BOOK TITLE: The Australia Times - Melbourne magazine. Volume 1, issue 2

Vol. 3 No. 6 July 2015
The Melbourne Life & Culture Magazine
The Great CBD Drinks Tour
The Return Season Of Circus Oz
Invest In Australian Creatives
Why you should invest in
Drinks Tour of 2015
The Return
Season of
Circus Oz
to Melbourne
Independent Media Inspiring Minds
What a hectic month! Melbourne Mag
issue one came out last month and what
a steep learning curve it’s been: we’ve
all learnt a lot and the team is growing...
I can’t wait to see where Melbourne
Mag takes us! I’m extremely proud of
everyone who has been involved, and
unbelievably grateful for the outpouring
of love that heralded in our rst issue.
We are a force to be reckoned with and
the only place to go is up. So thank you
for your support: my writers, mentors,
advisors, strangers who just want to
see their city in lights. Melbourne Mag
couldn’t exist without you.
Right now though, the winter weather is
upon us and we’ve been looking for ways
to warm up - I know I’m lookng forward
to heading to the heated Big Top that is
Circus Oz’s return show for a cosy night
of amazing feats, and I might even rug
up and take Bree’s route for the great
CBD drinks tour! Lucky for us Melbourne
is full of nooks and crannies to nd
warmth, good food and great company.
(And maybe even a great read!)
Zoe Winther
Eleanor Downie
Bree Bacon
Andrew Kruspe
Alice Stephens
Nikki Richardson
Abramo Peghini
Annalisa D’Ortenzio
Louise Martin-Chew
June Favourites .......................................8
What’s on in July ...................................12
Catch the nal weeks of A
Golden Age of China .............................32
Why you should invest in Australian
creative talent .......................................36
The Great CBD Drinks Tour of 2015 ....38
The Long Lost South
Gippsland Rail Line .............................. 44
We’re Back! The Return Season of Circus
Oz to Melbourne ....................................48
We’re Back! The Return Season of Circus
Oz to Melbourne 2.................................52
Film Review: Ex Machina ......................60
Mad Max: Distilled Australiana ............62
Melbourne Art Spotlight:
Annalisa D’Ortenzio ..............................66
Jo Davenport – A Natural Response .... 74
If you can x how ugly you are,
it’s okay to do so ...................................80
Where’s Black Widow? .........................86
Our July Playlist......................................88
Independent Media Inspiring Minds
Melbourne Mag exists to give our readers greater choice in nding out about
Melbourne events, news, people, food and culture.
Melbourne Mag is the friend you go to for a restaurant recommendation on Friday
night, the friend you go to a music gig with on Saturday and a gallery during
the week, the friend you get into passionate discussions about anything and
everything, from sustainable farming, to gender equality, to honouring Aboriginal
artists, to the local politics of Chapel St.
Melbourne Mag is at a party mingling with everyone and anyone, talking in intimate
groups about the best festivals they’ve been to, asking about someone’s organic,
locally produced bronzer, or letting people which pubs have the best selection of
craft beer on tap. Melbourne Mag is in the corner having an intense discussion
about the future of Australian lm production or cultural appropriation in fashion,
and later Melbourne Mag will be rallying the troops organising which café everyone
will hit for brunch tomorrow.
We're your older sibling, letting you know what's going to be cool.
We aim to inform, entertain, teach, encourage, educate and support the com-
munity at large by facilitating communication between all Australians. By provid-
ing the opportunity for all opinions to be shared on a single website.
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Tucked inside a small unassuming doorway
on Carlisle Street lies Dana Patisserie.
Stepping out from the cold winter air into this
delectable little bakery evokes a sense that
one has stepped off Rue Descartes; its chic
interior warm and inviting with cool tunes
spinning. Then there is the smell: toasting
almonds, aky croissants fresh from the
oven and cinnamon hang in the air, tempting
you to stay for an excellent coffee. Whether
you’re after your daily bread or somewhere to
wind down with a coffee and a pastry, Dana
Patisserie has you covered.
Susanne Nilsson
Independent Media Inspiring Minds
Serving up undeniably authentic pizzas is
D.O.C Pizza & Mozzarella Bar in Carlton. This
little slice of Italy is a well-worn landmark
among locals and visitors alike. The fresh
produce, busy vibrant clientele and exuberant
Italian staff at D.O.C Pizza & Mozzarella
Bar will take you on a gastronomic journey
through the true home of pizza.
Tucked away on Gertrude Street in Fitzroy
is SEVENTH gallery. Their new opening
explores themes like paradoxial systems,
exploring what it is to belong in a diasporic
culture and exploring interpersonal
dynamics within portraiture. The real stand
out of this opening is Savina Hopkins’
Persona Obscura, a plunge into the psyche
mixing turn of the century portraiture
postcards and adhesive dressings. This
series toys with our expectations causing
a somewhat solemn schism between our
expectations and reality.
Charles Haynes
Provided by SEVENTH Gallery
Hands-down favourite:
margherita pizza with
D.O.C buffalo mozzarella
Savina Hopkins continues her exploration
of interpersonal dynamics and the
workings of the psyche within the context
of portraiture with Persona Obscura.
