SALA Masterclass: Tit Pottery

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Image: Jessica Mason

Tit Pottery Masterclass

When: Sunday, August 9, 2020

Where: The Mill’s Breakout Space, 154 Angas St, Adelaide (enter via Gunson St)

Session times: 11am -1pm, 1.30pm - 3.30pm or 4pm - 6pm

Cost: $95 ($10 per ticket donated to Catherine House – Supporting Women Experiencing Homelessness)

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Presented by The Mill, in partnership with SALA Festival 2020.

About the workshop:

A truly unique experience, learn to mould and create your own unique Dots Pot booby pot! These fun, easy to follow pottery workshops are perfect for anyone out there who feels they aren’t very 'creative'! It’s also just a good bloody excuse to sit around a table with a bunch of like minded legends and remind each other just how great your bodies are - in every single way!

There are far too many influences that turn our bodies into something to critique or be ashamed of. Dots Pots just want you to love and accept every bit of yourself and remind you to help other women do the same. This workshop will light-heartedly focus on these so called ‘imperfections’ where participants will learn to build and mould with pottery and make their own booby pot with the use of air dry clay.

Go home with your very own booby pot, your own mini flower arrangement to display in your new piece of art, some cute self-love reminders and a fun new skill!

No experience required - all welcome!

What participants can expect:

Participants will take home their very own self-made booby pot, set of affirmation cards & small flower bunch.

Materials used:

• Nontoxic Ceramic/Air Dry clay

• Pottery wheel

• Support Pins

• Sculpting tools

• Various fresh and dried flowers to arrange and display

• Free tit-pot photoshoot (to be sent electronically)

• Set of affirmation and self-love cards

• About the masterclass leader

  Jessica Mason is a local woman who works within the legal sector of public service. As a result of severe personal trauma, as well as frequent exposure to the impacts of violence and domestic abuse, she wanted to find a way to reach out with messages of support for the local groups within Adelaide that support those experiencing displacement due to these all too common issues within society.

  With the assistant of a psychologist and medical help, Jessica found a way to connect with her body again through self-taught art therapy, in particular, clay. Working with clay and pottery play can be instantly calming and reflective. As a feminist-in-training and a huge proponent of body positivity and expression, Jessica decided to create the project Dots Pots @doesmynippleoffendyou as a platform to discuss these issues, whilst also connecting locals to donate to services like Catherine House, Women’s Safety Services, Bfriend and many other local groups that work for those in need of support.

  Dots Pots has run DIY pottery workshops across many public events like Gilles At the Grounds, Spin Off Festival, Laneway Festival and Porchland Festival. These workshops blossomed into a travelling party class, hosting hens shows, baby showers and birthday parties all across SA.

  As a strong advocate for personal and self-care, Jessica works to try and spread the message of self-worth and expression through these Tit Pottery gatherings. Much more than a sit down how-to and a giggle with a group of friends, Jessica uses humour and vulnerability to distract the everyday person from the ‘I could never make something like that!’ and the ‘I’m not good enough’.

  Where conversation can often be an incredibly important starting point for anyone who has or is currently suffering from abuse, Jessica often shares her story of sexual assault and recovery to connect women with the idea that there are always ways out of struggle and it is almost never alone. The pledge to donate $10 from every pot to these local groups is how as a group we can collectively say ‘we see the work you do and we deem it essential’, as those without networks of support truly deserve to have somewhere to turn in those dark times.

  As a self-proclaimed ‘bumbling mess’, she understands the trepidation in trying something new but after assisting 100’s of people through her pottery classes, reassures you that anyone can find their inner craft Queen when it comes to working with pottery!  

  Dot, Jessica’s 77-year-old Nana, the project’s namesake has come along to most public events held by the project since its conception in 2018. Dot’s flirty, excitable personality brings an inspirational amount of self-confidence to Dots Pots events.

  The project has recently been put on hold due to a recent and impactful loss within the family. The landscape in which the project will continue is still uncertain. Events like this may be sporadic but will assist in continuing to raise these important topics within the Adelaide community.

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Breakout Residencies: Jamila Main public showing, 'How To Eat Rabbit'

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Image: Jamila Main by Pamela Boutros.

Showing and Q&A

When: Sunday, July 19, 2020, 3pm

Where: The Mill Breakout Space, enter via Gunson St, Adelaide

Duration: 1 hour, including artist and audience Q&A

Cost: Free

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A first stage creative development of How To Eat Rabbit, the latest play from actor and playwright Jamila Main, with actor Audrey Mason-Hyde, director/dramaturg Teddy Dunn, and movement choreographer Erin Fowler. How To Eat Rabbit asks how will we survive as our planet rockets towards climate catastrophe, and how we prioritise our own survival against our responsibility for those around us.

About the play:

How To Eat Rabbit was awarded a Merit Award from State Theatre Company of South Australia in the 2019 Young Playwrights Award. The first draft of the play was originally written in the fourteen days following the 2019 Australian Federal Election in response to Greta Thunberg and the School Strike for Climate movement.

• Jamila Main

  Jamila Main is currently a Carclew Fellow, a Youth Advisor to Australian Theatre for Young People, a member of RUMPUS Theatre, and a Midsumma Pathways Participant. Jamila is a trained actor and award-winning playwright, and explores themes of autonomy, trust, and joy within queer and feminist dramaturgies in their work.

  Jamila is a fierce advocate for people with Endometriosis with a focus on the intersection of queerness and disability. Jamila recently created an Inclusion Letter Template to request Endometriosis organisations and support groups improve the inclusivity beyond cis heterosexual women with Endo; the Template is currently being translated into Italian and Swedish.

  Bookings are essential, please make sure you are at the venue and ready for the showing.

Photo: Courtesy of the artist

Breakout Residencies: Post Dining public showing, 'Eating Tomorrow'

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Photo: Courtesy of the artists

Showing

When: Friday, July 3, 2020, 5:30pm, 5:50pm, 6:10pm and 6:30pm

Where: The Mill Exhibition Space and Breakout, 154 Angas St, Adelaide

Duration: 40-50 minutes

Cost: Free

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Have you ever wondered what the future might look like? Feel like? Taste like? Eating Tomorrow is a back-to-the-future time travel experiment, immersing audiences in prospective scenarios of what our food systems, customs and behaviours might become in the next fifty years.

Strap yourselves in as performers lead you through the progressive narrative of Eating Tomorrow: a brand new cross-disciplinary multi-sensory theatre work devised by the Post Dining collective. Expect to be immersed in imaginary worlds, see, smell, touch and taste what we think the future might have in store. This showing will be a work-in-development bite-sized morsel of a production in early development - so we'd love to hear your feedback after the production to tell us what you think was a hit, and what was a miss.

Bookings are essential, please make sure you are at the venue and ready for your designated timeslot.

• About the company

  Post Dining are a team of leading edge artists, performers, designers and producers who disrupt and reimagine the relationship between people, food, environment and culture. We pioneer new forms of entertainment and education that challenge and engage all the senses. For the past five years we have cut ourselves a niche in Adelaide through our immersive designs which communicate with audiences through memorable, thought-provoking and interactive performances, exhibitions, workshops and experiences. 

  Post Dining explores the artistic merits of using food as a tool to explore socio-political concepts, and to push the boundaries of intimate audience engagement. This involves the collaborative engagement of local artists, musicians and designers, producing work with the Australian String Quartet (ASQ), MOD., Open State Festival and Ernst and Young (among others). Check out Post Dining’s website for more info here

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SALA Workshop: Evie Hassiotis, ‘Explore Your Creative Spirit’

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Painting: Venus Liberated by Evie Hassiotis

Workshop

When: Saturday, August 15 and Sunday, August 16, 2020, 1-4pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: $150, materials provided

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Presented by The Mill, in partnership with SALA Festival 2020.

About the workshop:

Participants will be guided through a process of letting go of certain ideas about what art practice is and through a series of increments will explore their own creativity. No experience required, all welcome!

The workshop will give participants the opportunity to use various mediums and become comfortable with them and to explore techniques to create texture on their art work using various materials such as silicone, sand, tissue paper, card board etc.

Evie will give people the choice to paint what they see in the physical world or to express their inner landscape. Individual processes and ideas will be encouraged through the workshop.

What participants can expect:

On the first day they will explore working with:

• Colour mixing (water colour paint)

• Working with pastels and ink

• Still life exercise using pastels and water colour

• Experimenting with texture

On the second day they will have the opportunity to become familiar with acrylic on paper and canvas, and to explore its versatility and further explore techniques working with texture. Participants will take home at least one piece of art created that they will feel proud of.

Materials provided:

• A3 paper

• A1 cartridge paper 

• Watercolour paper

• Oil pastels   

• Chalky pastels

• Watercolour

• Inks 

• Acrylics 

• Small canvas

• Silicone, tissue paper, sand, cardboard etc - textures

• About the artist

  Evie Hassiotis is an Adelaide based artist who works intuitively with textures and mixed media, photography and improvised dance. Evie believes in the potential of art to emotionally heal the human soul and to promote spiritual growth in the art practitioner and in the viewer. Improvised movement together with her art practice have been an avenue to express spirituality, creativity and art as a healing practice.

