the adelaide review - february edition

ROSALBA CLEMENTEThe former State Theatre Artistic Director explains why

she is returning to the stage for the � rst time in 10 years

BILLY BRAGGAcclaimed songwriter and activist Billy Bragg speaks to

The Adelaide Review before his anticipated WOMADelaide set

COMBATING THE HEATGreen spaces can combat urban heat stress,

writes Professor Steffen Lehmann

24 26 58

LIVES IN MOVEMENT

Alan Brissenden previews Adelaide Festival’s exhilarating dance

program, which includes Shaun Parker’s new work Am I

22

REVIEWTHE ADELAIDE

ISSUE 408 FEBRUARY 2014 ADELAIDEREVIEW.COM.AU

LINE-UP INCLUDES: Arrested Development USA • Ngaiire AUSTRALIA • Mikhael Paskalev NORWAY/BULGARIA

• Hiatus Kaiyote AUSTRALIA • Muro JAPAN • Thelma Plum AUSTRALIA • La Chiva Gantiva COLOMBIA/BELGIUM •

Washington AUSTRALIA • Femi Kuti & The Positive Force NIGERIA • Tinpan Orange AUSTRALIA • Red Baraat USA

• Neko Case USA • Hanggai CHINA • Quantic UK • Billy Bragg UK • Osaka Monaurail JAPAN • Fat Freddy’s Drop NEW ZEALAND • Ane Brun SWEDEN/NORWAY • The Balanescu Quartet UK and many more.

PLUS: Taste the World, Planet Talks, a Global Village, KidZone, visual arts, street theatre and so much more!

LITTLE BLACK DRESSLittle Black Dress party band is back at the Fringe, but this time at our place... the Barossa! Our eclectic mix of covers help set the mood for good fun. Celebrate with us our love of food, wine & a passion for singing & harmonies. Kids under 12 free.

SCHILD ESTATE, LYNDOCH. 12PM A$15 CH$5 CON$10

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A BRIEF HISTORY OF BEER Drink along through time with Wish Experience in their Quantam Pint Machine, drinking & learning! Wish have combed the records, visited the ruins & tasted an impossible number of beers to bring you this docucomedy based on the life & times of our mistress & muse, the humble beer.

BAROSSA VALLEY BREWING, TANUNDA. 7.30PM A $25 C $20

FOLLY- A MISERABLE YORKSHIRE POETRY MUSICALGrumpy Yorkshire poet & grumpy Australian musician meet at the moment when your travel journal & your ipod rub up against each other in the airport scanner. It’s trains, planes & cheap booze. Part story, part poem told by Sally Jenkinson with a full original soundtrack performed by Nuala Honan.

CHARLES MELTON WINES, TANUNDA. 7.30PM M&S $40PP

MISS K IS... WRONG.COMMiss K seeks fame but was rejected by reality TV. She bakes but without online documentation does she? When there’s nothing to tweet, is a YouTube link reposted on Instagram, Pinterest, her blog & Facebook considered entertainment? Is she navigating the spam of modern existence, or really just wrong.com?

BAROSSA WEINTAL HOTEL, TANUNDA. 7.30PM $13PP

MICHELLE & THE GENTLEMEN’S CLUBMichelle Pearson’s sold-out 2013 Fringe performance ‘Michelle & the Gentleman’s Club’ returns to tour SA’s finest food & wine regions. With a focus on Australian music plus a sultry mix of jazz, blues & soul this 1 hour cabaret show will celebrate one of SA’s most acclaimed voices.

NURIOOTPA SOLDIERS MEMORIAL HALL. NURIOOTPA 8.00PM $34PP

BAROSSA FARMERS MARKETThe Barossa Farmers Market is a genuine local produce market. A beautiful selection of specialty breads, the Barossa’s famous smallgoods, stunning pastries & baked goods to name a few. If you want a damn fine breakfast & coffee, we’ll see you next Saturday at the market!

BAROSSA FARMERS MARKET ANGASTON. 7.30- 11.30AM FREE

WINEMAKERS VS COMEDIANSCRICKET MATCHWho would think a cricket match would be in the Fringe? Barossa Winemakers have challenged the Fringe comedians to a duel on the cricket field. Come along to experience the Barossa in a different light & for a spin, a schluck & a laugh in the beautiful southern Barossa.

LYNDOCH OVAL, LYNDOCH. 11AM FREE

DAVID BRIDIEDavid Bridie’s 2013 album WAKE was described as “the album this country needs... Passionate, intelligent and inspired” (The Age) and “powerful and deeply disturbing” (The Australian). Now Bridie hits the road again across Feb & March with performances that mix up the old and new- songs from WAKE. As well as some gems from his extensive back catalogue in film and music.

BAROSSA WEINTAL HOTEL, TANUNDA. $13PP

CANDLELIGHT CONCERT FEAT. DAVID GARNHAM & THE REASONS TO LIVEVJ Productions presents ‘David Garnham & the Reasons to Live’ as part of their Candlelight Concert Series. David Garnham & the Reasons to Live craft country tinged ballads about booze & women fueled by isolation & self-loathing. Debut LP ‘Love Inside a Jar’.

BAROSSA REGIONAL GALLERY, TANUNDA. 7.30PM $33PP

WHO’S AFRAID OF THE BIG BAD WOLF? WOMEN WRITE SONGS TOO!An exclusive collection of female song writers in a show delivered with passion & wit. Featuring the compositions of Peggy Lee, Bobbie Gentry, Laura Nyro, Pink, Anne Ronell, Carolyn Less, Cynthia Weil & others. 5 star best Cabaret nomination in 2011.

SCHILD ESTATE, LYNDOCH8.30PM A $25 CH $23 CON. $23

JOHN MCNAMARA ACOUSTIC SOUL & BLUES‘Masterful blues guitar... brilliant & blisteringly fast... powerful & resonant voice’ Rip It Up ‘Exceptional music experience... a deeply satisfying show’ Three Weeks, Edinburgh. ‘Soulful is an understatement’ Broadway Baby Edinburgh. John’s delivers a unique, intimate blues experience. A must see show!

JACOB’S CREEK VISITOR CENTREROWLAND FLAT 6.00PM $18PP


BAROSSA FARMERS MARKETANGASTON 7.30- 11.30AM FREE



BEER VS WINE DEGUSTATIONThe Battle of the Bottle - Degustation dining with a twist! Barossa’s brewery & wineries go head to head! The chef is preparing 5 courses of seasonal fare, the brewer & the winemakers will take you through the debate of whether beer or wine match your dinner best. Let the battle begin!

BAROSSA VALLEY BREWING, TANUNDA. 7PM $90PP

IVOR CARTER & THE SACRED ROSE BANDIvor Carter & The Sacred Rose Band present “Moculta on the Fringe” a multicultural cabaret style concert at the Moculta Hall. This eclectic mix of cross genre original material demonstrates diversity that is sure to intrique and delight. Soul 2 soul bellydance and Chinese gong performances.

MOCULTA SOLDIERS MEMORIAL HALL. MOCULTA 8.00PM $23PP

ELI WOLFE & THE VAGABOND MOON FEAT. NINNI & MIKA FROM FINLAND From the warm, pastel hues of an Australian outback sunset, to the lunar fields of snow & ice that lay beneath dancing Northern Lights in Finland, this concert offers a wonderful, cultural & musical exchange. Wine tasting platters available for purchase.

GIBSON WINES, LIGHT PASS7.00PM $23PP

PROGRESSIVE BAROSSAN BANQUETEnjoy a progressive 3 course Barossan banquet in the stunning, heritage-listed Chateau Tanunda. Each course is themed & served with a different musical act; enjoy the talents of Rainbow Rothe, Rich Batsford and Little Black Dress.

CHATEAU TANUNDA, TANUNDA. 12 NOON $150PP

LITTLE BLACK DRESSLittle Black Dress party band is back at the Fringe, but this time at our place... the Barossa! Our eclectic mix of covers help set the mood for good fun. Celebrate with us our love of food, wine & a passion for singing & harmonies. Great views, Family Friendly. Kids under 12 free.

PINDARIE CELLAR DOOR, GOMERSAL. 12PM A$15 CH$5 CON$10 FAM$35

THE DARKS KNIGHTS OF SONG IN CONCERTA 15 strong male acapella choir who, unitl now, have been detained in Western Australia. This is their first concerted effort in Adelaide to entertain, confuse & amuse with their mixture of Georgian harmonies, songs including an appreciation of concrete & a macabre version of Teddy Bear’s Picnic.

BAROSSA CHATEAU, LYNDOCH1.15PM A$33 C$23

JAMFACTORY OPEN DAYJamFactory opens the doors of its new Studios, Galleries & Shop at Seppeltsfield for a free Fringe Open Day! Visit the dramatically refurbished old stables in the historic Seppeltsfield winery & view the latest exhibition & artists at work in their studios

SEPPELTSFIELD WINERY, SEPPELTSFIELD. 12 - 4PM FREE





LITTLE BLACK DRESSLittle Black Dress party band is back at the Fringe, but this time at our place... the Barossa! Our eclectic mix of covers help set the mood for good fun. Celebrate with us our love of food, wine & a passion for singing & harmonies. Kids under 12 free.

KIES FAMILY WINES LYNDOCH 6PMM&S $50 CH $30, CON $40, FAM $140





BLUEPRINTRelax with Blueprint’s visually stimulating and instrumentally diverse performance on the winery lawns. Elderton wines, local produce plates & Gourmet Dogs available for purchase. Bookings - Not essential, but appreciated P: 08 8568 7878E: [email protected]: eldertonwines.com.au

ELDERTON WINES, NURIOOTPA12 NOON FREE

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THE SECRET GARDEN PARTYEnter our Secret Garden at Turkey Flat Vineyards and discover the enchantment of true Barossa Valley hospitality. Featuring the beautiful music of The Audreys & The Yearlings join the Turkey Flat family for a relaxing and entertaining afternoon of outstanding wines, delicious food & chilled out tunes. No BYO please

TURKEY FLAT VINEYARDS, TANUNDA. 1.00PM M&S $73PP

BLUEPRINTHailing from the Barossa, 2014 will mark Blueprint’s 3rd Fringe Festival. Described by Ash Grunwald as ‘Guitar Virtuosos’. Blueprint offer stylistically complex rhythm & groove through their original compositions. Flamenco, roots & rock merge to create a performance that is visually stimulating & instrumentally diverse.

BAROSSA VALLEY BREWING, TANUNDA. 1PM FREE

THE IDEA OF NORTHUp Close & Personal is the highly improvised, interactive show where you, the audience gets to choose what happens. You write the set list by requesting tunes throughout the show. You can ask questions & maybe end up on stage - every show is guaranteed to be different!

JACOB’S CREEK VISITOR CENTREROWLAND FLAT, 7PM M&S $123PP

MARISA QUIGLEYFemale vocalist of the Year at the Australian Blues Music Awards, Marisa Quigley’s dynamic stage presence, earthy humour & hauntingly beautiful vocals will not disappoint. A mix of blues, roots, alt. country folk Marisa’s insightful stories translate seamlessly into captivating lyrics. Gleny Rae Virus & her Playboys play with her.

CHARLES MELTON WINES, TANUNDA. 4PM, $43PP

THE BAROSSA VALLEY DOES THE FRINGE LIKE NO OTHER.

FOR MORE INFORMATION PLEASEHEAD TO BAROSSA.COM OR ADELAIDEFRINGE.COM.AU

ALL TICKET SALES THROUGH FRINGETIX 1300 621 255 ORADELAIDEFRINGE.COM.AU

COLLECTION PROJECTION

Taking art of the wall ‘Collection Projection’ shows off the magnificent Barossa Vintage Art Collection which will be projected on the front exterior of the Gallery each night during the Fringe. A spectacular & unqiue way to enjoy art after dark!

BAROSSA REGIONAL GALLERY, TANUNDA. 8PM-11PM DAILY FREE

CUSP: DESIGNING INTO THE NEXT DECADE

Presented across JamFactory’s 2 venues ‘CUSP: Designing into the Next Decade’ is a glimpse into the future. It is a look at designers that are currently working within the Australian design lansdcape who have the potential to effect lifestyle, learning & cultural change in our lives.

SEPPELTSFIELD WINERYSEPPELTSFIELD 11-5PM DAILY FREE

9 FEB TO 22 MAR

2014

15 FEB TO 15 MAR

2014

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DARREN MCRAEArtist/Singer /Song writer Darren McCrae. Be entertained with Darren’s original songs, featuring his song Valentine. Enjoy a candle lit 3 course dinner $55.00 per person at the Barossa Weintal Hotel Complex.

BAROSSA WEINTAL HOTEL, TANUNDA7.00PM M&S $55PP

2

23GETAWAYS RESERVATION SERVICE provides a total one stop shop to book your Fringe Accommodation, Tours, and Transfers in the Barossa.

ph. 85 63 1000 or book online at www.getaways.net.au

14

WELCOME ISSUE 408

rEviEWTHE ADELAiDE

facebook.com/TheAdelaideReview twitter.com/AdelaideReview

Contributors. Lachlan Aird, Leanne Amodeo, D.M. Bradley, John Bridgland, Alan Brissenden, Michael Browne, Derek Crozier, Alexander Downer, Robert Dunstan, Stephen Forbes, Andrea Frost, Roger Hainsworth, Jane Howard, Andrew Hunter, Steffen Lehmann, Jane Llewellyn, Kris Lloyd, Stephen Orr, John Neylon, Nigel Randall, Paul Ransom, Christopher Sanders, Margaret Simons, John Spoehr, Shirley Stott Despoja, David Sornig, Graham Strahle, Ilona Wallace, Paul Willis, Paul Wood. Photographer. Jonathan van der Knaap

iNSiDE

Features 07

Politics 08

Columnists 12

Opinion 16

Business 18

Books 19

Fashion 21

Performing Arts 22

Visual Arts 37

Travel 45

Food. Wine. Coffee 46

FORM 57

5246ThE DanIEl O’COnnEllPaul Wood reviews the North Adelaide pub. Does

it live up to its ‘Adelaide’s Gourmet Pub’ title?

FOOD FOr ThOUghTChef columnist Annabelle Baker on

the joys of street food

35Steve McQueen

The Adelaide Review interviewed the acclaimed

director of 12 Years a Slave a few hours after

his Academy Award nomination for the film that

has everyone talking

CoVEr CrEDit: Shaun Parker’s Am I: Photo: Michele Aboud

GENERAL MANAGERMEDIA & PUBLISHING Luke [email protected]

SENIOR STAFF WRITERDavid [email protected]

DIGITAL MANAGERJess [email protected]

ART DIRECTORSabas [email protected]

ADMINISTRATIONKate [email protected]

PRODUCTION & [email protected]

NATIONAL SALES AND MARKETING MANAGERTamrah [email protected]

ADVERTISING EXECUTIVESTiffany VenningMichelle [email protected]

MANAGING DIRECTORManuel Ortigosa

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

Circulation CAB. Audited average monthly, circulation: 28,648 (April 12 – March 13) 0815-5992 Print Post. Approved PPNo. 531610/007

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.

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

6 THe ADeLAIDe ReVIeW FEbruary 2014

FEATURE

RSVP [email protected] or 08 8111 8044

v

History Book LaunchJoin us as we unearth the Civil Contracting Achievements of the last 50 yearsDATE Wednesday 19 FebruaryVENUE CCF SA House, 1 South Road, ThebartonTIME 4pm til 6pm

Meet the Author, secure your signed copy of ‘Civil Achievements - Unearthed’ and enjoy our hospitality

OFF TOPIC:

Goodall eventually chose Adelaide

as his home after the gas and oil

industry veteran connected with

the city during one of his annual

visits from the northern hemisphere to visit

his daughter, who lived in New Zealand.

“I’ve probably spent more of my life

globetrotting than I have sitting in one place,

which is how we got here,” Goodall explains.

“Everybody asks me, ‘Why did you come to

Adelaide?’ It’s really easy to answer: it’s a lovely

place. We were living in Spain, I retired from BP

and I had done some other things – we built a

small independent oil company in the UK and

sold it to the Koreans for $4billion – so I had

done that. I thought, ‘Okay, what I am going to

do next?’ Our daughter was in New Zealand, so

we fl ew through Australia every year. Sydney’s

okay but I couldn’t live there. We came through here and stayed in town, visited Kangaroo Island

and the Southern Ocean Lodge and went up the

Murray River and to the Flinders Ranges and I

thought, ‘This place is good’.”

Now settled in Adelaide with his wife

(Goodall’s daughter also moved here from New

Zealand), Goodall is the Chair of Committee for

Adelaide, an a-political not-for-profi t collective

that aims to ‘drive capital and community

growth and investment in South Australia’.

Though he is not a ‘true local’, Goodall brings a

lifetime of experience working in countries such

as Iran, Russia, Scotland, the United States

and various countries in Africa. He was BP

Europe’s Chief Financial Offi cer and BP’s senior

representative in Russia.

“My last job for BP, after a couple of years

in Europe, was running Russia, which I took

on against my better judgement. I was sent out

there in 98. That was the tail end of the Yeltsin

regime. We’d taken up an investment in a Russian

company. We bought 10 percent of this company

and they sent three of us in to run it. We think

that it employed 76,000 people but we’re not

too sure. We had farms, refi neries, gas stations,

prisons – pretty well everything.”

Goodall calls his Russian experience

“diffi cult but interesting”. He travelled with

two bodyguards by his side and had to deal

with Russia’s tax police.

“I suspect the Australian tax inspectors don’t

wear black ski masks and carry Kalashnikovs,

Off Topic and on the record as South Australian identities talk about whatever they want... except their day job. Irish-born and English-raised Committee for Adelaide Chair Colin Goodall landed in Adelaide three years ago after a distinguished career with BP, which saw him posted to far-� ung locations across the globe.

BY DAVID KNIGHT

COLIN GOODALL

committeeforadelaide.org.au

Colin Goodall.

as the tax police in Russia do. These guys come

into your offi ce and say, ‘You owe us some tax’.

It was interesting.

“When the three of us were sent in, we would

have our meetings with the management of the

company and agree on things and we’d go back

home on a Saturday afternoon. The following

Monday nothing had happened. So we realised

after we had our meetings they’d have their

meetings and completely ignore everything.

“The CEO at the time was a Chechen and I

worked out fairly quickly that a large amount of money was going missing. On a trip back

to London I arranged that he would leave the

company. What I didn’t realise was that the

chief accountant, most of the legal team and all

of the traders were his relatives. I used to meet

him periodically after that and he’d say, ‘Now,

Colin were you responsible for me being fi red?’

It was a pretty challenging environment.”

Goodall experienced Russia’s evolution away

from its former communist rule. He recruited

Russian ex-pats who had been educated in

Europe and the US and says there was a

generation gap between the older generation

who grew up during Soviet rule and their

children who wanted a “different life”.

“The younger generation was almost as alien to their elders as estranged people. We lived in a

fl at in a nice area of Moscow with a beautiful lake

just opposite. The building I was in was the most

fantastic piece of art-nouveau architecture. This

was the house of the famous Russian fi lmmaker

Sergei Eisenstein. If it had been on Hyde Park

in London it would have been worth gazillions.”

Goodall was in Iran from 75 to 79 and took the last commercial fl ight out of Iran before

the Iranian Revolution.

“I left when the Shah left. I was on the plane

before him. One of the fun things about oil is it

tends to be found in places that are different.

I say to many people that oil is much about

politics as it is about geology. It tends to be

found in places where the politics aren’t easy.

“I got involved with the theatre in Iran. We held

a number of theatre productions in a theatre – a

hut – that held 86 people on a full night. We

did the world premiere of Evita. We had the

LP and transcribed it. One of the ladies, who

had been a dancer, her husband was a pilot, she

choreographed it and we performed it. We broke

every copyright rule in the book,” he laughs. “You

make your own life in those places.”

ADELAIDEREVIEW.COM.AU THE ADELAIDE REVIEW FEBRUARY 2014 7

8 The AdelAide Review February 2014

POLITICS

We must continue to move up

the goods and services value

chain where economic activity

is characterised by high

levels of knowledge intensity that underpin

the generation of creative well-paid jobs.

This can drive much needed value, adding

to our abundant natural resources and

food industries, an outcome that requires a

sophisticated manufacturing sector and smart

procurement policies.

There is nothing to be gained from trying to

revive the low-cost model of South Australian

economic development that must finally be

laid to rest. Those days are over. In a rapidly

industrialising region where the great nations

of India, China, Thailand, Korea and Malaysia

have become global centres for low-cost

manufacturing, Australia has no choice but

to choose another growth path, one firmly

grounded in a deep commitment to higher

levels of public and private investment

in education, research and development, innovation and commercialisation. There is

no place for a radical program of public sector

cuts in this. Austerity programs have been a

spectacular failure internationally, offering

despair where hope is much needed.

A smart growth strategy is needed in

Australia, one that better harnesses the

very considerable talents available in our

universities and creates new and very agile

institutions capable of driving successful

knowledge transfer, innovation and

commercialisation. Researchers working

with industry in both advancing and applying

knowledge are easier said than done. We

underinvest in this and urgently need to

create a network of industry innovation

centres to fill the gap. These are creative

places where researchers from fields as diverse as engineering, economics, design,

psychology and sociology, work with

industry to explore how new processes

and technologies can underpin smart and

sustainable growth, solving problems and

driving innovation inspired by invention.

» austerity Forum: unmasking austerity

Speakers: Dexter Whitfield, Jamie Peck and

John Quiggin

Tuesday, February 18

The braggs Lecture Theatre,

The university of adelaide

9.30am-12.30pm

» Associate Professor John Spoehr is the

executive director of the australian Workplace

Innovation and Social research Centre at the

university of adelaide

registration essential at: trybooking.com/DZKy

Investment in Smart Growth the KeySouth Australia must compete on quality rather than cost in order to drive high living standards for all in the 21st century.

by John SPoehr

Innovations in product development and

workplace organisation can go a long way

to enabling South Australia companies to

succeed but only in an environment where

industry and trade policies are tuned to

the realities of global market conditions.

No amount of innovation can insulate a

manufacturer dependent upon exports

from the wrecking ball that was the very

high Australian dollar, the rise of low-cost manufacturing in Asia, the continued

existence of higher tariff and non-tariff

barriers, as well as aggressive state financial

aid for industry development in competitor

nations. Australian industry and trade policy

must do more than pray hopefully at the altar

of free trade.

What remains of our manufacturing industry

after GMH closes will depend in large part on

the willingness of the Australian government

to invest both directly and indirectly in

industrial transformation, particularly

through building robust regional innovation

systems and institutions that help to accelerate

transformative change. There is probably quite

a lot of common ground on this between Labor

and the Liberals. Where they diverge is in

relation to whether sharp reductions in business

taxes and public expenditure will stimulate

growth. These are common ingredients in

so called austerity packages, a set of policies

premised on the view that reducing public

sector expenditure during the global financial

crisis will help to restore growth and stimulate

employment. We have resisted this approach

in Australia, favouring stimulatory measures

designed to inject public investment into job

generating initiatives in the private sector. It worked with Australia managing to sustain

one of the lowest unemployment rates in the

world since the GFC. Meanwhile most OECD

nations have languished with chronically high

unemployment, homelessness and a rapidly

widening gap between rich and poor leading

to growing social and political tensions.

There is great danger for Australia if we

head down the austerity path as no doubt the

Federal Government’s Commission of Audit

will recommend over the coming weeks. We

have learnt a great deal about the costs of

this well-trodden path, lessons that should

moderate the neo-liberal tendencies of the most

ardent Thatcherite. There is no evidence that a

program of business and public sector tax cuts

will deliver anything other than more sluggish

growth, unemployment and hardship.

The policies of governments must be assessed

on their proven ability to counter the impact

of financial crisis. When you look closely at the

European experience and that of the United States

it is clear that the Australian response to the GFC

is the gold standard. Rewriting that history as

failure will probably be a feature of the report of

the Commission of Audit. It is likely to argue that

public debt is unsustainable, public expenditure

is too high; tax is too high and deep cuts in public

expenditure urgently required. All of this is very

familiar to those of us who witnessed the round

of Audit Commissions undertaken in Australia

during the 1990s.

In the lead up to the release of the Abbott

Government’s Audit Commission report

I urge you to have a close look at what has

been done over recent years in the name of

austerity in Europe and the United States.

Three international experts will be in Adelaide

in February to share their insights and

experiences at a forum on austerity policies

on the 18th hosted by my centre [Australian

Workplace Innovation and Social Research

Centre] and the Don Dunstan Foundation. I

strongly encourage you to attend and engage

in the austerity debate.

There is no evidence that a program of business and public sector tax

cuts will deliver anything other than more sluggish growth, unemployment

and hardship.”

SATISFY ALL YOUR SENSES AT

TASTING AUSTRALIA. Tasting Australia 2014 is all about

eating and drinking, it is about experiences, not just events. Above all it is about

participating, not just attending.

27 APRIL - 4 MAY 2014 / AdelaideTASTINGAUSTRALIA.COM.AU

Langton’s Classification of Australian Wine VI / $120pp

Thursday 1 May 2014 / 5.30pm – 8.30pmNational Wine Centre of Australia, Adelaide

ticketek.com.au

Origins Dinner / $180ppSaturday 3 May 2014 / From 7pm

Secret location in Adelaideticketek.com.au

Town Square / Free entryVictoria Square, Adelaide

Hands-on Cooking Classes / $35ppVarious session times, check website for details

Town Square (Victoria Square) Adelaideticketek.com.au

Kids in the Kitchen / $20ppSaturday 3 and Sunday 4 May 2014 / Various session times

Town Square (Victoria Square) Adelaideticketek.com.au

A few of my favourite things / $150pp

Friday 2 and Saturday 3 May 2014 / From 11amVarious tour options

Tours depart Town Square (Victoria Square) Adelaideticketek.com.au

Producers’ Picnic / Free entrySunday 4 May 2014

Town Square (Victoria Square) Adelaide

Spotlight Events andRegional Tours

Visit our website for a comprehensive list of spotlights events and regional tours.

