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.

IlDance Professional Development Opportunity Audition 2019

Photo: Hedda Axelsson from Q&A by Rachel Erdos and cast of ilYoung 2018

Presented in partnership between The Mill, Helpmann Academy and IlDance.

The ilDance Professional Development Opportunity provides the opportunity for an emerging dancer from Adelaide College of the Arts (TAFE SA / Flinders University) to work with ilDance’s project-based junior company, ilYoung, and to tour a new dance work throughout Sweden.

The opportunity will provide valuable mentorship from ilDance company’s founders Lee Brummer and Israel Aloni, as well as experience working and touring with a professional dance company.

ilDance is an international and independent contemporary dance company that initiates and operates several pioneer projects. The company was founded in 2012 by its current Artistic Directors, Israel Aloni and Lee Brummer, and it is based in Gothenburg, Sweden.

Residency and Tour Dates, 2020 TBA

The total value of the development opportunity is approximately $17,000. This is comprised of both cash and in-kind support.

Applicants must be final year students or graduates from the Adelaide College of the Arts / Flinders University Bachelor of Creative Arts (Dance) program. Graduates must be within five years from their final year of study to apply.

Eligible dancers are invited to register for an audition:

Date: Saturday 7th December 2019

Time: 11:00am – 3:00pm

Venue: Adelaide College of the Arts, Rehearsal Room, Level 3

Note: We recommend that the dancers bring along a bottle of water and a small meal with them for the audition day.

Following the audition, applicants will be shortlisted. These applicants will progress to the next round of assessment and be asked to complete a written application. The successful applicant will be notified end January 2020.

To register:

Email your CV and answer to the following question to director@themilladelaide.com

"What interests you about this opportunity and how will it benefit you?"

For more information about this audition:

Contact The Mill Director - 0406991330 / director@themilladelaide.com

Engage: Immediate Release Call Out - HOTBED Workshop Cindy Van Acker / Switzerland

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Workshop

When: November 4-8, 2019, 12-5pm (Monday-Friday)
Where: WXYZ Studios, Melbourne
Morning Class: Lucy Guerin Inc (LGI)

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The Mill in partnership with Dancehouse (VIC) is offering one South Australian dance artist a position in HOTBED workshop with Cindy Van Acker / Switzerland. HOTBED is presented by Lucy Guerin Inc and Dancehouse (VIC).

The Mill will provide the successful SA artist with $1000 toward travel and/or accomodation for the opportunity. Dancehouse will cover costs of the workshop and provide a free Dancehouse membership to the artist.

For full information:

https://lucyguerininc.com/news/hotbed-workshop-cindy-van-acker

http://www.ciegreffe.org/

http://dancehouse.com.au/performance/performancedetails.php?id=344

How to apply to The Mill:

This workshop is open to professional dancers and dance-makers only.

Please send a short expression of interest (150 words max) plus your current CV and a link to an example of your work/performance in a single document to director@themilladelaide.com

Deadline for public EOI: 5.30pm, Thursday 24th October.

In the EOI, please tell us what your specific interest is in this workshop’s content.

Successful applicants will be notified by Friday 25th October.

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

Engage: Announcing Adrianne Semmens for the First Nations development project at Critical Path Sydney

The Mill in partnership with Critical Path (Sydney) congratulates South Australian First Nations Australian dance artist, Adrianne Semmens as the successful applicant for the opportunity to attend a 3-day development project in Sydney, NSW.

She will participate in a three day project which will explore and share where participants find themselves in their artistic practice now, their connections and responsibilities to community, and work to explore how they represent their work (in text, image and when speaking about it) along with what they communicate with others. Finally they will look at how they can support each other to take their respective practices forward.

The project will have the input of guest First Nations Australian artists, and has been planned with advice from BlakDance.

Claire Hicks, the Director of Critical Path will be facilitating the agreed framework for the program, with other guest artists, working together to roll out the activities together across the three days.

The Mill will provide a $1000 bursary toward accomodation and travel for the 3 days to Adrianne. Critical Path will also provide a small fee/honorarium of $500.

About the artist:

• Adrianne Semmens

  Adrianne Semmens is a dance practitioner with experience working across the arts, education and community sectors. Born in Adelaide, Adrianne is a descendant of the Barkindji People of North Western NSW and a graduate of NAISDA Dance College and Adelaide College of the Arts.

  Adrianne’s recent choreographic explorations have centred on place and identity, creating a site specific work on a group of international youth dancers at the Panpapanalya, 2018 Joint Dance Congress.  

  Passionate about dance education, Adrianne has previously worked with the Australian Ballet’s Dance Education Ensemble, and presented programs as part of the Adelaide Festival Centre’s Our Mob exhibition.  