  Evie began her art studies while living in Sydney in 1995 at the Bondi Road Art School. These classes ignited her enthusiasm for the visual arts and she is indebted to her inspiring tutors at Bondi for guiding her into the world of art. In 2019 she undertook Life Drawing classes at Central School of Art. She joined The Mill as a studio artist in February 2019 and has continued her develop her art practice there, including hosting regular open studio events as well as conducting art workshops for beginners and those people who want to tap into their latent creativity.

  Evie has worked as a facilitator of art workshops for adults, including those living with dementia and has experience working with people in residential and community care. In her workshops she creates a space for participants to express themselves without fear of judgment and encourages participants to reveal their inner landscape using a variety of media. She currently works in a primary school with 5-9 year old students with learning challenges

  Evie is currently working on an exhibition Xenitia, to be shown at The Mill during SALA 2020. Xenitia, meaning exile, explores the theme of migration of children and their families and centres around Evie’s experience of migrating to Australia from Greece in 1964 when she was 6 years old. The exhibition will include installation of handmade dolls, film and mixed media artworks.

  Evie has exhibited as part of the Mitcham Art Prize, Victor Harbor Art Show, Walkerville Art Exhibition, SALA 2019 at Gallery One and at The Hampstead Rehabilitation Centre as well as hosting exhibitions from her home studio and her studio at The Mill.

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Exhibition: Yana Lehey, 'Face Up'

Image: Yana Lehey

August 3 - 28, 2020

Opening event: Sunday, August 9, 2-4pm

Artist talk: Friday, August 21, 5:30-6:30pm

Showing as a part of SALA Festival concurrently with Xenitia, Evie Hassiotis

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Please join us in The Exhibition Space for Face Up, a solo exhibition by Yana Lehey for SALA Festival. Face Up is a series of large-scale watercolour portraits of youth climate activists. 

Inspired by the energy and drive of youth climate activist from around the world, Yana has produced a body of work that celebrates determination and conviction. The series of larger-than-life portraits are arresting in their scale, and in their stance. Yana has taken inspiration from Australian artist Cherry Hood, creating intensity and conveying emotion through the glowering expression of the subjects’ faces. The levity of these large-scale works seeks to emulate the importance of their work. Yana has also focused on Indigenous activists, highlighting and centring their voices within the climate change discussion.

• Artist Statement

  Face Up started life as an assignment for Life Drawing 2.2 at Adelaide Central School of Art, taught by Christopher Orchard. While sketching at the Art Gallery of SA I noticed that many portrayals of marginalised people in artworks seemed to be wearing the same pinched, fed up glower. I recognised the same expression in climate activist locally and worldwide. This caught my interest, as young climate activists are often discredited as ignorant, naive, and easily manipulated children. It brings to light a tendency to associate infantilisation with dismissal. 

  I decided to portray a very real and existential rage felt by a highly driven, but consistently dismissed group of people. This is especially true of the majority of the people portrayed in the Face Up series of Youth Activists. I have painted Greta Thunberg (Sweden), Jamie Margolin (USA), Vanessa Nakate (Uganda), Kevin J Patel (USA), and Isra Hirsi (USA), Xiuhtezcatl Martinez who has Indigenous Mexican heritage and is based in Colorado (USA), Artemisa Xakriabá of the Xakriabá tribe (Brazil), Helena Guaglinga of Kichwa-native & Finnish origin from Sarayaku in the Ecuadorian Amazon (Ecuador) and Autumn Peltier, who is Anishinaabe-kwe and a member of the Wiikwemkoong First Nation (Canada). Each activist has different strengths, different approaches, and different nuance in how they think of their activism. Despite their young age, many of these activists have been fighting for a decade or more.

  The size of each portrait creates intensity which makes the gaze of each individual hard to ignore. Due to the layered nature of watercolour each piece is quite heavily worked, the facial expressions end up being quite complex. The many layers of the fragile medium make for a powerful effect, which echoes the strength in numbers of the climate movement. The portraits are deliberately composed so that most people would have to look up to meet each individual’s eyes in the portraits, creating a monument to the subject. 

  The point of the exhibition is to shine a light on diverse groups who are largely ignored in favour of white, comparatively privileged people. I hope it will start some conversations which need to be had. 

• About the artist

  Yana Lehey is a student at Adelaide Central School of Art. Her primary practice is in drawing, especially ink wash and watercolour. Her recurring themes are the environment and sustainability, and subjects which connect the world on a global scale. She has done a SALA exhibition in 2017 titled Meet The Locals, using boiled down espresso to create tonal drawings of animals native to coffee-growing countries. The aim of the exhibition was to encourage the audience to ponder the origin and impact of our coffee culture. This has led to her joining the ranks of RAW artists, and participating in their 2018 ENVISION showcase. She joined the Mill in 2018, and has been developing her practice in her studio space there since then.

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Yana Lehey’s exhibition started life as an assignment for Life Drawing 2.2 at Adelaide Central School of Art, taught by Christopher Orchard.

Expand: Holly Childs and Angela Goh, 'CLIFFHANGER'

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Photo: Supplied by artists

Showing

When: Friday, November 13, 2020, 6 - 7pm
Where: The Mill Breakout, 154 Angas St, Adelaide (enter via Gunson St)
Cost: Free

Workshop

When: Friday, November 13, 2pm to 4:30pm
Where: The Mill Breakout, 154 Angas St, Adelaide (enter via Gunson St)
Cost: $25

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Holly Childs and Angela Goh will be in residence at The Breakout at The Mill during November, as part of Expand in 2020.

Angela Goh is a Sydney-based choreographer and dancer, and the winner of the 2020 Keir Choreographic award, and Holly Childs resides in Adelaide, working as a writer. Together, they will be developing CLIFFHANGER, a new, multi-art-form work bringing together dance, performance, text and installation. Read more about Angela and Holly’s journey via a blog post, here

The residency will culminate in a public showing of the work-in-development and a workshop, which will offer insight into the CLIFFHANGER project.

What participants can expect:

The workshop will explore the initial research strategies and materials of CLIFFHANGER, working with the “cliffhanger” which is both a narrative device to keep audience attention suspended, and a physical state of literal suspension. Holly and Angela will lead participants through various modes including discussion, movement practices and writing tasks. As this is a multidisciplinary focused workshop, diverse skills and experience are welcome and will be considered in the tasks and processes explored.

What to bring:

Please wear comfortable clothing/shoes and bring a notepad, pen and water.

About the artists:

• Angela Goh

  Angela Goh is a Sydney based dancer and choreographer working with dance in theatres, galleries, and telepathic spaces. Her work considers the body in relationship to commodity, materiality, technology, and feeling. Her works have been presented widely in Australia and internationally, including SPRING Festival (NL), Baltic Circle Festival (FIN), PS122/Performance Space New York (USA), Auto Italia South East (UK), Liveworks Festival (AUS), Artspace Sydney (AUS), Arnolfini (UK), Fusebox Festival (USA), Festival of Live Art (AUS), Perth Institute of Contemporary Art (AUS), Campbelltown Arts Centre (AUS), the Asia-Pacific Triennial of Performing Art (AUS), the Judson Church (USA), My Wild Flag (SWE), among others, and presented by Galerie (int) at La Biennale de la Danse (FR); Jan Mot Gallery (BE); Dansehallerne (DK); Menagerie de Verre (FR); Saal Biennial (EST) and Oslo Internasjonale Teater Festival (NO).

  Angela has been artist in residence at Tanzhaus Zurich (CH), Cite Internationale des Arts (FR), Critical Path (AUS), Arts House Melbourne (AUS), ADAM/The Kitchen (TWN). She received the danceWEB Europe Scholarship, the Create NSW Emerging Fellowship 2019/20 and the inaugural Create NSW and Sydney Dance Company fellowship 2020/21. She has won awards including Best Artist in the 2017 FBi Sydney Music Arts and Culture awards and the Keir Choreographic Award 2020.

  Find more details about Angela here

• Holly Childs

  Holly Childs is a multimedia artist and writer. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. She is the author of two books: No Limit (Hologram) and Danklands (Arcadia Missa), and is currently writing her third book, What Causes Flowers Not to Bloom? a collection of fiction, poems, and essays to be published by Subtext, Berlin, in 2021. She holds a Masters of Art and Design from Sandberg Instituut, Amsterdam, and has been a postgraduate researcher in The New Normal programme at Strelka Institute, Moscow.

  Her most recent work is Hydrangea, a sequential spatial sound work for greenhouses, made in collaboration with J. G. Biberkopf, performed in botanic gardens in Melbourne (Liquid Architecture) and Amsterdam, NL (Botanische Tuin Zuidas), at festivals in Sydney (Soft Centre) and Olomouc, CZ, and at Vilnius Composers House, LT. Other recent work writing a poem for Angela Goh’s Uncanny Valley Girl, that performs alongside Angela, coded with support from cyberfeminist artist and programmer Linda Dement to subtly change each time Uncanny Valley Girl is performed.