FOR MORE INFORMATION VISIT TASTINGAUSTRALIA.COM.AU

calendar of events

You’re Invited TO TASTEI’m personally inviting you to our 2014 Tasting Australia being

held in Adelaide and regions from 27 April to 4 May.

Given that my cohort from Cook and the Chef, Simon Bryant, together with wine expert Paul Henry and our bold new team are

driving Tasting Australia’s creative direction, I felt honour bound to accept the position of Patron to support my old friend for this event.

One that has given so much to South Australia in the past and is now being taken on a new and exciting path.

I really hope you can come and help us celebrate all the great food and wine experiences we have to off er; you’ll be amazed by the diversity of it and when your

appetite is sated, there is food for the brain too!

PAT R O N

in the pa t stg path.g path.

rate all rato off er; en your

n too!

10 THE ADELAIDE REVIEW FEBRUARY 2014

FEATURE

If I asked a typical Review reader to memorise

that many words in Farsi there’d be a fair

amount of teeth-gnashing. This is why we

start early. Learning a foreign language at

high school is well-meant but generally doomed

to failure.The English language isn’t easy. If ‘can

not’ becomes ‘can’t’ why can’t ‘am not’ become

‘amn’t’? Ain’t is okay, isn’t it? Unless you’re a

purist, in which case you can discriminate against

words. What’s wrong with, ‘I ain’t interested

in learning to read?’ Does this reveal too much

about someone’s background? Why can’t a fi sh

be like a phone? What exactly does sleep tight

mean? Sleep well, for a long time, warmly? What

is holy crap? Why do people say ‘the proof’s in

the pudding’? The proof of what? Is it that, again,

we’re too lazy to say the proof of the pudding is

in the eating?

The reality is that English is a mongrel

language and, like stolen cars, needs pimping.

This makes it tricky for the adult learner, or

confused kids – until we just learn to accept

the strangeness and inconsistency. It’s also

a class tool. Accent, grammar, spelling, even

being able to write your name, are separating

tools in society. To read and write is everything

in a world of ideas.

John Corcoran was an American English

teacher. He was well-respected and his students

achieved good grades. As a child, he had trouble

reading and writing. His teachers were too busy

to bother with him, so they kept promoting

him to the next grade. He was often placed

in the ‘dumb row’ and felt traumatised by his

inability to succeed. His life at school was hell.

“I can remember when I was eight years old

saying my prayers at night and saying, ‘Dear

God, tomorrow, when it’s my turn to read, let

me be able to read’.” He describes how when

asked, he’d just sit still, silent, waiting for the

teacher to give up and ask someone else.

Now, you’re waiting for me to tell you that

Corcoran fought to overcome his learning

problems, attended college (which he did) and

went on to become a great educator. No. He

couldn’t read or write until he was 48, and had

been teaching for 17 years. He got through school

by misbehaving; hung around with smart kids

and got them to do his work; copied other people’s

The English language is a big bag of tools: 180,000 useful words, half of which are nouns, a quarter adjectives and (to prove that humans are essentially lazy) a seventh verbs.

BY STEPHEN ORR

YEAR OF THE LUDDITE

assessments. After cheating his way through

college he was given a job during a teacher

shortage and then, to quote him, “What I did

was I created an oral and visual environment.

There wasn’t the written word in there. I always

had two or three teacher’s assistants in each class

to do board work or read the bulletin.”

We’ll always fi nd someone who quotes the names of famous and wealthy people who were

either school dropouts and/or illiterate: Jesus,

most of Dark Ages and Renaissance Europe,

Leonardo da Vinci, Richard Branson, Tom

Cruise. Branson worked out that people skills

beat education every time, and went on to make

a fortune smooth-talking his way through the

corporate world. But for most, this isn’t reality.

Statistics show that less than two percent of

Australians are illiterate, but that’s a bit like

saying a hundred percent of Australians know

how to catch bream from a jetty. The actual

number that will end up at Soto’s fi sh shop on

the way home is very different. Other research

shows that up to half the population don’t have

the basic reading and writing skills they need on

a daily basis. The truth probably lies somewhere

in between. If you’re trying to read the label on a

bottle of sedatives or the warning label on a chain

saw, this makes things interesting.

The AdelAide Review February 2014 11AdelAideReview.com.Au

FEATURE

» Stephen Orr’s latest book One boy Missing

(Text Publishing) is out now

Sometimes I wish I lived in a country that

valued words. Where kids had some idea of who

Banjo Patterson and Patrick White were. Sport

seems to be an intellectual contraceptive, and

we’re using it more and more. Endless hours of

abs and ‘it was always my dream to win the 4

x 4 relay’ seem to set the national agenda, and

although politicians pay lip service to literacy,

they know where the votes are. The problems

could be fixed with willpower.

Finland has (effectively) a hundred percent

literacy. Its schools and universities are well-funded and teachers need a Masters degree,

and even then there’s intense competition to

enter a much-respected profession. Excellent

facilities, free lunches, Open University courses

for adult learners (offered at a modest 60 Euros

per course) and a separate Adult Education

system offered in local worker’s institutes,

study centres and summer universities. In

short, the Finns have got their priorities right,

even without a mining boom to bankroll it.

I could talk about my concerns with

technology, popular culture, kids turning off

of books (despite the promises of the Harry

Potter years), but what really concerns me

as a writer is the death of the story. To many

kids today, stories are animations or games.

Someone will call me a Luddite, but I don’t care.

Machines, it seems, run us more than we run

them. We accept that all technology is good.

A spell-checker, even. Despite the fact that we

sense these things decrease our own reliance on

our own brains. Which is the problem, perhaps.

Maybe the whole reading/writing thing is just

too much trouble for our modern sensibility.

But back to stories. I needed words because I needed stories. I didn’t learn about attitude until

I read Salinger. I didn’t learn about spirit and

religion until I read Patrick White (the Hillcrest

Baptist Sunday School failed spectacularly). I

didn’t learn about who I was and this place I

lived in until I read Colin Thiele and Barbara

Hanrahan. All of these people and their words

and sentences informed me as a writer and

person: books taught me empathy, and how, like

Atticus Finch, to act decently and fairly and never

spare your love. This is what’s at stake today. The

tools to learn how to be decent human beings.

As you read, there’s a child sitting in a

classroom losing interest. Because he doesn’t

get it; because there’s no one to sit next to him

and help him spell out the words; because we

think it’s somehow smart to close libraries

and turn them into virtual learning centres.

This seems to me to be what the French call

excrement. Books and technology aren’t

mutually exclusive, in the same way that

we didn’t bin every radio in Australia when

television first appeared in 1956. There are

millions of books sitting in thousand libraries

in Australia. Each of them contain an idea, a

story, a lesson. But if we lose the skills to open

them and read them, it’s almost as though they

were never written.

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COLUMNISTS

At this time of year each evening finds

me in the back yard, mosquitoes at heel,

watering the garden. It is a ritual that

accompanies the cessation of the day’s heat.

The silverbeet recovers from the day’s heat in an astonishing fashion. One moment it

seems dead, flopping on to the soil. A little

water flowing in to those veins and in minutes

it stands proud, glossy and green. I revive it

in order to kill it. A quick slash with the knife,

and we have leaves for dinner. The end of the

day’s heat is also the time for harvest.

Watering the garden is almost meditative.

My back to the house, my mind at rest, I try

to judge how much water is enough, and not

too much, for plants that have stood all day in

the parching sun. This involves an interaction

with the minutia of my tiny patches of soil.

Gardeners know their gardens with the

intimacy of a lover. Just as lovers know each

dip and rise of flesh, so a gardener knows the

contours of the soil. So it is that I can judge how

long to let the hose play on each spot.

The jet of water kicks up dirt. Even though

the soil is dry, it takes some time for it to accept

water. The earth is like a sponge left to dry for

too long. It has forgotten how to drink.

Lakes form, then overflow, then tip their

contents into neighboring hollows. I know how

long this will take, and the order in which the

little holes will fill. I can judge it almost to the

moment, and I shift the hose just before the

deluge. Then there is a pause while the water

sits on the dry earth. Am I imaging the tension?

Suddenly, as though a mouth has been opened,

the water disappears. Then I can return with

the hose, and the garden drinks deep.

With my pot plants, though, water runs out

BY Margaret SiMonS

Six SquAre MetreS

of the bottom long before the soil is soaked. A

slow drip feed is what’s needed, but who has

the time for that? Inside the house there are

jobs to do. Washing to be put on. Dishes to

clear. Work clothes to prepare. So I create my

little floods, then move on.

One of the difficulties of gardening in a small

space is finding a way of doing the job without

wrecking everything else that is going on. If I

overwater the lemon tree the water runs out of

the pot, across the brick paving and disrupts

my grandson’s Lego town – although he seems

quite pleased with the idea of a flood to enliven

the evenings of his plastic, square-headed

population.

When I water the lettuce, strawberries, beans

and upside-down tomato on the sundeck, I

have to first make sure that the washing line

underneath is empty or everyone will be

wearing clothes with earth coloured streaks.

Summer took a long while to arrive this

year. For weeks, my basil plants sat and sulked

through cold nights, barely putting on a leaf.

Now they want to run to seed before providing

the customary summer pesto.

The coriander is all legs and arms and

flowerheads, and no leaves. The capsicum is

providing tiny, intense flavored fruit. Nothing

is growing quite as I expect. These days that

observation carries with it a freight of fear.

Is this climate change? Will the intimate

knowledge of the garden soon cease to serve?

Is everything changing?

Tonight I am soaking the seeds of

moonflowers, ready for planting out tomorrow.

Moonflowers grow on long vines. They can

put on five metres in a single year. I have read

that the flowers open in the early evening and

close before noon the following day. You can

actually watch them open, it happens so fast.

The fragrance is sweet and heavy.

Next summer, I hope to have the moonflowers

to accompany me for the evening watering and

harvest ritual.

@MargaretSimons

i am searching for a word. No dementia

jokes please. A word: glamorous, rich,

evocative, that we can appropriate to

give old age a better tint. Just as Gays

did, and forever improved the image

and the language. We need something

to distinguish us, for example, as the last

generation that experienced life in the

home without computers, while being the

generation that helped the invention to

reach its present sophisticated state. The

man who invented the mouse, Douglas

Engelbart, died only last year at the age

of 88. I wonder if, in his later years, any

patronising young git asked him if he

knew what a mouse was.

I was thrilled to see that my generation’s

intimacy and expertise with computers

were recognised by The Guardian UK

in December when it asked actor Sheila

Hancock, aged 80, to give advice on online

privacy and security. She brought to bear

on the subject of privacy her earlier life

experience: “I grew up in a generation

where we kept things private, where a letter

was a lovely little very private thing that

arrived. Suddenly we can send messages

that could misfire, that anybody can see.

My grandchildren have a completely

different attitude to privacy, but I feel I

have to assume that everybody can see what

I am doing on the web.” (“Spot on,” said

the security expert who worked with The Guardian on the Snowden stories.)

Is there a word that describes people with

this sort of applied, hands-on knowledge of

life – all aspects of life – who happen to be 80-ish? Who are live wires, contributors

to life and the gaiety, song and dance of it?

Elderly will not do.

‘Elderly’ has a shakiness about it, don’t

you think? As though the frail person thus

described might expire if the word ‘old’ were

used to her or his face. I use it to get the

electricity back on or the phone fixed. That is,

when I am not in actual view. But I couldn’t

use it face-to-face. I would find it impossible

to talk face-to-face with someone whom I

knew thought I was elderly. When the word

‘frail’ came up in a discussion about one of

my bones, I made the rheumatologist erase

it from his Dictaphone-thingy. He obliged.

Good chap.

‘Senior’ is in wide use; very popular in

public service sort of communications. It

seems to confer some privilege, but we know

it doesn’t. It makes me feel like a Girl Guide,

responsible but not powerful or glam.

“Oldster” is terrible. Don’t even go there.

Makes me feel I should have four wheels.

‘Ageing’ is ridiculous. As though we all

aren’t. It does have a certain levelling

quality though. Like hats that make everyone look middle aged. Except those

saucers that women fashionably wear to

the races or royal weddings. They make

women look demented. We don’t want

that association. Ageing is used for people

who are old, but its connotation is ‘actively

crumbling’. It will not do.

‘Old’ is okay: Old English, but no glamour.

Even old objects have to be called ‘antiques’ to

become interesting. Perhaps it could acquire

jollier associations in its archaic form ‘olden.’

Would I mind being an olden if the image

were brushed up a bit? Olden has some

mystery to it. Elder is not bad, but it has a

hierarchical ring.

There is work to be done here. Some

good spinning: quite useful if it makes

us feel valued and takes account of our

wisdom and all-round attractiveness. It

will come.

Meanwhile I take enormous satisfaction

from the SA government’s decision to

abandon annual compulsory medical tests

for drivers aged 70 and over. Victoria, which

doesn’t have age-based testing, helped to

show SA the way. There was no evidence that

such tests lowered crash rates. They just made

us feel bad.

I liked what Health and Ageing Minister

Jack Snelling had to say, no doubt advised

by some oldens (getting to like it better?)

and elders: “People are living longer and

fuller lives and we need to have more

relevant policies that do not discriminate

by age and support our older population.”

So there. When I was young we would have

added for the benefit of those who say bad

things about olden/senior/drivers: “Put

that in your pipe and smoke it.” These days

we know that even put-downs shouldn’t

be smoked. But it’s an excellent blow to

discrimination. All the ‘buts’ have been

considered and chased out the door. Old

people, call them what you like, are as

responsible as any in the community. And

when we find the proper word for us, it

will be evident to all. Perhaps ‘majority’?

Just joking. Oldens do that.

wanted: A wonderful word For Us

BY Shirley Stott DeSpoja

third Age

14 FEB - 2 MAR • 6PM • LITTLE BIG TOP • GARDEN OF UNEARTHLY DELIGHTSGARDENOFUNE ARTHLYDEL I GHTS .C OM.AU

‘Delivers solid science as well as extraordinary spectacle.’ NEW YORK TIMES


POLITICS

Political discourse in Australia today

reflects an attitude befitting of an

intellectual and cultural backwater. Those

who shape public debate remain committed to

the accepted orthodoxy until news of a fresh

approach arrives from recognised centres of

progress and development. Expansive and

independent thinking is discouraged, even

disparaged. This deferential, provincial attitude

will leave Australia perpetually behind the curve.

Uncritical acceptance of the current orthodoxy

limits debate on economic, environmental and

foreign policy. We are capable of so much more.

Australia has, on many occasions, led the world with innovative social and foreign policy. Growing

wealth disparity has emerged as the greatest

threats to civil society of our generation. The

dangers of continuing on the current trajectory

are evident to all but the most zealous free-market

ideologues – many of whom are now shape our

public conversation.

Political Provincialism

BY ANDREW HUNTER

MODERN TIMES

The unsophisticated, ideological language

employed by our prime minister delivered at the

World Economic Forum in Davos demonstrated

the extent to which the current government is

captive to the thinking of yesterday. The free-

market, small government narrative, banal and

devoid of nuance, refl ects an orthodoxy that until

recently was widely accepted in the Anglosphere.

A more sophisticated debate is gradually evolving

in the United States and elsewhere. While

Australia waits to hear the news, Abbott continues

to preach the mantra of the free-market.

Traditional citadels of conservative thinking

– previously understood to represent economic,

theological and political conservatism – have

started to talk about the threat that soaring

wealth disparity poses to society.

Prior to Davos, the International Monetary

Fund identifi ed severe income inequality as a

threat to stability.

The Pope, head of one of the most

conservative institutions in the world, derides

the “trickle down” effect, attacks the “idolatry of

money” and constantly expresses deep concern

at the growing wealth disparity (and has been

labelled a Marxist for his trouble).

The clearest indication, however, that the debate

has shifted on this issue can be found within the

Republican Party in America. Many conservatives

» Andrew Hunter is the National Chair of

Australian Fabians

in the United States now publicly acknowledge that

equality of opportunity should be the objective

of all societies, and that governments have a

responsibility to ensure that it is so.

This is consistent with the words of Abraham

Lincoln, who believed that the American

Government should “afford an unfettered start

and a fair chance” in life. Unfortunately, news

that leading fi gures in the Republican Party

now acknowledge that a different approach

is needed to respond to emerging challenges

has not yet reached conservative outposts

in Australia. Perhaps mail addressed to the

Lodge, currently being renovated, has not been

redirected to the AFP training college.

According to media sources sympathetic to the conservative agenda, Abbott’s Davos speech

left a positive impression on some of the world’s

leading business figures. It is thoroughly

unsurprising that some of the world’s leading

business fi gures are enamoured with a leader

who wishes to lower taxes and believes that

governments “should get out of the way”. His

message was intended to reassure a domestic

audience rather than those present in Davos.

Abbott was unmoved that the World Economic

Forum identifi ed severe income disparity as “the

most likely’’ risk to the global economy in 2014.

He instead asserted that “stronger economic

growth is the key to addressing almost every

global problem”. Stronger economic growth will,

apparently, simultaneously solve the problems

of environmental degradation, soaring wealth

disparity, and ease tensions between nations.

Is Australia condemned under this Coalition

Government to move in belated accordance with

political discourse evolving elsewhere? If moved by

a spirit that was once egalitarian and independent,

we may discover new thinking that contributes

solutions to the problems that we share with

other peoples. Attempts to draw attention to the

situation that exists in our own society are met with

moronic accusations of ‘class warfare’. Do we lack

the courage to explore the uncharted territory of

modern times: addressing the systemic problems

that generate soaring income inequality?

Time stands still in remote, intellectually

desolate outposts, such as Australia appears

to become under conservative governments.

We stand remote from the dynamic change

and open public debates that occur in more

populated, self-confi dent societies. Instead of

waiting for the post to arrive from our great

and powerful friends, Australia should instead

return to our strengths of fl exible and critical

thinking to identify and solve the problems

that impact the Australian people.

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THE ADELAIDE REVIEW FEBRUARY 2014 15ADELAIDEREVIEW.COM.AU

POLITICS

In my nearly 12 years as foreign minister

there were few issues I dealt with which

were more contentious than East Timor. In

1996 I inherited a nasty situation. The Timorese

were fighting an insurgency against the

Indonesians. There was a torrent of allegations

of human rights abuses largely directed against

the Indonesians. Our bilateral relationship

with Indonesia was at the mercy of events in

East Timor. I told DFAT that our policy of

supporting Indonesian sovereignty no matter

what was going to be unsustainable. They

didn’t like that. They took the view Australian

governments had shared since 1975: that the

relationship with Indonesia was too important

to us to risk alienating Jakarta by supporting

East Timorese independence.

I didn’t agree. Unless the Timorese somehow

legitimised incorporation into Indonesia –

which they never liked – then the issue would

contribute to regional instability. In 1998 I told

the Indonesians we’d do a survey to see if the

Timorese would accept the Indonesian policy

of “broad based autonomy” for East Timor. We

did the survey. The Timorese wouldn’t accept it.

It was as a result of that survey that John

Howard wrote to President Habibie suggesting

at some stage the East Timorese should be given

a choice about their future: independence or

autonomy. The rest is history. When we could

we sent in a peacekeeping force to save lives.

And then we helped the East Timorese build a

new country. As the head of the UN Transitional

Government in East Timor, Sergio Vierra de

Mello told me “No country has done more to

help East Timor than Australia.”

This is all history. But today there’s a new

debate. Australia is being accused of unfairly

grasping oil and gas revenues which were

rightfully East Timor’s. For a month or so the

ABC news was sprinkled with commentators

denouncing Australia. Now that’s standard

practice at the ABC. Whenever a foreigner

criticises us, it’s always our fault.

So let’s look at the facts. The Hawke

government negotiated the original Timor Sea

Treaty with Indonesia under which a Joint

Development Area was defi ned and revenues

from the JDA were shared equally between

Australia and Indonesia.

I told the East Timorese that we didn’t want

to change the boundaries because that could

unravel all our maritime and seabed boundaries

with other neighbours but that as far as I was

concerned they could take the lion’s share of the

revenue. They were a new country and a poor one.

BY ALEXANDER DOWNER

LETTER FROM TIMOR

LESTE

So in 2002 I eventually gave them 90 percent of

the revenue and since then they’ve accumulated

about $15 billion in a sovereign wealth fund. So

were we generous? Well, we didn’t really need

the money to the extent they did.

But that wasn’t the end of the story. There is

a huge gas deposit called Greater Sunrise which

straddles the Joint Development Area where

East Timor gets 90 percent of the revenue and

Australia’s seabed where obviously Australia

gets 100 percent of the revenue. Given the

structure of Greater Sunrise – little of which

was in the JDA – Australia would get 80 percent

of the revenue and East Timor 20 percent.

So in 2006 we struck a deal with the

Timorese: we’d give them 50 percent of the

revenue because they were poor and we were

rich. For them, as they admitted at the time,

it was a good deal.

But now the current East Timorese

government says it wants to rip up that treaty

because it’s unfair and they allege we spied on

them during the negotiations.

It’s one thing for East Timor to ask for more

assistance from the developed world including

Australia. If they desperately need money over

and above their $15 billion sovereign wealth fund

then it’s fi ne for them to ask for it – as long as they

defi ne how they want the money to be spent. After

all, we all know a fair bit about wasted aid dollars.

But it’s another thing for East Timor to sign

treaties and then say later it doesn’t like them

and won’t honour them. This is exactly why

developed countries are reluctant to invest in

developing countries. The sovereign risk is too

high. An agreement, a law, a treaty is only okay

when it suits the government. If it suddenly has

a better idea, it’s torn up. Why would investors

want to put their money into East Timor when

they know the Timorese government could

at any moment tear up the laws of the land?

It’s true, a virulent minority of anti-

capitalists think East Timor should renege

on the agreements they’ve made, agreements

which give them huge amounts of money. And

what will they replace those agreements with?

What makes them think they’ll get even more

money?

This is, in a word, unwise. East Timor will

win a reputation for being unreliable with no

leverage to gain extra revenue from its reckless

policy. As a person who did so much to get

East Timorese their independence, that makes

me sad.

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OPINION

Michael Lane, the head viticulturist

and vineyard manager at

Yangarra Wines, had worked

for the previous owner before Jess Jackson and Barbara Banke, of Jackson

Family Wines, bought the McLaren Vale

vineyard. Around 2008, Yangarra’s winemaker

Peter Fraser proposed that Michael begin the

transition to a biodynamic vineyard. Michael’s

training in viticulture and agricultural science

hardly extended to Rudolf Steiner’s arcane

philosophies but Michael’s attitude to his

employer was one of bemusement rather than

scepticism… bio- what? Talk to Michael and his

ironic streak suggests his ready acceptance of

the proposal was based on the (recent) adage

that, `He who pays the piper calls the tune’. Michael’s commitment suggests otherwise.

Walk around Yangarra’s vineyards with

Michael:

`You need not see what someone is doing

To know if it is his vocation, You have only to watch his eyes’

W.H. Auden’s poem is insightful here.

The journey to create a balanced and vibrant

vineyard ecology begins with on-going

observation and enquiry rather than a formulaic

series of interventions. Michael stresses that

beyond Steiner’s spiritualism and preparations

there’s a management of attention required

that’s often missing in industrial farming.

Biodynamic agriculture begins with Rudolf

Steiner’s 1924 lecture series at the Koberwitz estate in Silesia, Germany (now part of Poland)

towards the end of his life. The background

to these lectures is found in Steiner’s

philosophical spiritualism that provides the

tenets for anthroposophy – and the basis for

sceptical ridicule characterising biodynamism

from occult to incomprehensible. While

Steiner’s philosophical spiritualism imbues

the Koberwitz lectures and their interpretation

in biodynamic agriculture, being an adherent

of anthroposophy isn’t a prerequisite for either

sending your children to a Waldorf school for

drinking biodynamic wine.

» Stephen Forbes, director, botanic Gardens of

adelaide

Biodynamic Viticulture

by Stephen ForbeS

Biodynamic (and organic) wines have

established a significant niche in a demanding

wine market. Perhaps this reflects the views

and reviews of influential wine writers Robert

Parker and Jancis Robinson internationally and

Max Allen, James Halliday and Philip White

locally. Or perhaps the wines are, for whatever

reason, especially worth drinking.

The nature of our society is to seek rational,

and preferably ‘scientific’ explanations for

phenomena. In this context Steiner’s system

of biodynamic agriculture is remarkably

polarising. Adherents can be unwilling

to question while sceptics, particularly scientists, are inclined to observe, ‘… clear

falsehoods, digressions and odd fantasies.’

For example, Steiner does not believe plants

can be diseased but rather are impacted by

Moon influence that can be counteracted by

a homeopathic dose of horse tail (Equisetum arvense) infused into water, massively diluted

and sprayed over fields. Such arcane practices

can have scientists almost apoplectic. ‘With

this list of practices, best described as a kind

of agricultural voodoo, we are at the heart

of biodynamics.’ Further, peer-reviewed

studies of biodynamic and conventional

viticulture suggest no measurable differences

in the vines, ‘Analysis of leaves showed no

differences between treatments … There were

no differences in yield, cluster count, cluster

weight, and berry weight.’