Independent Media Inspiring Minds
Are you after some new threads or on
the hunt for some vintage clothes? Look
no further than Casa Mimo. located on
vibrant Carlisle Street. They’ll help you nd
just what you need, whether you’re looking
for a chic evening gown, up-to-the-minute
street fashion or some effortless vintage
Abla's Lebanese Restaurant, tucked
away on Elgin Street in Carlton, is the
spot to get authentic Lebanese food.
An institution among foodies looking
for a genuine Lebanese experience in
Melbourne, be sure to try their hummus
- far from the supermarket fair - you can
taste the countless years of tradition
in this family recipe and top it off with a
intensely avourful coffee served from the
traditional copper pot.
The hedonistic party spot: Studio 54. The sex, drugs and debauchery are explored with a
humanistic approach in Mark Christophers 1998 lm 54. Initially opening to poor reviews
due to its heavy-handed studio cut, Christophers’ director's cut nally sees the light of
day with more than 30 minutes of extra footage, showing exclusively at Nova. This cut
shines more of a light on the hedonism of the club’s scene, as well as the love triangle the
studio thought was too confronting for audiences, and all backed by an excellently curated
Provided by Nova
Studio 54: The Director’s Cut is now showing at Nova
Independent Media Inspiring Minds
Join the Hon. Jeff Kennett AC at Deakin
Edge as he delivers the 2015 David
Parkin Oration: Professionalism of
sport – a threat to good health. The
oration runs from 6 – 7.15pm, with
registrations on the Fed Square
After the critically acclaimed season
of Mad Women’s Monologues,
Melbourne based Late Bloomers
Productions are set to bring the
80’s back to The Buttery Club.
With a suite of anthems from the
raddest of decades, cheaper tickets
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SRS ART, OK, is a satirical dialogue
commenting on contemporary art culture
and trend showing at Tinning St Gallery
from 2 – 12 July. It uses paint-based
installation to explore conceptual art and
its effect on the audience. SRS ART is a
response to audience isolation as a result
of esoteric concepts, it inverts conceptual
art to an obvious, statement driven,
accessible experience. Through absurdity
and irony, it opens the oor to allow the
audience to engage in a commentary on
their own art experiences. SRS ART was
born out of a cheeky rebellion against
Provided by fortyvedownstairs
for audiences who dress up and a heart-
warming story of nostalgia and redemption,
Reunion Blues is the perfect girls’ night
Reunion Blues is the story of Farsi,
played by Clare Pickering. The show
follows her story of high school stardom
in Jesus Christ, Superstar, a dramatic
fall from grace at the school formal and
then ultimate redemption at the 25-
year reunion. The production opens
on the 1st of July and runs for 5 nights.
Tickets online at thebutteryclub.com
conceptual art. The playful result centers
around the question, is conceptual art
isolating to a non-art audience?
Browse a striking collection of photographs
in The Atrium that share the stories
of refugees and migrants. The 2015
Heartlands: Seeking Safety exhibition
transcends cultural barriers to reveal
the hopes, dreams and everyday lives
of several refugee communities across
This July, Chapter House Lane presents a
new, site-specic body of work by Alasdair
McLuckie. House of Joy/Hello Ladies
continues McLuckie’s attraction to the
exotic, modernism and tribal arts, set
to materialise as a display of sculptural
objects, collages and a decorative oor
piece. McLuckie is an avid and obsessive
collector of things; his artistic process
dependent on the bower birding of
material. Found objects from his personal
collection, such as uorescent plastics,
beads and glossy papers, are matched
with McLuckie’s own meticulous biro
drawings and repetitive collaged patterns
that combine contemporary and tribal art
traditions with craft and punk aesthetics.
In House of Joy/Hello Ladies, McLuckie’s
fascination with the exotic and the feminine
are of central focus.
Independent Media Inspiring Minds
Theatre Works presents a double bill:
Saltwater and Letters Home
Saltwater is a live art experience that invites
15 strangers to share a meal and travel
through memories of Jamie’s Singapore.
A poignant story about family, loss and
travelling out of depth. Enter as strangers
and leave transformed by this award-
winning artist. Letters Home is a true story
about youth, power and freedom. Based
on Joe’s decision not to return to his native
Singapore and complete military service.
See some of Australia’s most talented
pole dancers compete during the
Victorian Pole Championships at Deakin
Edge from 8pm. Tickets from $30.
After opening this week to resounding
praise, Love and Information is fast
becoming the theatre event of the season.
Deceptively simple, the play is made up
of eeting conversations between lovers,
family, friends, enemies and strangers.
Together, these short exchanges unearth
our human quest for wisdom and
belonging. In an ever-connected age
The Narrative of Location is a group
exhibition at SEVENTH Gallery where eight
artists of multiple cultures will explore how
belonging to a diasporic community alters
and informs a location (the gallery) with
meaning. In an attempt to document the
undocumented historical and emotional
connection each feels in recreating/
owning their sense of place a mapping
will occur encompassing and drawn from
place, language, bodies and vexillology
(the study of ags). In this mapping we
hope to evoke conversations around the
quiet stories of the migrant and minority
Abstraction: The Heide Collection, From
Nolan to the ‘90s brings together a
selection of Heide Collection works from
the 1930s to those by present-day artists
that show several individual approaches
to abstraction. The featured artists are
predominantly painters who share a
gestural or lyrical style of mark-making.