  Her works have been exhibited at Gertrude Contemporary (Melbourne), Firstdraft, (Sydney), Blue Oyster (Dunedin), Display (Prague). She has created performances for Arcadia Missa (London), PAF (Olomouc), Metro Arts (Brisbane), Firstdraft (Sydney), Minerva (Sydney), Casula Powerhouse (Sydney), Rile (Brussels), Trust (Berlin), Fuzzy Vibes (Auckland), and Liquid Architecture (Melbourne). She has lectured/spoken at Stedelijk Museum (Amsterdam), LunchBytes @ ICA (London), National Young Writers Festival (Newcastle), ACMI X/Experimenta (Melbourne), Melbourne Writers Festival (Melbourne), Emerging Writers Festival (Melbourne), Digital Writers Festival (online), Moscow Urban Forum (Moscow), Elam School of Art (Auckland), RMIT, VCA and Monash (Melbourne), and Gertrude Contemporary (Melbourne), and alongside Amelia Groom, she led Watermarks a research course for the Graphic Design department at Rietveld Academie, Amsterdam.

  Find out more about Holly here

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Thank you to ACE Open for supporting NSW artist Angela Goh with accommodation for this residency.

Exhibition: Evie Hassiotis, 'Xenitia'

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Evie Hassiotis, Sitsa, 2019, mixed media on wood, 95 x 79cm, photo: supplied

August 3 - September 27, 2020

Opening event: Sunday, August 9, 2-4pm

Artist talk: Friday, August 21, 5:30-6:30pm

Showing as a part of SALA Festival concurrently with Face up, Yana Lehey

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Please join us in The Mill Showcase gallery for SALA exhibition Xenitia a solo exhibition by Evie Hassiotis.

Roughly translated, Xenitia means self imposed exile. This project explores Greek migration to Australia during the 1950’s, speaking from Evie’s personal experience alongside the experiences of her family and friends. Evie has investigated the impact of migration, following narratives through the generations in order to more deeply understand how culture is transmitted and how migrant families have built communities and culture in Australia. Evie’s expressive multi-arts practice builds layers of understanding through the use of collage and paint alongside dolls made by individuals within her community, and a film ‘Made in Greece’. She speaks about community, identity and the role of art in the understanding of the self.

***The Mill’s galleries have reopened to the public following government guidelines, please observe social distancing and make sure to practice good hygiene. ***

• Artist Statement

  This project explores the migration period that saw my family and many Greek migrants come to Australia mainly by passenger ships. It is about wanting to see what is happening now to those migrants and their children and grandchildren and how the contribution of these people has made a big difference in Australian culture and economy.

  Many of my artworks are multilayered and I keep adding layers until the piece is finished. I have created some artworks relating to my own grief experience of being forced to leave my small community in Northern Greece to come to live in Adelaide in 1964. Producing this body of work has been a healing and transformative process for me, and has also allowed me to investigate how others have navigated life after migration.

• About the artist

  Evie Hassiotis is an Adelaide based artist who works intuitively with textures and mixed media, photography and improvised dance. Evie believes in the potential of art to emotionally heal the human soul and to promote spiritual growth in the art practitioner and in the viewer. Improvised movement together with her art practice have been an avenue to express spirituality, creativity and art as a healing practice.

  Evie began her art studies while living in Sydney in 1995 at the Bondi Road Art School. These classes ignited her enthusiasm for the visual arts and she is indebted to her inspiring tutors at Bondi for guiding her into the world of art. In 2019 she undertook Life Drawing classes at Central School of Art. She joined The Mill as a studio artist in February 2019 and has continued her develop her art practice there, including hosting regular open studio events as well as conducting art workshops for beginners and those people who want to tap into their latent creativity.

  Evie has worked as a facilitator of art workshops for adults, including those living with dementia and has experience working with people in residential and community care. In her workshops she creates a space for participants to express themselves without fear of judgment and encourages participants to reveal their inner landscape using a variety of media. She currently works in a primary school with 5-9 year old students with learning challenges

  Evie is currently working on an exhibition Xenitia, to be shown at The Mill during SALA 2020. Xenitia, meaning exile, explores the theme of migration of children and their families and centres around Evie’s experience of migrating to Australia from Greece in 1964 when she was 6 years old. The exhibition will include installation of handmade dolls, film and mixed media artworks.

  Evie has exhibited as part of the Mitcham Art Prize, Victor Harbor Art Show, Walkerville Art Exhibition, The Hapmsted Rehabilitation Centre, SALA 2019 at Gallery One, and a solo exhibition Bitten by Bologna at Rusco & Brusco as well as hosting exhibitions from her home studio and her studio at The Mill.

• Accordion Item 3

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Dance Launchpad: Jazz Hriskin, 2020 recipient

Presented in partnership with Helpmann Academy, Dance Launchpad is designed to support recent graduates and emerging artists to build experience in the professional industry, by working with local South Australian choreographers and directors.

This inaugural program, supported by Dance Hub SA, Hopgood Theatre and Cirkidz, will nurture the ecology of dance in SA. Established artists will be commissioned to make new work, and share their industry knowledge with one emerging dance artist annually.

Recent Adelaide College of The Arts/Flinders University Graduate Jacinta Hriskin is the 2020 recipient of Dance Launchpad, a new program to support the growth and development of South Australian emerging  dancers.

Jacinta (Jazz) will be working with three local choreographers; Tobiah Booth Remmers, Lewis Major, Erin Fowler and videographer Chris Herzfeld/Camlight Productions.

The process will result in three short solo works for Jazz and a professional showreel to showcase her skills as a dancer, for promotion nationally and internationally.

Project Dates: July - August 2020

Filming Date: August 7

Showing: TBA

• Jazz Hriskin (artist)

  Jazz Hriskin is an emerging contemporary dancer and educator from Adelaide. Jazz completed her Bachelor of Education specialising in dance at the University of South Australia. In 2019, she completed her Creative Arts degree in elite performance at Adelaide College of the Arts via Flinders University and TafeSA. Over her three years of dance training she performed under the mentorship of many national and international dance artists including Garry Stewart, Kialea-Nadine Williams, Lewis Major, Lee Brummer, Michael Getman, and Niv Marinberg.

  To continue her personal growth and career development in contemporary dance, Jazz has taken professional workshops with Hofesh Shechter, Akram Khan and Bangarra Dance Company. She has also gained experience through secondments with Sydney Dance Company, Dancenorth and Australian Dance Theatre.  More recently, Jazz is working with the State Opera of South Australia and is determined to continue growing as an artist through performing, collaborating and learning with performing arts professionals, dancers and choreographers in Australia and around the world.

• Tobiah Booth-Remmers (choreographer)

  Tobiah Booth-Remmers is a freelance dance creator, performer, teacher and facilitator from Adelaide, Australia. He has worked with Garry Stewart, Graeme Murphy, Branch Nebula, Brink Productions, Larissa McGowan, Lina Limosani, Gabrielle Nankivell and Paulo Castro among many others. Tobiah has performed in major arts festivals including the Adelaide Fringe Festival, Adelaide Festival of the Arts, Brisbane Festival, WOMAD, Dance Massive, Dublin Dance Festival and has performed at the Barbican Centre in London.

  As a dance maker Tobiah has choreographed numerous commissioned and self-produced works, including large immersive, site specific and more traditional format performances. Tobiah has lectured and taught dance to students at Adelaide College of the Arts, LINK, WAAPA, QUT, Transit Dance and at SDC Pre-Professional Year.

  Tobiah also regularly works overseas and has received residencies and made work in Bulgaria, Brussels, Sweden and Greece. He has taught workshops on his own creative and movement practice in Belgium, Bulgaria, Greece, Italy, Portugal, Sweden, France and Israel.

• Lewis Major (choreographer)

  Lewis Major is a choreographer from the deep south of regional South Australia. Not having set foot in a theatre until his mid-teens, he finds it ironic to now be working in the most maligned and misunderstood sector of the arts industry: Contemporary Dance. He's the only dance artist he’s ever heard of who cannot only shear a sheep, but has danced alongside Hugh Jackman and travelled to all three axis-of-evil countries.

  As a performer and maker, Lewis has worked with Akram Khan, Sidi Larbi Cherkaoui, Russell Maliphant, Shaun Parker, Hans van Den Broeck/Cie Soit, Australian Dance Theatre, Hofesh Shechter and was a founding member of Aakash Odedra Company.

  Unabashedly audience-driven, his work remains in repertoire of several European companies and has been presented by, amongst others, Aarhus (Denmark); Sadler's Wells, The Royal Opera House, The Place (UK); Festival de Mayo (Mexico); La Comete, Centre des Arts Enghien Les Bains, La Maison de la Musique de Nanterre, Maison des Arts de Creteil (France); Grand Théâtre de la Ville de Luxembourg (Luxembourg), PUSH Festival (Canada); Impulstanz Festival, Ars Electronica Festival (Austria); TED Global (Brazil) and TEDx London; Esplanade Theatres (Singapore); Lyric Theatre (Hong Kong) and the Baryshnikov Art Centre (NYC).