But perhaps all of this rather misses

the point. Soil health and soil carbon is

enhanced by retaining all plant material on

site, biodiversity is maximised to provide a

conducive environment for predators of pests

and to encourage a more resilient vineyard

ecology, canopy management is prioritised

to enhance air flow and ripening, and simple

integrated methods are applied to pest and

disease control when required while stock

are used to manage weeds over winter.

Nevertheless, the sceptics remain appalled,

‘The problem resides in the extension of

disbelief in empirical technique ... We must

confront this problem, not just as wine lovers

and wine writers, but also as citizens who

do not wish to live in, nor present to our

children, a society in which pseudoscience

and esoteric fantasies are considered reality.’

I’m trained as a scientist and acknowledge

the value of scientific method. However, I’m

inclined to Hamlet’s oft-quoted observation

that, `There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy.’

This certainly doesn’t mean that I’m also

inclined to accept any pseudoscience or

incomprehensible mumbo-jumbo. However,

it does mean that I can acknowledge

the value of differing perspectives and

in certain cases the complementarity of

different knowledge paradigms from, for

example, traditional ecological knowledge,

theology and science.

Yangarra doesn’t emphasise the mystical

elements of Steiner’s biodynamic agriculture.

However, it does create a healthier environment

for staff and visitors, and for sustaining the land

for the long term. Michael Lane observes, “The

bees are back in the vineyard and the frogs

returned to the creeks when we turned the

old regime off. Now there are no mosquitos –

the insect population is richer and healthier.

And more balanced: no bug dominates.” As

winemaker, Peter Fraser emphasises the

harvest of fruit truthfully expressing the

rich geology and mineral elements of the soils characterising McLaren Vale. And even

a special energy that Yangarra can’t really

quantify or explain.

Perhaps biodynamic agriculture sees a

clearer focus on environmental and soil

management, perhaps it’s the management

of attention rather than rote industrial farming

or perhaps Steiner’s tapped into something else

we’re yet to explore. I’m inclined to subscribe

to Michael Lane’s closer engagement with the

vineyard:`How beautiful it is, That eye-on-the-object look.’

A review of the wine isn’t my territory – but

they’re pretty good – see: yangarra.com.au/

reviews-and-articles


SCIENCE

A Spark of Genius

BY PAUL WILLIS

Why do confl icting ideas always have

to confl ict? In this modern world

where all issues are divided into

false dichotomies with two camps at opposite

extremes and no common ground in between.

We seem to think that ideas and debates can

be run like football matches: brutally, with

maximum opposition and the winner takes

all. Surely there are more constructive and

civilised ways to challenge the ideas of others?

And indeed there are! It hasn’t always been

like this and a wonderful example from science

comes from the civilised and courteous world

of late 18th century Italy.

Born in Bologna, Luigi Galvani (1737-1798) was working at the University of Bologna as an

anatomist when, in the early 1780s, he made

a rather unusual and completely unexpected

discovery.

Legend has it that, while cutting open a frog’s

leg, the steel scalpel in Galvani’s hand touched

against a nerve which was being held at the

other end by a brass hook. The leg twitched.

Galvani realised that electricity was the cause

of the movement in the dead tissue. Galvani

had recently acquired a static electricity

generator and was fascinated by why and how

this mysterious device could produce a spark

when its various parts were rubbed together.

He conducted further experiments implicating

this magical force in the movement of muscles

and then went on to demonstrate that animal

tissue has a natural electric current. It was

Galvani’s ideas on electricity inside living tissue

that indirectly breathed life into Mary Shelley’s

classic novel Frankenstein.

Galvani’s dissections and experiments with

electricity caught the attention of another

Italian scientist, Alessandro Volta (1745-1827),

at the University of Pavia. Volta was more a

physicist than an anatomist like Galvani, so

his appreciation of the experiments was from

a more physical perspective. He repeated

Galvani’s experiments and confirmed his

original observations.

Then a rather unusual collegial rivalry

evolved between the two over explanations

as to exactly what these experiments meant.

Galvani thought that the tissue itself generated

the electricity that made it move but Volta

thought otherwise: that the electricity was

coming from outside the animal.

To settle the matter, Volta built a stack of

alternating plates of copper and zinc separated

Luigi Galvani

by blotting paper soaked in acid. This pile (now

known as a Voltaic Pile), when connected top to

bottom, created an electric current. Volta had

just invented the world’s fi rst battery. More

importantly for his debate with Galvani, nothing

in this pile was alive or had ever been living tissue.

So Volta was able to demonstrate that electricity

could be generated outside of an organism.

Unfortunately, Galvani didn’t live to see the

infl uence of the Voltaic Pile he inspired – he

died in 1798, two years before Volta published

the details of his battery.

Volta went on to introduce the theory of

electrical currents and just a few weeks after

its unveiling, his Voltaic Pile enabled it to be

shown that water could be separated into two

different gasses. He was a rock star of science for his day. Volta included Napoleon among his

greatest fans, and Napoleon had a special medal

struck in Volta’s honour and made him a Count

in 1801. Galvani’s experience with Napoleon

was less auspicious: he was dismissed from the

University of Bologna after refusing to take an

oath of allegiance to Napoleon’s invading army.

Volta had his name applied to the unit of

electromotive force – the volt. In deference

to his academic adversary, it was Volta who

named the phenomenon of the electrical

basis for nerve impulses as “Galvanism”.

Galvanism has subsequently been expanded to

include the production of an electrical current

through chemical means. The galvanometer,

an instrument that measures small electrical

currents, was also named after Galvani.

As has been pointed out several times, the

irony of this debate was that both Galvani and

Volta were right. Galvani correctly deduced

that it was electricity that made the body move

and that there is electricity in every living cell.

Volta was right in that the electricity observed

stimulating a dead frog’s leg came from outside,

not within the tissue.

So perhaps we can take a leaf out of a very old Italian book. Perhaps we can coin our

opposition to another’s position on an issue in

collegial and constructive terms. The outcome

of such civilised debates looks to be more

constructive than the knock ’em down and

grab–all mentality that drives ‘discussions’ in

so many areas of our modern society.

Or perhaps I’m being too idealistic. Late 18th

century Italy is a world and several generations

away from modern Australia. A more genteel

time perhaps, where opposing ideas could

fl ourish alongside each other in search of a

mutually agreeable solution. An era long gone

and replaced by the naked aggression of the

modern world.

PLATINUM SPONSOR

EXHIBITION SPONSORS

HELPMANN ACADEMY GRADUATEEXHIBITION 2014DRILL HALL, TORRENS PARADE GROUND, VICTORIA DRIVE, ADELAIDEFRIDAY FEBRUARY 14 TO SUNDAY MARCH 9 10:30AM TO 4:30PM DAILY

IMAGE: ZOE KIRKWOOD, LET THEM EAT CAKE

» RiAus will be presenting A Spark of Genius

at 3pm on Saturday, February 8 at this year’s

Carnevale Italian Festival at the Adelaide

Showground

carnevale-adelaide.com


BUSINESS

Avoiding the Fate of the Frog

BY MICHAEL BROWNE

The new year brings with it the prospect

of more stable economic and political

conditions than we have seen in recent

years. However there are signifi cant structural

and cyclical changes which show no signs of

slowing: digital disruption, regulatory change,

sovereign credit ratings, changes in customer

preferences, product substitution and credit

spreads – to name but a few. As a result business

continues to face a period of further change.

For many businesses, the years since the

GFC have been about survival and managing

uncertainty. In order to remain profi table,

business models have knowingly been changed

or more commonly, unknowingly morphed to

chase profi t and moved well off strategy.

Whilst the changes have enabled survival

and profi tability, will the model which has seen

them through the tough times be responsive

» Michael Browne is a Partner at PwC

pwc.com.au

and competitive in the new environment they

now face?

The risk in answering with a quick yes is akin

to placing a frog in cold water and allowing

the water temperature to gradually rise. The

frog misses the vital warning signs as the

temperature rises and eventually boils.

Businesses face a similar prospect if they

don’t take stock and assess their business

model following the signifi cant volatility and

change which has been ever-present over the

last few years.

Rather than a quick response, taking some

time to refl ect on the question might avoid

the fate of the frog. Here are some warning

signs to look for:

• There is no real sense of where the business

will be in three to fi ve years• Short to medium term forecasting is diffi cult

• Economic cycles rather than business

structure are blamed for loss of sales

• Customer preferences are changing but you

haven’t revitalised your business model to

adapt to changes

• A defined target market is blurred so a

scattergun approach to capture as many

customers as possible is being taken

• Stockholdings are high but turnover is low

• Market share and profit margin of core

product lines is declining

• Your business competes heavily on price

and your response to price competition is to

continually discount

• Overheads are growing faster than sales

If one or more of these signs is evident in

your business, then the water temperature is on

the rise and it is necessary to consider strategic

and operational responses that will lower the

temperature.

Strategically, it’s fundamental to know who the market is and have a clear value proposition

that communicates the benefi ts your business

delivers to its chosen market – the target

audience. Understanding the value proposition

enables a business to align its activities to those

which are core to its success. It also prevents

the business from spending money on activities

that are not aligned to the value proposition.

The structural and cyclical changes that

businesses need to respond to are not always

immediately obvious or happen overnight, so

it’s important to keep a constant eye on what’s

happening in the business, the sector and the

broader economy.

At an operational level, businesses need

to remain vigilant, noting and responding to

changes in the sector in which they operate to

keep the water cool.

For example, in recent years, new entrants, globalisation and digitisation have eroded

a business’s traditional competitive edge of

location. In a pre-digital world many products

were only available in specific geographic

locations. Now with the internet and global

distribution models, those same products are

often available anywhere in the world and

delivered to the customer’s doorstep. Being

aware of this change and responding is a key

to survival.

It is also now accepted wisdom that

consumers are buying more on price than ever

before. Consumers acting in this fashion have a

direct and real impact on traditional sourcing,

servicing and delivery models. This change in

preference was gradual and businesses that

did not pick up the warning signs are fi nding

themselves in hot water as they experience loss

of sales and margin.

Whilst these are only a small number of

examples, the message is clear, change is all

around. No sector is immune to structural and

cyclical changes that can make or break the

business. Take the opportunity now to review

and if necessary adjust the business model.

W h a t goes into a

South Australian egg? There’s the chicken. But the

chicken needs a farm. The farm needs a farmer. A farmer needs

helpers. The helpers need a coup. The coup needs an engineer. The engineer needs workers. Back to the egg. The chicken needs feed. The feed needs a supplier. The supplier needs a delivery truck. The truck needs servicing. The service shop needs mechanics. Back to the egg. The eggs get collected. The eggs get delivered. The shop needs an owner. The owner needs staff. The staff need a customer.

That customer is you! The more South Australian you buy, the

more South Australians you support.

www.buysouthaustralian.com.au

PRESENTS

UNMASKING AUSTERITY

The Audit Commission will soon be reporting on the review of the Commonwealth public sector and may suggest sweeping austerity measures similar to that seen in Queensland, the

European Union and the United Kingdom. This panel of international experts will answer some important questions regarding austerity as well as provide some alternatives to

austerity measures and more…...

John Quiggin (QLD) Zombie Economics: How Dead Ideas Still Walk Among Us

Jamie Peck (CANADA)

Austerity Urbanism and Pushing Austerity

Dexter Whitfield (UK) In Place of Austerity: Reconstructing the Economy, State and Public

Services

When: Tuesday 18 February 9.30am—12.30pm

(Refreshments Provided)

Where: Braggs Lecture Theatre The University of Adelaide (and Streamed Live Online)

FREE EVENT— Registration Essential at

www.dunstan.org.au/events


BOOKS

DEAD INTERVIEWS Dan Crowe (ed.) / Granta

BY DAVID SORNIG

In Dead Interviews, Dan Crowe has licensed a

host of contemporary writers to imagine how they

would handle an interview with the deceased icon of their choice. The pieces they produce animate

a cast of writers, politicians, artists, scientists and

musicians from the last two-and-a-half centuries

(most of them white and male) who their inventors

treat with a combination of irreverence, disdain,

enthusiasm and earnest respect.

The stand outs are Rick Moody, who asks a

series of increasingly irrelevant questions to

the rambling and enlightened Jimi Hendrix;

Geoff Dyer who, in a moment of drug-addled

comic gold, barely lets Friedrich Nietzsche get

a word in edgewise; and A.M. Homes’ Richard

Nixon, who seems incapable of self-refl ection.

The crown of the collection is Joyce Carol Oates’

short story ‘Lovely, Dark, Deep’ in which her

invented interviewer of Robert Frost, Evangeline

Fife, lingers around the poet at the Bead Loaf

Writers’ Conference in 1951 as an increasingly

accusatory ghost. As the collection’s longest piece,

it’s easily its most faceted, and like its best pieces,

the story plays dangerously on the line dividing the

fi ction and the reality of its chosen subject’s life.

THE GOLDFINCH Donna Tartt / Little, Brown

BY CHRISTOPHER SANDERS

It’s been 21 years since Donna Tartt stunned the

literary world with her debut novel, the Generation

X classic, The Secret History. Her long awaited

third novel, originally scheduled for a 2008

release, will finally remove Tartt from her

fi rst novel’s two-decade long shadow. Tartt’s

protagonist is a 13-year-old New Yorker, Theo,

who survives a terrorist attack at the Metropolitan

Museum, which kills his mother, whom Theo

was very close. Fleeing the scene with a priceless

painting, Carel Fabritius’ The Goldfi nch, and

a ring on advice from an elderly man Theo

comforts until his last breath, the novel’s fi rst

half is a fascinating look at modern adolescence.

Seemingly unwanted after the attack, Theo briefl y

lives at a friend’s luxury Manhattan apartment

before his deadbeat addict (alcohol, gambling)

of a dad (who left Theo and his mother for a Las

Vegas fl oozy) takes him to his new home in the

Nevada desert before returning to New York a few

years later. Despite his cross-country adventures,

the shadow of The Goldfi nch lurks. Part Catcher in the Rye, part commentary on post 9-11 New

York, part suspense thriller, The Goldfi nch is

unforgettable.

STORM FRONTJohn Sandford / Simon & Schuster (Putnam)

At two am one-time Sheriff Bill Gastner,

retired but still insomniac, is sitting atop

Cat Mesa, which looms over Posadas, a

New Mexico town. Suddenly far to the

west across the almost empty landscape

he sees an intense burst of light. The

light was an explosion; secondary lights

are the scrub fires it started. Then his

binoculars follow headlights fleeing

the scene and follow them as far as the

outskirts of Posadas where a deputy

routinely stopping a utility is instantly

shot dead. Two eco-terrorists have blown

up an electricity sub station serving a

controversial development. One dies

accidentally at the scene. His cop-killing

accomplice is unknown. As a witness who

knows his county backwards, the 70-plus

Gastner is a vital cog in an investigation we

follow through Gastner’s eyes. As always

it is an enthralling ride. A privileged

role for a retiree proves unexpectedly

dangerous. Years ago I described Steven

Havill as the best least known American

mystery writer. Nineteen books later he

is deservedly much better known, and

in Nightzone the sense of place and the

characters are as vivid as ever.

Storm Front takes us from rural New

Mexico with its deserts, heat, and cacti

to profoundly different rural Minnesota

and the far-from retired police detective,

Virgil Flowers. Virgil is an irresistible

character whose adventures you happily

reread more than once. Years ago I sagely

observed that John Sandford could not

possibly maintain his high standard with

his prodigious output. Since 2007 he has

written seven Flowers novels in six years,

together with six novels featuring Virgil’s distant urban boss, Lucas Davenport (23

novels and counting). I say no more. Virgil

works for a state wide cross-jurisdictional

police department in Minnesota and his

bailiwick is provincial towns and farming

communities. The stories can be violent

but this is relatively peaceful. However,

you have to keep focussed to follow the plot

and keep a grip on the characters. Most of

the latter are in hot pursuit of a potentially

immensely valuable relic of Solomon with

huge political overtones (even if it’s a fake).

An American archaeology professor has

stolen it from an Israeli ‘dig’ and smuggled

it home to Minnesota. Flowers must track

down and arrest the larcenous professor,

who is also a Lutheran minister; seize

the missing relic, and hand it over to his

superiors. Then Virgil can get back to

his real work: catching Ma, a curvaceous

35-year-old blonde, who is running a scam

with artificially aged timber. Ma knows

Virgil loves women almost as much as he

loves fishing and is trying to seduce the

susceptible detective. He has too much on

his mind to concentrate on some Da Vinci

Code nonsense. However, he is stuck with

an attractive Israeli agent of (allegedly) an

organisation that protects antiquities (or

is she really a Mossad agent?) Worse, he

cannot find the professor, who it appears

is terminally ill. He has foreign and local

criminals (including Turks), and fanatical

collectors coming at him. Then the genuine

Israeli agent turns up. Read on!

BY ROGER HAINSWORTH

NIGHTZONE Steven F. Havill / Poisoned Pen Press

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WIN / OPINION

The GreaT BeauTy

Palace Nova eastend Cinemas

Now showing

One of the most spectacular and

talked-about films of the Cannes Film

Festival, and italy’s official submission

for the 2014 Academy Awards, The Great

Beauty is Paolo Sorrentino’s powerful

and evocative tale of hedonism and lost

love, and an extraordinary depiction of

contemporary Rome – where life is a

performance, and the city its stage. Stars

Toni Servillo, Carlo verdone, Sabrina

Ferilli and Carlo Buccirosso.

helpmann academy GraduaTe exhiBiTion 2014 – Vip VernissaGe

Drill Hall, Torrens Parade Ground, Victoria

Drive. Wednesday, February 12, 6.30pm

A vernissage (from the French ‘to varnish’)

is traditionally a private viewing of an

art exhibition – a social gathering with

new art, new connections and plenty of

French champagne. Be among the first to

meet with the artists and see the work

showcased at the helpmann Academy

Graduate exhibition 2014.

The VaudeVillians

The Paradiso Spiegeltent, The Garden of

unearthly Delights, rundle Park, east

Terrace. Friday, February 14

RuPaul’s drag Race reigning queen – Jinkx

Monsoon, makes her Australian debut

in her sell-out, off-Broadway hit, The

Vaudevillians with co-star Major Scales. The

hottest act ever frozen alive has defrosted

and returned from the speakeasies and

burlesque theatres of the 1920s to reclaim

their original hits Girls Just Wanna Have

Fun, Drop it Like it’s Hot and more!

erTh’s dinosaur Zoo

The Paradiso Spiegeltent, The Garden of

unearthly Delights, rundle Park, east

Terrace. Friday, February 14

direct from london’s west end, meet

awesome prehistoric creatures at erth’s

dinosaur Zoo. From cute baby dinos

to teeth-gnashing giants, all brought to

life by sophisticated puppet design and

electronics. This experiential theatre

production takes audiences on a

prehistoric journey into a new dimension

where they get to meet a menagerie of

insects, mammals and dinosaurs that once

roamed the planet millions of years ago.

win one of two family passes.

Gurrumul – his life and music

Prince alfred College Oval, Kent Town

Sunday, February 16, 3pm

After sold out concerts in Sydney and

Melbourne and five star reviews, multi

ARiA Award winning indigenous artist

Gurrumul will perform with the Adelaide

Symphony Orchestra and Kate Ceberano

at Prince Alfred College Oval in Adelaide.

Gloria

Palace Nova eastend Cinemas

From Thursday, February 27

Gloria is a 58-year-old divorcée. her children

have all left home but she has no desire to

spend her days and nights alone. determined

to defy old age and loneliness, she rushes

headlong into a whirl of singles’ parties on the

hunt for instant gratification – which just leads

repeatedly to disappointment and emptiness.

But then she meets Rodolfo. however, the

encounter presents unexpected challenges

and Gloria gradually finds herself being forced

to confront her own dark secrets. directed by

Sebastian lelio. Stars Paulina Garcia.

musica ViVa presenTs The Kelemen QuarTeT

adelaide Town Hall, 128 King William

Street. Monday, March 3, 7.30pm

Combining youthful brilliance with the finest

hungarian tradition, the Kelemen Quartet

bring their energetic flair, striking charisma

and thrilling modern zest to a program

ranging from Bartók to the première of a new

work by Australian composer Ross edwards.

shen yun 2014

adelaide Festival Theatre, King William

road. Saturday, april 19, 1.30pm

with classical Chinese dance and music,

dazzling backdrops and costumes, Shen

Yun takes you on a journey into 5000 years

of divine culture. For thousands of years,

China was known as the divine land. This

culture emphasised harmony between

heaven and earth, and virtues such as

integrity, compassion and tolerance.

Win!FOR YOUR ChANCe TO wiN, eNTeR YOUR deTAilS AT aDeLaIDereVIeW.COM.au

are you one of South Australia’s key stakeholders? They’re an elite group.

Wherever ministers wander, they

gather. They’re in the corridors and at the

drinks functions; they’re in the corporate boxes

and wherever the ministerial white cars queue.

According to the Premier and the Leader of the

Opposition, South Australia should listen to

their wisdom – they make the state tick over.

The matter came to mind after perusal of

What We Have Heard, published recently by

South Australia’s Expert Panel on Planning

Reform. It summarises phase one of its inquiry.

In it, the authors confessed that one of our most

contentious Acts, the Development Act 1993,

had been amended 629 times in 48 separate bills

over 20 years. There’s the evidence of the key

stakeholders – what a powerful presence they

have on the people’s parliament. Twenty years

later, when a really big planning determination is

made under this Act, it’s now clear that a former

system of cautious, long-term strategic planning,

local council responsibility and procedural

transparency has been superseded by a ̀ one-man’

determination principle - one planning minister.

Since 2008, SA’s Labor planning ministers Paul

Holloway (2007-10) and John Rau (2010-13) have

been very busy exercising the generous freedoms

allowed them under this Act. Not surprisingly, they

have upset a vast community of South Australian

families who once thought that governments

respected the views of the people that elected

them. Cheltenham’s anger still bubbles up over

the loss of the last western suburbs open space,

now being developed for high-density housing.

Woodville’s still furious at the proposed loss of

its biggest public park. Mount Barker still seethes

over top-quality farmland suddenly rezoned

for ticky-tacky housing, with no infrastructure

planning. Burnside, Unley and Prospect howl at

proposed high-rise that will introduce discordant

form into low-scale streetscapes. Salisbury’s still

gobsmacked at rezoning of an isolated flood plain

for housing far from established infrastructure.

Port Adelaide remains outraged over development

vandalism that’s trashed an historic port precinct.

City communities rankle as Hong Kong-style

apartments are proposed to rise within historic

cottage precincts.

The Expert Panel last year recorded a blister of

views from these communities, as well as a bluster

of others from well-funded key stakeholders.

Not surprisingly, they were poles apart. Final

recommendations won’t be tabled until December.

Meanwhile, back in the present, more unexpected

changes have passed through parliament, even more

radical than the Development Act – and proposed

behind the scenes as a substitute. The next planning

minister in the next government gets to capitalise on

brand new powers under a recently revised statute,

now commonly titled The Urban Renewal Act 2013. Amendments passed now allow major new

development projects distanced from the people’s

participation in them. A planning minister now

may declare a ‘regeneration’ site, in which the rules

for building are written by that minister. Proposed

areas include Port Adelaide (yes, more), Marion,

Onkaparinga, Tea Tree Gully, Salisbury (yes, more),

Bowden (surely no more?), Tonsley and, in the

heart of Adelaide, the park lands. Development

there will be the most contentious. Once declared,

the local community has no guarantee of access to

information or participation as the minister defines

policies and principles, a master plan, and design

guidelines for buildings or infrastructure.

It gets worse. As Minister Rau explained on

May 2 last year: “Assessment of master plans will

be undertaken against the original ministerial

declaration”. How convenient. Next, the local

council’s development plan for that site would

be revised to suit – regardless of that council’s or

community’s opposition - and the minister would

then choose a `precinct authority’ – a quasi-

government statutory authority – to run the

show. Who’s on it? It’s rather vague: it’s up to the

minister. It would have awesome discretionary

powers, including over-riding council strategic

or asset management plans, disabling its by-

laws and raising new levies, thus threatening a

council’s rates base. Limited safeguards would

add further controversy because none have

been tested. These features did not escape the

opposition’s blowtorch last year when planning

shadow, Vickie Chapman, tore apart the draft

bill. “The whole Mount Barker fiasco, of course,

has been a lesson in what every government

should not do in attempting to suffocate, squash

and keep silenced and excluded from adequate

consultation and information; if ever that was

an exercise in trying to crush the public, [in]

which they stood up and revolted, that is one.

You would think that there would be some lessons

learned from it but, sadly, that is not the case.”

Despite the bluster a tweaked bill passed with

Liberal support.

Fast forward to March 2014. Ms Chapman is the

‘planning minister most likely’ if her Liberal Party

wins. It could fall to her, when key stakeholders who

own land or hold contracts for land acquisition or

set eyes on a generous slice of ‘empty’ park lands

come knocking at the minister’s door to ask for

declaration of a ̀ regeneration site’.

And what of the Planning Review’s future for

2014? Given what went through parliament late

last year, many councils perceive a strong case of

‘closing the stable door after the horse has bolted’.

Early retirement settlements for the panel? Pre-

election diplomacy inhibits a response.

As you ponder your voting intentions in the state election, ask not of what your state can do for you, but what the state can do for... key stakeholders.