The earliest works in the exhibition are
by Sam Atyeo and Sidney Nolan, two of
the rst proponents of abstraction in
Melbourne. Both studied for a time at the
National Gallery School before rejecting
its academic approach in favour of self-
directed, more experimental practices.
Independent Media Inspiring Minds
where Tinder rules relationships, Google
owns knowledge, Facebook denes
friendship and smartphones hold our
life, Love and Information questions how
connected we really are. The Malthouse
Theatre season must close 4 July. Don’t
miss your chance to see the production
that everyone is talking about.
Join co-curators of Impart, Maree Clarke
and Richard Ennis in a discussion on
the reclamation of southeast Aboriginal
Australian cultural practices, traditions
and art techniques at Incinerator Gallery
at 1pm.
Atyeo’s non-objective compositions based
on living forms were often inspired by
dance and music, while Nolan produced
geometric designs with expressive
elements that take their cue from the work
of Bauhaus modernists such as Paul Klee
and László Moholy-Nagy.
Looking at a selection of paintings from
the Heide Collection, senior curator Linda
Michael discusses a variety of approaches
to lyrical abstraction in Australian art from
the 1930s to today on Saturday 4 July
at 2pm. Free with admission to Heide
Pezaloom: Dopa-Kinesia is a
powerful exhibition at No Vacancy
Project Space that challenges the
many myths and misconceptions
surrounding Parkinson’s Disease.
Heartlands 2015: Seeking
Safety is a striking collection of
photographs that share the stories
of refugees and migrants, showing
at the Atrium in Fed Square until
the 5th July.
From 6pm SEVENTH Gallery is
presenting an exclusive curated
night of performances and
performance art by SEVENTH
alumni. SEVENTH is celebrating its
15-year history with a unique night
of experiential viewing. Limited
tickets will be on the door on the
night – only a $5 donation for
The NGV’s free performance and
conversation series Unplugged
Live returns in July and August
with Sunday sessions from 2
– 3pm with the likes of Megan
Washington, Alex Gow (Oh Mercy),
Katy Steele, Olympia, Tom Iansek
(Big Scary) and Thelma Plum. The
series features conversations with
visual artists and performances
Independent Media Inspiring Minds
from musicians surrounded by artwork
from some of the NGV’s current exhibitions
at The Ian Potter Centre: NGV Australia.
The intimate performance and conversation
program Unplugged Live, featuring some of
Australia’s leading musicians, songwriters
and contemporary artists returns to The
Ian Potter Centre: NGV Australia from July.
Curated and hosted by Jae Laffer of The
Panics, Unplugged Live will showcase
these six outstanding emerging and
established musicians over six weeks
through a conversation and short live
The NAIDOC week 2015
theme is ‘We all stand on Sacred Ground’, highlighting
the strong spiritual and cultural connection to land and sea by Aboriginal and
Torres Strait Islander peoples. This family event will include music, kid’s activities
and food at the Clocktower Centre in Moonee Ponds from 10am.
SCREENSPACE has a number
of excellent exhibitions closing
on July 11 that are not to be
missed, including Peter Alwast’s
Video Works, Greg Penn’s Green
light leaks, Lara Thoms and Kate
Blackmores’ Screen Monument
and Kawita Vatanajyankur’s The
Carrying Pole.
Discover Anna Walker’s new picture book
and solo exhibition Mr Huff at No Vacancy
Project Space. This exhibition showcases
the original artwork from the book Mr
Huff, accompanied by new paintings and
the three-dimensional characters and set
from the story. From 7 – 26 July.
Get your skates on as the Monument
Energy River Rink takes over River Terrace
at Fed Square until Sunday 19 July! On
selected evenings the rink will come to life
with an overlay of themes and live music
to delight young and old. Prices from $15.
Independent Media Inspiring Minds
The NAIDOC week
2015 theme is ‘We
all stand on Sacred
Brisbane’s cabaret darling lands in Melbourne with
her kick-ass three-piece band (and a bottle of JD in
hand) to deliver the show you can bring your Dad to.
Only The Good Die Young, in its Melbourne premiere,
The NAIDOC week 2015 theme is ‘We all stand on Sacred Ground’, highlighting
the strong spiritual and cultural connection to land and sea by Aboriginal and
Torres Strait Islander peoples. This family event will include music, kid’s activities
and food at the Clocktower Centre in Moonee Ponds from 10am.
Northside for one night only, see this year’s
St Kilda Film Festival favourites, followed
by a Q&A with festival director Paul Harris
and lmmakers at Nova Cinema from
Helen Perris is bringing her unique and
honest suite of songs to the intimate
downstairs bar of The Buttery Club on
Wednesday July the 8th at 7pm. Since
launching her solo career four years
ago, Helen Perris has shared a stage
with Amanda Palmer, Kate Miller-Heidke,
Brendan Maclean, Kim Boekbinder and
others, and performed at Peats Ridge
Festival and TEDx Canberra. Special guest
Bronwyn Rose joins Helen for this intimate
night of piano and vocal wizardry. Situated
in the intimate downstairs bar of The
Buttery Club, with only 40 tickets available,
bookings are highly recommended and
can be on The Buttery Club website.