  As a performer Adrianne has worked with choreographers and companies including; Jo Clancy and Wagana Aboriginal Dancers, Erth Visual & Physical Inc, Jade Erlandsen (Adelaide Fringe Festival), Gina Rings (Spirit Festival) and Cathy Adamek (Adelaide Fringe Festival).

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This program has support from

Writer in Residence 2019: Jennifer Eadie

The Mill’s Writer in Residence program is focused on fostering arts writing and criticism by emerging arts writers. This year The Mill will partner with Fine Print magazine for writing and editing support and with Scotch College for an additional Writer In Residence educational program.

Each Writer In Residence is provided with a 6 month residency at The Mill in a private studio, with The Mill commissioning three pieces of writing per artist and support them on a personal collaborative project.

About the writer:

• Jennifer Eadie

  Jennifer is writer and artist, having only recently moved to Adelaide / Kaurna country. Currently, she is a lecturer & tutor for the Aboriginal Pathway Program at UniSA. Jennifer studied art and creative writing at UNSW and critical legal studies at ANU. Her writing practice is motivated by the broad question of whether the notion of community - which is currently premised on an exclusive human ‘we’ - can be re-imagined so as to recognise and include ecological agency.

  Her upcoming book Rethinking the Animal Rights Movement (Routledge) explores this question from historical and activist perspectives. Her writing has been published in Modern Fiction Studies, Borderlands e-journal and extempore.

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.

OzAsia Festival Masterclass: Valentine Nagata-Ramos, 'Hip Hop from streets of Paris'

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Masterclass

When: Wednesday, October 16, 2019, 2-3.30pm

Where: Level 3, Rehearsal Studio, Adelaide College of The Arts, 39 Light Square, Adelaide SA 5000

Participant Level: Professional Level/Tertiary/Full time Dance Student

Cost: $20

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B-girl Valentine has danced for leading hip-hop troupes around the world, and started her own dance company, Uzumaki, in 2011. She performed with the MTV dance crew and has won numerous breakdance battles. She will run this special masterclass, sharing many of her unique break styles as seen in the performance of Kata by choreographer Anne Nguyen as part of Oz Asia Festival 2019.

An internationally renowned B-girl, Valentine has danced for companies Black Blanc Beur, Montalvo/Hervieu, 6° Dimension, and with the crew Fantastik Armada (world champion at BOTY 2004). She performed with the MTV dance crew 2005-2006 and has won many breakdance battles (BOTY 2007, IBE 2008…) which she also judged (BOTY 2004). For her Dance Company Uzumaki, she choreographed her first soloSadako in 2011, the duet JE suis TOI in 2014, and My Mother is better than yours in 2018. Valentine has also worked with Anne Nguyen before, replacing her in the solo Square Root (2007), and is dancing with her in the duet Yonder Woman (2010). She is also dancing in the female quartet Autarcie and in the 2017 par Terre Dance Company’s production Kata.

Photo: Valentine Nagata-Ramos by Tetsuo Nagata

OzAsia Festival Masterclass: Damien Jalet & Aimilios Arapoglou, 'Contemporary Dance in Visual Art & Film'

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Masterclass

When: Sunday, 27 October, 2019, 10am - 11.30am

Where: Dance Hub SA, Lion Arts Centre, Cnr Morphett St & North Tce, Adelaide

Participant Level: Professional Level/Tertiary/Full time School Dance Student

Cost: $20

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The Mill in partnership with OzAsia Festival and supported by Dance Hub SA, present Masterclass with Damien Jalet, choreographer of ‘Vessel’ presented as part of the 2019 OzAsia Festival.

About the artists:

• Damien Jalet

  Choreographer of ‘Vessel’, Damien Jalet is at the forefront of contemporary dance. Damien Jalet is an independent Belgian and French choreographer and dancer whose work has been presented all over the world . Interested in the capacity of dance constantly reinventing itself by conversing with other media such as visual art, music, cinema, theatre and fashion; his works are often collaborative. He worked as a choreographer and dancer for companies such as Ballet C. de la B., Sasha Waltz and Guests, Chunky Move, Eastman, NYDC, Hessiches Staatballet, Paris Opera Ballet, Scottish Dance Theatre, Icelandic Dance Company , Gothenburg Dance company and many more.

  Damien will share his experience as a choreographer in areas of visual art and film with his collaborator Aimilios Arapoglou.

  As a teacher Jalet has also taught his specific technique using centrifugal force in many companies and institutions including Pina Bausch Company, ImPulsTanz Vienna, Atelier de Paris, Architanz Tokyo.