BY SIr MONTeFIOre SCuTTLebuTT

monTefiore


FASHION

FASHION RENDEZVOUS

GILLES STREET MARKET

Sunday, February 2 and Sunday,

February 16 10am to 4pm

91 Gilles Street, Adelaide

gillesstreetmarket.com.au

For fab vintage and pre-loved fashion

including the latest from local emerging

designers, check out the Gilles Street

Market. DJs spin the tunes alongside

delicious food vendors and over 90 stalls

of fashion and accessories.

Anny Duff of local brand B GOODS

LABEL has a strong focus on designing

clothes that are environmentally and

ethically sound. This endeavour has

had its challenges, although Duff assures us that

the extra effort is worth it.

Duff decided to start creating clothes that are

sustainable when she working as a stylist for

fi lm and television and constantly confronted

by the overwhelmingly wasteful mentality to

fast and throwaway fashion trends. This is why

B GOODS LABELS’ ethical philosophy is the

most important pillar of its business model.

“It’s one of the biggest reasons I started the

label,” Duff says. “I’m trying, along with many

other amazing ethically focused labels [Duff

works in close conjunction with fellow Adelaide

ethical label, Vege Threads], to offer an alternative

to fast fashion but it also give a new meaning to

the industry. It’s not just about having the latest

trends; it’s about the huge network it supports

BY LACHLAN AIRD

HOW TO B GOOD

bgoodslabel.com

that’s also in desperate need of a shift in focus.”

Part of the shift that Duff is trying to execute

comes from the materials she uses for her

clothes, with hemp her material of choice.

After growing up on an organic farm, she knew

that hemp was a sustainable material that is

underutilised and decided to use her label to

“champion hemp in all its brilliance”.

“As a 100 percent natural fibre, [hemp

is] incredibly durable yet also 100 percent

biodegradable,” Duff explains. “It breathes

beautifully, is warming in winter and cooling in

summer, along with the added benefi t of having

the highest UV protection of all natural fi bres.”

Duff enthuses that hemp can grow in any

climate, requires no pesticides and little water,

matures in just 100 days and each part of the plant

can be used for paper, fabric, building materials,

fuel or food. She feels that Australia needs to take

notice of the benefi ts of hemp and change their

restrictions and look to a more sustainable future.

“I think Australia is behind the eight-ball

with new policies allowing Australian farmers

to grow hemp for food and fi bre. They’ll be kicking

themselves soon! Especially with our sun, it’s so

important to wear clothing that protects you.”

Françoise Abraham’s “Frivole” On display at Burnside Village

Burnside Village is calling all artists to take part in the:

August 2014 at Burnside Village Shopping Centre

Adult Prize $12,500Junior* Prize $3,000

People’s Choice Award $2,500

*To be eligible to enter the Junior category entrants must be 18 years or under as at August 1st 2014. burnsidevillage.com.au

Artists are invited to enter the competition by registering their interest online at burnsidevillage.com.au. Competition guidelines and official entry forms will be sent to all registrants following close of registrations.

The competition is open to all Australian resident artists. Registration is mandatory and closes 5pm, 21st February 2014.

2014 RICHARD COHEN OAM MEMORIAL

SCULPTURE COMPETITION


PERFORMING ARTS

LIVES IN MOVEMENT

The Festival’s big dance event is

Batsheva’s Sadeh21, a showcase for

Artistic Director/Choreographer

Ohad Naharin’s movement

language Gaga – which has nothing to do

with a well-known musical person, having

been developed by Naharin with his dancers

over many years. It’s to do with delicacy,

he says in a video interview, not just about

dancers becoming better athletes, but about

listening, being aware of something beyond

the athletic side of dance – “something about

the soul”. Unlike most dancers, Batsheva’s do

not practise or rehearse before mirrors, since

Gaga is “about where you are on the stage,

and your distance from your colleagues”. It’s

about self-awareness.

Despite Naharin’s talk of delicacy, his

choreography gives his dancers, who are noted

for their fluidity, plenty of opportunity for

sweeping gestures, explosive jumps, high lifts,

rapid stamping and, beyond movement, screams,

yells, talk, singing – all to be experienced in

Sadeh21. The word means “fi eld” but you’ll have

to see it to discover the meaning of 21.

The company, based in Tel Aviv and

Israel’s premier dance troupe, was founded

in 1964 by Baroness Batsheva de Rothschild

and American modern dance pioneer

Martha Graham. Naharin, its leader since

1990, brought two works, Anaphase and

Mabul, to Barry Kosky’s 1996 Festival. That

impressive Australian premiere led to later

visits to Sydney and Melbourne. This time

the company is taking in Perth and Sydney.

While Sadeh21 is three years old, Shaun

Parker’s latest hit, Am I, premiered at the Sydney

Festival on January 9 this year. Philosophical

about our evolution as social beings, Am I has

been ticking away in Parker’s fertile brain for

at least seven years, and he tells me over the

phone that it took fi ve years to raise the money

to produce it. Seven musicians play an eclectic

score by his frequent collaborator, Nick Wales,

and seven dancers whirling, bending, swaying,

pulsing, and manipulating shining metal rods

express the rich texture of ideas and emotions.

After 17 years as a dancer, internationally

(Sasha Waltz in Germany, Meredith Monk in

America) and in Australia (Meryl Tankard in

Adelaide, Force Majeure in Sydney), Parker

freelanced as a choreographer, creating several

award-winning works including one of his two

outdoor works for Britain’s Cultural Olympiad

in 2012. Now he has his own company, a big

step forward. “I’ve worked hard,” he says. “It’s been a slow burn over the past 10 years ... It

took a long time to cross over from dancer to

choreographer, to prove to everybody that I

could do it.” Standing ovations for Am I, not

only on the first night, indicate he and his

company are proving the point.

The Adelaide Festival’s three dance pieces this year include two Australian works, as well as the long-awaited return of Israel company Basheva to present Sadeh 21.

BY ALAN BRISSENDEN

PERFORMING ARTS

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.com

BLACKOUT

“clever, creative, had the audience in hoots”

★★★★ the age

Directed by Anne Browning

14 – 23 FeBruAryGArDen oF

uneArthly DeliGhtsadelaidefringe.com.au or

1300 621 255


PERFORMING ARTS

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» Sadeh 21

Wednesday, March 5 to Saturday, March 8

Festival Theatre

» Am I

Dunstan Playhouse

Thursday, February 27 to Saturday, March 1

» Blackout

AC Arts Main Theatre

Monday, March 3 to Sunday, March 9

adelaidefestival.com.au

Asked which came fi rst, the music or the dance,

he has a revealing reply. Not having enough

money for music, he began with the dancers.

After raising suffi cient funds, he took the footage

of his choreography to Wales to discuss genres

and ideas. “I wanted the music to be some

other-worldly fusion – let’s say if society were

to deconstruct right now, and if it was to regroup,

and form a tribe or a group, and they started

to generate new music, what would that music

sound like? What do people know from all of

their past? What would that new human sound

be like?” The band went off to camp at Mittagong

in the NSW Southern Highlands, and came back

with two-and-half to three hours of music (Am I runs for 80 minutes). “He works a little like

me,” says Parker. “We create a lot of ideas, and

wait until the ones that really work are looking

forward and are dramaturgically coherent.” The

dancers come into it too, and Wales and Parker

can combine with them to create the work right

on the spot. So at times Am I became a three-way

collaboration.

Close collaboration has been the artistic and

personal mode for over a decade for Portuguese Paulo Castro and Flinders Drama graduate Jo

Stone, whose Blackout is the one premiere of

the three dance performances in the Festival.

Stone says the idea has been with her since 2001,

when she was in the act of leaving New York just

as the planes ploughed into the Twin Towers.

She watched a big city coming to a standstill,

dazed businessmen getting out of their cars,

bewildered. There was a “hint of the end of the

world” about it. In Blackout a wedding on a boat

is mysteriously invaded by darkness, leading

the guests into all kinds of interior questionings

and imaginings, about themselves, other

people, the world they have been living in.

Castro, who scripted Blackout, says yes, it’s

choreographed, but it’s not so much dance

as “movement with a reason”. But then the

cast includes award-winning dancers Larisssa

McGowan and Alisdair Macindoe, as well as

Stone, who trained in Berlin briefl y with Sasha

Waltz and Friends and for 10 months with

Bhuto expert Anzu Furukawa. While working

as a singer and actor in Berlin in 2001, Stone

co-created and performed Blue Love with

Shaun Parker, which they brought to Adelaide

in 2002. In the following year back in Europe

she and Castro formed the company Stone/

Castro, which has produced over half-a-dozen

theatre pieces, often for European festivals,

in Adelaide and elsewhere in Australia. In-

between they continue to work with such

groups as Berlin’s Schaubuehne and Alain

Patel’s les ballets C de la B.

They base themselves in Adelaide which, Castro says with dancing dark eyes, is “thirsty

for our work”, but their festivals productions

mean “connections are open to us” overseas

as well as at home. He gives a big bouquet to

Adelaide Festival’s David Sefton, who “has

a European style of programming”. “We

pitched the idea [of Blackout] to him,” Stone

chips in, and he snapped it up, sight unseen.

With a cast that includes Stephen Sheehan,

Nathan O’Keefe and Portuguese actor John

Romao – all award-winners – who could

refuse?

ADELAIDEREVIEW.COM.AU

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adelaide.edu.au


PERFORMING ARTS

Clemente, the current Head of Acting

at Flinders University and former

Artistic Director of the State Theatre

Company of South Australia, had

been in discussions with current State Theatre

AD Geordie Brookman for a while about a

return to the stage. Her decade-long acting

sabbatical was because of family reasons, as

Clemente wanted to spend the time raising

her two sons. With her boys now in their teens,

she felt the timing was perfect to appear in

Chekhov’s tragicomedy, adapted by Hilary Bell

and directed by Brookman.

“Geordie asked me to come back and perform

for him many times before, but it never felt

right,” Clemente explains while on a break from

rehearsal for the first State Theatre production

of the year. “This was the first time in 10 years

where I had an impulse to say yes to something

as an actor, and there were all sorts of reasons

for that. Sometimes it’s hard to articulate why

that it is. I didn’t act for 10 years because I got to

a time in my life where my children became the

most important thing to me, which is why it’s

interesting to be playing a woman [Arkadina]

whose career is the most thing to her and she leaves her child behind, because I made the

Adelaide’s Rosalba Clemente will return to the stage for the first time in a decade to play irina Arkadina in Anton Chekhov’s classic The Seagull.

by DaviD Knight

Mothers and sons

The cast of The Seagull

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PERFORMING ARTS

» State Theatre Company of South australia

The Seagull

State Theatre Company Scenic Workshop

Friday, February 21 to Sunday, march 16

statetheatrecompany.com.au

The cast of The Seagull

reverse decision 10 years ago.”

InThe Seagull, Clemente plays the infamous character Arkadina, a fading actress and aristocrat

who cares little for her son Konstantin’s (played

by Adelaide-born Hollywood star Xavier Samuel)

passion to be a writer.

“I’m really committed to bringing them up [her

sons], so I had to put something aside. Acting is

a very absorbing, obsessive craft. I tend to carry

my characters with me the whole time and I don’t

know how healthy that is for children to live with.

I made a conscious decision to leave it alone

for a while. Geordie offered me a lot of work as

an actor over the years, and I had lots of offers

interstate, but I found it really easy to say no to all of those offers because I found something

more important in life. While there’s always grief

associated with saying no, when you have a real

reason to say no, you know it. And you follow

that internal directive.”

Another reason the NIDA-trained actress

and former director agreed to appear in The Seagull is because of her respect for Brookman.

“I’m really excited to work with him and

that was part of the reason I said yes, but it

also felt like the right time to take that step

back onto the stage. And Chekhov. And that

role – it’s pretty hard to turn down. As an older

actor, you don’t have many opportunities to

play some of those great iconic roles – it was

too good to pass up.”

While Clemente hasn’t appeared on stage for

10 years, she has been writing. Her first play,

Helly’s Magic Cup, won the Rodney Seaborn

Award and was produced by Windmill. The

play she’s currently working on, which also

features a complicated relationship between a

mother and son, Silvana’s Garden, is a work

that Clemente has been writing for some time.

“It’s about migration and schizophrenia; a

relationship between a son and a mother who

are displaced from each other. She lives in

Adelaide and he lives in New York. Actually,

it’s about a son and mother too! This is the

story of my life,” she laughs.

Last year Silvana’s Garden was one of

three plays chosen to be workshopped at

Playwriting Australia’s Cultural Diversity Playwriting Workshop. Clemente says the play

has progressed since that experience.

“I know more about the structure and the form

that I want to bleed this story through. It’s about

a young man being haunted, I suppose, by his

mother, and not knowing that she’s already dead

and she’s a ghost in his life now. For her, going

through an inventory of her life, she has to face

all the things she did wrong with her child and

confess to the fact that she had tried to steal his

soul, in fact. In a way, the last thing she needs to

do is give his soul back to him.”

Clemente says this play is the one that’s

taken the longest to complete because it’s

“deeply personal”. She hopes it will be ready

for production in 2015 or 2016.

“It will take the time that it takes. What I

don’t want to do is birth it too soon. I don’t

want to fall into that trap.”

Clemente will let fate decide if she will regularly

return to the stage after The Seagull’s run.

“I’m really nervous about getting up there and meeting the audience again. I’m terrified and

excited and, I guess, at the end of this process I’ll

gain a lot of information about what the future

might hold. I’ll always be an actor. I’d like to think

I could do it again in a more regular way but you’ve

got to hand that over to the gods and surrender to

the opportunities that life hands you.”

MONDAY 3 MARCH 7.30PM Adelaide Town Hall

Presented in association with Adelaide Festival

2014 Musica Viva International Concert Season

From an exciting new composition by Ross Edwards to raw and authentic works by Bartók, the Kelemen Quartet moves amongst these varied pieces with seamless grace and energy.

kelemen quartet

Visit musicaviva.com.au/kelemen | Book Now bass.net.au or 131 246


PERFORMING ARTS

» WOMaDelaide

botanic Park

Friday, March 7 until Monday, March 10

womadelaide.com.au

Bragg fronted UK punk band Riff Raff

in the late 70s before embarking on

a successful solo career with such

albums as Life’s a Riot With Spy vs Spy, Talking to the Taxman About Poetry and

Back to Basics. He has also been involved with

grassroots, leftist political movements such as

Red Wedge.

Bragging RightsUK singer, songwriter and activist Billy Bragg was last in Australia late last year to take part at Brisbane’s Big Sound music conference as a speaker and before that for a solo tour in 2012. he is returning with his full band and new album, Tooth and Nail, for a national tour that will include an appearance at wOMAdelaide on Monday, March 10.

By rObert Dunstan

Bragg also collaborated with Wilco on

Mermaid Avenue on which they put the unused

lyrics of Woody Guthrie songs to music with

the song Way Down Yonder in the Minor Key receiving much airplay on triple j.

The musician is also no stranger to WOMAD

festivals as he has performed at many around

the world and is greatly anticipating taking

part in his first WOMADelaide.

“WOMAD festivals are always such a lot of

fun,” Bragg says. “They are such a great event to be involved in because it’s like a little multi-

cultural village and you also get to see some

great music.

“I’ve always had a good time in Adelaide,

anyway,” he adds. “Adelaide is a place where

you can really chill-out anyway and I’ve

heard that Botanic Park, especially when

WOMADelaide is on, is a great place to do that.

And the other great thing about the WOMAD

organisation is that they choose some great

locations. They always give a lot of attention

to that so a WOMAD festival is never just held

in a big empty field somewhere.”

The musician uses Facebook to post videos

of soundchecks with a recent guilty pleasure, as

they have become known, being of Bragg and

Australia’s Kim Churchill covering Fleetwood

Mac’s Go Your Own Way.

“They are a lot of fun because at soundchecks

you can get into a situation where you are

playing the same bloody song every day,”

he laughs. “But doing a few covers, mucking

around and jamming on some intros to songs

can be much more fun. And for the Fleetwood

Mac song, we got Kim up because he was

touring with us at the time and we knew he’d

make a good Stevie Nicks. He’s got the right

haircut for a start.”

Bragg recently posted another ‘guilty

pleasure’ on Facebook of the band covering

The Byrds’ I’ll Feel A Whole Lot Better

and dedicated the rendition to Sid Griffin,

formerly of US band The Long Ryders but

now leader of UK-based country rockers The

Coal Porters.

“Sid had been very helpful in introducing me

to some musicians for my new band,” Bragg

says of his latest backing players, which include

drummer Luke Bullen, pedal steel player and

guitarist CJ Hillman, bass player Matt Rounds

and keyboardist Owen Parker. “Sid’s very active

in the London bluegrass and country scene

so when I was trying to put a band together I

went to him for help as I was desperate to find

a young pedal steel player. There are a lot of

pedal steel players in the UK but most of them

are older than me and I wanted someone who

might know how to play pedal steel, but also

play Johnny Marr as well.

“Sid told me there was a guy up in

Manchester, CJ Hillman, who would fit the

bill. So that’s how I hooked up with CJ who has

brought something really special to the band

with his pedal steel, the Dobro and his jangly

Rickenbacker guitar.

“I don’t know if you’ve ever heard The

Flamin’ Groovies version of I’ll Feel A Whole Lot Better but CJ, who is only 26 but into

jangly guitar bands, had never even heard

of The Flamin’ Groovies,” Bragg adds with a

laugh. “So I had to sit him down and have a

bit of a chat. Everyone should hear some of

The Flamin’ Groovies even if it’s only Shake Some Action.”

Bragg was preparing for an encore when

told that Nelson Mandela had passed away.

“So I went back on and did Tank Park Salute,” he reveals. “It’s a song about the death

of my father so I dedicated it to Nelson Mandela

as the father of his nation. While his death

wasn’t unexpected, there was an audible gasp

from the audience when I told them.”

Billy Bragg

This month’s prize is a Farmers Union Iced Coffee Rock Box, valued at $250!

www.facebook.com/BuySouthAustralianEnter at:

South Australian PrizeGIVEAWAY

Buy South Australian and The Adelaide Review have teamed

up to offer a monthly all South Australian giveaway.

WIN

19-21 April, 2014AdelAide FestivAl theAtreBook at Bass OutletsPhone: 131 246 or Online: Bass.net.au ShenYun.com

Presented by: Falun dafa Association of Australia victoria Branch incPresented by: Falun nc

“5,000 years of Chinese music and dance in one night.” – New York Times

“Brilliant choreography… extravagantly beautiful.” – Broadway World

“inspired… A delight to experience.” – Philadelphia Weekly


PERFORMING ARTS

Often, much of the most exciting

work at the Adelaide Fringe comes

from artists just starting out. Those

special moments where you feel like

you’re seeing something that, in a decade, will

be playing at the Adelaide Festival or headlining

the Fringe comedy program.

But with such a big program, how could you

even pick who these artists are? Taking a glance

at the hits of the previous Melbourne Fringe

might be able to give Adelaide audiences a

leg up, and this year seven productions that

took home nine Melbourne Fringe Awards are

playing in Adelaide.

They Saw A Thylacine took home awards for

Best Performance and the New Zealand Fringe’s

Tiki Tour Ready Award. The show, describes

creator and performer Justine Campbell, is

a verse performance that tells two stories:

» Adelaide Fringe

Friday, February 14 to Saturday, March 16

adelaidefringe.com.au

Melbourne Fringe Winners

BY JANE HOWARD

“One of a female zookeeper struggling with

the prejudices surrounding the last Tasmanian

tiger in captivity at Hobart Zoo, the other of a

female tracker hot on the tail of wild thylacine.”

Performing with fellow creator Sarah

Hamilton, the pair is looking forward to

remounting the show in Adelaide. Melbourne

Fringe, Hamilton says, is “like a cocoon. A

ground to test new work,” where Adelaide is

“a hive of creativity of culture. A melting pot

in a hot and beautiful city.”

Radio Adelaide is one of the more unique

performance locations this Fringe, but it

seems perfect for Adelaide Fringe Tour Ready

Award winner FOMO. Zoe McDonald plays 10

characters in the show, and says it will “reveal a

world we never see: what happens at the other

end of the radio.”

FOMO, she describes, is “both a love story and

critique of our modern age” as her characters

struggle with a constant Fear Of Missing Out.

“When I started developing these characters,”

she says, “the show became somewhat of a

meditation on what it means to be a woman

in our current cultural climate.”

Also informed by our current cultural climate

is Best Comedy Winner EDGE!, about 11-year-

old YouTube “sensation” Stella, which creator

Rachel Davis says “looks at the celebrity-

obsessed culture girls are growing up in and

the potential logical conclusion of the extremes

some starlets go to for publicity.”

On taking out the Best Comedy award,

EDGE! co-creator Isabel Angus says they

were “shocked and had to be pushed to walk

to the stage.” Backstage, they found themselves

hugging the girls from They Saw A Thylacine, “just so overwhelmed and humbled”.

... We Should Quit won both Best Circus and

Best Emerging Circus Performer for Morgan

Wilson. With comedy and circus elements,

director Avan Whaite calls it “an absurdist

glimpse of the daily grind”. For Wilson, winning

the Emerging Performer award inspired her

to “just do more, and encourages me as a

performer to take more risks with my work”.

Also joining the circus program from

Melbourne is At The Last Gasp, winner of

Circus Oz’s award for Original New Circus.

This work, combining trapeze, balancing,

manipulations and acrobatics, will be Angelique

Ross’ fi rst time at the Adelaide Fringe.

Winning the award from Circus Oz, says Ross,

“means a lot to see that someone else relates to

and appreciates the work we’ve been doing”.

Sketch comedy troupe Wizard Sandwiches are

bringing two shows to Adelaide, and The Last Lunch won them the People’s Choice Award.

For comedian Dylan Cole, comedy is about “that

feeling when you are laughing so hard that you

can’t breathe, your abs and chest ache, you have

tears streaming down your face, you think that you are about to go to hospital and you forgot

why you were laughing in the fi rst place”.

Winning the People’s Choice Award, says

Cole is a “nice acknowledgement from the

reason you do the show – the audience”. He

goes on, “we also bribed Melbourne Fringe and

bought everyone a pony”.

Rounding out the winners coming to

Adelaide is Simon Keck’s Nob Happy Sock,

an “award-winning comedy about suicide”. The

show won Outstanding Comedy supported by

Brisbane Powerhouse, and Keck says the show

is “confronting, but also uplifting, and best of

all it is very, very funny”.

For him, much of Adelaide is about “catching

up with old friends and making new ones.

Surrendering myself to the beast that is

Adelaide Fringe, perhaps drinking a little too

much and laughing as hard as I can, and loving

every freaking second of it.”

adelaidechamber singers

CA

RL C

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IN D

irec

tor

ADELAIDE FESTIVAL EVENTMONDAY 3 & WEDNESDAY 5 MARCH, 10PMSt Peter’s Cathedral, North AdelaideAdelaide Chamber Singers presents the complete Motets of JS Bach over two performances. Each concert includes the glorious musical masterworks that are Bach’s Motets, solo works by Bach for unaccompanied violin performed by Lucinda Moon, and Knut Nystedt’s deconstruction of Bach’s “Komm, süsser Tod” chorale in Immortal Bach.

TICKETS: adelaidefestival.com.au or BASS 131 246 Adult $52Concession $40 Fringe Benefi ts $35

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PERFORMING ARTS

A Man and his Music

BY ROBERT DUNSTAN

Singer and musician Geoffrey Gurrumul,

who has been blind since birth,

performed with Sydney Symphony

Orchestra last year at Sydney Opera

House as part of Vivid Festival. The results

surfaced on the ABC live recording His Life and Music late last year and Gurrumul will recreate

the show with Adelaide Symphony Orchestra

at Prince Alfred College Oval.

I spoke to Mark Grose, Gurrumul’s manager,

who is also managing director of Darwin-based

company Skinnyfi sh Music, which is now well

over a decade old.

“It’s going well because our continued success

with Gurrumul has really given us a national

profile,” Grose enthuses. “That’s enabled

Skinnyfi sh to make lots of new contacts and also

get ourselves into mainstream music circles. So

we can now continue to work with other great

Indigenous artists on lots of other great projects.”

The success of Gurrumul’s Sydney Opera

House concert led to the Adelaide event and

Grose hints that the concept may also travel

overseas where the captivating singer also

enjoys a strong following.

“Gurrumul had always wanted to play with an

orchestra and he absolutely loved it,” Grose says.

“It’s the pinnacle of performance, especially for

someone who is blind but with acute hearing to

be playing with an orchestra. The concert was

just sensational with lots of hard-bitten music

industry types saying it was the best gig they’d

ever been to. And, as you’d know, they go to lots

of concerts as part of their everyday life.

» Gurrumul, Kate Ceberano and Dewayne

Everettsmith

Prince Alfred College Oval

Sunday, February 16

gurrumul.com

“So we knew then that it was the way to go

in presenting Gurrumul to his audience,” he

adds. “From a concert-goer’s point of view,

it’s such a great experience for them as well.”

Gurrumul is also working on a new recording

with input from his musical director Michael

Hohnen.

“For the third studio album there will be

lots of orchestration,” Grose says. “So the plan

is to approach some of the leading orchestral

players around Australia and get them involved.

“Gurrumul sang some of the new material at

Sydney Opera House, although we purposely

left them off the live recording for the ABC,”

he explains. “But he will defi nitely be singing

some of the new songs when he performs in

Adelaide.”

Also on the line-up for the PAC concert will be Kate Ceberano, while Hobart’s Dewayne

Everettsmith, who has just released his debut

album, It’s Like Love, will also be on the bill.

“Dewayne has toured with Gurrumul in

the past because he really loves the quality of

Dewayne’s singing and writing,” Grose says.

