exhibitors at both the London Design Festival and Milan Furniture Fair, and it was at the latter that they were invited by Wallpaper* magazine in 2012 to collaborate with Guerlain as part of the Handmade exhibition. Creating a collection of polished brass and aluminium dressing table accessories allowed To and Aiston to design a series of unexpected sculptural casings for the cosmetic giant. “We always like to create some sort of surprise in everything we do,” To says. But perhaps the biggest surprise is yet to come with Daniel Emma exhibiting a collection of furniture towards the end of this year. To and Aiston will be part of an exhibition curated by the Jacky Winter Group and held in the collective’s Lamington Drive gallery in Melbourne. “Up until recently we haven’t had the space to make anything bigger, but we have a studio now,” says To. Daniel Emma is also currently working on a number of different projects with local companies and these will come to fruition towards the end of the year. “We also have the London Design Festival as a goal,” says Aiston. “And Milan… we only had a six to eight week turnaround period with the Guerlain project last year. So we never know, something might come up…” And judging by Daniel Emma’s recent successes it’s a sure bet to say that something will come up.

daniel-emma.com


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the adelaide REVIEW february 2013

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Tianjin

Rethinking cities The University of South Australia has teamed up with China’s Tianjin University in developing the new China–Australia Research Centre for Sustainable Urban Development (CAC_SUD) to address the challenges and opportunities surrounding urban growth in the 21st century.

Cities of tomorrow Urbanisation in Asian societies involves hundreds of millions of people—many times the number of Australia’s current population. The scale and pace of urban growth in China is a defining feature for many countries in the 21st century, with

The Asian Century

profound implications for people everywhere.

The Asia-Pacific region has seen rapid growth on

It will be crucial how the Asia-Pacific transforms

an unprecedented scale, drawing focus to a region

and develops its urban growth and that the region

that is ambitious for economic advancement. China

adopts a sustainable approach to city development.

has a strong awareness of sustainability issues

Cities in the Asia-Pacific will need to be kept

and a willingness to address these issues. With

dynamic, inclusive, complex and vibrant, but also

China’s transformation to a knowledge-based

healthy and resilient, ensuring wellbeing of their

society, the global centre of gravity has started

urban citizens, democratic participation processes

to shift to the Asia-Pacific region. Australia is no

of their residents and sustainable flows; these flows

Steffen Lehmann

The China–Australia Centre for Sustainable

longer orientated toward Britain and Europe as

need to go beyond flow of data and money to

W

Urban Development at the University of South

it was in the earlier part of the last century. In the

include the sustainable flow of resources, materials,

hen Australia’s chief scientist,

Australia (UniSA) has been developed to find just

21st century, Australia’s relationship with Asia is

energy, transport, water, biodiversity, nutrients and

Professor Ian Chubb, recently

those solutions – to the world’s environmental

characterised by an openness to and integration

food – cycling energy and material (waste) flows.

launched his National

concerns and the challenges and opportunities of

with the region, which have accelerated over

This goes far beyond the conventional thinking

Research Investment Plan,

the Asian Century. The Centre is part of a strategy

the past four decades and laid the foundation

of aesthetics and functional city form; it is about

some comments he made strongly resonated with

to develop close research and educational links

for Australians to benefit from the opportunities

the longer-term sustainability of urban settlements.

me. Chubb said, “The most pressing concerns

with top universities and municipalities in

stemming from the region – such as the surge

For forward-looking academics it is essential

for Australian researchers were responding to a

China, with a view to establishing a sustainable

in resource demand, rapid urbanisation and the

to engage in the region and think beyond mere

changing planet and the challenges of the Asian

engagement for UniSA in a country that is

rising middle class in Asia. As China’s middle class

low value-adding commodity exports. There are

Century”, and “… we need to be in there right now

becoming increasingly important in science,

increases, so too does their disposable income and

dangers from growing pollution and greenhouse

seeking solutions to some of these challenges”.

technology and design.

consumption levels.

gas emissions; with ever-growing energy

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the adelaide REVIEW FEBRuary 2013

69

form will need to develop better incentives for people to

technology communities are crucial to supporting

take action to protect our ecosystems, which we risk

Australia’s ability to access new ideas and to build

destroying if we follow the consumption patterns of

our future competitiveness.

the last two decades. This is particularly interesting

The interdisciplinary research program of

with regard to China’s increasing role as consumer

the Centre focuses on the current state and the

and Australia’s as provider of natural resources.

transformative potential of cities in the Asia-Pacific

In general, there are two solutions for this: see the

region. The Centre investigates the systemic design

necessity to change ahead of time and adapt by

and engineering challenges and potentials of the

making changes; or don’t make the changes and

urban environment in the 21st century.

be finally forced to anyway.

The aim of the Centre is to build a worldclass multidisciplinary research-intensive centre, focusing on sustainable urban development. It explores strategies to enhance urban sustainability practices and policies in China, Australia and other cities in the Asia-Pacific region.”

consumption, China now accounts for over a

for Sustainable Urban Development.

The Centre fosters the exchange of academic

Technology must always be embedded into a

staff and students, joint research projects and the

societal framework to be effective. The collaboration

joint supervision of PhD students, and provides

signifies the universities’ commitment to furthering

consultancy services to industry and government.

China’s socially sustainable urban growth and

Research areas that relate to urbanisation include:

to local contributions that tackle global issues.

sustainable buildings, urban ecology, public space,

The role of technology alone is hereby limited.

urban heat stress and the impacts of climate change.