  Damien Jalet has been entitled knight of the arts and letters by the French government in 2013. www.damienjalet.com

• Aimilios Arapoglou

  Aimilios Arapoglou graduated from the Greek National Dance School in 2011. A few notable performances include, Bolero, YAMA, Gravity Fatigue and BABEL 7.16. He recently contributed to the creation of Skid, a piece by Damien Jalet and visual artist Jim Hodges. In addition to freelance touring throughout Europe, the United States and Japan, Aimilios was invited by Ceprodac Dance Company for an artistic residency in Mexico in August 2018. There, as a guest artist and choreographic assistant to Damien Jalet, he collaborated on Omphalos, which premiered in Mexico City that year.

  Images: Damien Jalet and Aimilios Arapoglou - image by Koen Broos

OzAsia Festival Masterclass: Guillaume Gabriel (Herve Koubi Company), 'Urban Street Dance, Classical Dance and The Warrior'

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Masterclass

When: Monday, October 21, 2019, 5.30-7pm

Where: Level 3, Rehearsal Studio, Adelaide College of The Arts, 39 Light Square, Adelaide SA 5000

Participant Level: Professional Level/Tertiary/Full time Dance Student

Cost: $20

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The Mill in partnership with OzAsia Festival and Adelaide College of The Arts present Masterclass with co founder of Company Herve Koubi, Guillaume Gabriel, presenting ‘What the Day Owes to the Night’ as part of the 2019 OzAsia Festival.

About the masterclass:

This masterclass with co-founder Guillaume Gabriel of Herve Koubi Company, will highlight the importance of quality movement, weight, balance and provide guidance to work thorough challenges.

‘What the Day Owes to the Night’ by Herve Koubi brings together an incredible troupe of male dancers from across the Mediterranean Basin. In this work the performers share their connection for urban dance, classical dance and ancient performance rituals. In this physical masterclass, Guillaume will share the techniques he developed to create this game-changing piece of choreography.

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This program has support from

Call Out: ENGAGE - Development Project for First Nations Australian Dance Artists 2019

The Mill in Partnership with Critical Path (Sydney) is offering a position for one South Australian First Nations Australian Dance Artist, to attend a 3-day Development Project in Sydney, NSW.

Artists participating in the three day project will explore and share where they find themselves in their practice now, their connections and responsibilities to community, and work to explore how they represent their work (in text, image and when speaking about it) along with what they communicate with others. Finally they will look at how they can support each other to take their respective practices forward.

The Project will have the input of guest First Nations Australian Artists, and has been planned with advice from BlakDance.

Claire Hicks, the director of Critical Path will be facilitating the agreed framework for the program, with other guest artists, working together to roll out the activities together across the three days.

Confirmed artists are: Jacob Boehme, Mariaa Randall, Henrietta Baird & Jasmin Sheppard

The Mill will provide a $1000 bursary toward accomodation and travel for the 3 days to the successful SA applicant. Critical Path will provide a small fee/honorarium for all participants of $500. Food will be provided.

Details

When: 21st - 23rd September, 2019

Where: The Drill Hall, Rushcutters Bay, Sydney (Critical Path)

Artist Fee: $1500 for successful South Australian applicant.

Call Out opens: July 29th, 2019

Call Out closes: August 19th, 2019

Applicants notified: August 23rd, 2019

To apply: please send your CV and photo to director@themilladelaide.com and include a short paragraph about yourself and why you’d like to attend this development project at this time in your career.

Visual Artist in Residence: Grace Marlow, Doors & Windows

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Grace Marlow, Let me carry that for you, Grace Marlow with audience participants, performed in Psychache co-curated by Adele Sliuzas and Ray Harris, Holy Rollers, 2018. Photographer: Sam Roberts.

July 1 - August 28, 2019

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

Cost: Free

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In July and August, 2019, Grace will be exploring collaboration and participation within her practice. Sitting somewhere between performance and social engagement, Grace’s residency will include research, writing and collaborative practice that investigates understandings of authorship and value.

Come check out the evolving work in The Exhibition Space at The Mill. Grace’s residency runs through to the end of August 2019.

Grace Marlow, WE ARE GATHERED HERE TODAY, black painted text and line on the gallery skirting boards, in Who speaks for a community? curated by Bella Hone-Saunders, Sister Gallery, 2017. Photography by Christopher Arblaster.

Grace Marlow, again back, remain through, performed with Virginia Barratt, in Into My Arms co-curated by Frances Barratt and Toby Chapman, Ace Open, 2018. Photography by Sam Roberts.