• Erin Fowler (director)

  Erin Fowler is an Australian artist and producer working across the dance, music, film and theatre industries. Erin’s choreographic work includes FEMME, which premiered at the 2019 Adelaide Fringe (and won the overall Best Dance Award), and toured to the 2019 Reykjavik, Edinburgh and Stockholm Fringe Festivals. It recently won the “Made in Adelaide” award at the 2020 Adelaide Fringe. Other works include Gen-y (2018) commissioned for the Adelaide Dance Festival; Epoch (2016) created on Australian Dance Theatre for their Ignition season and the dance film, Gaia (2014), which she made in collaboration with filmmaker Nick Graalman and which has currently screened in over 23 international film festivals. Gaia won numerous awards on the festival circuit including 'Best Experimental' at the London Film Awards and the Byron Bay Film Festival. Her performance work includes seasons with BalletLab and Patch Theatre Company.

  Erin regularly teaches movement to the Flinders acting students and for the State Theatre Company. Erin also works with holistic movement practices and philosophies. She is a certified Qoya feminine movement teacher and also facilitates women's circles which allow women from all walks of life to connect with one another in community and sisterhood. Erin is also the Co-Founder of The Mill, a creative hub for Adelaide’s local artists.

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Photographer: Tyler Marsland

Adelaide Fringe: 2020 program

In keeping with the Adelaide Fringe’s open-access approach, The Mill housed another un-curated season in 2020. Our venue was made available to artists from any discipline to present work of any genre.

Our program consisted of 90 shows from 16 local, national and international companies.

Venue hire was kept as low as possible in order to minimise risk for artists trying something new, and 100% off door sales went directly to performers.

Abattoir Noir

Theatre

A wildly entertaining cabaret-style expose of the cruel practices inherent in the meat industry.

"Infuriating, sad, numbing, funny, shocking... ethically confronting but doesn't ever forget to entertain" - Bendigo Courier.

"A strong, DIY aesthetic meets true artistic commitment and the highest levels of technical expertise" - Jane Crawley, Creative Victoria.

Autoeulogy

Theatre

Winner of the Adelaide Fringe Sustainability Award presented by Visualcom.

The apocalypse is over. The last woman alive has been rescued by unknown alien benefactors. But she has no way of explaining to them that if they want her to survive, they're going to have to feed her.

A new one-woman show about what will be left, after.

The Bakers

Circus and Physical Theatre

Three bakers, one bakery! Dough up the walls, flour in your eyes. Join The Latebloomers, award winning creators of 'Scotland!', for another dose of the ridiculous and the sublime.

★★★★ "This is top drawer slapstick that will leave you wanting an encore" The Advertiser.

★★★★★ "Truly perfect comedic timing" FringeFeed.

Winner Best Comedy weekly award Adelaide Fringe 2019.

Boys Taste Better with Nutella

Theatre

Aggy & Frederick may be self-loathing, socially anxious and addicted to food, but that's just the tip of the iceberg. With Aggy once again falling for the wrong guy and Frederick's most fulfilling connection being with his internet provider, they review the best (and worst) moments of their past relationships. 'Boys Taste Better with Nutella' uses comedic storytelling, kitsch dance moves & hazelnut spread to explore relationships and self-worth.

Awarded FRINGE WORLD 2019 Weekly Award for BEST THEATRE.

The Daughters of Róisín

Theatre

Locked in a room for nine months in a house she once called her home. A poignant ode to Ireland's hidden past, the audience is invited to witness and journey with this forsaken Daughter of Ireland.

This work was developed through research about church and state-sanctioned abuse against women in Ireland over the last 100 years. It is an experimental and challenging performance, which hopes to give a voice to those silenced.

Eddie Ray - Leader of the Resistance

Comedy

iPhone Addictions Meet Sci-Fi Predictions!

The year is 2020 - the human race is almost completely extinct, robots now rule Earth, controlling our every move. One man was too lazy to ever catch up with technology, could he be our only hope? Could he be the one to accidentally start the resistance?

Join Eddie Ray on this part cabaret, part action movie adventure.

HarleQueen

Comedy

Winner of the Adelaide Fringe Emerging Artist Award.

A vaudevillian-style, one-woman celebration of female fools. Join the 'HarleQueen' on a journey through the history of women who blazed a trail in comedy!

"The breath of fresh air that we didn't even know we needed" - Art Murmurs.

"Our indisputable Queen of Fools" - Theatreview.

WINNER: Best Comedy Dunedin Fringe, Adelaide Tour Ready Award NZ Fringe.

Lenka

Music

Lenka is an Australian singer/songwriter, formerly of the band 'Decoder Ring', who has been releasing solo albums and touring worldwide. In 2019 Lenka visited Adelaide as part of the Pub Choir phenomenon on tour with Ben Lee.

2020 will see Lenka release 'twin' EPs, one with covers and one with originals and embark on an Australian tour.

Lucy & Me

Comedy

Sphenn and Lucy (his red bicycle) are the bestest of buddies. They do everything together from brushing their teeth to yoga, but after Sphenn loses his job in an unavoidable accident, these two need a job and fast! Luckily they're very inventive...This show is the sweetest of love stories, all rolled up in outrageous comedy.

"What a delight. The world building is so impressive, the comedy so well
thrown, this piece pelts along like no-hands down a hill." - Sydney Arts Guide

The Monster

Music

Exclusive invitation to be part of Phillip Lee Curtis' live listening party where you get to play a part in the making of an album! An interactive night of original songs and stories.

Winner 2019 Adelaide Fringe Emerging Artist Weekly Award.

"A powerful beyond belief performance" StageWhispers.

"A masterful performer" Australian Arts Review.

Moof’s Adventures

Theatre

Moof is fairly regular. It might be the prune juice. He, and his life, are perfectly ordinary. But he can't help but ask himself... is this all there is?

Back Porch Theatre is proud to present this absurd, joyous and abstract ode to courage in its world premier from Adelaide theatremaker and clown, Lochy Maybury.

PLASTICA FANTASTICA

Comedy

This is the story of Nunny. Nunny loves plastic more than her mum and her future husband combined. She lives a life of plastic wrapped bananas, triple bagged groceries and her ultimate dream is to become a top of the line Tupperware lady.

'Plastica Fantastica' is a ridiculous award-winning one woman show performed by Jennifer Laycock.

S-27 by Sarah Grochala

Theatre

It is a time of extremes... An immersive prologue reveals a dark and disturbing world not so far from our own. May is a photographer who must document dissenters who have 'rebelled' against the Organisation, an authoritarian regime.

This is the South Australian premiere of this award-winning play inspired by the history of Cambodia's S-21 prison.

UnderLyingSkins

Theatre

Kristen's been having nightmares. This place is burning and it's all her fault. Best that she hijack her friend's dream and journey through the womb for answers! How to exist as a person born of a culture that profits from the denying of another? How do we go home when the house is a stolen one? Rip it up. Rip up everything we think we know.

Voices of Joan

Theatre

Now more than ever we need to draw inspiration from the galvanising wisdom of rebels; the people who are not afraid to speak truth to power and have the courage to take action.

In this intimate solo performance, actor and theatre maker Janie Gibson delves into the past to invoke the spirit of Joan of Arc and unearth the damning voices of her oppressors in a spell to dissolve the patriarchy.

Wellness: A Social Justice Play

Theatre

A "beautifully vulnerable" semi-autobiographical verbatim play examining social justice through the lens of fatism, fatphobia, and discrimination. "Inspiring, brave, authentic, educational and confronting", 'Wellness' aims to open up taboo conversations and question well-meaning motives around us.

Written by Ella Arendelle, we touch on sensitive subject matter and deeply personal stories. Verbatim theatre has a sting that can't be matched.

The WFT?! Show

Comedy

According to the Guinness book of facts, falsehoods and frivolities, Milton White, JNewtz & Mick Moore provoke you to look at things a little differently in our crazy 1st-world-problem "I'm Offended" lives.

They're not looking to educate, exploit or offend however if they do, you only have yourself to blame for going!

Being offended is a part of life. Being dead, is part of being dead. So enjoy being offended to know you're still alive.

Exhibition: Kirsty Martinsen, 'Our Lady: en feu'

Artwork: Kirsty Martinsen (photographer: Alex Makeyev)

June 15 – July 29, 2020

Opening event: Sunday, July 19, 3-4pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

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Please join us in The Exhibition Space for Our Lady: en feu, a solo exhibition by Kirsty Martinsen.  

