Showing

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

workshop tickets

Workshop

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

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 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 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.

public program, galleries

Exhibition: Evie Hassiotis, 'Xenitia'

Adele Sliuzas · June 19, 2020

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

August 3 - September 27, 2020

opening tickets

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

artist talk tickets

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

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

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. ***

View the Xenitia Virtual Gallery

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.
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.
Description text goes here

dance launchpad, public program

Dance Launchpad: Jazz Hriskin, 2020 recipient

chloe metcalfe · June 18, 2020

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

view the virtual gallery

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 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 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 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.

A woman stands looking at the camera, she has long brown hair in a pony tail and is wearing a colourful top and statement earrings.

Lewis Major wears black pants and a tartan shirt, he is standing in front of a brick wall

Tobiah Booth-Remmers looks at the camera, he is wearing a black top

public program, fringe festival

Adelaide Fringe: 2020 program

Tim Watts · June 5, 2020

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.

The Mill Adelaide Fringe abittoir noir.jpg — 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 Mill Adelaide Fringe the bakers.jpg — 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.

the mill Adelaide fringe boys taste better with nutella.jpg — 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 mill Adelaide fringe daughters of roisin.png — 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.

the mill Adelaide fringe edddie ray.png — 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.

the mill Adelaide fringe harlequeen.jpg — 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.

the mill Adelaide fringe lenka.jpg — 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.

the mill Adelaide fringe lucy & me.jpg — 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 mill Adelaide fringe the monster.jpg — 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.

the mill Adelaide fringe moofs adventures.jpg — 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.

the mill Adelaide fringe plastica fantastica.jpg — 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.

the mill Adelaide fringe s-27.jpg — 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.

the mill Adelaide fringe underlying skin.jpg — 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.

the mill Adelaide fringe voices of joan.png — 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.

the mill Adelaide fringe wellness a social justice play.jpg — 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 mill Adelaide fringe WTF show.jpg — 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.

public program, galleries

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

Adele Sliuzas · June 1, 2020

Artwork: Kirsty Martinsen (photographer: Alex Makeyev)

June 15 – July 29, 2020

opening tickets

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

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

Cost: Free

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’.

View the 'Our Lady: en feu' Virtual gallery

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.
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

Kirsty Martinsen, Our Lady en feu (installation view), Photo Morgan Sette_005.jpg

Kirsty Martinsen, Our Lady en feu (installation view), Photo Morgan Sette007 copy.jpg

Kirsty Martinsen, Our Lady en feu (installation view), Photo Morgan Sette009.jpg

Kirsty Martinsen, Our Lady en feu (installation view), Photo Morgan Sette008.jpg

writers in residence

Writer In Residence: Jess Martin

Katrina Lazaroff · May 30, 2020

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.

Exhibition Space Residency: The Bait Fridge, 'Art Basics'

chloe metcalfe · May 28, 2020

“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

view the virtual catalogue

This program has support from

brink theatre residency, free-range residency, spotlight residency, theatre residency, dance residency

Breakout Residencies: Announcing Successful Recipients 2020

chloe metcalfe · May 8, 2020

Brink Productions Residency: Jo Stone

Solo Development; July/August, 2020

Presented in partnership with Brink Productions

A solo development based on the diaries and final writings of Kafka. A reflection on a final hour: a play of mourning, remembrance and ultimately a celebration of life.

Brink Productions 2020 recipient Jo Stone has long brown hair and is wearing a black jumper

Jo Stone graduated from Flinders Drama Centre and works in theatre, television and film. She formed Stone/Castro with Paulo Castro in Europe 2002. Jo has taught for various institutions over the last 20 years including disability arts, professional workshops and school drama workshops 1-12 and with STCSA/The Road home creating new work with Veterans with PTSD.