While technological innovation has served to

Research projects underway include the use of

reduce the impact of some long-term problems –

timber for better high-rise infill developments;

for instance, new technologies have dramatically

zero waste construction using prefabrication; and

increased harvests and improved access to

exploring urban heat island mitigation strategies

education – technology doesn’t invent itself and

for cities in China and Australia.

these achievements are always the result of decades

Architecture, urbanism, environmental

of hard work and investment in research programs.

engineering, ecology and landscape architecture

The aim is also to scale up technologies, from

are some of the most potent disciplines available to

the building level to low carbon precincts, and

us to remake our cities as dynamic, meaningful and

potentially to influence urbanisation activity in our

sustainable cultural artefacts. The Centre aspires to be

Asian neighbourhood. The biggest opportunity for

a living laboratory for urban exploration, influenced

emission reductions is in cities and buildings. Some

by the geographical, cultural and historical position

of the biggest challenges are to understand what

in relation to the Asia-Pacific region.

drives human behaviour and bottom-up changes

An urban sustainability training program to be

– behaviour change to reduce consumption and

launched at the Centre in 2013 will offer intensive

mobilise shifts in consumption patterns.

training in Australia and China, and aims to provide

quarter of all global greenhouse gas emissions.

The aim of the Centre is to build a world-class

Innovation and expertise in sustainable processes

multidisciplinary research-intensive centre,

have become more important than ever for

focusing on sustainable urban development. It

Sharing the commitment to urban sustainability

practical knowledge to Chinese municipal leaders

Australia in finding avenues through which to

explores strategies to enhance urban sustainability

with Tianjin University allows us to develop urban

on enhancing sustainability efforts. In February

engage with the Asia-Pacific region.

practices and policies in China, Australia and other

sustainability training programs through an

2013 will be the China-Australia Symposium on

cities in the Asia-Pacific region. Leading experts

integrated collaborative approach.

Sustainable Urbanisation in Adelaide, to be opened

The China–Australia Centre

and practitioners in urban sustainability will

Tianjin University – ranked in the top one per cent in

engage governments, businesses and other experts

Research

the country – is in Tianjin, a city of 12 million people

to help solve challenges such as how municipalities

A growing proportion of global scientific research

located around 30 minutes by high-speed rail from

can better incorporate urban sustainability into

is taking place in Asia, countries in the region have

Steffen Lehmann is Professor of Sustainable

Beijing, and which the Chinese Government

their strategic plans. The success of urbanisation

world-class research infrastructure and capabilities

Design at the University of South Australia

identifies as a science ‘cluster’ city. There is a strong

in the Asia-Pacific will be critical to its economic

and the scope for mutually beneficial research is

and director of the China–Australia Centre for

synergy and overlay between both universities

and social development.

considerable. China has more researchers than any

Sustainable Urban Development

cooperating through the China–Australia Centre

Governments and municipalities in the Asia-Pacific

by the Premier of South Australia.

other country and partnerships with research and

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the adelaide REVIEW february 2013

form

This month The Adelaide Review’s guide to what’s happening in design, planning and innovation

 

 

Retail Breakfast - Property Council

Planning Institute of SA - Reboot Series

Wednesday, February 6

Design Festival 2013

Splash Adelaide - Vacant Space

Registrations close Monday, February 4

Sunday, February 10

adelaidecitycouncil.com

splashadelaide.com.au

propertyoz.com.au

Shaping Policy – Strategic Directions

Thursday, February 21

Retail sales took a hammering in 2012 as

planning.org.au

The New Architects and Graduates group

Vacant Space is an open-air twilight street

consumer confidence stayed in a post-GFC

(NAG) and Adelaide City Council have formed

art market that reflects the colour, life and

ditch. But in some quarters retail property

The Reboot Training seminar series will

a partnership to rethink the way public space is

vibrancy that street art adds to unused spaces.

fundamentals firmed; so what is going on,

bring together speakers with recognised

procured and used in Adelaide. A key element

Vacant Space has been created as a temporary

and what does 2013 hold? The Property

expertise in their field in planning to

of this partnership is a design competition,

artistic hub and marketplace in each inner-

Council’s Retail Outlook Breakfast will

deliver a series of five lectures in the first

Design Festival, which will display and promote

city square. Held every second Sunday of

supply you with the market intelligence you

half of 2013. This is an opportunity to

Adelaide’s emerging design talent. If you are

the month, check out Adelaide’s newest hub

need to make your property investment

check your practice skills and update your

a designer with strong ideas about how South

fostering local creativity and talent with a

and management plays. Keynote presenter

working knowledge by way of in depth

Australia’s capital city could improve its public

variety of competitions and performance

is renowned economic commentator Paul

analysis of issues and practical examples.

spaces, form a team with other designers – this is

spaces that encourage collaborations within

Bloxham from HSBC.

your chance to be heard!

the art community and general public.

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TURNE R 72

the adelaide REVIEW february 2013

FEATURE

FROM THE TATE

THE MAKING OF A MASTER

8 February – 19 May 2013

A RT G A L L E RY O F S O U T H AU S T R A L I A See the world through the eyes of Britain’s most celebrated painter, J.M.W. Turner. Experience Turner’s powerful and dazzling masterpieces up close in the first major Australian exhibition of his work in almost 20 years.

Avoid the queues. Book at PRESENTED BY

PRINCIPAL SPONSOR

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ORGANISED BY

EXHIBITION AND MEDIA PARTNERS

PART OF THE 2013 ADELAIDE FESTIVAL

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

The Adelaide Review February 2013  

The Adelaide Review is South Australia’s premier independent source of social, cultural and political analysis and review.

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