***The Mill’s exhibition space will be open to the public from June 15, please observe social distancing and make sure to practice good hygiene. ***

Our Lady: en feu (Notre Dame: on fire) is a significant new body of work by painter and colourist Kirsty Martinsen. Inspired by the images of Notre Dame Cathedral ablaze in 2019, the work explores powerful moments within recent history: the #metoo movement, recent political conflict, human-induced climate change, the Australian bushfires, and most recently COVID-19. Kirsty uses her medium to comment on our individual and cultural responsibility to the world we live in. The centrepiece, and namesake of the exhibition is a life sized portrait of a woman in crucifix position. Kirsty draws our attention to humanity and fragility while simultaneously recognising the role that humans have played within these disasters.

Kirsty’s use of colour and gesture is emotive, highlighting the urgency that she feels to draw attention to these profoundly affective events. Within each work she captures fleeting moments, a whip of flame enveloping the spire of the cathedral sits alongside a glowing Sturt Dessert Pea, pointing toward the sacred, which can be found in many forms. Through this series of works, Kirsty questions ‘what we as humans respect and value and the state of the anthropogenic world we live in’. 

• Artist Statement

  I’ve been a painter for 20 years and consider myself a colourist. I’m interested in the issues of climate change and human relationships. ‘Our Lady: en feu’ is a series of recent drawings that began when I saw the colourful flames and smoke of the burning Notre Dame cathedral. I immediately connected them to the naked crucified woman I was working on. The naked figure was for me a burning spire. Witnessing the spire and cathedral burning, a Parisian bystander said it was “significant beyond its religious meaning”. I was left pondering how the world would be today if Jesus was a woman.  

  Our Lady appears with pastel drawings of the Notre Dame fires, all individually framed by Tom Borgas, and others of the Bushfires, Australian Native Flowers series, and Chernobyl and Gaza as examples of a human population hellbent on destruction. The scale of these disasters are totally diminished by the enormity of what is happening to the world currently. The burning of an 800 year old church is almost trivial in the face of a worldwide pandemic that has irrevocably altered everything. This body of work is an invaluable memento of life as we know it that’s gone forever. It questions what humans actually respect and value, and the state of the anthropogenic world we live in.

• About the artist

  Kirsty Martinsen has had a studio at The Mill since 2014. Her practice is predominantly drawing and painting, and recently as a Writer/Director of the short documentary, Limited Surrender, with SBS and SA Film Corporation. She has a BA Visual Art from SA School of Art (UniSA) and Dip. Painting from New York Studio School of Drawing, Painting and Sculpture, has exhibited in USA, Australia and Amsterdam, and is the recipient of awards from Richard Llewellyn Arts and Disability Trust, Arts SA, AGNSW and NY Studio School. Her short film, Breathe, won the Mercedes Matter/Ambassador Middendorf Award at X Marks The Spot: Women of The NY Studio School, the 2018 Alumni show. She teaches drawing and enjoys watching clouds.

  View short film documentary about Kirsty’s practice via SBS On Demand: Limited Surrender

Exhibition: The Mill Showcase

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Photo: Andrew Eden, image supplied

March 23 - July 29, 2020

Andrew Eden, Blake Canham-Bennett, Annabel Hume and Mark Mason

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*** Please note that due to the unfolding COVID-19 situation, The Mill’s galleries and studios are closed to the public. If you have any questions, please email our Visual Arts Curator Adele Sliuzas***

The Mill Showcase is a gallery space dedicated to artists who work in our studio spaces at our Angas Street location, exhibiting some of the artworks and products that have been produced under our roof. The Mill Showcase profiles our artists, so that you can put a face to the name and get to know some of our dedicated makers.

This sophomore edition of The Mill Showcase features work by Andrew Eden, Blake Canham-Bennett, Annabel Hume and Mark Mason.

About the artists:

• Andrew Eden

  AG is an Adelaide based design studio led by Andrew Eden. Specialising in furniture, lighting & interiors, the studio's focus is to partner with other local manufacturers, trades and artisans to produce high quality pieces & outcomes that are competitively priced. Andrew Eden is an industrial designer, graduating with honours and a minor stream in furniture design. He undertook the associate program in the furniture studio at JamFactory in 2013-14.

  He has worked extensively throughout the design industry with over 15 years commercial experience. A highlight was working on Indigo Slam in Chippendale, Sydney and a private commission with Khai Liew including over 200 bespoke furniture and lighting pieces.

  ‘AG is a design studio with a philosophy of cadence, functionality & artistry. My designs are approachable, utilitarian products with a knowing handmade reticence. I believe elaboration does not aggrandise beauty–simplicity does.’

• Mark Mason

  Mark Mason works primarily as a tattooer, using handpoke techniques to create new and relevant work. Having a history in fine art, Mark has exhibited in many group exhibitions both home and abroad. Having enjoyed tattooing full-time for over a decade, he has recently been working part-time which has allowed time for the rekindling of his artist practice and new inspirations have come to life.

  ‘This work is part of an ongoing process concerning both interpretive symbolism and blended techniques. Each work stands alone, while also acting as a stepping stone to the next, where shared aesthetic cues and conceptual links explore themes of masculinity.

  Design and pattern have been a strong component of my tattooing practice and serve as the point of departure. The focus shifts between technique, imagery and concepts to produce pieces that that intrigue the viewer, with a nod to the primal nature of tattooing. It is my intention that the viewer can ascribe their own experience to the abstract images and create their own meaningful dialogue.’

• Blake “Blakesby” Canham-Bennett

  Blake “Blakesby” Canham-Bennett is a multi-award winning hatter (he is not a milliner), and one of very few in Australia reviving the traditional artform of men’s hats. His hats have crossed the world, worn in the United States, England, New Zealand, Switzerland, Siberia, Egypt, and many more.

  ‘I focus largely on traditional and heritage hat design, drawing inspiration from styles upwards of 100 years ago. These are shaped by hand through steam using a range of mostly antique and a few locally made wood hat blocks, in addition to other unique hand tools.

  The pieces featured use a range of materials, with the felt bases ranging from the standard rabbit, to the premium beaver and nutria fur felts. These hats are trimmed with a variety of materials, including varied naturally dyed Japanese textiles, and featuring the traditional sashiko technique of decorative reinforcement stitch.’

• Annabel Hume

  Annabel Hume is a visual arts graduate from the University of South Australia with a major in sculpture and printmaking. In the last 10 years she has completed further study in metal casting, intaglio printmaking and ceramics at ACArts . For the last three years Annabel has focused on ceramics. She has participated in several group shows in Adelaide and had her first solo exhibition in Melbourne in 2019.  She also teaches workshops in textiles, printmaking and sculpture . 

  ‘After travelling to America three years ago I began to really appreciate how delicate, unique, fragile and ancient Australia is and I celebrate our endangered and diminishing fauna in my work .  Each piece is unique. I hand build then surface paint using sgraffito before glaze firing.’

Visual Artists in Residence: The Bait Fridge, 'Art Basics'

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Image: Courtesy of The Bait Fridge

March 17 - May 29, 2020

Art Basics home workshop
When: Sunday, April 19, 10am
Cost: Free

Art Basics performance
When: Sunday, May 24, 11am
Cost: $15 car performances

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The Bait Fridge are our incoming Artists in Residence in The Mill's Exhibition Space in 2020. Due to the current COVID-19 crisis, this residency is developing new ways of creating digital content so that the residency can be available online. The Bait Fridge collective will be in residence from March 17 to May 29. With a focus on artistic process, this two-month residency allows audiences direct access to creative research and making. This residency is presented in partnership with City of Adelaide.

The Bait Fridge is a multi-disciplinary collective from South Australia whose members collaborate under a unified banner to create works and performances which combine the practices of music, art, dance, costume and theatre. Through this project The Bait Fridge will be developing ideas, costumes, performances, sculpture and music. Working with materials that other people might consider to be trash allows the collective to see beyond traditional boundaries of artists practice. Each of the members of the collective brings their own unique energy, while working collaboratively, with each other as well as audiences, allowing The Bait Fridge to explore new ways of creating and bringing new understandings to concepts of ‘art’ and the role of the ‘artist’.

The Mill invites you to witness The Bait Fridge’s creative practice digitally and gain insight into their collaborative process as the residency unfolds across a 10 week period.

Although we are currently practicing social distancing, in light of COVID-19, we will be presenting digital content for you to enjoy from the comfort of your homes. Please keep an eye on our social media for updates.

‘Collective practice is the mitochondria of the BF cell. All of our individual practices have been challenged and mulched by the collective environment of the Bait Fridge. It has taught all Baities at different times how to let go of sole authority over their own work (independence is an illusion! No person is an island!), and that can be an incredibly liberating experience but also something uncomfortable! The Bait Fridge is a constant exercise in creative compromise and resourcefulness, and everyone in the crew has gone on to draw from the group in different ways in their personal projects, whether it is by reaching out for people to perform in their work or get involved in some way, or even just to have a tight community to use as a springboard when we need support.’ -Emmaline Zanelli

The Mill in Conversation Podcast

During the residency The Mill’s Visual Arts Curator Adele Sliuzas recorded a podcast with members of the Bait Fridge. Visit The Mill’s soundcloud to listen to podcasts with previous residents Carly Tarkari Dodd, Sonja Porcaro & Matthew Fortrose.