Theatre credits: Welcome the Bright World / Sewell (Charles Sanders/ STCSA umbrella), The Country /Martin Crimp (Stone/Castro) Adelaide Festival 16, Infected / Stephen Sewell (Charles Sanders), White Rabbit, Red Rabbit (Nassim Soleimanpour), Blackout (Paulo Castro) Adelaide Festival 14, Information for Foreigners (Benedict Andrews), Danton’s Death (Paulo Castro), Congratulations (Stone/Castro), B-File (Paulo Castro) (nominated Best performer Green room awards 07), Superheroes (Stone/Castro), Pyjama Girl (LadyKillers) and Please Continue by Duncan Graham (David Mealor), MiWi 3027 development (STCSA/ Country Arts SA) Julian Meyrick. Directions: Dis-integration (DanceNorth), Untitled, SOF#1 and Fragments of Faith (AC Arts Dance Dept), Private Lives (Feast Festival 09), and Superheroes (Stone/Castro),‘Fury’/ Joanna Murray Smith (AC Arts Acting Dept). Movement Consultant/Director: Thursday (Brink Productions), Metro Street (STCSA), Pornography (STCSA), Jesikah (STCSA). Dance theatre/Self devised/ Opera performances: Foi (Sidi Larbi Cherokaui / Co les Ballet C de la B, Blue Love (co-directed/performed with Shaun Parker), Big in Bombay and Back to the Present (Constanza Macras), Writing to Vermeer (Peter Greenaway), Madam Butterfly (Moffatt Oxenbould /Matthew Barclay) State Opera SA and Cube (ADT) Adelaide Museum. Film credits: The Big Nothing (Sharptooth Pictures) (nominated Best Actress FirstGlance Film Festival Hollywood), Grounded (Luke Wissell), Going for Gold (Glen Pictures) and Double Happiness Uranium (Cole Larson). TV credits: Children’s TV series Music Shop (Ch:9 Series 1, 2), Changed Forever, Plonk Series 2, ABC mini-series Anzac Girls and Pine Gap.

Spotlight Residencies: Felicity Boyd & Zoe Gay of Motus Collective

The Credits; August, 2020

Work in Development: The Credits is a dance-theatre work focusing on the undeniable relationship between performer, creator and audience. Through examining our power and choices, The Credits deconstructs the traditional theatre experience as we know it.

Felicity Boyd has spent the last eight months touring Europe, three as part of Swedish dance company ilYoung. She has worked with artists from Batsheva Dance Company, Hofesh Schecter, Gothenburg Opera, Sascha Waltz & Guests and Wim Vandekeybus of Ultima Vez. In 2019 she performed in Jessie McKinlay’s A Supposed Truth, performed for Gravity and Other Myths at RCC Adelaide Fringe, and co-founded Motus Collective. In 2018 she worked as a replacement dancer on Australian Dance Theatre’s South, toured and performed with The Human Arts Movement, and toured and performed with Lewis Major Projects on Losers. She graduated in 2017 from Adelaide College of the Arts with a bachelor’s degree in Creative Arts (Dance). In 2020 Felicity performed Howl alongside of Aphids, which premiered at the Art Gallery throughout the Adelaide Fringe.

Zoe Gay graduated from Adelaide College of the Arts in 2017, where she had the opportunity to work with renowned choreographers such as Jo Stone, Larissa McGowan, Tobiah Booth-Remmers and Kialea Nadine- Williams. In her second year of training, Zoe joined Australian Dance Theatre for their production of Objekt choreographed by Garry Stewart. Upon graduation, Zoe received a scholarship from Helpmann Academy and The Mill to travel to Sweden and join IlYoung, a youth dance company run by Israel Aloni and Lee Brummer. While in Europe, she also spent time with National Dance Company Wales, Norrdans and completed a residency with IcoDaco. Upon returning to Australia, Zoe has had the opportunity to work with many established artists including Lina Limosani in her production of Not Today’s Yesterday, Larissa McGowan in her production of Cher and Jessie McKinlay in her Fringe performance of A Supposed Truth. In 2019, Zoe co-founded Motus Collective, a collective aimed at exploring inter-disciplinary connections and creations. The collective run improvisation classes weekly and have conducted residencies at ADT, The Mill and recently performed in VitalStatistix Adhocracy program, performing a self-choreographed work called Old Body: New Management. In 2020, Zoe performed in the award winning Retrieve Your Jeans at the Adelaide Fringe.