Skinnyfi sh Music has inked a deal with Sony

to release Everettsmith’s It’s Like Love.

“We believed Dewayne’s album was way too

big for us,” Grose says, “so we’ve done a deal

for Sony to release it. It’s a very soulful album

but also very much in the mainstream pop

fi eld and we felt we needed Sony’s expertise

in reaching that market.”

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PERFORMING ARTS

The setting is one freezing winter’s

night in 2009 in the tiny rural

hamlet of St Albans, NSW, and

on stage is Lior, the Israeli born singer-songwriter, farewelling his audience

with a powerfully evocative rendition of the

ancient Hebrew hymn of compassion, ‘Avinu

Malkeinu’. Listening intently amongst the

throng is Nigel Westlake, composer for the

fi lms Babe and Antarctica.

It was “one of those special nights that people

talk about for years afterwards”, says Westlake.

As the winter mist descended into the Forgotten

Valley, where the outdoor concert took place,

he recalls how the remarkably clear-voiced Lior

“began to weave his magic upon the crowd”.

It was “a tantalising and exotic sound-world.

I was overcome by a strange yearning to be a

part of it,” he adds.

It took a chance event and a common cause to bring two of Australia’s most admired musicians together and bridge two highly disparate musical worlds.

BY GRAHAM STRAHLE

SHARING A VISION OF COMPASSION

Nigel Westlake and Lior.

Phot

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Program includes:

The sublime Wedding Cantata

BWV210 and Double Harpsichord

Concerto BWV1060 by JS Bach with

instrumental works by Bach and GP

Telemann.

Artists: Soprano: Louisa Perfect. Violins: Ben

Dollman, Simone Slattery, Katerina

Stevens, Emma Luker. Viola: Emily

Dollman. Cello: Kate Morgan.

Recorders: Jayne Varnish, Lynton

Rivers. Solo/Continuo Harpsichord: Katrina Brown. Solo Harpsichord: Lesley Lewis. Baroque Oboe, Oboe D’Amore: Jane Downer. Baroque Oboe: Anne Gilby.

Reserved seating in cabaret style.

Tickets: $40/$30 concession.

Purchase a table and save! Bookings: www.trybooking.com/CFSD or visit our website: adelaidebaroque.com.au


PERFORMING ARTS

» Lior & Westlake

Songs with Orchestra

Friday, February 7

Festival Theatre

adelaidefestivalcentre.com.au

The concert was a fundraiser for the

Smugglers of Light, a foundation that the

Westlake family established in memory of Eli,

Nigel’s son, who was killed in a tragic road

rage incident the year before. The foundation’s

purpose is to assist Indigenous youth reclaim

their ancestral heritage through music and

film. “It was a poignant occasion that had

been planned to coincide with the 12-month

anniversary of Eli’s death,” explains Westlake

– “the music held a very special meaning for

our friends and family, many of whom were

still grappling with the tragic loss that had

befallen us.”

His eldest son, Joel, had introduced him to Lior’s music several years earlier, and

it “had quickly become absorbed into the

family playlist, underscoring many happy

times,” says Westlake. Indeed, the last music

he shared with Eli, just a week before the

tragedy, happened to be Lior’s debut album

Autumn Flow, which had propelled the singer

to public attention and immediately placed

him at the fore of this country’s indie artists.

This fact, he says, came to hold a profound

importance, “forever imbuing these sweet

songs with a unique and deeply personal

significance for me”.

Hearing Lior sing the mesmerising chant of

‘Avinu Malkeinu’ in this dusk concert proved a

watershed moment. “As he was brought back

on stage for the encore,” says the composer,

“little did I realise that his final offering for

the night would hold the germ of an idea that

would become the catalyst for a life-changing

and enriching journey.” After the concert the

two soon got talking, and Westlake suggested composing a symphonic arrangement around

a recording of Lior’s performance.

“Neither of us were sure where this might

lead, but I had a hunch it was at least worth a

shot.” The experience, Westlake describes, was

“a little like writing a movie score” to weave in

with Lior’s voice. So encouraged were they by

how it worked out, that they “could both sense

potential in the finished idea, and it seemed a

natural progression to expand the material into

a song cycle for voice and orchestra”.

The result was Compassion, a symphony of songs as it’s been described. The words, chosen

by Lior, come from ancient Hebrew and Arabic

writings that reflect his own Middle Eastern

family history. Lior came up with melodic ideas

as well, putting these to Westlake to serve as

a starting point in composing the cycle. Both

say their aim was to create a contemporary

interpretation, without aping traditional

Hebrew or Arabic musical styles.

Neither did they set out in Compassion

to create a religious work in any overt or

institutional sense. Instead, they say wanted

to chart a personal exploration of ideas

surrounding this single universal theme.

Explains Lior: “It may seem strange in the context of this work, yet neither Nigel nor I

consider ourselves religious people. We do,

however, share a firm belief that much of the

beauty and wisdom found within so many

works of art and philosophy attributed to a

certain religion need not lie exclusive to those

who subscribe to its faith, or only to those who

seek a connection with God through directional

prayer. They have so much to offer to those who

might accept them without bias or judgement.”

Both were pleasantly surprised at how the

collaboration turned out. Says Westlake:

“Given our dissimilar experiences in music,

I couldn’t believe how we both seemed to be

on the same wavelength, striving toward a

common goal, critical of the same issues and

agreeing on the ideas that seemed to work”.

Lior agrees that it was one of those rare

ventures where two artists’ ideas and souls

genuinely merge: “What began with a feeling

of trepidation as to whether Nigel and I could

sincerely encapsulate the artistic concept and vision we shared for this undertaking, has

ended with a full embrace and a somewhat

unexpected sense of renewed optimism.”

Compassion was first performed by the

Sydney Symphony at the Sydney Opera House

in September 2013. Adelaide gets to hear the

work in full, with Lior singing and Westlake

conducting the Adelaide Symphony Orchestra.

30 March to 6 April 2014

Adelaide, South Australia

Artistic Director Janis Laurs

Telephone +61 417 889 996

Email [email protected]

www.adelaidecellofestival.com.au

Featuring performances and Master Classes by

Lynn Harrell USA

Li-Wei Singapore/Australia

Marko Ylönen Finland

Leonard Elschenbroich Germany

Pei-Jee NgUK/Australia

Pei-Sian NgSingapore/Australia

Eugene FriesenUSA

Rushad EgglestonUSA

Howard Penny Australia

Georg Pedersen Australia

Louise McKayAustralia

Janis Laurs Australia

Giovanni Sollima Italy

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

Winner of the Ruby Award

for “Best Event” in 2011

Featuring the

Adelaide Symphony Orchestra

conducted by Arvo Volmer


PERFORMING ARTS

Leading Lady

by Ilona Wallace

As a performer, Katie Noonan has a

15-year relationship with the Adelaide

Fringe. While still on the bill as an

artist in 2014, Noonan is trying on a

new hat as Ambassador for the festival. Despite

the many thousands of shows in between, Noonan

still remembers her very first experience behind

the scenes of the Fringe. In the city after a long,

long drive from Brisbane, Noonan and her band

at the time, george, were struck by the vitality and

“craziness” of the place.

Aside from adventures with carnies and an

outlandish rental property, Noonan recalls that

her popular song Special Ones, from george’s

number one album Polyserena, was named at

that first Adelaide Fringe. She has been back

nearly every year with various bands and as a solo

artist, watching the Fringe get “bigger and better”.

Noonan takes the Ambassador’s reins from

national treasure Paul McDermott, whose

» Katie noonan & circa

love-Song-circus

Garden of unearthly Delights

Tuesday, March 11 to Sunday, March 16

katienoonan.com

Katie Noonan.

enthusiasm, charisma and artistic flair made

the 2013 festival such a success. His successor is

not intimidated, but admits, “his are incredibly

large shoes to fill. He’s the all-rounder—

comedy, acting, painting—he’s amazing.”

While admitting that she can be “unintentionally

funny”, Noonan feels that the divergence from a

comedic ‘face of the Fringe’ is intentional.

“I guess they wanted someone who comes

from a really different point of view, to reflect

the diversity of the festival. Obviously there is a

large comedy focus, but to be honest, I’ve never

actually seen a comedy show at the Fringe—I’ve

always thought of it as this amazing theatre-

circus-burlesque festival.”

Like McDermott in 2013, Noonan will be

part of the Fringe as an artist, bringing back

the theatrical, musical, carnival performance

Love-Song-Circus, which premiered at 2012’s

Cabaret Festival. A collaboration with director

Yaron Lifschitz and Brisbane acrobatic troupe

Circa, the show tells the stories of Australia’s

first female convicts. Noonan drew inspiration

for Love-Song-Circus from Love Tokens,

an exhibition at the National Museum. The

collection displayed pennies with inscriptions

by convicts to their loved ones.

“We reflect these women’s stories through

song, words and movement,” Noonan explains.

“It’s really fun, and possibly interesting for

Adelaideans because you’re all “purebloods”—

you don’t have any convict ruffians in your

closets.”

After satisfying her artistic streak, Noonan’s

job lies in luring people to the Fringe instead of

the other attractions offered up in Mad March.

A major drawcard for the Fringe is its strong

showing of local and national acts. However, a

quota to keep a balance between international

and Australian performers is unnecessary,

Noonan says.

“The quality of the local shows being

presented is so high, I don’t think there’s any

chance of any festival being outrun. There used

to be a bit more of a notion of that in Australia—

people used to think, ‘Oh, if it’s from overseas it

must be better,’ but I really think we’re breaking

down that preconception. Obviously, I think

it should reflect local talent, but because the

local talent is so good, it holds its own against

anything in the world. Ultimately quality and

integrity should be the only real agenda.”

z o r n i n o z

Featuring John Zorn, Mike Patton, Bill Laswell, Marc Ribot, Joey Baron, John Medeski, Dave Lombardo, Elision Ensemble,

Adelaide Symphony Orchestra and many more.

“Zorn is indeed the point where all the trends of New York’s downtown music scene meet” THE TElEgrapH

ExclusivE concErT sEriEs (usa)

adelaidefestival.com.au or BASS 131 246

Maverick composer John Zorn makes his first and only appearance in Australia with a series of four star-studded concerts celebrating his genre-bending alchemy of avant-garde, jazz, klezmer, punk,

pop and classical traditions .

f i r s t a n d o n ly au s t r a l i a n v i s i tFestival Theatre, 11-14 Mar

Masada MarathonClassical Marathon

Triple Bill (Bladerunner, Essential Cinema, Cobra)Zorn@60


PERFORMING ARTS

Ludovico Einaudi

In a Time Lapse

adelaide Festival Centre

Tuesday, February 11

he’s one of the “world’s most successful living

composers” according to The Independent,

and the alt-classical composer – behind films

scores such as This is England, Insidious and

The Intouchables – performance at the Adelaide

Festival centre is the perfect place to see how

modern and traditional classical music can

merge to wondrous effect.

PauL McdErMott

The Dark Garden

adelaide Town Hall

Saturday, February 15 and Sunday, February 16

From fronting the punk-comedy antics of the

doug Anthony All Stars to Tv hosting duties

to fronting the Gadflys to even hosting art

exhibitions – Paul mcdermott has done it all.

last year’s Fringe Ambassador is one of this

country’s true comedy icons and his three

shows across two days at Adelaide Town hall

are not to be missed.

Bitch BoxEr

Holden Street Theatres

Tuesday, February 11 to Sunday, March 16

holden Street Theatres’ edinburgh Fringe Award

winner Bitch Boxer is an acclaimed new play

by charlotte Josephine, which enjoyed sell out

runs in london and edinburgh and a swag of

four and five star reviews from publications

such as The Independent, The Daily Telegraph

and Three Weeks. one of the most anticipated

Fringe theatre shows of the year.

SantoS SyMPhony undEr thE StarS

elder Park, Saturday, February 22

each year more than 15,000 people flock

to elder Park for the Adelaide Symphony

orchestra’s biggest concert of the year, Santos

Symphony under the Stars. This year the

free concert will be led by Scottish conductor

Garry walker and features one of Australia’s

best-loved baritones, José carbó. The concert

concludes with Tchaikovsky’s 1812 overture

complete with a firework spectacular.

thiS MonthTHe aDeLaIDe revIew’S Guide To February’S hiGhliGhT PerFOrMING arTS evenTS

In a new adaptation by Hilary Bellby anton chekhov

state theatre companyin association with Adelaide Festival presents

The Seagull

State Theatre Company Scenic Workshop21 february — 16 march

B A S S 1 3 1 2 4 6


PERFORMING ARTS

Glorious Gloria

by D.M. braDley

“Everyone has been so kind and

enthusiastic about the film everywhere,”

begins Paulína Garcia, as she discusses

her titular role in co-writer/director

Sebastián Lelio’s Gloria, “and they’ve been

laughing too.” Laughing? But surely this isn’t

really a comedy – or even a ‘tragicomedy’?

“Maybe, but it does seem to be funny for some

people.”

García is very proud of her work in Lelio’s

intimate drama, and speaks glowingly of how

she became involved: “They [Lelio and co-

writer Gonzalo Maza] called me at the very

beginning and they wanted to write it for me.

I was really very honoured, and at first it was

really just an idea… It took three years before

they started to shoot it as there were other

commitments, as well as disasters here in

Chile, and a tsunami [in 2010]. They started

to properly write it at the end of 2012, and yes,

I was involved from the very beginning, which

was wonderful.”

Gloria, an ‘older woman’ in contemporary,

chaotic Santiago facing failing health, workplace

issues and demanding grown-up kids, starts a

passionate relationship with a former naval

officer (Sergio Hernández as Rodolfo). This

role would be a demanding and difficult one

for any actress, but García wasn’t intimidated:

“It was both exhausting and rewarding to do…

I actually, while we were making it, found it

hard, as I was alone on the screen so often. I

had to [map out] the character so that I could

do it, as shooting a film like this is an unusual

» Gloria opens at Palace Nova eastend

Cinemas on Thursday, February 27

experience for an actress, any actress, and I

consider myself mainly a stage actress.”

García is in every scene, the camera is always

on her and she often doesn’t have much to say:

“It was very quiet. Even though we did rehearse

a lot, those scenes where it’s just me and I say

nothing, you know, there was no rehearsal of

those. We just did them… I actually never had an official script – just a storyboard, and ideas,

and no dialogue. I was trying to find the key

to Gloria and, even at the end, I still wasn’t

sure if I had found it… But I was very glad to

have done it.”

It’s impossible not to mention the love

scenes in the film, particularly as they take

place (gasp!) between ‘older people’, and

García explains that it “was all about honesty,

yes, but it was always difficult too. Intimacy

between actors is always difficult… You know,

Sergio is not my husband or my lover: he was

my work partner. And sometimes they said,

‘Now!’, and we two were supposed to have this

great intimacy! We did spend a lot of time with

Sebastián to work out what was wanted and

what we could show… And no, they’re not

young people with well-shaped bodies – but

they are feeling real emotions.”

Finally, García mentions that the Chilean

film industry is currently thriving (see last

year’s internationally renowned No, for

example), and that she’s very happy with how

Gloria turned out and the positive reaction to

it around the world.

“I think that now I might do more movies… But I’m not likely to find another character like

Gloria for a while!”

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PERFORMING ARTS

You might have thought that London-

born director Steve McQueen would

be in high spirits mere hours after it

was announced that he’d been nominated for

an Academy Award for Best Director for 12 Years A Slave, but he isn’t, possibly as he’s still

getting over a recent illness or, as he suggests

towards the end of the interview, that he’s

simply exhausted.

“Yes, I have just heard about the nomination

this morning. It’s good, yes. I suppose that it’s

a surprise, as you never really know if these

things are going to happen, you know?”

Slave is McQueen’s third feature after

the confronting Hunger (2008) and the

‘controversial’ Shame (2011), and it’s quite

unlike either of those. Was it something that

he wanted to do simply as it was so different?

“No, that wasn’t it, really. I just wanted to

make a movie about slavery. That was all, really.

I was fascinated by the story of Solomon Northup

[1808-1863], and I just wanted to make it into

a movie… It was my wife who first read the

book, so she was the one who found it. It was

this story about a former slave, who was made

a free man, who’s then kidnapped and forced

back into slavery. And my wife just said to me,

‘Why don’t you make this story?’… So that was

it: I just wanted to make a movie about slavery.”

Is Slave, which is mostly set in the mid-19th

Century, also intended to be a movie about

An Audience With Steve McQueen

by D.M. braDley

right now?

“Yes, I think so. It is meant to reflect

upon what’s happening now… It is meant to

comment upon what is happening now in terms

of exploitation.”

This is a much bigger and more elaborate

production than the more intimate Hunger

and Shame, and it’s also McQueen’s first in

America, so how did it all happen, and was

Brad Pitt, who worked as a co-producer and

has a fine small role, a key player?

“Yes, Brad was a key element in it. It wouldn’t

have been made, I think, without him... So

yes, he’s the one, and he helped get it all off

the ground.”

Slave star Chiwetel Ejiofor was also born

in London, so was he maybe a friend of

McQueen’s?

“I did know him beforehand, and he’s a very

good actor and he really wanted to do it… I was

very grateful that he had no misgivings about

taking the role on, and he just did it so well.

He did a very fine job… Especially considering

the demands of doing the film: we did it all in

only 35 days with one camera.”

McQueen also mentions that, amongst a fine

cast that includes Paul Giamatti, Paul Dano

and Benedict Cumberbatch, he was glad to

again work with his apparent muse, Michael

Fassbender. “Yes, we work very well together,

and he’s also a great actor.”

To wrap up, McQueen jokingly suggests that

his next outing after Slave might be something

totally different again, “and maybe even a

musical!” but he’s not offering much more

information than that as, for the moment, he

just doesn’t know.

“All I can think about right now is getting

home to London and spending time with my

wife and kids. That’s all I want.”

» 12 years a Slave opens on Thursday,

February 6

7.5pt Univers 57 Condensed


PERFORMING ARTS

THE PAST

BY NIGEL RANDALL

Asghar Farhadi’s follow up to his 2011 Oscar

winner A Separation could well have been titled

A Divorce, for it’s that event that acts as the

narrative catalyst in his newest fi lm. Another

might have been The Kids Aren’t Alright, but

more on that later. What this gifted Iranian

screenwriter and director chose instead to call

it was The Past and for good reason too.

Marie (The Artist’s Bérénice Bejo) asks her

estranged husband of four years, Ahmed (Ali

Mosaffa), to return to Paris from Iran so they can

divorce. At the airport she attempts unsuccessfully

to get his attention from behind a glass wall

that separates them. Like every other carefully

constructed piece of direction, it is telling. Once

the communication starts proper they revert to

familiar snaps and prods suggesting unfi nished

business. When Ahmed discovers she is housing a

new boyfriend, Samir (Tahar Rahim) and his fi ve-

year-old son Fouad (Elyes Aguis), their business

quickly expands. Throw into this mix Marie’s

daughters from a previous marriage – one an angsty

teenager (Pauline Burlet) and the other younger

and impressionable (Jeanne Jestin)– and there’s

melodrama galore. And that’s before mention of

Samir’s wife who lies comatose in hospital following

some mysterious incident. These character’s pasts

are ever present. If it all sounds too much, fear

not. Whilst that synopsis might seem somewhat

dreary or convoluted, the beautifully crafted script,

the absorbing naturalistic performances (Bejo

and Burlet standouts), the sensitively observed

camera work and masterly orchestrated direction

are anything but. Farhadi’s talent is clearly evident

in every gesture, each deliberate piece of dialogue,

the exquisite pacing at which the secrets and lies

unravel, but perhaps nowhere more so than in his

handling of his youngest players. The performances

he elicits from the three juvenile leads and the drama

refl ected in their eyes is simply heart breaking.

» The Past begins on Thursday, February 6. Rated M.

THE GREAT BEAUTY

BY CHRISTOPHER SANDERS

Quentin Tarantino infamously slammed

modern Italian cinema in 2007, calling it

depressing and to add insult to injury added

that while he loved 60s and 70s Italian

cinema (and who doesn’t?), modern films

from the land of his idol Sergio Leone “all

seem the same”. And he had a point. What

happened to the great cinematic country

responsible for neo-realism and the director

giants Fellini, Rossellini, De Sica and Leone?

Italian siren Sophia Loren hit back at QT’s

criticism with the lame rebuttal, “How dare

he talk about Italian cinema when he doesn’t

know anything about American cinema?”

Whether you like Tarantino’s films or not,

the Pulp Fiction director is a fanatical film

nerd who knows his stuff. With Tarantino’s

seven-year-old criticism in mind, it is hard to

remember the last time an Italian film, aside

from the gangster film Gomorrah, knocked

you out of your cinema seat. Until now. Enter

Paolo Sorrentino’s (This Must be the Place,

The Consequences of Love) delicious love

letter to Rome, The Great Beauty, which

will not only knock you out of your seat but

through the cinema door and into the foyer’s

» The Great Beauty is currently screening at

Palace Nova Eastend Cinemas. Rated M

popcorn maker. As the name suggests, The Great Beauty is a decadent feast for the

senses, which lives up to the ‘21st Century’s

La Dolce Vita’ hype that surrounds it.

Beginning with an elaborate party scene

to celebrate writer Jep Gambardella’s 9a

wonderful cheeky Toni Servillo) 65th birthday,

The Great Beauty is over the top and in your

face from beginning to end. The opening scene

is one of the most bizarre and debauched

parties you will ever see that features a conga

line. Club music blares, as the ever-grinning

and superbly dressed Jep and his A-list artistic

friends dance the night away. After the party,

the comedown hits. Jep is a writer who hasn’t

followed his acclaimed debut novel from 40

years earlier with new work. Sure, he writes

the occasional magazine feature to sustain his

hedonistic lifestyle but he becomes bored of his

A-list friends and random sex with beauties

who are, of course, much younger than he.

Jep and his crew are like the vapid characters

from an early Bret Easton Ellis novel but who

live in Rome instead of LA and are almost fi ve

decades older than Less Than Zero’s vacuous

mob of jaded rich kids.

Jep, of course (despite his uber-cool and

calm demeanor) goes on a journey of self-

discovery to ponder the meaning of life and

lost loves, something we’ve witnessed on

screen, stage and the page too many times to

mention, but somehow Sorrentino makes it

work with the over-the-top set pieces, beautiful

cinematography and a brilliant performance

from Servillo, which is only matched by the

fi lm’s other star – Rome. Never has the city

looked this wondrous.

Is QT down with Sorrentino’s latest? Who

knows? But here’s hoping The Great Beauty

sparks an Italian cinema revival that every

fi lm lover has been waiting for, as this is a

remarkable cinema experience.

Magic Trip: Ken Kesey’s Search for a Kool Place

tickets from $12docweek.org.au 131 246 BaSS

Australia’s International Documentary Festival

featuring over 50 documentary films

across one week

The Armstrong Lie Racing Dreams Detropia

Taxi to the Dark Side The Last Impresario


VISUAL ARTS

Many of us have a tendency to

romanticise the landscape. We

are preoccupied with finding

a perfect scene or capturing

that flawless view. This is not the case with

photographer Greg Ackland – his images are

often of uninspiring places, as he documents

the experience of being there rather than the

picturesque view.

“I’m interested in elevating the uninteresting

to get people to ponder why they might project

a cultural view or a personal kind of heroic

view of a landscape onto what largely isn’t.”

Ackland originally studied painting at art

school before switching to photography in his

final year.

by Jane LLeweLLyn

Profile: GreG AcklAnd

» Greg ackland currently has work in Full

Spectrum, which is touring regional South

Australia until July 2015.

» he is also showing new work at Hill Smith

Gallery from Thursday, February 20 until

wednesday, march 19.

hillsmithgallery.com.au

inconclusive Position.

“That rich history of painting has really

informed what I have done,” explains Ackland.

“I am interested in the notion of a landscape

and what it actually is.”

Ackland is particularly fascinated with

lookouts and this idea that we visit a lookout,

and view the landscape, as a projection, one

that has been decided for us, and ignore the

landscape we are actually in. It’s this notion

of experience, that you can’t truly know what

the view, or the landscape, is without actually

being in it, that drives much of Ackland’s work.

“That’s the beauty for me. I have identified

that the heroic landscape is not a view; it is

actually being there. And so that’s what I have

been interested in for a long time.”

Ackland acknowledges that because the

landscape genre has a long tradition and many

artists in varied disciplines have tackled it,

it can present challenges. However he works

conceptually and believes that while he might

depict something that looks like something

else, the conceptual meaning behind the way

he approaches it is very different.

“I’m trying to put these subtle things in there

to try and jar people into saying `Hang on it’s

not romanticism at all, it’s actually something

else’.”

Ackland’s latest exhibition at Hill Smith

Gallery continues his exploration into the

Victorian Alps. For the last four or five years,

every July, Ackland has visited the Alps and

created works. “I am revisiting the same

location and just seeing each year how I have

changed and how that is impacting on what I

am noticing about the same landscape.”

The exhibition showcases a series of black

and white and a series of coloured photographs

of the same location. “I am really interrogating

this idea of the romantic. I am trying to get

them to play off against each other. It adds to

this idea of the cultural landscape.”

These ideas of landscape and identifying a

sense of place are things that most people can identify with. We might have a favourite place

that’s not particularly special to anybody else

but it’s special to us because of an emotional tie.

“It’s the idea that the landscape itself might

not be that important but an experience there

or a memory makes it far more important than

it is.”