Writer in Residence 2018: Letti K-Ewing

The Mill is thrilled to announce Letti K-Ewing as the recipient of the 2018 Writer in Residence residency. Letti receives a studio at The Mill for 6 months, a budget for commissioned writing and publication outcomes with our partner organisations.

The Writer in Residence program supports emerging writers from a variety of disciplines. The program creates a broader audience for writing through leadership, mentorship and publication.

• About the writer

  Letti is a published journalist and poetry writer with a special interest in the Arts. She has written for Adelaide online and print magazine Yewth, and Edinburgh-based magazine, Fest, covering both local and international artists and acts during Adelaide Fringe Festival, Adelaide Festival, and beyond.
  
  Letti has also had her poetry published in Chicago-based magazine Hooligan Mag, and exhibited written poetry works locally at Adelaide Fringe Festival.
  
  You can view Letti's portfolio of works and engage with her through her website: lettikewing.wordpress.com

Writer in Residence 2018: Ben Brooker

The Mill is thrilled to announce Ben Brooker as the recipient of the 2018 Writer in Residence residency. Ben receives a studio at The Mill for 6 months, a budget for commissioned writing and publication outcomes with our partner organisations.

The Writer in Residence program supports emerging writers from a variety of disciplines. The program creates a broader audience for writing through leadership, mentorship and publication.

• Ben Brooker

  Ben is a writer, editor, critic, essayist, and playwright. His work has been featured by Overland, New Matilda, New Internationalist, Australian Book Review, RealTime, The Lifted Brow, and Daily Review. Ben is a co-facilitator of Adelaide’s Quart Short literary reading salons and in 2016-17 was an inaugural Sydney Review of Books Emerging Critics Fellow.
  
  Find out more: benbrooker.com

Testimonial:

“It was great to have The Mill’s support, and the company of so many lovely Mill residents, as I wrote some of the most challenging and rewarding pieces I’ve done in some time. From getting branded (twice!) to tangling with Peter Goers, it was a wild ride.” Ben Brooker, 2018-19 Writer in Residence

Writer in Residence 2017: Eleanor Scicchitano

The Mill is thrilled to announce Eleanor Scicchitano as the recipient of the 2018 Writer in Residence residency. Over the next 12 months, Eleanor will create work for, with and about The Mill, from a permanent base within our creative community.

The Writer in Residence program supports emerging writers from a variety of disciplines. The program creates a broader audience for writing through leadership, mentorship and publication.

• About the writer

  Eleanor is the Visual Arts Program Curator at Country Arts SA. In 2012 she completed a Masters in Curatorial and Museum Studies at Adelaide University and she has previously work as a co-director at FELTspace ARI and founding co-director of onesixteenth ARI. She is a Board member at ACE Open, and spent 5 weeks in Venice in 2015, working in the Australian Pavilion at the Biennale.

  She maintains in independent curatorial and writing practice, and has presented exhibitions in galleries around Australia. She has published articles, reviews and essays with Artlink Magazine, Marmalade, and for a number of artists and galleries in Adelaide.

Testimonial:

“The writer-in-residence program at The Mill gave me the space, not just physically but also mentally, to focus on my writing. It allowed me to dedicate time to my practice, and to grow it through new opportunities. I was able to expand my repertoire to include pieces about dance and residencies. This was challenging, but also rewarding as I was able to learn a new language, and to explore a different discipline.” Eleanor Scicchitano, 2017-18 Writer in Residence

Writer in Residence 2017: Aimee Knight

The Mill is thrilled to announce Aimee Knight as the recipient of the 2017 Writer in Residence residency. Over the next 12 months, Aimee will create work for, with and about The Mill, from a permanent base within our creative community.

The Writer in Residence program supports emerging writers from a variety of disciplines. The program creates a broader audience for writing through leadership, mentorship and publication.

• About the writer

  Aimee writes cultural criticism and creative non-fiction. Her words appear on and in The Big Issue Australia, Little White Lies, Kill Your Darlings, The Lifted Brow, Daily Life, Broadly and more.
  
  In 2015 she was a Writer in Residence at SA Writers Centre. The following year, she was selected for Critics Campus at Melbourne International Film Festival. She’s set to appear as an artist at National Young Writers' Festival in October 2017.
  
  Aimee is a poptimist who digs gender equality, sexual diversity and good mental health. Dancing on stage with Bruce Springsteen didn’t cure her anxiety, but it sure did help.
  
  Read her work here: www.clippings.me/siraimeeknight

Testimonial:

“As an inaugural Writer in Residence at The Mill, I've had the space and support to connect with many of the resident and exhibiting artists. It's a lively environment full of fascinating people creating vital new work. The Mill's staff has been especially encouraging of all my literary endeavours.” Aimee Knight, 2017-18 Writer in Residence