Independent Media Inspiring Minds
will have you ordering another round to toast the ghosts of
Rock ’n’ Roll from 8-12 July at The Buttery Club.
Jessica and her band celebrate and re-imagine some
incredible songs, and tell the stories surrounding the artists’
demise and deaths - some of which will surprise you. With a
kick-ass funk-soul-rock groove and a track list for your next
road trip, Only The Good Die Young is powerful, uncanny and
really celebrates those taken too soon to that “great big band
in the sky”. Only the Good Die Young opens at The Buttery
Club on Wednesday the 8th of July and runs for 5 nights.
Bookings recommended.
Wil Wagner launches his new demo tape I hope I don’t
come across intense at a special one off hometown
show at the Thornbury Theatre on 10 July. Celebrating
the release of this collection of home recordings
spanning the last six years, Wil sneaks in this rare solo
show before his band, The Smith Street Band, return to
the live stage at Splendour in The Grass before heading
back to England for Reading & Leads Festivals. Joining
Wil for the night are Laura Imbruglia and Georgia Maq.
Join Australia’s international web series festival at
Deakin Edge in Fed Square from 10 – 12 July. Melbourne
WebFest is the hub for web-based content creators to
come together to share their experience, network, be
acknowledged, and learn about the emerging trends in
digital entertainment. Tickets from $75.
Opera Australia presents
The Magic Flute, a quest
for wisdom and true love,
at the Clocktower Centre
on 11 July at 7.30pm.
With inspiration from
movies, this new touring
production is set as a
rollicking adventure in
1930s Egypt. Tickets
from $39.
Independent Media Inspiring Minds
Incinerator Gallery’s
exhibition Mid-
Winter Gasp includes
functional and non-
functional creations
from approximately 18
kiln, mosaic, leadlight
and lamp workers in the
Glass Addicts Support
Program, until 12 July.
Opera Australia presents
The Magic Flute, a quest
for wisdom and true love,
at the Clocktower Centre
on 11 July at 7.30pm.
With inspiration from
movies, this new touring
production is set as a
rollicking adventure in
1930s Egypt. Tickets
from $39.
Independent Media Inspiring Minds
FLG presents their highly anticipated
annual showcase of emerging and
unsigned artists in Exploration 15.
Exploration was created to provide
a platform for emerging artists to
successfully exhibit their art within a
commercial gallery context. A tightly
curated selection of artists, sourced
Australia wide, practicing across
mediums as diverse as sculpture, video
art, installation, painting, drawing and
photography will be exhibited side by
side in their commercial gallery debuts.
Barefoot in the Park is a delightful
comedy, based on Neil Simon’s 1963
play of the same title, which focuses on a
newlywed couple and their adventures
living in a tiny sixth oor apartment
in Greenwich Village. Starring Robert
Redford and Jane Fonda, Barefoot in
the Park is on at the Clocktower Centre
at 11am.
Grace Knight will be performing songs
from her new album Keep Cool Fool at the
Hawthorn Arts Centre at 11am. Arriving in
Perth from the UK in 1977, Grace found
her way into the local band scene snaring
the lead vocal role in the pop/rock band,
‘Eurogliders’. After the break up of the band,
Grace was cast as the jazz chanteuse in the
smash ABC TV hit Come In Spinner, which
resulted in a multi- platinum soundtrack
This remarkable success provided the
foundation and tone for Grace’s critically
acclaimed jazz recording success which
has fueled the enduring demand for her
concert performances in clubs and festivals
across the nation.
Swipe Right provides voyeuristic insight
into the hilarious world of modern love
and (mis)communication. Spear-headed
by Melbourne theatre stalwart, Director
Jessie Oliver, the production features stellar
performances by Cam Faull, Lynn Hagele,
Ben Watts and Constance Washington.
Each actor plays a central character who is
navigating the mad journey of nding love
in the 21stcentury. They also play a swag
of other characters, ranging from the mildly
crazy to the downright bizarre. Swipe Right
opens on the 15th of July and runs for 5
nights. Given their history, bookings are
highly recommended.
Independent Media Inspiring Minds
Off The Kerb gallery opens three exhibitions running from 16 – 31 July. In the
Front Gallery is Re-Mortalization by Eddie Botha. Eddie is breaking some personal
barriers experimenting with new mediums as he toys with the notions of good
and evil, sexism, corporate greed and nature. It’s a new life, a new chapter.
In the Back Gallery is Time’s Arrow by Dom Krapski, a series of layered photographs
of people with patterns painted onto their skin, taken in-studio. I’m interested in
the passage of time, eeting contact, and lying through my teeth.
In the Upstairs Gallery is Margaret McIntosh’s work Dear John, which uses
humour to highlight the complexities of mainstream perceptions regarding the
disproportion of vulnerability in the landscape of gender.
Independent Media Inspiring Minds
Fort Delta is pleased to announce Concrete Compositions, a new photographic
exhibition by Melbourne-based artist Vivian Cooper Smith where fragments
of concrete and image-less photographs come together in a series of playful
compositions. Feeling an urge to respond to the seemingly endless images
of conict and disaster dominating the news bulletins, Smith has taken the
ubiquitous concrete fragment as the starting point in this new body of work.
Concrete Compositions runs until 18 July.