Fl inders Univers ity City Gal leryState L ibrary of South Austra l ia North Terrace, Adela ideTue - Fri 11 - 4pm, Sat & Sun 12 - 4pm

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

Their Shadows in Us14 December 2013 - 16 February 2014

max lyle sculpture survey1961 - 2014 6 - 15 February 2014 www.hillsmithgallery.com.au


VISUAL ARTS

Four Rooms

by Jane LLeweLLyn

Referencing the 1995 film of the same

name where four stories take place

in different rooms of the same hotel,

the exhibition Four Rooms will be

presented in four purpose-built rooms at

Tandanya as part of the 2014 Adelaide Festival.

Troy-Anthony Baylis’ role as curator mirrors

that of the Bellhop character in the film whose

purpose it is to stitch the stories together.

Baylis’ four rooms are linked through the

main themes of space, time and authorship.

“Authorship comes out in terms of who is

acknowledged as the creators of the works,”

he says. In some cases the idea of authorship

is blurred as the distinction between what’s

original and what’s not is unclear.

Take the work of artist Jenny Fraser: she

creates what Baylis calls a meta-narrative

which splices together videos made by other

people. She produces a new work out of existing

work, questioning the notion of authorship.

Through this practice Fraser recontextualises

the scenes altering their meaning and how the

audience responds to them.

James Luna shares the room with Fraser

and has created a video response to her work.

“The different works in the room will create a

conversation amongst themselves, that’s sort of where the dialogue happens. Some of it is

constructed deliberately to dialogue with each

other while in other cases it’s chance,” explains

Baylis.

In another room, Vernon Ah-Kee, Tess Allas

and Charlie Schneider have collaborated to

recreate the famous ‘yes, no’ interview with

Andy Warhol from 1964 where he answers

`uh yes’, ̀ uh no’ to questions about his art and

art practice. Beamed through a 60s television,

this trio has made 20 films of the same length

asking Ah-Kee as Warhol provocative questions

around Aboriginal art and authorship where

he delivers the same yes/no responses.

Gordon Hookey occupies one of the other rooms and presents a number of works

featuring his recurring kangaroo motif.

The room will be laid out like a boxing ring

emphasising Hookey’s depiction of kangaroos

as less cute and cuddly and more boxing

kangaroo. There will be three projections

showing Hookey’s stop animation work – a

new direction for him. While his paintings

often contain instant drama, the new process

enables the drama to unfold in a different

way, slowly building to a climax.

The final room contains works by Zane

Saunders, a painter and performance artist

who Baylis sees as an Aboriginal Dada artist. “I

am interested in exploring his practice from the

point of view of Dadaism. It’s about questioning

why Aboriginal people can’t participate in it

Gordon hookey, Terraist Animation Still 1a, 2012. Courtesy the artist and Milani Gallery, brisbane

Tess Allas, Charlie Schneider and vernon Ah Kee, Andy warhol on Aboriginal Art, 2013 photographic performance

Find Us On Facebook

www.tartscollective.com.au

Open Mon-Sat 10am-5pmPhone 8232 0265

Members Group Display from Sunday 2nd February to Saturday 1st March, 2014

Member: Vanessa Murphy / Title: Skulls / Materials: Linen, Fabric Inks

T’Arts CollectiveGays Arcade (off Adelaide Arcade)

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

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

558 Magill Road, MagillPH: 8364 6154

Hours: Tuesday to Saturday 12 noon - 5 pm

An arts and cultural initiative funded by the City of Burnside

www.pepperstreetartscentre.com.au

Free entry - all welcome!

Wild and WonderfulA mixed media exhibition with a fauna and flora theme

16 February - 21 March 2014

Community Launch Event: Sunday 16 February 2 pm - 4 pm

Launch Guest: Elaine Bensted, CEO, Adelaide ZooTextiles Demonstration by Wendy Redden

Jewellery Making Demonstration by Paul SmithPainting Demonstration by Annette Dawson

Live African Drumming Performance

Free Artist Demonstrations throughout the exhibition:

Saturdays 22 February, 1, 8 and 15 March 2014 2 pm – 4 pm

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Gallery M, Marion Cultural Centre 287 Diagonal Rd, Oaklands Pk SAP:8377 2904 [email protected]

www.gallerym.net.au

7 February - 2 March 2014

exhibitionsgalleryshop

paintings by John Hamiltonmosaics by Stephen Johnson

ColourfulLife

Out of Africa

THREE EXHIBITIONS

paintings by mosaics by

Life

paintings by mosaics by

Life

Memoriescontemporary

paintings byErlend Smidt

Lysaker

photography byDavid Woolawayjewellery byMaria Woolaway

MEET THE ARTISTS2pm, Sunday 16 February


VISUAL ARTS

» Four rooms

Tandanya - National aboriginal Cultural Institute

Tuesday, February 25 to Sunday, April 6


[Dadaism] too. We don’t have to be conditioned

by what we think we are supposed to be

making.”

Saunders’ room will be set up like a

cinémathèque with videos in different

locations around the room – some in cases,

some embedded in the wall. There will also be

a stage where he will perform at the opening,

and for a couple of days after. The footage of

the performance will be projected onto the

wall in his absence.

With Tandanya celebrating its 25th

anniversary this year, you get the feeling that

Four Rooms is a turning point for the Institute.

The exhibition offers a new way of looking at

Tandanya and gives some indication of its

potential and what might be in store for the

future.

Helpmann academy Graduate exHibition

Drill Hall

Friday, February 14 to Sunday, March 9

chosen from more than 150 graduates from the helpmann Academy’s

visual arts partner institutions, only 33 emerging South Australian artists

will present their work in the 19th helpmann Academy Graduate exhibition.

Artforms include ceramics, jewellery, installation, painting and more.

collidescope

red Poles

Saturday, February 8 to Sunday, March 16

mclaren vale’s Red Poles gallery and cellar door are hosting Collidescope,

an exploration of two-tone expression. ‘what happens when you choose

just two colours to paint a canvas, make jewellery or a glass object?’

Speaking at the opening (Saturday, February 8, from 3pm) is Greg mackie

oAm, cultural Advocate.

Florabotanica

adelaide Central Gallery

Continues until Friday, February 14

examining the botanical world—how it inspires and how we respond—is

the key theme to the Adelaide central Gallery’s first exhibition of 2014:

Florabotanica. eight South Australian artists will contribute through

a variety of disciplines: painting, drawing, sculpture, ceramics and

installation.

Hitnes masterclass

adelaide Festival Centre

Friday, January 31 to Sunday, February 2

Guildhouse has invited hitnes, an internationally renowned italian street

artist, to Adelaide to teach a three-day masterclass about painting large-

scale murals (over 10 metres). Two outdoor walls in the Adelaide Festival

centre plaza area will be the canvas for the class.

tHis montHTHe aDelaIDe revIew’S Guide To February’S hiGhliGhT vISual arTS evenTS

Jenny Fraser, name that beach movie (still), 2014, video

installation, photographic image of the video mololai

1999, dir. Paul co

Discover your creative career at tafesa.edu.au/creative

APPLY NOWF OR 20 14


A-Z ContemporAry Art

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

Bonus Pack

EBy John neylon

ARTSPEAK eMoemo has been morphing from 90s rock music into art with the inevitability of cane toads bearing down on Kakadu. Tortured otherness takes many forms so think beyond wide-eyed, downcast waifs. A few Bill viola videos will give you an idea of how grownups can play the game. Oh what a feeling.

eMerGenT / eMerGInGThere is some agreement that an emerging artist has been practising professionally for five years. After that? ‘emerged artist’ has no currency. Many artists remain submerged across a lifetime of work. That’s a long time to hold one’s breath in the hope of being discovered.

eDGe (as In cuTTInG)A desirable state for artwork aspiring to be effulgent.

eMPoWerMenTBeing channelled by an artwork for the greater public good. A sweeping claim. difficult to prove but empowered artists are a force of nature.The everyday

Like Buddy holly said in 1957, ‘ Everyday, it’s a getting closer’. The everyday is one of the

biggest ideas in contemporary art. Its beauty

is that, like the Twist, anyone can do it.

Start up suggestionGo LOMO. The LOMO camera emerged as a

spy craft tool during the Cold War. Not much

larger than a cigarette packet, this camera

could capture all manner of subjects in varied

conditions. as you sashay across the city you’ll

feel like an MI5 operative on the prowl. a lazy

day of LOMO shooting from the hip could give a

few hundred images, enough for several shows.

Remember the rule: don’t Think. Consider:

Some clever souls have suggested that LOMO

is an acronym for Lots Of Meaningless Objects.

Why the Everyday?

If asked why you have filled a gallery with

odd socks just say that you are closing the gap

between art and life. If pressed try to get the

word ‘quotidian’ into the next sentence. after

that you’re on your own.

Plinth Power

Putting any old everyday object in an art

setting is risky business. Some viewers may

not get the ‘art-life’ nexus or appreciate the

nuances of ‘implied narrative conveyed through

palimpsests of usage’. Minimise the risk by

visually privileging the object. Put it in a frame

or on a plinth. don’t worry that generations of

artists from duchamp have been onto this ruse.

Warning: Beware of being seen as cynically

exploiting viewer desires. Solution: add a

dash of irony by subverting the plinth. hack

into it with a chain saw or use unconventional

materials like crushed hoon car hubcaps.

Here’s an idea

‘Step in all the puddles in the city’

yoko Ono, City Piece, 1963

your turn

Get with the programeveryone knows about John (‘I have nothing

to say’) Cage’s 4’ 33” performance work. A

reminder: it’s a musical composition consisting

of a pianist sitting at a piano, and not hitting any

keys for four minutes and thirty-three seconds.

It was all very Zen. The audience was meant to

vibe with ambient sounds (audience snoring,

car horns and so on). Take this idea for a walk:

Make a sound recording of a walk in which at

every 10th step you hit something with a stick (use discretion) or see how much pavement rubbish

you can cram into your pockets on a 30-minute

walk. Go to a pre-selected gallery and walk on

your hands for five minutes. Exhibit whatever

falls out of your pockets. easy as.

JunkIf your everyday art consists of collecting

and manipulating junk, for heaven’s sake do

not refer to yourself as a junk artist. you’ll

immediately be lumped in with people who

make junk critters and sell them on eBay

or etsy. Suggestion: use a scatter aesthetic,

strewing objects across the gallery floor and up

the walls, to create things like metaphoric gaps,

interstices, zones of uncertainty and slippages

much favoured by curators.

Giving noticeMake a determination to notice things such in

sitting on a train and record everything about

the third person to enter a carriage. Caution:

do not stalk.

Playing museumsWhy should (non art) museums have all the

fun in giving everyday things significance?

Beat them at their own game by using similar

taxonomic tricks of display. Think left field.

Suggestions: pre-loved chewing gum, coffee

stains, broken toys. Things to avoid: soup

cans, doorways, thongs, bottles, barbed wire,

Ukrainian easter eggs.

Yarn bombing rules

you may laugh but trust me; this art genre is

in its infancy. Just think beyond power poles

and bike racks. Sulo bins anyone?

Phot

o: J

ohn

Ney

lon

homeless plinth, Melbourne, 2013

FRINGE OPEN DAY FREE 12-4PM SAT 22 FEB

OPEN DAY!

A fantastic opportunity to experience our Studios, Galleries and Shop with hands on activities, live glass blowing, demonstrations, exhibitions, tours, sausage sizzle and more!

19 Morphett Street Adelaide SA 5000www.jamfactory.com.au


VISUAL ARTS

Testing Grounds

BY JANE LLEWELLYN

When Curator Julie Gough set

about putting together a list

of artists for the exhibition Testing Ground, she thought

about whose work she admired and who she

would most like to invite to a party.

“I think these artists would make good dinner

party guests to try and understand the universe

with,” she explains.

The idea, for Gough, was to put together

a group of artists who stood out because of

their investigative spirit and who were testing

new ground.

“They were chosen more for the type of artist

they are, with that sense of an investigative

spirit. I was taking on a journey to collect people

that could contribute work and then we would

be like a big laboratory together.”

The exhibition, which has already had a run

at Salamanca Arts Centre and the Davenport

Regional Gallery, is culturally diverse.

“The artists are reflecting on their own

circumstances, what they have inherited and

the cultural practices or expectations within a

culture or imposed on a culture.”

How it relates to the artist’s heritage is

not always obvious. Take the work by Jeroen

Offerman from the Netherlands for instance.

He has trained himself to sing Stairway to Heaven backwards (the original song was

rumoured to contain subliminal messages when

played backwards). It’s a mesmerising work,

fi lmed on the steps of St Paul’s Cathedral and

references his Jehovah’s Witness upbringing.

» Testing Ground

Flinders University City Gallery

Saturday, February 22 to Sunday, May 4

� inders.edu.au/artmuseum

Another artist, Martin Walch, presents

a video work which shows the place names

of Tasmania which are registered by the

government on the Nomenclature Board in

the place where they would be on a map. “The

absence of Aboriginal place names here is

evident by the super presence of these mainly

English county names. It shows the overlay,

overlay, overlay of western place names all

over Tasmania,” says Gough. One of Walch’s

ancestors is a very well known surveyor/

explorer of Tasmania so it relates back to this

idea of heritage.

With the title Testing Ground, and the

main focus of the exhibition being testing

and experimenting, the artist Darren Cook probably encapsulates this best. Cook is turning

up and undertaking an action at each site. “If

he is truly testing ground then why should he

deliver one thing that is static for the whole

tour? That’s buying into the whole traditional

art exhibition.”

Touring an exhibition of this size, 13 artists and one collective, has thrown up many

challenges for Gough but at the same time it’s

exciting. “It’s like letting your baby go. I’m kind

of scared and excited by what will happen.”

Each venue is different, which can add to the

experience, and it also fi ts in well with the

theme. In a sense the exhibition is now going

through its third realm of testing.

Sue Kneebone. Continental Drift II 2012. Giclee print, 80 x 65 cm © courtesy the artist.

Rebecca Dagnall. Paradise 9 (detail). Archival inkjet print, 91 x 187cm © courtesy the artist.

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

SUE NINHAM ZOE WOODS JOSHUA MIELS

30 January to 22 February 2014

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

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warmun art centre12 February - 16 March 2014


VISUAL ARTS

Trotsky in full fl ight. ‘You are pitiful

isolated individuals; you are

bankrupts; your role is played out.

Go where you belong from now on –

into the dustbin of history!’ The Mensheviks, to

whom Comrade Trotsky addressed his remarks

in 1917 would rather the Bolsheviks hit the

dustbin but history records otherwise. This

idea that things get consigned to ‘the dustbin

of history’ is very persuasive. Culture – and

within it, the visual arts – isn’t immune.

Until quite recently, the history of art was

taught as the History of Art, a grand narrative

of sorts with a star-studded cast of talents and

key events chronologically arranged. Then the

Are you � t enough to survive Worlds in Collision, Adelaide International 2014?

BY JOHN NEYLON

DUSTBIN CONSPIRACIES

60s and 70s came along, upended the dustbin

all over it and nothing’s been the same since.

The idea of art as counter-culture subversion

held sway at the time and explains the rather naughty behaviour of many art activists in

bollocking institutions like galleries and the

protesting the crass commercialisation of art.

Crass by the way, was an English punk rock

band formed in 1977. Like the Mensheviks,

Crass came in for a fair share of criticism.

Another activist organisation, Class War, said

of Crass that ‘like Kropotkin, their politics are

up shit creek’. Kropotkin was, among many

things, a Russian evolutionary theorist and

prominent anarcho-communist. Class War had

obviously consigned him to the dustbin. It’s

getting very crowded in there. Hardly enough

space for worlds to collide.

Collision’s embrace of space as a means of interrogating human affairs is robust. The

Lebanese Rocket Society by Khalil Joreige and

Joana Hadjithomas, for example, references the

historical fact that in the early-to-mid-1960s a

group of undergraduate students, their lecturer

and the University College Science Club in

Beirut developed a solid fuel rocket program.

This work in the exhibition is both archival

and generated by the artists. Where does fact

end and fi ction begin? The slippages and doubt

between the two are characteristic of a spin that

Richard Grayson brings to the curation of this

project. His catalogue essay foregrounds the

ideas of an `outsider’, Immanuel Velikovsky,

the Russian catastrophist and psychoanalyst.

Velikovsky was pushed into the dustbin by

Carl Sagan as presenter of the much-watched

1980 TV series Cosmos: A Personal Journey.

The wider scientifi c community, opposed to

Velikovsky’s methodology, lent a hand. And

yet ‘The Velikovsky Affair’ as it became known,

did open up discussion about the way academic

disciplines deal with ideas from outside their

fi elds.

Enter Grayson and his interest in the Russian

as someone who, `in the cinematic space-

opera of his vision’ created a demographic

not exclusively about a search for the `truth’

but rather magical and discursive models for

imagining the world. Conclusion? Conspiracy theories, SF meta worlds, nostalgia for a

youthful imagination and ideals capable of

taking on the world – these may not be cerebral

space junk. Revisit them before a Collisions

viewing experience. They will prove useful.

The late 60s-early 70s counter-culture was a

1 Thomas Street (cnr Main North Road)

Nailsworth

Peter Lindon, Plastic Door, photograph

EndlingsEvidence of life emerges from the evacuated factories at Bowden.

Photography by Peter Lindon 2 -23 February 2014

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Di K

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

359 Greenhill Road Toorak Gardens Ph: 8332 7900DAVID SUMNER GALLERY

SEVEN ASPECTSNew Oils and Watercolours by 7 different artists. The exhibition will be opened by Vickie Chapman MP at 11:30 Sun 2nd Feb.

2-22 February 2014

Seacliff Beach 1926

SEA CHANGE EXHIBITION Ground Floor Gallery until March 2014

BAY DISCOVERY CENTRE Glenelg Town Hall,1 Moseley Square Glenelg Open 10am to 5pm daily Ph: 8179 9508

holdfast.sa.gov.au

Sea Change A Celebration of seaside life in Holdfast Bay from 1900s to 1960s


VISUAL ARTS

Collisions WorkoutAre you � t enough to do the Collisions Course? Mental flab might get you to the read-the-labels stage. But tackling all aspects will take skill and stamina. Here are some suggestions:

SF Squats: Science � ction writing, particularly plots dealing with interfaces between alternative worlds, haunts this exhibition. Try: Philip K Dick (Do Androids Dream of Electric Sheep?, The Man in the High Castle); J G Ballard, compelling visual images of altered states (The Drowned World, The Wind from Nowhere, The Crystal World)Trance Dancing: Grayson extolls the virtues of experimental freedom associated with revisiting counter-culture music of the 60s and early 70s. Step into a Giorgio Sant’Angelo spandex workout bodysuit, crank up some retro

psychedelia and be amazed at what planet you land on. Music selections? For a roots experience try a bootleg tape of Grateful Dead’s 1967 Mantra-Rock Dance. Or tune in to Australian band Tame Impala’s album Lonerism. Lots of mesmeric YouTube animation and wa-wa reverbs.Conceptual Crunches: Curl up with some conspiracy theories. Christopher Hitchens has called them the ‘exhaust fumes of democracy’. After viewing Collisions you may agree or see them as circuit breakers to counterbalance militant truths.Acro-Yoga Space Jogging: Exploring or creating alternative realities de� nes a number of Collisions works. Follow this trail by looking at Russian artist Ilya Kabokov’s 1984 installation The Man Who Flew Into Space From His Apartment.Weights: Lift a copy of the Whole Earth Catalog out of the historical dustbin several times. Steve Jobs said it was ‘sort of like Google in paperback form, 35 years before Google came along.’ In a Collisions context it has un� nished business.

» Worlds in Collision

Friday, February 28 to Sunday, March 16

(open daily). Also Tuesday, March 18

to Sunday, March 30 (various times)

SASA Gallery, Contemporary Art Centre of SA,

Anne and Gordon Samstag Museum of Art

and Australian Experimental Art Foundation


mish-mash of youth culture, sexual liberation,

utopianism, psychedelia, political revolution

and anarchy. It got dust-binned too – done in

by economic rationalism and ideas about the

free play of market forces. But, to paraphrase Grayson, it may be possible to imagine a time,

now in fact, when the forces of darkness have

temporarily lost momentum suffi cient to create

spaces in which ‘new relations and structures’

that serve the greater good, can emerge. Out

of the dustbin of course.

Trickle Crunch RSASA Fringe/Autumn Exhibition 16 Feb – 16 March 2014

RSASA Members’ artworks with a trickle and a crunch. A vibrant and creative bunch of artists with colourful contemporary and traditional artworks in paintings, printmaking, photographs, mixed media, sculpture, textiles, and so much more.

ROYAL SOUTH AUSTRALIAN SOCIETY OF ARTS INC.

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

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Bills

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

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

Onesixteenthdymaxion labgrid projects

RED POLES licensed cafe-gallery-b&b

LIVE MUSIC every sunday

LICENSED CAFE/RESTAURANT-GALLERY-B&B-ART CLASSESMcMurtrie Rd, McLaren Vale - Wed to Sun 9-5pmph 08 8323 8994 - [email protected] - www.redpoles.com.au

Collidescope 2014 Fringe Exhibition What happens when you choose just two colours to paint a canvas, make jewellery or a glass object?

Curated by Eileen Lubiana and includes the following artists: Chloe Shay, Natalie Gock, Frances Griffin, Hannah Carlyle, Eileen Lubiana, Jessamy Pollock, Kveta Deans, Andrea Fiebig, Janice Lane, Jane Smeets , Alison Main and Eddie Ferguson.

February 8 - March 16, 2014 Opens Saturday February 8 @ 3pmOpening speaker: Greg Mackie OAM Cultural Advocate.

Painting by Eileen Lubiana


VISUAL ARTS

Where is Melbourne in all this? Not the

‘creative spirit of Melbourne’, as espoused by

Tony Ellwood, Director NGV and doubtless

the many curators and designers who have

contributed to this large undertaking, but

Melbourne the city as something lived in, smelt,

trodden, listened to, observed, remembered or

imagined. Rick Amor’s Mobile call, 2012, is a

good place to start. A city back alley. Plenty of

concrete. Some graffi ti and a salaryman on a mobile watched over by surveillance cameras.

This is grim, melancholic Melbourne. It’s a

reminder of the kind of city it used to be, back

in the wastelands of the 1960s, the dead heart

ringed by suburbia. With this image as talisman

consider a number of artists in Melbourne

Now who draw down on graffi ti as a leitmotif

for defi ning urban character. Ponch Hawkes is

drawn to ‘tree-tagging’ (the art of vandalizing

tree trunks with spray tags), seeing redemption

in the self-healing process of bark shedding.

Tully Moore has sourced such tags, found

street art, signage and evidence of decay as

raw material for paintings, which come across

as secular chasubles.

Stieg Persson’s panels combine trash tagging

with cuter-than kittens and piglets to invoke

a so-sad stand off between pubescent anti-

social mewling and middle-class taste. A full

room installation by the anomalous, ubiquitous

LUSH tracks similar territory by offering

sardonic advice on what it takes to be a street

artist – and how to blow it. The list goes on.

A video documents the actions of artist Ash

Keating paint bombing an enormous tilt-up

wall of a commercial building on Melbourne’s

outskirts (Truganina). There’s another story

here, about the naming of an outer suburb after

the Tasmanian Aboriginal woman, Truganini

– but another time. The artist, complete with

hoodie, may be emulating guerilla style street art, but the end result has a classic gravitas.

Similar comments apply to Daniel Crooks’ ‘time

slice’ animations of city laneways. No drug

pushers or bins full of week old prawns. Liquid

love is in the air.

Melbourne Now sends an intriguing message

through such works about an appetite for street

cred grit chic which feeds the self image of a city

addicted to its transgressive race memories as

a foil to tourist ads of waif girls rolling balls of

string along Melbourne boulevards.

Melbourne Now is a bit OTT.

It’s not so much the weight

of numbers as the wide

diversity of encounters on offer from conventional works, some that

trade in immersive experiences and others,

particularly some commissioned works, that

refuse to be pigeon-holed. Spectacle and

entertainment factors are high but it makes

demands. Real concentration is required to

weigh up the content of individual works and

join the dots in terms of curatorial intentions

underlying relationships between works by

different artists.

» Melbourne Now continues until Sunday, March

23 at the National Gallery of Victoria, St. Kilda

Rd and Federation Square.

ngv.vic.gov.au/melbournenow

Ash KEATING born Australia 1980. NGV International North Wall Billboard Intervention 2013. Weathershield Low

Sheen on Vinyl Billboard

Melbourne Now: Grit Chic Melbourne Now sends an intriguing message about an appetite for street cred grit chic.

BY JOHN NEYLON

Daniel CROOKS, born New Zealand 1973, arrived Australia 1994. Colour single-channel digital video, sound, looped.

Tully Moore, born Australia 1981. Chevron, Goggles, Jaws, Universal Habit 2013 (installation).

Oil on canvas, cotton, chrome, plastic.

moon

HUGHES Gallery

411 Fullarton Road

Fullarton SA 5063

Open daily 10am - 4pm 13 Feb - 16 March 2014

W A L K I N G T H I N K I N G W A L K I N G

L O I S T U R N E R

Paintings and digital works

It’s about the experience

not the object


TRAVEL

There is one ring to rule them all

– at least among alpine skiers. In

Austria, where skiing is a most

serious and earnest religion, there

is a great 22km circuit of continuous pistes that

winds through the high Arlberg region. This

is Der Weisse Ring – the White Ring – which

completes a circuit from the township of Lech

to Zurs, Zug, Oberlech and back to Lech, giving

skiers the chance to descend 5,500 metres of ski

slopes. This, in any skier’s language, is heaven.