The Mill Adelaide · The Mill in Conversation: The Bait Fridge

Workshop

In April The Bait Fridge collective held a ZOOM workshop that explored costuming and performance.
Artist collective The Bait Fridge will be exploring themes from their project 'Art Basics' as part of The Exhibition Space Residency program at The Mill.

Log in from home (We'll post a link on the day) for a creative session using household items! Bait Fridge artists will talk about their creative process, their use of materials and the collaborative & performative aspects of their project.

Details:

FREE- please register your place via Eventbrite
Open to anyone
Beginner skill level
use your own household materials
Now presented via ZOOM

• About the artists

  The Bait Fridge is a multi-disciplinary collective from South Australia whose members include Felix Rossbach, Zeno Kordov, Dave Court, Declan Casley-Smith, Greta Wyatt, Adrian Schmidt Mumm, Annabel Scheid, Henry Jock Walker, Liam Sommerville, Tom Hannagan, Arlon Hall Hari Koutlakis, Mat Morison, Emmaline Zanelli, Kaspar Schmidt Mumm and Daria Koljanin. They collaborate to create works and performances which combine the practices of music, art, dance, costume and theatre. It began in 2014 at Blenheim Music and Camping Festival in Clare Valley as a spontaneous performance of expressive art and experimental music. The Bait Fridge has consistently performed at Blenheim Festival every year since - growing from a 5-piece outfit in its inception to over 15 participants in 2018 - finding its way into elaborate costume construction, audience participatory art making and The Bait Fridge Band. Recent works have involved improvised narrative performance with accompanying music, sculptural instruments, professional dancers, audience involvement, workshops and elaborate stage construction. The Bait Fridge have performed and activated spaces consistently from their conception including SALA’s Finissage events, Activate Ramsay’s Place (Colonnades Shopping Centre), SMOCK and AGSA Neo Teens workshop.

• About the program

  The Mill’s Exhibition Space Residency program positions artistic process to the fore, allowing audiences direct access to creative research and making. During this residency The Exhibition Space operates with a studio-like mentality where knowledge arises through collaboration, participation and experimentation. The Exhibition Space opens the creative process to the public, connecting people to cultural experience, insights, understanding and meaning.

Exhibition: The Mill Showcase

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Photo: The Mill resident artist Morgan Sette

January 17 - March 15, 2020

Opening event: Friday, January 17, 6-8pm

Where: The Mill Showcase, 154 Angas St, Kaurna Yarta

Cost: Free

*** Please note that due to the unfolding COVID-19 situation, The Mill’s galleries and studios are open by appointment only. If you wish to make a time to come and see our exhibitions, please email our Visual Arts Curator Adele Sliuzas***

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In 2020 The Mill will be launching a new gallery to sit alongside our remodelled Exhibition Space. Dedicated to artists who are working in our studio spaces, The Mill Showcase is a space to display some of the artworks and products that have been produced under our roof. The Mill Showcase will profile our artists, so that you can put a face to the name and get to know some of our dedicated makers.

The innaugural The Mill Showcase features work by Peter Fong, Matea Gluscevic, Morgan Sette, and Ozlem Yeni alongside The Mill’s limited edition prints by Small Room, Matthew Fortrose, and Naomi Murrell and Nadia Suartika.

About the artists:

• Peter Fong

  Peter Fong is a process driven handcrafted custom furniture designer and maker with a love for all things handmade. He is an illustrator turned woodworker honing in on his skills and eye for detail in a 3d medium.

  I specialise in considered one-off pieces that feature proud joinery and wood on wood construction, avoiding the use of nails and screws where possible. My aim is to impart a sense of permanence into our everyday objects through the use of well thought-out construction and materials paired with timeless clean designs that will live through generations.

  Each piece is created with the intent of ageing beautifully and being passed down. Preferring to work carefully and slowly, I am a traditional hand-tool enthusiast and will use a hammer and chisel over a power tool when possible. Hand tools connect me to the process, of that I value and enjoy just as much as the final product which I hope permeates through each piece

• Matea Gluscevic

  Matea Gluscevic is an artist and qualified shoemaker. She has completed a Cert IV in Custom Made Footwear, and a Bachelor of Visual Art Specialising in Sculpture and Installation.

  “DONE by Matea” is an ethical, slow, and sustainable handmade leather footwear and accessories label. I design and handmake all of my items in my studio at The Mill. I enjoy working with local, recycled, and low impact materials such as; cork, kangaroo leather, vegetable tanned leather and recycled rubber. 

• Morgan Sette

  Morgan Sette is an Adelaide based photographer, with the past few years spent shooting a mixture of news photojournalism, editorial, product and press shoots. Morgan has varied experience in all things photography, film, events, publicity and marketing that has ultimately come down to one thing; a desire to document and promote the good things. 

  The images explain what happens when I raise a hunk of metal in between myself and the outside world. When I’m taking a picture, I’m not trying to impact what’s happening inside the frame - I’m trying to document it.

• Ozlem Yeni

  Ozlem Yeni is a Turkish born artist who now lives and works in Adelaide. She studied painting, completing a Bachelor of Fine Arts at the University of Suleyman Demirel in Turkey. Before becoming a full-time artist, she enjoyed an 18-year academic career as a lecturer in Theatre Stage Design Department at the University of Dokuz Eylul in Turkey, where she attained a Master’s Degree and PhD. She has had a number of solo and group exhibitions in Turkey, Japan, Australia and Albania.

  Earthpeople is an interpretation of our evolving relationship with nature that underlines the noteworthy attempt of humankind. The aim is to increase awareness of humankind situations and power in life on earth, relate them to common global goals, so we can make changes to improve the existence for all.

Exhibition: Lucas Croall, 'BEAST'

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Artwork: Lucas Croall.

February 12 – March 15, 2020

Exhibition opening: Wednesday February 12, 6-8pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

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The Mill is excited to present this new body of work by Adelaide ex-pat and former The Mill resident Lucas Croall. BEAST takes the form of a series of prints presented alongside the plates used for their creation. The content of the exhibition seeks not only to consider the themes of the artist’s work but also to offer insight into the medium of printmaking.

‘BEAST investigates notions surrounding the tension between civilisation and wildness. By putting particular focus on the impossible demands that civility places on the human animal, the work seeks to highlight the familiarity of life’s most troublesome beasts.’

• Artist Statement

  BEAST

  During the late stages of construction of London’s tallest building (the Shard), staff discovered an animal living on the 72nd floor of the tower. It was believed that a fox had entered the site through a central stairwell and was surviving off of food scraps left by construction workers.

  Traditionally most foxes have lived in rural areas, in a series of underground tunnels referred to as dens. Recently numbers of urban foxes have increased, mimicking human migration from the country to the cities. One reason for this migratory pattern in foxes may be due to a lack of food in the countryside and an increasing tendency to scavenge. Generally, a fox’s territory in the countryside can range up to 40 miles, and with the exponential growth of cities and the large areas a rural fox would ordinarily cover, it is easy to see how the two have become enmeshed.

  The fox in the Shard represents a humorous anomaly for the British media but underneath this example belies the fox’s characteristics for survival in precarious urban areas. In this case upon discovery of the fox, the animal was removed by Southwark Pest Control, fed and given a health check before being released onto the streets of Bermondsey (not far from the tower). To this date the Shard remains the tallest building in Western Europe.

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  The tenuous nature of certain forms of wildlife in their encounter with the domestic world of human beings is connected to the elusive associations that surround our distinction between wildness and civilisation. The contemporary connotations of rudeness are impropriety and lacking manners. The Latin root of rude is rudis which means ‘unwrought’ (referring to handicraft), and figuratively ‘uncultivated’. Rudis is a cognate with rudus meaning broken stone, debris, or lump (especially that of bronze). Here the Latin root of the word rude becomes suggestive of the Bronze Age. In terms of civilisation then, ‘rudeness’ would become suggestive of something uncultivated and rough but also that of an early civilisation. 

  Enlightenment thinker Adam Ferguson, in Essay on The History of Civil Society, argues that what withholds civility from falling back into ‘rudeness’, or in other places he calls that which is ‘savage’ and ‘bestial’, is the fact that civility is built up through progress. He generously states that early ‘inhabitants of Britain’ were akin to ‘the present natives of North America: They were ignorant of agriculture; they painted their bodies and used for clothing the skins of beasts.’ For Ferguson those who wear the skin of the beast has a clear demarcating role in showing who is and who is not civilised. 

  Ferguson’s separation of civility and rudeness, arguably, is a false one. Looking at Ferguson’s example of a time when people in Britain ‘used for clothing the skin of the beast’ this is easily proved as inaccurate as we still today make use of material to wear from what Ferguson might call the ‘beast’. This can be seen in particular in the form of leather. 