Spotlight Residencies: Adrianne Semmens & Jennifer Eadie

Leave only your Footprints; August/September, 2020

Work in Development: This project builds upon a collaboration between dance practitioner Adrianne Semmens and writer Jennifer Eadie and the text created together, Leave only your Footprints, facilitated by The Mill Adelaide Writer in Residence program, and commissioned by Delving into Dance in partnership with Critical Path as part of the Digital Interchange Festival 2019/20.

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 NSW and a graduate of NAISDA Dance College and Adelaide College of the Arts.

Adrianne’s professional experience includes: the Australian Ballet’s Dance Education Ensemble; Wagana Aboriginal Dancers (NSW) and Erth Visual & Physical Inc; Adelaide Fringe Festival seasons with choreographers Jade Erlandsen (2014 & 2011) and Cathy Adamek; and Spirt Festival performance Songlines choreographed by Gina Rings (2011). More recently Adrianne has performed the work of Kaine Sultan-Babij (for Dance Rites 2019) as a member of Kurruru’s Senior Dance Ensemble and has returned to her own choreographic explorations, including Unravel, a site specific work during Panpapanalya, the 2018 Joint Dance Congress. A qualified teacher, Adrianne maintains a passion of dance education, supporting Kurruru Art and Culture Hub’s education program, providing professional learning opportunities and tutoring for the University of South Australia’s Arts Education Course.

Jennifer Eadie is a writer and artist, living and working on Kaurna Yerta. Currently, she is a lecturer in the Aboriginal Pathway Program at the University of South Australia and a PhD Candidate in the College of Humanities, Arts and Social Sciences, Flinders University. She is a graduate of UNSW Art & Design. Her creative practice combines text and art to explore connection to place, while her research focuses on ecological rights and approaches to caring for Country. Recently, Jennifer was Writer in Residence at The Mill (2019/20) and Scotch College, Adelaide (2020). Her art and writing has been published in Critical Path, Educational Philosophy and Theory, Borderlands e-journal, Extempore and Frankie Magazine.

Free-range Residencies: Monte Masi

U want me to see you, I see u my son. Now go flourish with that clout u received; June and September, 2020

Work in Development: This is a performance which examines desire, online shopping trends, and what we do with the things that we buy (and say) late at night.

Freerange Residency 2020 recipient Monte Masi

Monte Masi is an artist living and working on Kaurna Land who makes performances, videos, and text works which examine the labour of looking and the ways we look together. Recent exhibitions and performances have included IIIIIIIIIIIIIIIIIIII performed at the Samstag Museum of Art, Adelaide; Born (as part of Transcriptions for Fine Print), performed at the Art Gallery of South Australia, 2018; INSPI-RAY SHUN-SHUN APP-LI-KAY SHUN-SHUN at Hobiennale 2017, Hobart; and Work in Progress: Investigations South of Market at Yerba Buena Center for the Arts, San Francisco. In June 2019 he attended Behaviour Swarm, a performance art-focused residency program at the Banff Centre for Creativity, Canada.

Previous curatorial and collaborative presentations have included The Case for Nonsense, presented at the 2016 Adelaide Festival of Ideas, Art on Tap for the Australian Experimental Art Foundation and Model United Nations at Open Engagement, USA. Additionally, Monte was a co-founder and co-director of the artist-run gallery FELTspace from 2007 to 2010. Monte holds an MFA in Social Practice from California College of the Arts, as well as Visual Art and Education degrees from the University of South Australia. He is the recipient of several grants and fellowships including the Samstag International Visual Arts Scholarship, John Crampton Traveling Scholarship, Ian Potter Cultural Trust grant and Arts South Australia project grants.

Free-range Residencies: Steph Daughtry & Hannah Rohrlach of Post Dining

Eating Tomorrow; June/July, 2020

Work in Development: A brand new interactive performance around the themes of future foods, featuring a progressive narrative exploring what and how we might be eating over the next 100 years.