Each January there is a formal White Ring

race – a mad daredevil rush of 1000 competitors

from a massed start – but the circuit is open to

anyone at any time.

You don’t have to be gung-ho, with at least

half of the White Ring graded as intermediate

difficulty. It is an irresistible challenge.

The task can be completed in about three

hours of continuous skiing, although it requires

bravery to keep your speed up on long downhill

sections – or risk long walks to ascend several

crests. Fatigue is your enemy, but even if you’re

not confident, there are guides who lead parties

around the ski area via a network of easy routes,

to obtain a sense of what the White Ring circuit

has to offer.

While the skiing is exhilarating, the views

are the true star of the show. The first can be

enjoyed as you ride the cable car from the centre

of Lech to Rufikopf mountain peak at 2362

metres. A giant White Ring logo peeking out

of the snow marks the start of the route – a

badge of honour. Many stop for photos, but

often the wind is biting hard so most push off

immediately without ceremony. Individual

skiers are dwarfed by the enormity of the

landscape, a cathedral of towering white peaks

surrounding big open snow valleys.

This attraction was the vision of legendary

Austrian ski racer/daredevil Sepp Bildstein,

who encouraged the introduction of chairlifts

to Lech and Urs that created the White Ring

route in 1940. However, Olympic and World

Champion Patrick Ortlieb created the White

Ring Race in 2006, to celebrate the 50-year

anniversary of the ski circuit between Lech and

Zürs. Ortlieb still holds the course record for

this longest ski race in the world, taking only

44-and-a-half minutes, which includes riding

the network of six cable cars and chairlifts.

For anyone bold enough to be among the 1000

by DaviD Sly

A LAp of The ALps

participants in this race, professional training

is available from Ortlieb and fellow World

Champion Marc Girardelli.

There is a second, more informal lap of

the Alps that places eating lunch as a higher

priority. Leaving St Anton, you can catch two

cable cars to the highest point of the resort and

roll all the way to Stuben for lunch. This tiny

town that was the home of Hannes Schneider

(the pioneer of modern skiing instruction, who

is commemorated with a bronze statue) now

mostly makes its living out of serving meals to

skiers stepping off the piste.

The Post Hotel has bands set up on the open

patio to entice lunch crowds to linger a little

longer, while at the Gasthof Mondschein dining

room, delicious plates of venison sausage and

blueberry strudel are the main attraction. While

service is slick, most skiers seem keen to pack

away more than a few drinks and big servings

– so a line of taxis wait to take wobbly skiers

back to their St Anton resort accommodation.

Another option for the hungry skier is to

visit Arlberg Hospiz in St Christoph. Adjacent

to the home of the Ski Austria Academy and

national ski racing team, the Hospiz is a

globally coveted place to dine and drink fine

wine, thanks to its owner Adi Werner. Built

around the Brotherhood of St Christoph chapel

and cellar, constructed in 1386, the Hospiz has

luxurious dining rooms for guests, but also

has a famous lunch lodge at the edge of the

piste. Ask to be taken to the big bottle cellar

that houses the world’s largest collection of

large format bottles of Bordeaux wines –

more than 3000 big bottles, from three-litre

double magnums through to 18-litre Melchiors,

forming a significant part of a 50,000-bottle

collection spread through five cellars within

the Hospiz complex.

While people come from around the world

to dine, drink and stay at the Hospitz, many

more simply ski in for lunch – and if the glare

is too bright on the large dining patio or the

balcony, there are straw boaters for gentlemen

to wear. Similarly, if the breeze is too chilly,

there are blankets. Such comforts may tempt

you to consider another bottle of wine with

lunch – because there’s always a nearby taxi

that can ferry you and your skis home.

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FOOD.WINE.COFFEE

Behind the facade of a hundred-and-

something-year-old building comes

an enchanting tale of adventure.

This story isn’t one of faerie castles,

sniggering leprechauns or fearsome hags, but

a fable of wondrous beasts tracked locally from

paddock to plate and butchered in the depths

of the scullery; recipes torn from the pages of

folklore and prepared in a fl urry of delectable

activity; nose, tail, and everything in between.

From the heart of the kitchen to the smoked

heart of an ox, matched impeccably with oyster,

cornichons and capers. This is the tale of the

Daniel O’Connell.

Still suffering from a time when Irish pubs received wicker and glass-panelled makeovers,

the frontage maintains its heritage while some

recent touches have brought the important

parts of this hodgepodge venue up to date

without worrying too much about cohesion.

With exposed beams, brick surrounds, and

ye olde timber joinery, the interior is rounded

off with clunky furniture, chesterfi eld couches,

and whiskey on display.

There’s something to be said about Irish

cuisine, and it certainly isn’t potatoes. It’s black

pudding with a fruity fi nish of peach and apple

and radish. The idea of imperious blood sausage

disappears when the dish lands. Served as a cube

and topped with fruits it delivers an alluring scent.

The only comparison I can suggest is an American

brownie – bittersweet and velvety, with a hint of

chocolate to boot. Alongside is another starter,

a dollop of bone marrow custard served with

lavosh and gherkin (and a large hunk of the blood

pudding brownie).

BY PAUL WOOD

REVIEW:

DANIEL O’CONNELL

Saturday 8th and Sunday 9th February 2014

Sydney’s artisan and sustainable wine and food festival.

All nAturAl

Wine | Food | Beer | CoFFee | ArtS | MuSiC

ROOTSTOCK SYDNEY

‘Instant major player in global wine (and) food conversation. Great energy, fresh ideas, small, local and no bullshit’

– Jill Dupleix, TEDx

www.rootstocksydney.com


FOOD.WINE.COFFEE

» The Daniel O’Connell Pub And Dining

165 Tynte St, North Adelaide

8267 4032

danieloconnell.com.au

Not quite enough lavosh-to-custard ratio, we

use the house-made sourdough bread to mop up

the rest and move on to round three. It’s steak

tartar, but not as you know it – and aptly named

Dead Romance. I’m guessing that the personality

of ‘loveable rogue’ sous chef Phil Whitmarsh

shines through in this dish. Whitmarsh is second

in command to head chef Aaron Gillespie, who

is a Manse graduate and most recently peddled

his wares at Grace the Establishment. These

two make a formidable team; together they

are building quite a reputation while creating a

culinary destination.

Back to the rest of the share menu and

I made a measured decision to avoid the

peculiar sounding (though according to our

waitress, surprisingly delicious) Pig Ear

‘Schnitty’. I appreciate the nod to Adelaide’s

pub favourite, but it was back to the kitchen

with that little auricle, bound for someone with

less discriminating taste. I moved on to the

liver parfait instead, this one served with a

portion of duck breast fi llet accompanied by

prune, cherry and pain d’epice – another sweet

element of spice cake.

The kitchen prepares dishes with minimal

waste, and I was determined to eat in the same

fashion. Full but determined, two main courses

arrived: Saltbush mutton, peas, parsley and

ricotta, and Mulloway Brandade. The ol’ ram

was given the royal treatment and the simple

additions let the cut speak for itself – coated in a master stock that topped things off nicely.

The Mulloway Brandade with crisp egg, trotter

and grains was the lightest of all the dishes,

and served with a side of spiced yogurt-coated

carrots. Delicious.

The local wines are as enticing as this

culinary tale, though I’ve seen most of these on

lists around town before. A Yangarra Roussane

served well with the entrees, and a French

Vermentino followed. I’ve heard whispers

of monthly culinary feasts titled Table for 10

where the guys will serve themed selections

to highlight the season and tickle your buds.

If you’re Irish (at heart) and feel like a tipple

then the Jameson Whiskey fl ights might be

for you, or perhaps a fl ight of their exclusively

imported RC Lemaire range of Champagne.

Whether the Irish legend is true or not I’ve got my three wishes ready: beef shin, bone

marrow and a chocolate stout dessert – he can

keep his pot of gold.

FEAST! FINE

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FOOD.WINE.COFFEE

The Great GrasbyFood identity Marion Grasby is returning to Adelaide for the Cellar door wine Festival, where the MasterChef alumni, cook, food columnist and author will host a series of master classes as well as a long lunch.

by Christopher sanders

Grasby, who worked as an ABC

journalist in Adelaide before

studying gastronomy, recently

moved to Bangkok due to her

Marion’s Kitchen range of products. In

Thailand, the MasterChef Magazine and Taste columnist can be close to her suppliers

as well as travel around Asia for inspiration,

ingredients and recipes.

“Marion’s Kitchen has become the main

focus of what I do now,” Grasby explains about

the ingredient kits, which include Thai Green

Curry, Pad Thai and San Choy Bow. “I love it

because I can travel around Asia looking for

cool dishes and flavours, spices and ingredients

and turn them into packs that everyone back

home in Australia can use everyday. It really

made more sense to be in Thailand where my

producers and suppliers are based. It means I can be out there and making sure everything is

happening the way I want. If I want to design

new products I can head out and chat to the

guys about it.

“It was a Marion’s Kitchen-focused move but

at the same time, Bangkok’s pretty awesome.

The city is famous for its fried chicken. There

are street vendors on every corner selling fried

chicken. Who doesn’t want to move to a city

with fried chicken on every corner? Every

time I walk to the office I walk past the grilled

pork lady, the papaya salad lady and the fried

chicken man – it’s such a delicious city.”

The master classes Grasby will host at

the Cellar Door Wine Festival are Summer

» Cellar door Wine Festival

adelaide Convention Centre

Friday, February 14 to Sunday, February 16

cellardoorfestival.com.au

Marion Grasby

Entertaining, Asian Favourites and the

Decadent Valentine’s Day Extravaganza.

“The cool thing about the master classes –

because this doesn’t happen with every sort

of food demo I do – is that you get to come

along to taste the food and we run through the

cooking of the dishes, so it’s really exciting.”

Like her Marion’s Kitchen products, Grasby’s

events at the Adelaide Convention Centre-

based festival will have an Asian influence.

“I guess because of the way I cook and my

family heritage, and I’m based in Asia now, a lot of my dishes have an Asian flavour. But the

cool thing about coming to South Australia is

that there’s such amazing South Australian

produce – the dishes will have a little Asian

flavour but I will definitely use local produce.”

Grasby’s new book Asia Express will arrive

this May and is based on recipes Grasby

collected travelling through Asia.

“I’ve been lucky enough to travel to South

Korea, Japan, Hong Kong, Singapore, Malaysia

and Vietnam, so it features recipes from all over

Asia. I always like to say I collect recipes rather

than souvenirs, and when I can I smuggle

in bags of peppercorn or spices – that’s not

illegal in Thailand, I would never do that in

Australia!” she laughs. “I guess they’re recipes

I’ve collected on my travels over the last couple

of years, which is really fun and also I’ve made

them [the recipes] very quick, most of the

recipes you can complete in about 30 minutes.”


FOOD.WINE.COFFEE

Sustainable Wine

by Mike bennie

The ebb and flow of season, the constant

tinkering and unpredictable impact

of nature, the advances in research,

raw intuition when nurturing a vineyard, the

imprint of human labour versus the ease of

mechanising – all of these things conspire when

considering sustainability and wine. It’s a funny

thing, lending definition to something that feels

a bit indefinable.

First thing is first; the growing of grapes

should be managed with environmental impact

in mind. Organic and biodynamic farming tend

to be the best practices, with the latter not only

creating a farm-bound ecosystem forged from

a waste-not-want-not application of viticultural

practice, but an effective recycling of farm-

generated product (and waste in the form of

manures and composts), that work towards a

home-grown sustainability.

Sustainability is, however, a bigger picture. Goals of sustainable growing are emphatically

based on relative quality increase of wine grown

from sustainable farming practices, and though

a change and evolution to more sustainable

growing requires a leap of faith for many

who consider conventional farming safe and

practical, its impact is a bigger picture, locally

and globally.

The value of sustainability isn’t to be

quantified by trifles of higher points from

critics or a new found adulation from wine

cognoscenti, but a spiritual and environmental

connection to place that isn’t always measured

in terms of proven pecuniary worth, but

in a feeling that connects responsibility

to nature in a link to the toil of the farm. Sustainability, whether pitched to or proven,

brings winegrowing closer to nature, with less

chemical and environmental impact, and works

to protect and enhance the environment, locally

and further afield.

Key elements of sustainability can be quantified,

though variances are prevalent. Soil health and

fertiliser management form the basis for most

benefit of sustainability, but it is coupled with pest

and disease management and encouragement of

biodiversity that not only benefits the growing of

grapes, but a broader environmental program.

Added to this are water- and waste-management

programs, and following all of this comes the

social impact – the benefit to local communities.

Finally, for those seeking business advantage, the

removal of non-sustainable product and practice

costs that beleaguer a farm, forms part of the

sustainability benefit.

In a remarkable step forward, and

emphatically supported by the New

Zealand government, New Zealand wine

has implemented a sustainability charter

that requires adhering to, for participation

in sanctioned NZ Winegrowers events.

Sustainable Winegrowing New Zealand

(SWNZ) was established in 1995 and provides,

in essence, “a framework for viticultural

and winemaking practices that protect the

environment while efficiently and economically

producing premium wine grapes and wine”.

Since its inception in 2007, approximately 94

percent of all vineyards are now SWNZ certified

(2012 statistics), with around 20 percent of

vineyards being farmed organically. It’s making

a decided impact.

A similar program has been established in

McLaren Vale wine region of South Australia, with a 37 percent growth in participation seen

in 2013, and a total of 53 percent of all grapes

crushed from the 2013 harvest working with

the McLaren Vale Sustainable Winegrowing

Australia principles. The regional initiative

is a first-of-its-kind program in Australia and

“provides growers with the means to improve

practices in a way that optimises sustainability

of both their business and the region”.

The McLaren Vale system works a

practical application of the program with

self-assessment and data reporting key to the

initiative and developing of practices, fostered

through a group setting. Increasingly, wineries

around Australia are implementing their own

measures, but these are often best suited to

existing winery practices or the rigmarole

of marketing and marketability, rather than

making full blown steps to sustainability.

To ascertain sustainability credentials is

difficult without a community or industry

standard or charter. Asking questions is always

the first step – if you choose to make decisions

that bring to your kitchen free-range eggs over

cage-grown, or you source or grow your own

organic vegetables, you elect lamb cutlets that

are organic, grass-fed and free-range, you

are already buying into ideas of process and

provenance. With this, sustainable wine goes

hand-in-hand. Where wine is grown and how

it goes to bottle must form part of your next

and on-going conversation.

165 Tynte Street, North Adelaide, South Australia 5006

Ph: 08 8267 4032 www.danieloconnell.com.au

Email: [email protected]

Opening Hours: Open Daily 11:00am - close

Dining menu: Mon - Thurs 12 - 3 pm 5 - 9pm | Friday - Sunday | All Day Dining

“I have the simplest tastes. I am always

satisfied with the best.” Oscar Wilde

Discover the surprises

inside

ADElAiDE’S GOurmET Pub

For those seeking the finest food, beverage and service

in the comfort of a pub.

B A R

•

D I N I N G

•

C O U R T Y A R D

•

P R I V A T E R O O M S

2 0 1 3 N E W r E S T A u r A N T

O F T H E Y E A r


FOOD.WINE.COFFEE

Ragini Dey is the energetic personality

behind Dhaba at the Spice Kitchen. I

recently met with her at the Leabrook

restaurant where she revealed the tradition of

panir cheese. This fresh, acid-set curd cheese

is widely used in Indian cuisine.

Ragini Dey was born into a middle-class family

in Mirzapur, India. She grew up in Delhi having

a sense of regional food boundaries partly due

to her parents. Her father was from Bengal and

her mother from the north of India. Her food has

been infl uenced by the regional styles she grew

up with at her parents’ table. Ragini’s food has an

exceptional balance of spices and fl avour, which

she says comes from years of experimenting and

an uncompromising approach.

The traditional fresh Indian cheese panir (also

known as paneer, and chaana in Bengal) can be

grilled, used fresh, braised or baked. It is high

on Ragini’s list of ingredients. She explains:

Panir

BY KRIS LLOYD

CHEESE MATTERS

“Dairy is a big thing in India, everyone eats

cheese, they make their own yoghurt and love

cream. Historically, culturally and socially, milk

is very important in India.” Each household

has a milking cow tethered to their verandah,

she explains. “Milk is food from the gods and

anything that comes from there is very precious

and appreciated.” Buffalo, goat and camel’s milk

also all play a part in this exotic cuisine.

In India, panir is used in hundreds of savoury

dishes; it also forms a large part of many

variations of sweet dishes and desserts. As people

have become busier the tradition of making panir

at home is not as popular as it was in the past.

Ragini says that the “freshness and sweetness

of a freshly made panir is worth the time and

the relatively small amount of effort required

to make it. When I was growing up the modern

conveniences of today just weren’t available and

people would make their own. You could buy it

in some stores, but it was frowned upon.”

She explains that “homemade is always better”

and relates it to buying a packaged spice mix of

Rogan Josh. Back in the day this was unheard of.

“No one would touch such a thing, especially in

India,” she explains. “You would buy the whole

spice and you would always grind it yourself.

Indeed we would take our wheat to the local mill

for freshly milled fl our for the household.”

She questions the direction of this progress around food. “India has become more modern

but some things haven’t changed. The

shoeshine man is still there, but now he has a

mobile phone to take all his bookings.”

RAGINI’S PANIR

(makes 250 grams)

Ingredients: Two litres milk and 60ml white

vinegar

Line a large mesh strainer with a clean square

of muslin (cheese cloth). Put the milk in a large

heavy-based saucepan over medium heat and

bring to boil. Remove from the heat and stir in

vinegar. Continue stirring until the milk starts

to separate and curd forms. This should take

about a minute.

Pour the liquid into the strainer lined with muslin, so that the whey drains away and

the curd is caught in the muslin. Bring in the

corners of the muslin to meet at the centre and

tie a knot. Transfer the bundle to a large bowl

and sit a plate, which will fi t inside the bowl,

directly onto the bundle, weighed down with

two-to-three cans. Leave for about 30 minutes,

or until the panir is fi rm.

Remove the panir from the muslin and

immerse it in a large bowl of cold water. In

an airtight container, store covered in water

in a refrigerator for fi ve to seven days. Panir

can be used in curries, stuffi ng, dips, snacks

and dessert. Different acid agents can be used

to curdle, or separate, the milk producing

different textures. You could try lemon or lime

juice, whey, yoghurt or buttermilk. Panir can

be hung instead of pressed to give a different

texture and consistency, suitable for desserts.

This simple cheese features strongly on

Ragini’s menu. I shared a variety of panir with

her, each with a slightly different fl avour and

texture. What stood out was the fresh milkiness

and clean fl avour. Somewhere between a fi rm

cottage cheese and soft feta style is the way

I would describe it. The real treat, however,

was sampling the traditional dishes where the

cheese was combined with other fl avours.

Cheese pakoras fi lled with panir, coriander

and saffron, curries with solid little cubes of

panir and rasgulla (a panir-based, syrupy

dessert) were among my favourites.

Ragini was 26 when she arrived in Australia.

She established Dhaba at The Spice Kitchen

in 1992, where she continues to create and

explore a tapestry of fl avours and tradition

in her kitchen.

Her new book Spice Kitchen from Ganges to Goa is a must have for lovers of Indian cuisine.

» Kris Lloyd is the Head Cheese Maker

of Woodside Cheese Wrights

woodsidecheese.com.au

GOVERNMENT PARTNER

go to website, get your tickets early and enter to win a prize! www.carnevale-adelaide.com

~ An Italian weekend in the heart of Adelaide ~

ce

lebrating

of italian festiv

als

39years

~ ~


FOOD.WINE.COFFEE

There is no better way to discover the soul

of a country than to eat your way around

the landscape and embrace the local

food. I once met a person who while on vacation

in Bangkok, only ate pasta at their hotel due to

a fear of what would be on offer in the bustling

streets below. One could argue, why travel?

What’s the point of visiting a country if you

can’t taste what life is like for the people who

call it home?

For me, discovering new cities is all about

the food and the people that line the streets

serving it. Street food instantly makes most

of us think of Asia and the food served on the

lively streets of India but in fact, in one form

or another, street food is present in all cities

around the world.

The abundance of eels in the River Thames

during the 18th century were put to good use

with the creation of the original street food of

London, the humble pot of jellied eel. Due to its popularity, mainly in the east end of London

it started the eel, pie and mash revolution.

However, the demand for jellied eels has

since significantly declined, resulting in only

a handful of small vendors still serving this

signature British street food.

Wieners graced the shores of America in the

1800s with the influx of European immigrants

and one of the most famous American street

foods was to follow.

Wieners were sold from Dog Wagons all

along the eastern coast of America and with the

addition of a bun and condiments the humble

wiener is now the iconic American hotdog.

Would a trip to the Big Apple be complete

without one?

Street Food

BY annabelle baker

Food For ThoughT

twitter.com/annabelleats

Large shallow pans full of chickpea batter

are baked in wood ovens all along the Côte

d’Azur and are enjoyed by the locals from

Nice to Pisa. The variations along the

coast highlight the local produce found

in abundance; thinly sliced artichokes or onions, wild rosemary and in its home town

Genoa served with crispy whitebait.

There is no doubt that food is a universal

way of connecting and although sometimes

confronting, once embraced is an amazing way

to break down cultural barriers. Forget the

restaurants when in a new city, hit the streets

and find out what the locals are eating.

SoccaThis is an excellent gluten free dish for warm summer lunches. Top the chickpea crepes with any salad of your choosing but tomato and mozzarella is a particularly delicious combination.

Ingredients• 1 Cup chickpea flour (organic does make a difference)• 2 Tablespoons extra virgin olive oil• 1 ¼ Cup of water• Salt

Method1. In a large bowl combine the chickpea flour, olive oil and a large pinch of salt.2. Whisk in the water until you have a consistency similar to pouring cream.3. Cover the batter and leave in the refrigerator for six hours or, if possible, overnight. 4. Heat a crepe or non-stick pan with shallow sides to a medium heat.5. Spray with olive oil spray or add a tiny amount of olive oil6. Add a ladleful of the batter to the pan and tilt to evenly coat the pan. 7. When bubbles come to the surface and it starts to shrink away from the pan around the sides, it is ready to turn.8. Cook for a further three-to-five minutes until slightly golden brown on both sides.9. The first one never works so have a taste and check the seasoning, adjust as required.10. Eat warm with a light sprinkling of sea salt and cracked pepper or serve with a light salad.

twitter.com/hot100SA

2 0 1 3 / 2 0 1 4

O U T N O wa d e l a i d e r e v i e w . c O m . a U


FOOD.WINE.COFFEE

With more than 60 different wines

in production, Chester Osborn

– he of the hair like a Welsh

sheep and the shouty shirts –

can be forgiven for momentarily losing track

of d’Arenberg’s prolific output. Whereas most

wineries are content to make a single dessert

wine, d’Arenberg, he says, produces no less

than five: “Or is it six?”

One of his stable of stickies, The Noble

Prankster 2010, is the runner-up in the latest

Adelaide Review Hot 100 South Australian Wines, inciting the judges to describe it as:

“Deconstructed crème brulee with a purity that

makes for super drinkability. Exotic honey,

citrus rind and cut apricot make it a sinful,

hedonistic pleasure.”

A maker of stickies for nearly 30 years,

d’Arenberg is one of the pioneers of the style

in South Australia, and indeed can claim to

be the first Australian winery to use the term

“Noble” in the name of a wine, a usage which

has since been adopted around Australia and

the world. Chester Osborn’s very first dessert Riesling made in 1984 wasn’t released – “I

didn’t know what I was doing,” he cheerfully

admits – but when the revised version made its

public debut the following year, it immediately

won popular and critical acclaim.

Since then, the botrytis-affected Riesling,

now known as the Noble Wrinkled Riesling,

has been joined in the d’Arenberg catalogue

by several other takes on the genre, including

the Noble Mud Pie, which enlists Rhone whites

Viognier and Marsanne, and the mischievously

monikered Noble Botryotinia Fuckeliana, a

tribute to an earlier scientific name for the

mould eponymously endowed by Karl Fuckel

in the 1800s.

While the Fuckeliana is made from more

traditional constituents of Sauvignon Blanc and

Semillon, the vast majority of the grapes that go

into the Prankster are of a variety not usually

associated with dessert wines – Chardonnay.

Osborn says that in a sense, we have the

New Zealanders to thank for the Prankster.

One side-effect of the trans-Tasman tsunami

of Sauvignon Blanc was reduced demand

for Chardonnay, and the resulting glut saw

premium Chardonnay grapes going unpicked

in both McLaren Vale and the Adelaide Hills.

Osborn offered to take parcels of any botrytis-

affected Chardonnay from the growers, and The

Prankster, so-called because it is Sauterne-like

but isn’t made from Semillon, is the upshot.

The best of the available grapes go into The

Prankster, with lesser quality parcels used to

produce the Stump Jump Sticky Chardonnay.

(With characteristic lack of inhibition,

d’Arenberg also releases Stump Jump Sticky

in a sparkling version).

Although dessert wines can be made in

other ways, the classic style, exemplified

by the revered Sauternes of France, enlists

the desiccating action of the mould botrytis

cinerea, also known as noble rot. This

naturally occurring mould penetrates the

grapes to feed on their moisture and sugars,

setting off a chain of chemical changes and

evaporation that eventually reduces the weight

of the berries by as much as half. The result is

bunches of shriveled, browned fruit, singularly

unattractive in appearance but containing tiny

quantities of highly concentrated juice with a

sky-high Baume.