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  Jacques Derrida, in his series of seminars, The Beast & The Sovereign, insists not on the proposition of an opposed dichotomy between what is unwrought and what is civil, but on a grace found in the recognition of each existing within the other. The beast is the sovereign, and sovereignty is found in wildness. One distinctive feature of deconstructionism is its insistence on the maintenance of that awareness, and the interrogation of mental separations between animality and what is anthropocentric. Derrida says that the process of deconstructing the relation between animality and sovereignty is a key theme of the deconstructive process in that understanding this demarcation or threshold between the pair shows how structures of the state and nation-state operate and how logic, reason and progress are thought. Derrida states in the third seminar of Vol. I that deconstruction is a rationalism without debt, that is unconditional, and that requires it to be ongoing, therefore enlivening rather than taking stable meanings in dichotomies.

  This may seem an interminable task, however, Derrida gives deconstruction a limit. This limit is found at the threshold. He states that the ‘threshold [is] at the origin of responsibility, the threshold from which one passes from reaction to response, and therefore to responsibility… the indivisible limit between animal and man.’ The question is of locating the threshold, the limit, the demarcation, between civility and rudeness, between the beast and the sovereign. 

  PRINTMAKING

  The confrontation of the beast and the sovereign within the tradition of printmaking is seen in the tension between the limited edition and unlimited reproduction. As a response to the privileging of authenticity in art history, printmaking employed the limited edition as a means of securing its status as a sovereign medium. This practice also seeks to rescue the medium from falling into the spectral practice of commoditization. Reproducibility and authenticity rise up in relation to each other and have a tendency to reify the other’s legitimacy.

  Hito Steyerl, in her essay, In Defence of The Poor Image, elucidates the contemporary promise of new media, namely their ability to constitute dispersed audiences while it disseminates images. The beast of printmaking rears its head in the form of reproducibility, pushing at the threshold of authenticity and spilling over into accessibility.

  Printmaking exists as an antagonism. It simultaneously makes a promise as a democratising agent and threatens to seal itself off as a limited edition. In the context of the BEAST exhibition, the image is dispersed in a myriad of iterations, but its numbers are fixed in edition numbers, positioning the BEAST on both sides of the antagonism.

• About the artist

  Lucas Croall is an artist who specialises in Printmaking, and has a background in Interior Mural works. Lucas graduated with a Bachelor of Visual Arts at The University of South Australia in 2015 and completed his Masters at the Royal College of Art in London in 2019. He is also a curator, and has curated a number of art shows in galleries in Adelaide, Melbourne and London. Lucas’ printmaking works have been exhibited in numerous solo and group shows. In 2018, his work was selected by Grayson Perry to be exhibited at the Royal Academy of Arts 250th Summer Exhibition in London. 

  He has designed and painted interior murals in Adelaide, Sydney, Melbourne, Barcelona and London.

  Lucas Croall’s prints and installations investigate notions surrounding the tensions between civilisation and wildness. His images often depict mutated animals or humans and aim to realise states of the psyche. By putting particular focus on the relationship between public presentation and private life, his work examines these themes through social criticism and evaluations of modern psychology.

• Accordion Item 3

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Exhibition: Selina Wallace, 'Perfectly Imperfect'

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Selina Wallace, Perfectly Imperfect (Lasso), 2018-19, C-type photograph on silver halide lustre paper, 76.2cm (w) x 50.8cm (h)

January 15 – February 7, 2020

Opening event: Friday, January 17, 6-8pm

Artists talk: Sunday, February 2, 2pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

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Perfectly Imperfect is a photographic series which seeks to document the tension between conventional cultural constructs and the lived experience of gender roles. Placing herself within the image, Selina performs her ‘femininity’ and ‘domesticity’ in unconventional ways. Against the backdrop of the Australian natural and urban landscape, Selina poses with discarded domestic objects that she has found on the side of the road. The cord from a vacuum cleaner becomes a lasso, an iron is transformed into a necklace (or maybe something more sinister).

‘Domestic implements connote housework, and in turn; women’s work. Subverting the viewer’s expectations via the use of performance and humour are critical elements of Perfectly Imperfect. The detritus of abandoned household objects discovered on suburban footpaths drives me to make images outside of accepted norms. Travelling to remote parts of Australia, I do not need the domestic items I carry, but they are a reminder of the societal expectations that weigh me down.

Cultural constructs can be escaped, and through my performance in Perfectly Imperfect I seek to do just that, with the aim of brief personal liberation from constraint.’ 

About the artist:

• Selena Wallace

  Selina Wallace is a female Australian photographic artist. Her photography explores the relationship between women and culture, and how we are influenced by the world around us. Wallace is studying a Bachelor of Photography through Open College of the Arts, University of Creative Arts, Yorkshire, UK.

  Her work State of the Environment was exhibited in South Australian Living Artists in 2015. She was the inaugural winner of the Don Dunstan Foundation Award for artists whose work explores themes of equity, the environment, homelessness, mental health and unemployment. In 2019, Perfectly Imperfect was exhibited at the Ballarat International Foto Biennale Open Program.

Visual Artist in Residence: Carly Tarkari Dodd, ‘Shackled Excellence’

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Photo: Carly Tarkari Dodd by Kayla Dodd

October 1 - December 10, 2019

Weaving Workshop: Sunday, November 17, 11am-1pm, $15

Artist in Conversation and Exhibition Finissage: November 24, 3-5pm

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The Mill welcomes Carly Tarkari Dodd, our new Artist in Residence in The Mill's Exhibition Space. Carly will be in residence from 1 October working on her project Shackled Excellence. With a focus on artistic process, this two-month residency allows audiences direct access to creative research and making. This residency is presented as part of Tarnanthi, Festival of Aboriginal and Torres Strait Islander Art.

Carly Tarkari Dodd is a proud Kaurna\Narungga and Ngarrindjeri artist who is passionate about expressing her Aboriginal heritage through art and storytelling. Through this project Carly will develop a body of work that uses sculptural practice to discuss topics of contemporary Aboriginality. Using weaving techniques, she will create a number of 3-dimensional works that celebrate the achievements of Aboriginal people alongside highlighting some of the injustices that Aboriginal people face. The process and materiality of the weaving process will be central to the development of these works, and will sit alongside the conceptual and cultural research that underpins Carly’s project. The Mill invites you to witness Carly’s creative practice and gain insight into her process as the residency unfolds across a 10 week period. During her residency Carly will be presenting a number of public programs!

‘I’ve started weaving a trophy, which is going well. I’ve never made a shape like that before. I’ve been talking to my dad about sports. I feel like there is a lot of political Aboriginal art about history, but there’s not much on sport. Dad was one of the top players in his footy team, but he didn’t get acknowledged for that really. My Brother as well, Travis Dodd, has achieved a lot in soccer in Australia. So, this exhibition is a way of showcasing their achievements.’

The Mill in Conversation Podcast

The Mill’s Visual Arts Curator Adele Sliuzas sat down with Carly to talk about her practice for The Mill’s podcast. In our chat Carly talks us through the genisis of this project, and the way the works have evolved through her residency.

The Mill Adelaide · The Mill in Conversation: Carly Dodd

About the artist:

• Carly Dodd

  Carly Dodd is a Kaurna\Narungga and Ngarrindjeri artist. She has been mentored by Indigenous Tasmanian artist Max Mansell and was taught traditional weaving by Ngarrindjeri artist Ellen Trevorrow. In 2013 she took part in a cultural camp to Coober Pedy, learning traditional methods of painting. Within her practice Carly mixes traditional and contemporary techniques, to produce works that are conceptually and culturally driven. In 2018 she was the recipient of the Carclew Emerging Curator Residency. Her works were exhibited during SALA 2018 at Adelaide Town Hall. Carly won the South Australian NAIDOC Young Aboriginal of the Year in 2018. Carly has facilitated art workshops at WOMAD, Spirit Festival, The Art Gallery of South Australia and the Adelaide Fringe.  

• About the program

  The Mill’s Exhibition Space Residency program positions artistic process to the fore, allowing audiences direct access to creative research and making. During this residency The Exhibition Space operates with a studio-like mentality where knowledge arises through participation and experimentation. The Exhibition Space opens the creative process to the public, connecting people to cultural experience, insights, understanding and meaning.

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Shackled Excellence is presented as part of Tarnanthi Festival of Aboriginal and Torres Strait Islander Art

The Mill Fundraiser: So You Think You Can Dance [BAD]

DANCE YOUR BUTT OFF FOR THE MILL!

When: October 18, 2019, 6.30pm doors open/registration sign in, 7pm- 9pm opening/performances/raffles

Where: The Mill, 154 Angas St, Adelaide

Format: Dancers / dance teams improvise a 1-2 minute routine to a random song, in a random dance style (styles & songs picked from a hat on the night).

Winners to be decided by public vote - so bring your friends!

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Each year, The Mill provides creative studios and artistic programs for over 400 local artists. Help The Mill continue to deliver opportunities for SA creatives, and build audiences for new work.

We need your support! Contribute to our annual fundraising target by attending our bad dance dance-off.

