As part of his visit to SA, HITNES stopped in at The Mill to meet the residents and leave a little something behind for Adelaide. This 10m long fish was completed over three days by the Italian artist in Feb 2015.
Work sponsored by Adelaide City Council's Public Art Program and completed with the support of Vans the Omega (ADL).
www.hitnes.org
Pantheon was an immersive performance event, publication and exhibition series. Pantheon challenged twenty-one Adelaide artists to find their own personal mythology and reflect on the universal relationship between place and story. Over two nights audiences went on a dark journey into a dream space created within the walls of The Mill Adelaide where, regardless of religious persuasion, you will experience the eternal, the personal, the real and the imagined. Consisting of 8 performances and a group exhibition Audiences were led through a labyrinth of tales of the gods, interacted with performers and witnessed dance work unravel before them. The Mill's publication offers a written realisation of these works, foreward by Jeff Khan (Performance Space AD, SYD) and written creative work by Jens Van Horne and Critical Review by Jane Howard.
Before philosophy became a separate discipline, the poetic images of myths and gods were the central way in which people addressed the immediate questions of life and death. They questioned and studied nature, the stars and universe, the relationship between human beings and the supernatural, as well as the rea- sons for certain customs or ways of behaviour. Myths made visible to individuals their deepest longings and imaginings and, so, offered a way in which society could understand it’s own being.
The nature of the gods and myths of any culture are to some extent conditioned by the nature of the land in which the stories of the first tellers of their stories lived. Universally, these creations and stories may have taken the form of a living presence –such as a goddess or a god, or an animal or bird - or perhaps the moon, sun or landscapes of earth. Either way, these stories and creations were, and are, an attempt to reach for an idea that would re- veal patterns and structures in order to make sense of the world.
Delana Carbone
'the Gods have been lost'
Callan Fleming
‘FURY’, performed by Margot John (solo), Alicia Harvie & Kendal Winton
Callan Fleming
‘Atlas Drowing’
Lukus Robbins
‘Clear Sight’
Ben Roberts
‘Purgatory’
Josephine Were
‘Shotgun’
Aurelia Carbone
Marina Warner
Berkely Peabody
Françoise Dolto
Capital Waste Pictures
Invoking the unholy towards melancholic light
Multichannel video installation by Dom Sargent and Liam Somerville
Lucas Croall: 'Paradox: A Unified Opposition'
Andrew Dearman
The Magpie called by name. I always knew that being called ‘Woooblwobliboublouu blou’ would be a problem.
Peter Fong: "Secret Valley"
Fruszi Kenez
'The Town Meeting'
'Little Foxes'
'Hands hands hands'
'Cordelia'
Jens Van Horne
The Ideal, The Anxiety, The End: or, the pathos, of hope and perfection
Joel Van Moore
I am Trinity
Kaspar Schmidt- Mumm
Mr Tinker the thought thinker. Aka the god of thinking til the aint nothin you aint thunk. (Green Old man )
U-Gene-e in a can. Aka the god of canned Genius: Campbell's Soup, Spaghetti Toasties, Heinz Baked Beans, etc.
Ms Spectacle with Spectacles. Aka the god of receiving attention purely by winking. (Without being sleazy) Pure Suave.
Gary Seaman
Future Ancestors.
Maiden Voyage.
Joshua Searson and Mei Wong
Sun-Wukong/ The Palm of the Buddah
Jono Simmons
'taste the milk'
The Mill Adelaide, in association with the Klein Family Foundation, Force Majeure and the Helpmann Academy, presented the 2014 Choreographic Futures Dance Residency.
In 2014, the first residency program saw one of Australia’s leading choreographers, Kate Champion of Force Majeure, mentor local choreographer Alicia Harvie to develop her new work The Closet Activist. This work has since had a second development with plans for performance in the works, including a performance at the Tour Down Under festivities. “What more could an emerging dance artist ask for than four weeks creating in an inner-city dance studio, immersed in a collaborative arts hub and mentorship with an internationally renowned choreographer?” Alica says. “The Choreographic Futures Dance Residency helped me to introduce myself as an artist and my emerging arts practice to the professional arts industry with integrity and excellence.”
“This residency will provide Alicia Harvie, a South Australian choreographer with a tremendous opportunity to further develop their skills and experience and to gain exposure in the industry. During the 4-week residency, the selected artist or artists will have the creative freedom to play, experiment and develop new ideas,” explains the Mill’s co-founder Erin Fowler. “Recent graduates need the breathing space to try out their ideas in a supportive environment and yet it can be a challenging process to get independent work off the ground. The Mill is thrilled with the world-class team they have brought together for the residency – who will offer invaluable support in all areas of creating a dance work. In particular, the selected artist will work under the mentorship of one of Australia’s leading choreographers, Kate Champion, who will travel to Adelaide specifically for this residency and will also offer a masterclass to the professional dance and theatre communities. This residency will not only benefit the programs chosen recipient, but will hopefully inspire and engage the wider dance community.”
Gaga/Naharin is a movement language developed over the last decade by Ohad Naharin, Batsheva’s long-time artistic director, in the Batsheva studios. This expressive and dynamic movement language is used daily by dancers of the Batsheva Dance Company and Batsheva Ensemble as the basis for their distinctive technique.
Gaga offers a new way to reach a deeper knowledge and understanding of one's self via the body and its movement. Gaga encourages, teaches and cultivates multi dimensional movement, efficiency and texture of movement, the use of explosive power, the connection between pleasure and effort, quickness, clarity of intention, stamina. It enables recognition of one's own movement habits and helps to acquire new ones.
Essentially, Gaga increases one's understanding of the body’s weaknesses and strengths, as well as its response to them. Through Gaga, one works to break down physical barriers in order to reach a greater comprehension and control of instinctive movements.
Ultimately, Gaga empowers the experiences of pleasure, stillness, positivism, and happiness. The Gaga movement language is a tool that can be utilized by dancers and non-dancers alike.
March 4th, 11am (studio open from 10:30am)
Studio 1, The Mill Adelaide
Level 1, 27 Bewes St, Adelaide 5000
(off Angas st just 20m walk from The Mill).
$35
Places limited to 30 participants – so get in quick! Book via www.themilladelaide.com/events/
Workshop runs for 1 hour 15 minutes. Dress for Class, barefoot or socks. Comfortable clothes