Specialised yeast strains are required to

achieve fermentation, ultimately producing

a golden-coloured wine of close to 10 percent

alcohol that still retains luxuriant levels of

residual sugar.

Blending the Hills and McLaren Vale fruit

gives a mix of refined with more tropical

characters, and Osborn says that while the

Prankster does exhibit the lemon butter

flavours typically associated with a Sauterne,

the Chardonnay offers more citrus characters

and notes reminiscent of Granny Smith apples,

in contrast to the gooseberry-like bouquet

characteristic of Semillon. For those with

the restraint to cellar it, the wine will achieve

greater depths of both colour and flavour.

While the 2010 vintage is officially sold out,

sharp-eyed buyers will still find it in bottle

shops, as long as the Hot 100 judges haven’t

beaten them to it.

darenberg.com.au

Success for a Sticky Chardonnay Prank

by Charles Gent

HotWines

THE ADELAIDE REVIEW

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FOOD.WINE.COFFEE

COUPOLE BY VERMONT CREAMERYAllison Hooper and Bob Reese began the Vermont Creamery about 25 years ago. Bob was an agriculture graduate and Allison had spent time in France learning to make cheese as a student. They have since won a swag of awards for their distinctive cheese range. Coupole is named for its likeness in shape to a snow-covered dome and is made with fresh pasteurised goat’s milk from family farms in Vermont. The interior of the cheese has a dense texture and fresh, milky � avour. There is a lovely contrast between the � avour of the geotrichum rind and the delicate freshness of the interior.

PETIT GRES DES VOSGESThis traditional soft-ripened, washed rind cheese is a true farmhouse delight. It is made in Alsace, the region famous for other washed rinds such as Munster. However, unlike Munster, this cheese has a more delicate palate. Grès des Vosges is carefully matured in humid cellars for a minimum of three weeks then hand packed and decorated with an attractive fern leaf from the region. It has the typical yeasty aroma of a washed rind with hints of mushroom, barnyard and smoky garlic. The aroma is quite robust compared to the taste; underneath the moist, sticky rind is a soft supple paste with a pale straw colour and a delicate earthy � avour.

CRITTENDEN ESTATE OGGI 2012

RRP: $35Mornington Peninsula

“The cooling breezes from Port Phillip Bay are vital in keeping minimum temperatures up and maximum temperatures down on the Peninsula,” says Crittenden Estate winemaker Rollo Crittenden. “I’m a big fan of retained acidity and the unique aspect and climate down here allows that.” Second generation Rollo spearheads the winemaking at Crittenden Estate with a blend of classic, modern and experimental styles. ‘Oggi’ means ‘today’ in Italian and is the name given to those experimental and limited release wines made to re� ect styles that are ‘of the moment’; in this case, the ancient yet re-emerging style of skin-contact white wines. This is a blend of the highly textural varieties Friulano, Savagnin and Arneis but made like a red wine. The result is an intriguing and utterly refreshing white wine. Some lovely yet restrained aromatics on the nose followed by a highly structured, dry and textural mouthful, all zipped together on a lively line of acid.

MOORILLA MUSE SERIES RIESLING 2011

RRP: $30Tasmania

For Moorilla winemaker, Conor van der Reest, the effects of Tasmania’s maritime region present themselves in an amalgam of ways. “There are the normal moderating effects on temperature: we almost always have a breeze or wind blowing on the vineyard. This certainly helps with disease management and limiting any potential frosts.” Other bene� ts include a long slow ripening period where grapes can develop an abundance of � avour, � nesse and elegance; perfect virtues for a variety such as Riesling. The � rst Moorilla Riesling was released in 1962 and today the variety is one of the winery’s signature wines. This wine is wildly attractive, like a walk through an orchard in springtime. The nose offers beautiful white � orals, blossom and citrus and is followed by a palate of great depth, texture and acidity. The wine is as attractively packaged as it is to drink.

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FOOD.WINE.COFFEE

Bellavitano GoldThe Sartori family’s been working with cheese in America for four generations. They have a very close relationship with their local dairies and are very proud of the quality of the milk delivered fresh to their premises in wisconsin. They work closely with chefs, developing products for the foodservice industry. inspired by traditional italian farmstead cheese, Bellavitano Gold has a dense texture and full flavour.

Comté Hervé monsThe mons family, affineurs for three generations, selected only 11 of the 160 comté producers with which to work. Together with the cheese makers, they regularly taste each batch before selecting wheels for maturation. These wheels of comté arrive at mons at about six months of age. They are then kept in the mons maturing tunnel where each week they are checked, turned and brushed by hand until they reach eighteen months of age. when these wheels arrive in Australia they go into the cheese culture maturing room where the same level of care is given weekly until they are sold. The final product has a firm texture and exquisite nutty characters.

Voyager estate Chardonnay

rrP: $45Margaret river

with wily coastlines, monster swells and wide open landscapes, surfers, travellers and winegrowers love margaret River. voyager estate sits in middle of the region where just five kilometres to the west of the vineyards is the indian ocean, 40 kilometres south is the Southern ocean, meaning the maritime effects abound. “This climate has a significant effect on the style of all our wines,” says Steve James, manager of winemaking and viticulture at voyager estate. “during the ripening season the morning warms up and, around midday, the sea breeze arrives – bringing a cooling effect and blowing the warm air mass out of the vineyards. it also ensures we have cooler evenings, which are important for flavour and acid retention in the ripening grapes.” This is a complex and evocative wine melding notes of lemon, lime and grapefruit citrus, hints of spice and a puff of vanilla. it is a rich and complex wine, with many layers, length and great harmony.

Kangarilla roadsCarCe earth shiraz 2011

rrP: $60McLaren Vale

“The main word is ‘savouriness’,” says Kangarilla Road owner and winemaker Kevin o’Brien when asked how the maritime influence affects his Shiraz. “it goes for all our wines but i think it is accentuated in Shiraz.” mclaren vale sits on the coast of the Gulf of St vincent, which moderates the temperature and generates cooling sea breezes. This wine, part of the Scarce earth project that Kevin describes as single vineyard wines from specific geologies, is from a vineyard on Blanche Point. Just 500 metres from the Gulf, it is the most maritime vineyard site in mclaren vale. The nose is intense with savoury and earthy notes and a hint of spice; the palate is long, complex and woven with a lovely finessing acidity and subtle minerality. it is a seductive wine, with length and complexity that reaches to the abyss.

smellycheese.com.au TheSmellyCheeseShop @thesmellycheeseshop

PHONE: 8231 5867 TO BOOK

or visit smellycheeseclub.com.au

(all classes held at 25 Wright Street, Adelaide)

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FOOD.WINE.COFFEE

Straight from the Branch

BY DEREK CROZIER

Coffee Branch is a boutique with a

switched on city style interior that

reminds me of Amsterdam (especially

the bikes on the wall). Greeted by friendly

smiles from the staff behind the bar, this is

the perfect place to have a coffee break if you’re

near Leigh St. As soon as I walked up to the bar

and asked for the barista’s recommendations,

he seemed excited to talk coffee, explaining that

they use Five Senses Coffee and naked fi lter

baskets through the Synesso Espresso Machine.

To keep things interesting Coffee Branch

changes their single origin beans weekly.

YirgZero Ethiopia was on the menu for my

Espresso the day I visited. The ‘zero’ in YirgZero

refers to the absence of defects in this Ethiopian

coffee, which makes it a premium single origin

bean that is hand-sorted once dried. The aroma

was of tart and the crema golden brown. My

fi rst sip had a structured acidity, which turned

to sweetness as I knocked it back. It had a

delicate fl avour with complexity.

The latte was an in-house blend that you’ll fi nd there every week called Lost Sheep; made

up of Colombian, Ethiopian and Guatemalan

beans. Made with Tweedvale milk, it was

presented with a six-leaf tulip on top as the

art. I could smell the fl oral notes from the

Colombian beans while the Guatemalan beans

left a lingering clean aftertaste.

Coffee Branch is one of those places that

feels like an episode of Cheers when you walk

in as the baristas greet customers by name and

crack jokes to make that morning/lunch coffee

break all the more enjoyable.

Fiefy’s Specialty Cafe is a small

boutique with a big heart in the

business district of Adelaide city. They pour coffee from Coffee Snobs

through a La Marzocco Espresso Machine that

matches the décor. I can’t help but feel that

Fiefy’s (the owner) personality shines through

with every little detail, from the logo to the latte

» Fiefy’s Specialty Cafe

1/45 Pirie St, Adelaide

� efys.com.au

» Coffee Branch

32 Leigh St, Adelaide

coffeebranch.com

Golden Personality

BY DEREK CROZIER

art. I don’t normally eavesdrop but I overheard

the barista chatting to people very sincerely, as

if every customer was an old friend.

As soon as it was my turn, the passionate

barista offered me the Barista Competition

Blend for my espresso, which is made up of

Sumatran, Papua New Guinean and Ethiopian

beans. The crema was thick, dark brown and

consistent. It had a bold earthy fl avour, and

a smooth acidity from the Ethiopian beans.

The latte came from a blend called Organic @ Origin, which is made up of Mexican and

South American beans. It had light golden

coloured crema that was perfectly blended

with the milk and a cute dog’s face as the latte

art. It had a well-rounded fl avour and I could

taste the chocolate notes all the way through

until the end.

The barista explained how Fiefy designed both

of the blends for Andy Freeman at Coffee Snobs,

who then went on to enter them in the 2013

Golden Bean Roasting Competition where both

blends won gold. Fiefy won a list of competitions

with the blends also, so it’s quite a privilege to

have a chance to taste these beans in action.

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

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

THE ADELAIDE REVIEW FEBRUARY 2014


FORM

Packed with concrete, asphalt, glass, traffi c and the man-made heat given off from over-stretched air conditiong systems, there was a strong sense of

being marooned on an Urban Heat Island. It is little wonder there are urgent calls for increased green space in urban areas to mitigate the impact of heatwaves.

All predictions indicate the intensity and frequency of these conditions will increase as the planet warms. The Bureau of Meteorology predicts a higher frequency of stronger and longer prevailing heatwaves for Australia. Finding ways to design, reshape and build our cities to adapt to climate change is a matter of urgent concern and one university researchers are set to tackle.

As we have seen from recent experience this is not just a matter of comfort or securing commercial productivity – it is a matter of life and death. At the peak of this episode, 163 people needed treatment in Adelaide hospitals because of the heatwave (mainly for risk of heat stroke and dehydration).

The number of heat-related deaths in Adelaide is expected to more than double by 2030. The greatest number of deaths occurs in those aged 75 or older. Sustainable urban development principles recommend the use of green roof gardens and green walls, as vegetation cools the air temperatures; in addition, we should use construction materials that don’t store, but refl ect, the heat.

Research shows a 10 percent increase in urban green space can decrease surface temperatures by up to four degrees Celsius, as well as reducing air-conditioning costs and greenhouse gas emissions. Green spaces could also reduce heat-related fatalities. Aiming for a healthy, liveable and sustainable city, we need better models of urban infi ll and gardens to successfully reintroduce greenery and natural habitat into a more compact urban environment.

The federal government’s 2013 State of Australian Cities report found people living in cities could be more susceptible to the effects of heatwaves. It said the urban heat island was

Adelaide has just come out of one of its worst spells of prolonged heat on record with blazing 42-degree-plus temperatures for � ve days straight in January. Winning the dubious honour of the title “hottest city in the world” on January 16, in the con� nes of the city square mile the intensi� cation of those temperatures was debilitating.

BY STEFFEN LEHMANN

GREEN SPACES CAN COMBAT URBAN HEAT STRESS

Professor Steffen Lehmann

“caused by the prevalence in cities of heat-absorbing materials, such as dark-coloured pavements and roofs, concrete, urban canyons trapping hot air, and a lack of shade and green space’’.

The urban heat island effect is lifting city-centre temperatures by up to six degrees Celsius between the city centre and suburbs. If built with the wrong materials and too little green space, cities trap and store heat like a baking oven.

During heat waves, the night cooling effect doesn’t work anymore. In the past, cities used to cool down overnight – when you came into the CBD of a morning, the heat from the previous day had dissipated. Now, due to an excess of anthropogenic heat, that is just not happening.

Usually you open the windows at night and it’s nice and cool in the morning when you get up. But in such periods of extensive heat, cities don’t cool down overnight because the way we have built our cities stores and traps heat.

It’s timely to think about changing Australia’s building code to mandate more heat-resistant designs and materials. We have to have more green roof gardens, green walls and community gardens, and use materials that refl ect the heat.

The City of Melbourne has implemented the ‘Urban Forest’ concept, with the aim of doubling its canopy cover over the next 25 years – so from 22 percent to 40 percent by 2040.

As a transformational project, Adelaide could engage in a massive tree planting initiative that

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FORM

» Professor Steffen Lehmann will be

one of the feature presenters at the

university of South australia sponsored

Planet Talks at WOMaDelaide Friday, march 7

to monday, march 10

Phot

o: S

imon

cas

son

brings back street trees and gardens. It’s also timely to rethink the role of the parklands and create distinctive meeting places within the parklands. Luckily, we have not minimised the size of the parklands and the City of Adelaide has always protected these unique public recreational areas from any construction attempts.

Interestingly, today we know that trees make perfect business-sense, save energy and help to keep cities cool. With a project grant of more than $1 million, UniSA is leading a comparative research study to tackle heat stress in Australian cities, which has at its heart an investigation into building and construction design.

The study brings together three universities and eight industry and government partners, including SA Urban Renewal Authority,

BlueScope Steel, Hassell Architects, the Cities of Adelaide and Sydney and the NGIA. Part of this large three-year research project is the investigation of use patterns and behavior of people in public space.

We are asking what happens in public spaces when older people and young children are not able to go out because of the heat. How do we build cities and new types of public spaces that mitigate heat stress and reduce the storage of heat?

The urban heat island effect is found in metropolitan areas where an urban microclimate is created due to human activity. It causes the city centre to be considerably warmer than its surrounding areas. Urban development is a big culprit as original land surfaces are diminished and replaced with dark energy-absorbing roads and buildings. It is also caused by waste heat from air-conditioning units, which often need to be used more to combat the effects of heat increases, further exacerbating the problem.

Today, as effective and innovative as they are, we need to look far beyond green roofs to solve the problem, because when you move into a suburban context these sorts of innovations cannot be effectively applied. Every one degree Celsius temperature reduction means around five percent energy saving through reduced cooling load. In a large city like Adelaide this amounts to significant saving potential.

We know that building materials, surface colours and pavement all have a significant effect on heat buildup and transfer. For example, the fashion for black tiles on roofs is really not something we can afford to indulge if we are serious about building heat-resistant cities and suburbs.

Black tiles are one of the worst things you can have on a roof if you are hoping to efficiently manage heat. Black roofs absorb considerably more heat energy, driving a much greater cooling load and in turn lifting both greenhouse gas emissions and energy costs.

Changing building codes so that black or other heat trapping tiles are legislated and not able to

be used in cities such as Adelaide, Melbourne and Perth would be a simple and immediate step towards improving heat resistance.

We know that cities were never intended to be completed. All cities are inherently evolutionary, in constant transformation and much of their character lies in the complexity and diversity of urban spaces. However, with the impact of population growth, demographic change, an ageing population, climate change and the urgency of global warming, achieving sustainable urban development with meaningful and sustainable ‘places’ has become significantly more urgent and complex.

The bigger task ahead is to transform our existing cities to become more walkable, compact, sustainable and liveable – and that includes a notion of cooler, more heat-resistent cities. In this process it is essential to better understand the interplay between higher densities and the risk of the urban heat island effect.

Already one year into the research, we are are well on the way to building a better understanding of the essential characteristics of urban microclimates in key Australian cities – working with Adelaide, Melbourne and Sydney.

Our goal is to disseminate and promote policy dialogue and peer-learning among cities, researchers and industry partners to encourage

city-to-city knowledge transfer.

We also hope to provide capacity-development programs for stakeholders in cities that are striving to become ‘Cool Cities’ and reduce cooling energy loads, and design a comprehensive framework to monitor and assess urban microclimates with key indicators and measurements, so that we can build mixed-use and vibrant urban centres that withstand the worst effects of heatwaves in the future.

Our research will also deliver cost-benefit and risk analysis of the urban heat island mitigation options so that future planning options can be evaluated.

This work will give urban local government authorities, state/regional planning and public health agencies, developers, industry and infrastructure/service providers the tools to make better planning decisions for a future which will undoubtedly include hotter and more frequent heatwaves.

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FORM

Some of the country’s most notable

designers and architects are involved

in pushing this agenda and the

current outcomes are innovative,

cost-effective and award-winning. We talk

to Jeremy McLeod, Justin Hermes and

Matt Woods about their sustainable design

practices.

Jeremy mcLeodAs the founder and principal of one of

Australia’s most well respected sustainable

architecture firms, Breathe Architecture,

Melbourne-based McLeod has a reputation

for walking the walk and talking the talk.

How is current sustainable design

practice different from when you

began practising?

When I established Breathe Architecture

in 2001 we were probably only one of seven

sustainable architecture firms in Melbourne.

So the biggest change is our competition. Back

when I was studying in 1990 there was only one

environmental design course in the country,

now it’s taught across multiple universities

at every level. Everyone is aware of climate

change and a lot of architects and designers

are taking it seriously. It still frustrates me

to see that some don’t, but it’s great to see so

many firms doing good work.

Is your lo-fi aesthetic a deliberate

stylistic intention?

We’re constantly asking our clients and

ourselves what is needed rather than what

is wanted. We don’t like to build houses that

are more than 220sqm and so our first design

consideration is around house size and building

for necessity. The other thing we do is look at

the design in terms of orientation, ventilation

and incorporating sustainable technologies

from the outset. We’re always peeling back

layers of unnecessary stuff and a lot of the

projects we do are about stripping things out

and building less.

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

by Leanne amodeo

Smart DeSign

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do you think we’ve become less

reckless with our resources as a

society?

About seven years ago, I noticed that people

were starting to accept that climate change was

for real. This shift in attitude coincided with the

drought and all of a sudden clients were asking

us for water tanks. As architects we stopped

fighting with our clients over sustainability

features. But I’m starting to see apathy from

people. It’s like we had this golden opportunity

when everyone first realised climate change

was upon us and now we’ve sort of plateaued.

As architects we not only have the ability to

change the energy consumption or profile of a

particular family or organisation, we have the

potential to inspire so other people can follow.

We have a lot of responsibility and I think we

can step it up. We’ve all got to do better.

Justin HermesRecently launching his showroom in Adelaide’s

CBD, this Adelaide Hills-based designer-maker

is fast making a name for himself with bespoke

furniture made from reclaimed and salvaged

materials.

Has the demand for furniture made

of reclaimed materials increased in

recent years?

There is an eco trend at the moment that’s been increasing exponentially; the demand for

reclaimed materials has gone through the roof

in the past 10 years.

People are seeing the value in utilising these

materials and the idea of locking up carbon in

timber rather than having it burnt or chipped.

Demand is such that I’ve also started salvaging

timber – actually salvaging trees. It’s extra work but

it comes with extra reward and so the effort involved

in converting, storing and preparing the material

more than pays for itself in terms of the end result.

What sustainability principles

underlie your work as a designer-

maker?

My primary philosophy is to let the material

do most of the work and try to leave it in as

much of its natural state as possible. The

process involved in using salvaged timber

typically takes a year or two. I first take the

logs to a saw miller where they are cut into

slabs and then for every inch of thickness I have

to let the slab dry for one year. Converting the

timber myself presents exciting opportunities

and I’m committed to the idea that these

materials are worth saving and that it’s good

for the environment and the end user. There’s

so much more for people to enjoy when they’re

receiving furniture that’s been made in this way

from materials that have been treated with care.

Are there any stories behind the

materials that have particularly

resonated with you?

I’ve got a couple of clients who have been

sad about having to get rid of some beautiful

trees, so rather than go through the process of

fire-wooding or mulching they’ve come to me

for an alternative approach. They’ve got a real

attachment to the material and have already

invested money into converting it and invested

time into waiting for it to dry. We still have to

engage in the actual design process and make

decisions about how to treat it, so the most

exciting stories aren’t even half-way finished.

mAtt WoodsThis Sydney-based sole practitioner is

responsible for some of the city’s most

exciting small-scale hospitality fit-outs. Woods

doesn’t necessarily present his practice as

sustainability-focused, but his strong eco values

underpin every one of his designs.

How do you apply a sustainable design

ethos to your hospitality fit-outs?

Nine times out of 10 clients don’t come to

me saying they want something sustainable

– although I assume they know I have a

sustainable attitude. It’s pretty much at the

core of what I do, so every decision is made

with a sustainability perspective in mind, from

layout to orientation and choice of materials. I

don’t consider myself to be much of a decorator,

so I’m not about adding superfluous detail.

Some of my interiors are eclectic, but what I’m

really trying to do is strip them back and let

the materials speak for themselves.

You recently finished your first office fit

out. How were you able to incorporate

innovative design features considering

the modest budget?


FORM

breathe.com.au

justinhermesdesign.blogspot.com

killingmattwoods.com

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I think The Hallway client was interested

in the fact that I wasn’t an office designer

and so I’d be approaching the design from

a completely different perspective. They

wanted me to treat their office not as an office

space per se, but rather as a fun environment

to hang out in. Trying to think of creative

ways to do things that haven’t been done

before is quite difficult when working with

a small budget, but at the same time it’s an

interesting challenge.

How has the sustainable design

landscape changed since you began

your practice?

I’m an industrial designer by trade, but

I received my Master of Design Science

(Sustainable Design) from University of Sydney

four years ago. I noticed at that time there was

a big gap in the market and not a lot of people

were doing what I thought should be done.

So my very first project upon graduation was

sustainability-based and it’s something that

I’ve constantly been pushing ever since. It’s

not even a conversation I have with clients any

more; it’s just something that I do.


FORM

Well PlannedAustralia Post’s new South Australian headquarters features a modern, open plan that seamlessly integrates smart, environmentally sustainable design features.

by Leanne amodeo

Tower 8 is actually the third landmark

building in Adelaide’s bustling City

Central Precinct. This 17-level Woods

Bagot-designed commercial development

is notable for its ESD (environmentally

sustainable design) features. It was awarded a

4.5 Star National Australian Built Environment

Rating System (NABERS) rating. Last year

it became the new home for Australia Post’s

South Australian headquarters following their

office’s relocation to levels two and three.

Moving into one of the CBD’s greenest

buildings comes with serious responsibility

and Australia Post was quick to embrace

the challenge. They tasked Adelaide-based

architects Swanbury Penglase to design the fit-

out and the contracts team at Schiavello’s South

Australian branch was engaged as managing

swanburypenglase.com

schiavello.com/auspost

contractor during its construction. Achieving

the required outputs to comply with Tower 8’s

Green Star and NABERS accreditation was a

priority and so energy efficiency remained a

pertinent consideration in all design decisions.

Swanbury Penglase excelled at seamlessly

integrating key ESD features into both levels

of the new office’s fit-out. “The base building

services are the leading sustainability features,”

says Swanbury Penglase Senior Associate

Elizabeth Swanbury. “A chilled beam air

conditioning system, efficient light fittings and low water-use fixtures in the bathroom

and kitchen areas reduce consumption across

the board.” Positioning workstations near

the perimeter close to windows and natural

light further consolidates this energy efficient

approach. So did the selection of all finishes,

which was based on sound environmental

choices like longevity and recyclability.

Although the fit-out borrows conceptually

from Australia Post’s Melbourne headquarters

– designed by Geyer in 2010 – the Adelaide

office has its own distinct visual identity. Each

floor’s colour scheme of either red or green

adds a playful element to the overall design and

reinforces the progressive attitude Australia

Post has to its office environments. “This fit-out

is a good example of how open plan can really

work effectively,” says Swanbury. “As long as it

is supported by quality shared facilities, such

as meeting areas and break-out spaces.”

These meeting areas and break-out spaces

are the fit-out’s most resounding design

expression and feature striking slatted timber

ceiling beams that conceal the chilled beam

air conditioning, while still allowing air flow.

The air conditioning system, however, was the

cause of a few headaches during construction.

“A challenge we had was achieving the required

acoustic rating where chilled beams crossed over

the partitions,” says Schiavello’s Senior Project

Manager/Team Manager Zane Betterman. “So

we sourced a specific saw tooth foam to fit the

chilled beam profile and our carpenters were

then able to caulk around the beam.”

Working within a relatively tight timeframe

also tested Swanbury Penglase and Schiavello

but ultimately they successfully delivered the

key sustainability outcomes (not that there was

any other option). If standards hadn’t been met

the building could have potentially lost its Green

Star and NABERS accreditation. Australia

Post’s new South Australian headquarters is

not only a fine example of environmentally

sustainable design, it is also an elegant exercise

in functional open plan office environments.

Contact Zane Betterman [email protected]

telephone 08 8112 2300 schiavello.com/auspost

At Schiavello, we understand that true sustainability is about creating a healthy indoor environment that perpetually supports high performance cultures.

The new, modern South Australian headquarters of Australia Post is a showcase for the company’s values and commitment to providing sustainable business environments for its people and the community it’s served for 200 years.

We pair an intimate knowledge of sustainable building practices with an acute understanding of our clients’ needs and aspirations to guarantee success every time.

Visit our project portfolio online, or contact us for more information.

Travelling in true comfort. It starts with the finest material, handcrafted with care.

It comes from experiencing an exclusive space, designed with your needs in mind.

Because we understand that thoughtful innovation always needs a human touch.

It’s just one of the lengths we go to, to make you feel at home.

We select the softest leather, to make you feel at home.

the adelaide review - february edition

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