'So You Think You Can Dance [BAD]' is supported by Creative Partnerships Australia through Plus1.

That means each dollar you spend or donate on this event will DOUBLE!

Win prizes:

1x double pass to a 2020 Adelaide Festival dance show.

Double passes to a 2020 Adelaide Fringe show at The Mill.

Door prizes and raffles on the night.

Get involved:

Buy your tickets to attend.

$15 to register (per dancer)

$20 for audiences

$10 children

Donate if you can’t attend!

BAR OPEN ALL NIGHT!

Nibbles Provided!

Inquiries: info@themilladelaide.com

....WE CAN'T WAIT TO SEE YOU THERE!

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This program has support from

Exhibition: Girl Space, 'GODDESS'

September 4 - 27, 2019

Opening Night: September 6, 2019, 7-10pm

Where: The Mill, 154 Angas St, Kaurna Yarta

Cost: $5

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The ancient goddesses of varying mythology are often regarded as the reason for existence of water, of crops and harvest and of the human race. From the ancient Greek goddess of spring and re-birth, Persephone, to the indigenous Australian mother goddess, Kunapipi, women in mythology are heralded as heroes – strong, wise and of eternal importance. Yet, often when depicted in art, we see these heroes from a male gaze and not as the strong, raw women they were. These goddesses were also often mistreated and subjected to heinous acts of abuse and violence.

This exhibition will show these goddesses in all of their human glory – as wmn with strength, weakness, power, determination and courage. It will also showcase our current goddesses – the wmn in modern times who have shown us the qualities of the goddesses of ancient times.

Come along to the opening night and share a drink with us, have a chat with the artists and enjoy the incredible art by these amazing local wmn artists. We will have a curator talk at 7:30 with Laura Gentgall and Hannah Southcombe - the Girl Space team, and the exhibition will be officially opened by Amber Cronin.

Gaga/people Movement Classes: 12 Weeks in Adelaide 2019/20

Photographer: Ascaf

Classes

When: October - 17, 24, 31, 6-7pm, November - 7, 14, 21, 28, 6-7pm, December - 5, 12, 19 (at The Mill), 6-7pm, January - 2 (at The Mill) 6-7pm

Where: Adelaide College of The Arts, Level 3 Rehearsal Studio, 39 Light Square, Adelaide

Cost: $20

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About the classes:

Gaga/people Classes are open to people ages 16+, regardless of their background in dance or movement. No previous dance experience is needed!

Gaga is the movement research developed by Ohad Naharin (ISRAEL) over many years, parallel to his work as a choreographer and the artistic director of Batsheva Dance Company.  

Gaga/people classes last for one hour and are taught by dancers who have worked closely with Ohad Naharin.

What to expect:

Gaga/people classes offer a creative framework for participants to connect to their bodies and imaginations, increase their physical awareness, improve their flexibility and stamina, and experience the pleasure of movement in a welcoming, accepting atmosphere.

Teachers guide the participants using a series of evocative instructions that build one on top of the other. Rather than copying a particular movement, each participant in the class actively explores these instructions, discovering how he or she can interpret the information and perform the task at hand.

What to wear:

Participants should wear comfortable clothes and be prepared to dance barefoot or in socks. 

About the teacher:

• About the teacher

  Lee Brummer is an independent choreographer, international guest teacher and educator based in Sweden. She studied at the Jerusalem Academy for music and dance in Israel where she also completed her BA and teaching degree in 2007. Lee has studied psychology, theatre and pilates alongside her career as a dancer and choreographer. Lee is a certified Gaga teacher.

  Lee is the Associate Director and Co Founder of ilDance, an independent and international contemporary dance company and organisation based in Gothenburg, Sweden. Since 2016 Lee also manages GAGA SWEDEN under the umbrella of ilDance.

  Lee danced with the Bat Dor Dance Company (Israel), The Emanuel Gat Dance Company (Israel) and with various independent choreographers across Europe. She has worked as choreographer's assistant in a variety of dance productions and musicals in Sweden and abroad.

  Over the years Brummer has been teaching and working with companies such as: DV8, Australian Dance Theatre, Sydney Dance Company, National Dance Company Wales and Norrdans to name a few. She has been guest teaching at open professional classes, schools and universities worldwide and has been choreographing her own work within different international structures since 2010.

• About the company

  Gaga provides a framework for discovering and strengthening the body and adding flexibility, stamina, agility, and skills including coordination and efficiency while stimulating the senses and imagination.  The classes offer a workout that investigates form, speed, and effort while traversing additional spectrums such as those between soft and thick textures, delicacy and explosive power, and understatement and exaggeration.  Participants awaken numb areas, increase their awareness of habits, and improve their efficiency of movement inside multilayered tasks, and they are encouraged to connect to pleasure inside moments of effort.  The research of Gaga is in a continual process of evolution, and the classes vary and develop accordingly. 

  “We are aware of the connection between effort and pleasure,  we are aware of the distance between our body parts, we are aware of the friction between flesh and bones, we sense the weight of our body parts, yet, our form is not shaped by gravity . . . We are aware of where we hold unnecessary tension, we let go only to bring life and efficient movement to where we let go . . . We are turning on the volume of  listening to our body, we appreciate small gestures, we are measuring and playing with the texture of our flesh and skin, we might be silly, we can laugh at ourselves.  We connect to the sense of “plenty of time,” especially when we move fast, we learn to love our sweat, we discover our passion to move and connect it to effort, we discover both the animal we are and the power of our imagination.  We are “body builders with a soft spine.”

  We learn to appreciate understatement and exaggeration, we become more delicate and we recognize the importance of the flow of energy and information through our body in all directions.  We learn to apply our force in an efficient way and we learn to use “other” forces.

  We discover the advantage of soft flesh and sensitive hands,  we learn to connect to groove even when there is no music.

  We are aware of people in the room and we realize that we are not in the center of it all. We become more aware of our form since we never look at ourselves in a mirror; there are no mirrors.  We connect to the sense of the endlessness of possibilities.  Yielding is constant while we are ready to snap . . .

  We explore multi-dimensional movement, we enjoy the burning sensation in our muscles,  we are aware of our explosive power and sometimes we use it.  We change our movement habits by finding new ones, we can be calm and alert at once.

  We become available . . .”
  Ohad Naharin

Lee Brummer Gaga/people teacher, Adelaide.

SALA Masterclass: Chris Orchard (drawing), 'The Body Caught - Drawing the Body in Motion'

The Throw, by Chris Orchard 2018

Presented by The Mill in partnership with SALA Festival, 2019, a Chris Orchard Masterclass The Body Caught - drawing the body in motion

Masterclass information

When: August 3 and 4, 2019, 10am - 4pm daily

Where: The Mill’s Breakout Space, 154 Angas St (enter via Gunson St), Adelaide

Cost: $400

About the masterclass:

The intensive will be constructed around the body in motion vs. stillness. Our model will “choreograph” movement that participants will capture in drawings sometimes as fleeting as the moment and at other times held in suspension for longer periods. We will focus on the “loss” of memory and each participants’ capacity to invent when memory fails. We will use repetition both in the models movements and in the drawers’ marks to embed imagery in more developed drawings in charcoal and or materials of the participants’ choice. We will make a lot of drawings and engage in discussion along the way. 

Artists to consider; DAUMIER. FUTURISM. JENNY SAVILLE. DEGAS. KENTRIDGE. MUYBRIDGE.

About the artist:

Chris Orchard held his first solo exhibition 1975. 1982 Founding member of Central Studios Adelaide. Over 60 solo and group exhibitions to the present. Former Head of Drawing at Adelaide Central School of Art. 1984-1987 joined Air and Space Studios Berry St London. 2000 residency at Gunnery Studios Sydney. 2002 taught Drawing at the New York Studio School. 2011 Awarded the Arts SA Fellowship. 2012 Three month studio development of new work at Present Company, Brooklyn, NY.    In 2017 awarded the SALA feature artist with a publication by Wakefield Press, “Christopher Orchard, The Uncertainty of the Poet with text by Peter Goldsworthy, Margot Osborne, Julia Robinson, Roy Ananda and Rod Taylor. Maintain studio practice in Adelaide and New York to the present. Represented in Adelaide by BMGArt, in Sydney by Wagner Contemporary Galleries and in New York by Stephen Rosenberg Fine Art. 

Materials:

Participants must provide the following;

12, Sheets Bulky Newsprint, NOT butchers paper.

6, Sheets 210 gsm Cartridge. (CA Grain or equivalent.)

3, boxes natural charcoal, thick sticks, about pencil thickness.

2 Charcoal pencils, medium. (Central Art Supplies at Glenside have terrific “Peel & Sketch” charcoal pencils, just an option.)

2, Sticks compressed charcoal, medium & soft. Conte also makes an HB compressed charcoal that participants may find interesting

White latex erasers.

20mm Masking tape.

Retractable blade utility knife.

A rag, napkin size, old T-shirt or bed sheet.

(Each participant will have his or her preferred mediums to add to list.)