Steph Daughty and Hannah Rohrlach co-founded creative production company Post Dining in 2015, exploring the artistic merits of using food as a tool to explore socio-political concepts, and to push the boundaries of intimate audience engagement. This often involves collaboration between local artists, musicians and designers, and they have produced work with the Australian String Quartet (ASQ), MOD., Open State Festival and are currently in the development stage of new work in collaboration with Tai Kwun Arts Centre in Hong Kong, London based Feast Festival, and the Edinburgh International Science Festival.

Awards: 2019 Nominated: Adelaide Critics Circle Award, Independent Arts Foundation Award for Innovation; 2019 Adelaide Fringe Weekly Award, Best Interactive, Film or Digital; 2017 New Venture Institute, Venture Dorm Finalists;
2017 Adelaide Fringe Weekly Award, John Chattaway Award for Innovation; 2016 Adelaide Fringe Weekly Award, Best Emerging Artist Award; 2016 Adelaide Fringe Weekly Award, High Commendation for Interactive Category.

Free-range Residencies: Jamila Main

How To Eat Rabbit; July, 2020

Work in Development: This project is an early stage development of new play How To Eat Rabbit, a one-act play featuring two characters written by Jamila Main.

Freerange Residency 2020 recipient Jamila Main

Jamila Main is a trained actor and self-taught playwright based on unceded Kaurna land. A graduate of the Adelaide College of the Arts Acting program (2018), Jamila performs across stage and screen, most recently as Leen in the acclaimed Aleppo, A Portrait of Absence (Adelaide Festival, 2020) and Karin in Set Piece (Anna Breckon, Nat Randall, Vitalstatistix, 2019).

Jamila’s plays have received accolades from STCSA (Immaculate, Commendation, 2016; How To Eat Rabbit, Merit, 2019), HotHouse Theatre (When I Was Eleven, 2016), Feast Festival and Writer’s SA Queer Short Story Competition (Butterfly Kicks, Winner, 2018; Queer Utopia is on the Roof of a Westfield, Winner, 2019), with Butterfly Kicks shortlisted for the 2020 Queer Playwriting Award in Midsumma Festival. In 2019 Jamila was selected for ATYP’s National Studio, mentored by Lachlan Philpott, a participant in Playwriting Australia’s workshop with Patricia Cornelius, and interviewed Kate Mulvany for the This Is How We Do It podcast. Jamila sits on various MEAA committees, is one of the founding artists of RUMPUS and currently serves on the RUMPUS Finance Committee, is an Endometriosis advocate, and a 2020 Carclew Fellow. Jamila is currently producing Butterfly Kicks to be staged at RUMPUS.

public program, galleries

Exhibition: The Mill Showcase

Adele Sliuzas · February 24, 2020

March 23 - July 29, 2020

View the Virtual Gallery

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

*** 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:

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 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 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 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.’

black and white image of a man with tattoos and the words 'The Mill Showcase'

black and white image of a person wearing a hat and reading a book

black and white image of a young man smiling

image of a wooden stool in front of a mint coloured background

public program, galleries

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

Adele Sliuzas · January 23, 2020

March 17 - May 29, 2020

workshop tickets

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

performance tickets

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

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

Art Basics Virtual Catalogue

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

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.
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.

masterclass series

Adelaide Festival Masterclass: Tushrik Fredericks, ‘Black Velvet’ Contemporary Dance

Katrina Lazaroff · January 22, 2020

Masterclass

book tickets

When: Thursday February 27, 2020, 1:30pm - 3pm

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

Cost: $22

The Mill in Partnership with The Adelaide Festival, present a contemporary dance masterclass with Tushrik Fredericks.

Tushrik Fredericks and company are here in Adelaide performing ‘Black Velvet’ in The Adelaide Festival.

About the masterclass

Drawing information from many different movement techniques/languages, this class consists of physical research which informs the physical/mental being in things that we are familiar and unfamiliar with. The contemporary dance masterclass will research listening to what is between us, inside of us, and around us. In an effort to allow similarities and differences to exist. It jumps into high levels of connection, activation, stretch, endurance, and groove. Also leaving space for the finding of small gestures that connect to a bigger picture of the moment.