Hawthorn Arts Centre will welcome the Melbourne Ballet Company once again
to perform their latest work, Archè on Friday 17 July and Sunday 19 July. In
Greek mythology, ‘archè’ is the word used to indicate the principle from which
the earthly elements, earth, wind, re and water, arise. Within the philosophy
of archè, the gure of the swan is seen as a messenger of the gods and is
associated in Greek mythology as a symbol of divinity.
In this production, the Company’s Artistic Director and Resident Choreographer,
Simon Hoy, touches on the symbolism of the swan within Greek mythology and
Irish folklore set to music by Joan Jeanrenaud, Ennio Morricone and Ludovico
Einaudi. For tickets and more information visit the Hawthorn Arts Centre website.
Independent Media Inspiring Minds
Join art historian Judith Stevenson, for a talk on Australian
Art Deco, placing twentieth century Australian art into a
global context, at Incinerator Gallery at 1pm. A part of the
Australian Art Talks series, this talk covers late nineteenth
and early twentieth century painting, global style movements,
street art and American architecture in Australia.
Helen Mirren reprises her Academy
Award-winning role as Queen Elizabeth II
in encore screenings of the original West
End hit production of The Audience,
captured live in London in 2013, and
featuring an exclusive new Q&A with key
members of the cast and creative team.
The Audience returns to select Australian
cinemas nationally for a strictly limited
time from July 18.
Michael Shafar is launching his latest
offering, 3 Course Comedy, showing
at The Buttery Club for one night only
on the July 18. The premise is simple:
take three of the nest delicacies on
the Melbourne comedy menu and serve
them for a simple, one-hour digestion.
Heide Museum is hosting
history talk Joy and
Sun on Sunday 19 July
at 2pm. Albert Tucker
introduced Joy Hester to
Sunday Reed in 1939
at the Herald Exhibition
of French and British
Contemporary Art, shown
at the Melbourne Town
Hall. Volunteer guide, Jill
Nicol, discusses the life-
long friendship between
the two women. The talk
is free with admission.
Independent Media Inspiring Minds
Legends is the brainchild of director
Harley Hefford and Producer Carly Milroy
who collaborated on the post-ofce based
hijinks of last year’s Fringe festival stand
out Post/Post. Now, Legends sees the
duo working with a larger cast to explore
even weightier material as they delve into
the world of ancient myths and modern
Following in the footsteps of both classic
sketch comedy like Monty Python, and
new wave of narrative and recurring
character sketch to come out of the
United States like Portlandia and Tim and
Eric, Hefford says he thinks despite the
shows absurdity, there is a wide appeal:
Anyone of any age would be sure to
enjoy the journey through people and
stories! Denitely fans of sketch comedy,
denitely fans of mythology and folklore
and maybe even people who are fans of
DATES: Tuesday July 21st – Sunday 26th
TIME: 21st, 22nd, 26th 8.00pm | 23rd,
24th, 25th 9.00pm
COST: $32 full, $28 concession
VENUE: The Butterly Club,
5 Carson Place, Melbourne
Incinerator Gallery is
calling for entries for the
Incinerator Art Award.
Works of any visual art form
that broadly demonstrate a
belief in cultural and creative
expression as a means to
affect deep and lasting social
change will be considered.
Visit incineratorgallery.com
for full terms and conditions
and to apply online. Entries
close 31 July.
The Dark Horse Experiment presents
Never Forget to Remember
by Adrian Doyle from 23 July – 13 August.
In the last three years Doyle has created his own reality show,
created large scale public murals, he offended much of the urban
art world by painting Rutledge lane Baby blue, and had one of his
public art works changed after Doyle painted a portrait of his dad
on the cross. More recently he created an art project for Disney’s
Tomorrow Land.
The award-winning artist will be pushing his well-known critique on
the Australian Suburban lifestyle in his new show Never Forget to
In this show, Doyle’s personal suburban experience has been
explored through installation, painting and sculpture.
Independent Media Inspiring Minds
The Dark Horse Experiment presents Never Forget to Remember
by Adrian Doyle from 23 July – 13 August.
In the last three years Doyle has created his own reality show,
created large scale public murals, he offended much of the urban
art world by painting Rutledge lane Baby blue, and had one of his
public art works changed after Doyle painted a portrait of his dad
on the cross. More recently he created an art project for Disney’s
Tomorrow Land.
The award-winning artist will be pushing his well-known critique on
the Australian Suburban lifestyle in his new show Never Forget to
In this show, Doyle’s personal suburban experience has been
explored through installation, painting and sculpture.
Mornington Peninsula Regional Gallery is now showing Storm in a Teacup
until 27 September.
Tea is the medium of many a complex and commonplace rituals. Adopted
in a variety of ceremonies and customs across the globe, its unique and
symbolic place in our lives is subtle and powerful. Whether a quick cuppa
around the kitchen table or a lavish display of rened gentility; from billy
tea to Asian tea-drinking ceremonies, tea has played an important role in
international trade but more curiously in facilitating social cohesiveness.
Storm in a Teacup considers this powerful brew and the particular traditions
and rituals. Using early paintings alongside contemporary artists’ responses,
the exhibition explores the role the humble cup of tea plays in our everyday
Speak Up is the Incinerator’s new program of poetry and spoken word
nights, curated by local spoken word artist Jessie Giles. Hear the human
voice ring out in a space usually reserved for the ‘silent’ visual language.