About the artists:

Tushrik Fredericks is originally from Johannesburg, South Africa. He graduated from the Peridance Capezio Center Certificate Program in New York City in 2015 where he received most of his formal training. He has had the opportunity to dance with Ate9 dANCEcOMPANY (Danielle Agami, Artistic Director). He was also an artist with Sidra Bell Dance New York from July 2015 - June 2018 with performances at The Metropolitan Museum of Art, Brooklyn Museum, ODC Theatre in San Francisco, Vara Konserthus in Sweden, The CAC in New Orlean, Derida Dance Centre in Sofia Bulgaria and New York Live Arts. He is now currently part of a performance art work by Shamel Pitts titled ‘BLACK HOLE: Trilogy And Triathlon’, which since March 2018 has performed at various international locations. Tushrik was an assistant lecturer to Sidra Bell at The University of the Arts Philadelphia for Sophomore students(2016-2018). Teaching credits include: Gibney Dance Center NY, Broadway Dance Center NY, Peridance Capezio Center New York, Conservatory of Dance SUNY Purchase and Alonzo King Lines Ballet School BFA program San Francisco all through Sidra Bell Dance New York.
TRIBE is a Brooklyn/NYC based arts collective dedicated to creating, developing and sharing original multidisciplinary art projects. With artistic direction by choreographer and artist Shamel Pitts, TRIBE holds the afro-futuristic movement as its biggest inspiration. Understanding that performance art and live art are practices of human connection, TRIBE acts nationally and internationally by developing art exchanges and performances in collaboration with institutions and artists, with a focus on the African diaspora. TRIBE was created with the dream to soon become a synonym of artistic experiences that connects gifted individuals in our present era to re-imagine and cultivate an alternative new future.

This program has support from

masterclass series

Adelaide Festival Masterclass: Nick Power, 'Breakdance and Choreographic Process'

chloe metcalfe · January 22, 2020

Masterclass

book tickets

When: Friday, March 13, 2020, 3-5pm

Where: Adelaide College of The Arts, Studio 1, Level 3

Cost: $27

The Mill in partnership with the Adelaide Festival, present a masterclass with Nick Power.

Nick Power and company are here in Adelaide performing ‘Between Tiny Cities’ and ‘Two Crews’ in The Adelaide Festival. It’s a MUST SEE! Book your tickets to ‘Between Tiny Cities’ and ‘Two Crews’.

About the masterclass:

This masterclass will include foundation elements of Breaking, history of the form and will explore the choreographic tools and techniques that Nick uses to create contemporary hip hop performances. All styles are welcome, expect a fun and engaging workshop around technique and creative process fuelled by funky beats.

Participant info/level: For professional & tertiary level contemporary, breakdance and hiphop dancers and actors/physical theatre performers/movers.

Participants should wear: Loose, athletic clothing / dance wear or whatever they feel comfortable in. We will dance in shoes, sneakers are best.

About the masterclass leader:

Nick Power is a Sydney based B*boy and Choreographer whose work draws on the rituals and culture of hip hop to create contemporary performances. His practice spans from remote Aboriginal communities in the desert to the stages of the most prestigious contemporary dance festivals in Europe. Crossing complex divides of place, culture, language and form is Nick’s forté. He grew his skills in the Australian hip hop scene through dance battles and shows before going on to create performances for some of Australia’s most celebrated companies including Tracks Dance and Stalker Theatre. In 2012 Nick was the recipient of the Australia Council dance residency at the Cite International Des Arts in Paris. This residency, alongside his time in the remote Aboriginal community of Lajamanu, inspired his first full length independent work - Cypher. Based on a hip hop dance ritual, the work premiered at Darwin Festival in 2014 and has since toured to major European dance festivals and throughout Australia including Sydney Festival, Sydney Opera House, Tanz Im August (Berlin) and URB Festival (Helsinki). Following this came Between Tiny Cities - a duet between a dancer from Darwin and a dancer from Phnom Penh, developed over three years through a cross cultural hip hop exchange between Australia and Cambodia. It Premiered at Dance Massive 2017 with seasons in Phnom Penh, Darwin Festival, APAM and Hong Kong Arts Festival. The work toured through Asia and Europe in 2018 and was nominated for a Green Room Award and an Australian Dance Award. Nick’s latest work Two Crews - a collaboration with Lady Rocks Crew (Paris) and Riddim Nation (Sydney) was commisioned through the Majoir Festival Initiative and premiered at Sydney Festival in 2020 followed by Adelaide Festival. Nick was the founder and Artistic Director of Platform Hip Hop Festival, produced by Carriageworks and was the Curator of Contemporary Dance at Campbelltown Arts Centre from 2016 - 2018. NIck is a 2018 Sidney Myer Fellow.