Next installments lineup features hip-hop artist and Triple J favourite
Joelistics, Oromo Australian poet Soreti Kadir, SYN radio-host Lana Woolf,
young musician Dani Sib, poet Fenella Edwards and MC Jacky T.
Independent Media Inspiring Minds
The Rebelles, Melbourne’s very own
19-piece girl group sensation, are
launching their debut album Go!
Rebelle! in the gorgeous surrounds
of the Thornbury Theatre on Saturday
25 July. Go! Rebelle!, recorded at
Soundpark Studios, contains 14
songs about life’s big issues – love,
heartache, boys and cars – all written,
performed and sung by The Rebelles
themselves in their own inimitable
style (along with some very special
and very talented guests).
Really get to know Fed Square as the city opens its doors for Open House Melbourne
2015 on Saturday 25 July and Sunday 26 July. In the tours of Fed Square you will
become familiar with Fed Square’s environmental sustainability initiatives and learn
about the unique architecture and construction.
Duldig Studio, in association with the National Gallery of Victoria, is proud to present
the 2015 Annual Duldig Lecture on Sculpture: Monuments of Remembrance by Dr
Bronwyn Hughes, art historian and heritage consultant. The Annual Duldig Lecture on
Sculpture was established to commemorate the life and work of the internationally
recognised sculptor Karl Duldig and his wife, the artist and inventor, Slawa Duldig
(née Horowitz). In this Monuments of Remembrance lecture, Dr Bronwyn Hughes will
examine the impetus and values that underpinned the First World War commemoration
movement through war monuments of national importance to the seemingly insignicant
local memorial. It will explore how Australian expectations, economies and aesthetics
changed in the 1920s and 1930s post-War society and compare commemorations
after the Second World War brought new, and sometimes different, responses in the
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Gallerist Charles Nodrum discusses his extensive knowledge of abstract art
in Australia from the 1950s through to the present day in Heide Museum
Art Talk: Thinking about abstraction and collecting abstract art. Free with
admission to Heide Museum at 2pm.
Three exhibitions at Incinerator Gallery close on 26 July: Impart, Conversations
Outside the Frame, and Vision Quest.
Impart features work from three Indigenous artists, Robyn Latham, Vicki West
and Maree Clarke. It reclaims, interprets and revitalises cultural knowledge
and ritual practices, post ‘the invasion’ of 1770.
In Conversations, Catherine Johnson presents a nine-channel video installation
that has been devised out of an interest in bridging the cultural distance
between Muslim women and women from other backgrounds in the artist’s
immediate neighbourhood.
Named as the 100 best new glass artworks by Corning Museum of Glass
in New York, Jasmine Targett’s Vision Quest
presents a large handmade screen that acts
as a billboard, which will be customised to
suit the scale of the garden. The image on
the billboard is a green landscape view that
is ‘interrupted’ by a lens.
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After a sold out preview run, The Last Five Queers is back for
a headline, two-week season in Melbourne’s 2015 Midwinta
Festival. The Last Five Queers is a song cycle of music by
renowned composer Jason Robert Brown, with a slight twist.
The stunning music has been reimagined to tell
the intertwined lives of ve characters and their
understanding of sexuality.
The production features performances from ve
of Australia’s nest up-and-coming music theatre
stars. The performers traverse love, loss, loneliness
and sexuality, observing the personal and universal
stories inherent to the music. It is a heart warming
production, lled with laughter and touching stories
that will connect with any audience member who
has played a lead character in their own love story.
The Last Five Queers opens on the 28th of July and runs for two
weeks at The Buttery Club. Bookings are highly recommended.
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FLIGHT – Festival of New Writing is an exciting new partnership between
Theatre Works, Victorian College of Arts and Footscray Community Arts
Centre, showcasing the work of ve new voices in Australian playwriting this
July and August.
Kindness by Bridget Mackey is a dark look at the relationships between
strangers. Yours The Face by Fleur Kilpatrick presents a photographer and
his muse. Virgins & Cowboys by Morgan Rose is described simply as: ‘Your
mother was lying when she said you could be anything you wanted to be.’
Grief & The Lullaby by Patrick McCarthy is a reection on what it means to
grow apart from those you grew up with. Finally, The Dead Twin by Chi Vu
explores an immersive site specic piece about an unforgiving past.
Have morning tea at the Heide Museum on Thursday 30 July, 10-11.30am.
The 1939 Herald Exhibition of French and British Contemporary Art arrived
in Melbourne at a pivotal time in the history of Australian art, inuencing a
generation of artists who were to later produce some of Australia’s most
iconic art images. The Herald exhibition had a lasting impact on Heide
founders, John and Sunday Reed, and the Heide circle of artists, Joy Hester,
Sidney Nolan and Albert Tucker, for whom the exhibition provided a rsthand
encounter with the inuential work of European modernists. Writer Judith
Pugh discusses this important exhibition and its impact on the politics and
history of Australian art with curator Kendrah Morgan. A delicious morning
tea from Café Vue is included.
Cost: Adult $22, Heide Member/Concession $18 (includes admission &
morning tea)
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Over 500 works
from the personal
collection of
Catherine the
Great will travel to
Australia in July for
Masterpieces from
the Hermitage:
The Legacy of
Catherine the
Great. Gathered
over a 34-
year period,
the exhibition
represents the
foundation of
the Hermitage’s
and includes
outstanding works from artists such as Rembrandt, Velasquez, Rubens
and Titian. Exemplary works from Van Dyck, Snyders, Teniers and
Hals will also travel, collectively offering some of the nest Dutch and
Flemish art to come to Australia.
The exhibition, presented by the Hermitage Museum, National Gallery
of Victoria and Art Exhibitions Australia, is exclusive to Melbourne as
part of the Melbourne Winter Masterpieces series and opens on July
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Catch the final weeks of
Zoe Winther
Giuseppe Castiglione’s portrait of the Qianlong
Emperor in ceremonial court robe - 1736,
coloured inks on silk, 238.5 x 179.2 cm
Provided by NGV
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To give the exhibition a bit of
context, what is the exhibition
about and what kind of pieces
will people be able to see?
This exhibition is actually from one
collection from Palace Museum in the
Forbidden City in Beijing. It’s about one
period and one emperor, the Qianlong
emperor in the 18th century. There are a
lot of surprises in this exhibition and we
can appreciate them on many different
The actual layout of the
exhibition is quite dierent to
other layouts I’ve seen at the
Yes, there are ve sections to the exhibition.
It’s actually modeled on the movement
of the Forbidden City. At rst you have
the entrance, the outer court where
ceremonies would take place, the inner
court where the emperor and empress
would live, and way at the end is his study
and his garden at the back entrance. So
what we have at the beginning we have
his portrait as a Manchu warrior, with
ceremonial armor and swords and arrows,
the second room he is presented as the
son of heaven with the empress. The third
section is presented like his harem, we
have things like hairpins and decorative
objects, and then the other section has his
art as a Chinese scholar.
I can imagine the exhibition took a long
time to plan and create and actually get to
Melbourne from the Palace Museum, can
you tell us a little bit about transporting it
We have our trustee Jason who served for
nine years and is now the trustee in the
Australian National Gallery, he started in
2005. I introduced him to the curators
in the Palace Museum, and he got very
excited and after that he started working
with the government of China through the
Chinese consulate here in Melbourne. So
then in 2010 I gave a lecture on Qianlong
as a great collector in the world and in
2011 the Australian delegation also went
to China and the Palace Museum, and
in 2013 I gave the Palace Museum my
wishlist of everything I’d love to have over
here and they responded with everything!
The curator said they wanted to send the
absolute best and I was really surprised
and happy and it showed great respect
towards Australia.
Do you have a favourite piece
of out everything?
My favourite is the hat stand. It’s a crazy
piece, it’s made of porcelain and has a lot
of colour and it’s supposed to be dragons
but it looks like squids with tentacles! And
the lotus looks like it has teeth! I love that.
How does a world leader like
China kind of recognize the
past and also look forward
to the future? So kind of
reconciling the past and the
Yes, you know the Great Wall right,
through the ages all invasions came from
the North, but the amazing thing is the
assimilated all of Chinese culture. They
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were embracing of it and revitalized it so it
lived on. And then China had been weak for so
long in the 19th century, but it revolutionized
you know, so I think maybe China is really
putting itself back together again, because
it is such a huge country. But the challenge
to Chinese artists now, how do we face the
challenge of international art throughout the
world? Certain arts in China, the avant-garde
and so on, are usually acquired by Western
collectors, but not the Chinese collectors. The
Chinese collectors are still more traditional
with things like calligraphy, and the use of
the brush, but what happens when the brush
is no longer used? What happens to the art?
But I think that present leaders seem to know
what to do.
Provided by NGV
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Why you should invest in
Eleanor Downie
Since graduating a couple of years ago as a bright-eyed graphic designer eager to show
the world the breadth of my talent, I’ve been noticing something that makes me feel, well,
not so bright-eyed: Outsourcing design services overseas. I’ve always been aware that this
is happening in the printing industry, and have tried to use local printers for my own work
as much as possible, but I had never really thought that outsourcing would jeopardise my
own chances of being gainfully employed. That may be naive of me. But I believe that while
it may be tempting to outsource to cheaper places, investing in Australian creative talent is
always a good idea. At the risk of sounded jaded before I’ve really started my career, here
are a couple of reasons why.
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1. Value of face-to-face
Never underestimate the value of sitting
down one-on-one with the creative
you’ve hired to create your brand, build
your website or roll out your advertising
campaign. As a designer, being able to
sit down with a client and to get to know
them is integral to fully understanding the
brief and being able to deliver a solution
that everyone is happy with more quickly.
From initial briengs to checking in during
the creative process and then nally being
able to present a nished product to a
client face-to-face all add value to your
services. It doesn’t have to take long - even
just a cup of coffee - but a small amount
of time invested from both parties often
translates to better results.