This program has support from

public program, galleries

Exhibition: The Mill Showcase

Adele Sliuzas · January 6, 2020

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***

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 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 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 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 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.

public program, galleries

Exhibition: Lucas Croall, 'BEAST'

Adele Sliuzas · December 9, 2019

February 12 – March 15, 2020

Exhibition opening: Wednesday February 12, 6-8pm

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

Cost: Free

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.’

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.
*
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.
*
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.
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.
Description text goes here

public program, galleries

Exhibition: Selina Wallace, 'Perfectly Imperfect'

Adele Sliuzas · December 9, 2019

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

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:

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

IlDance Professional Development Opportunity Audition 2019

Katrina Lazaroff · November 11, 2019

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

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

Katrina Lazaroff · October 20, 2019

Workshop

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

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.

public program, galleries

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

Adele Sliuzas · October 8, 2019

October 1 - December 10, 2019

workshop tickets

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

finissage tickets

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

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.’

Download exhibition catalogue here

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 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.
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.

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

public program

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

Katrina Lazaroff · September 13, 2019

DANCE YOUR BUTT OFF FOR THE MILL!

book tickets and donate

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!

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!

This program has support from

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

engage

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

Katrina Lazaroff · September 6, 2019

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 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).

This program has support from

Showing

Workshop

What participants can expect:

What to bring:

About the artists:

Angela Goh

Holly Childs

August 3 - September 27, 2020

Artist Statement

About the artist

Accordion Item 3

Jazz Hriskin (artist)

Tobiah Booth-Remmers (choreographer)

Lewis Major (choreographer)

Erin Fowler (director)

June 15 – July 29, 2020

Artist Statement

About the artist

About the writer

Brink Productions Residency: Jo Stone

Spotlight Residencies: Felicity Boyd & Zoe Gay of Motus Collective

Spotlight Residencies: Adrianne Semmens & Jennifer Eadie

Free-range Residencies: Monte Masi

Free-range Residencies: Steph Daughtry & Hannah Rohrlach of Post Dining

Free-range Residencies: Jamila Main

March 23 - July 29, 2020

About the artists:

Andrew Eden

Mark Mason

Blake “Blakesby” Canham-Bennett

Annabel Hume

March 17 - May 29, 2020

The Mill in Conversation Podcast

Workshop

Details:

About the artists

About the program

Masterclass

About the masterclass

About the artists:

About the masterclass leader

About the company

Masterclass

About the masterclass:

About the masterclass leader:

Nick Power

January 17 - March 15, 2020

About the artists:

Peter Fong

Matea Gluscevic

Morgan Sette

Ozlem Yeni

February 12 – March 15, 2020

Artist Statement

About the artist

Accordion Item 3

January 15 – February 7, 2020

About the artist:

Selena Wallace

Eligible dancers are invited to register for an audition:

Workshop

How to apply to The Mill:

October 1 - December 10, 2019

The Mill in Conversation Podcast

About the artist:

Carly Dodd

About the program

DANCE YOUR BUTT OFF FOR THE MILL!

Win prizes:

Get involved:

BAR OPEN ALL NIGHT!

About the artist:

Adrianne Semmens