2. Benefits to our economy
Did you know that 96% of all businesses in
Australia are small businesses? So says the
ad promoting the budget that’s circulating
on TV at the moment. Small business is
the backbone of our economy, and most
creative practices in Australia are small
businesses. Think about what our country
is missing out on when you take your
creative work overseas. If we want to keep
up with the economic leaders of the world,
we need to be investing in ourselves. Just
as you would support the Victorian farming
industry by buying local produce, or the
Australian retail industry by shopping in
Australian-owned stores; so too should you
support the Australian creative industries
by investing in Australian creatives.
3. Growth of creative
With more resources invested into the
creative community, our industries are
perceived as more valuable. This in turn
leads to more investment and therefore
growth of Australian creative industries.
More resources also mean being able to
invest in education. Our design schools
are already starting to become recognised
among the best in the world, but wouldn’t
it be great if Australia could become
known as leaders in creative thinking?
Better design and creative schools mean
that new graduates will be stronger, which
in turn leads to better overall creative
practice. Win, win, win!
So while you may know exactly what you
want when you engage a creative for their
services, and want it done quickly and
cheaply, you should invest some time
and money into making sure whoever
you’ve hired is the right t for your brief
and understands your business and the
problem you are trying to solve. If you trust
in the right person, who knows, you may
get a result even better than you expected.
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Drinks Tour of 2015
Bree Bacon
Paul Ta
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I’ve never been one for clubbing; when I
was 18 I went out far too much and had far
too many hangovers. The reality of creepy
dudes grabbing my butt on the danceoor
and countless people spilling drinks down
my back and in my hair (I’m 5’2”, so tall
guys carrying drinks above the crowd
generally ended badly for me) got to me
after a while, and I stopped going out.
The sad thing is I actually lost a lot of
friends after I stopped clubbing every
weekend. I still loved house parties and
going out for drinks, but I got locked out of
that part of my friendship group because I
never wanted to hit the clubs afterwards.
But now at 21 I’ve made peace with the
fact the clubbing scene isn’t for me, and
maybe the likelihood of gelling with people
who hit the discos every weekend is low
because of this. But just because I don’t
like clubbing doesn’t mean I don’t enjoy
going out. I’ve had some of the best (and
latest) nights at bars and pubs both in
Melbourne and in my hometown.
My rst ofcial all-nighter was thanks to
a bar called Nevermind in Hawthorn. I’ve
since been there several times and each
time I go there I end up having to be asked
to leave, not because I’m rowdy or drunk,
but because they’re closing and I hadn’t
realised how late it was getting.
This brings me to the last time I visited
my friend Toni, who lives in one of the
Melbourne Uni colleges. We’ve I have been
friends since year 7, and now (almost a
decade on) we’re on the same wavelength
with nights out: bars and pubs just suit us
better. We like to be able to sit, relax, have
a couple drinks, and chat about life.
Some may call what we decided to do a
‘pub crawl’ however we are far too mature
and classy for such a thing (lol) so we
decided to refer to the night as a drinks
In reality it actually was more like a tour
than a crawl, we ended up going to several
places and having one drink at each. I’ll try
to recall the night for you as well as I can,
however some details may be fuzzy and/
or completely missing, not because I was
drunk, just due to the fact I tend to point at
a cider on tap and say “that one” and pray
that it doesn’t taste like wee.
43 Royal Parade, Parkville
The rst place we headed was close to
the University colleges and is a pub called
Naughton’s. Being in Parkville and literally
across the road from the colleges, it was
really quiet for a Saturday night. I ordered
my rst drink for the night: an apple cider,
brand name withheld (forgotten). Cider
became my go to drink for the night, mainly
because I hadn’t realised HOW CHEAP
DRINKS OFF THE TAP ARE. I’m generally a
whisky person but this night changed my
ways. Never again will I pay $15 for a Jack
and Coke when there is cider on tap.
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The Workshop Bar
1/413 Elizabeth St,
Melbourne CBD
This bar feels like a hidden gem, the
entrance is tucked away on the side street
but you can see the venue from the main
road. Looking from the outside it looks
like a garden bar, somewhere you’d see
Tinkerbell hanging out after a long week in
Neverland. But when you walk up the stairs
inside it’s pretty different. The rst thing I
saw was a table with an arcade game in it,
I think the game was Donkey Kong (fuzzy
detail alert), but whatever it was managed
to get a reaction from me that was along
the lines of freezing and gasping so hard
it sounded like I was choking. Toni wasn’t
as impressed and was already making a
beeline for the bar.
This was the bar that changed my view
on buying drinks; the $4 cider changed
my life. Not only was it cheap, but it was
delicious. Four dollars, guys, FOUR! The
cider and Toni’s company were excellent
additions to the main attraction, which for
me was the projector on the wall playing
the weirdest videos I’ve ever seen. I’m still
not sure if they were music videos or a
pretentious lm student’s works of art, but
they were magical.
Asian Beer Café (ABC)
Level 3, Melbourne
Central, Cnr La Trobe St
& Swanston Street
By this point in the night I was just glad I
wasn’t wearing heels. I was also glad for
the free tram zone because I stupidly left
my Myki at Toni’s house. The Asian Beer
Café was probably the busiest place we’d
been so far, with the line to the bar about
ve people deep and the tables almost
completely packed. The vibe here was
amazing though, the lively atmosphere
coupled with the delicious Toblerone
cocktail that Toni and I shared made it one
of my new favourite places. Note to self:
next time I order a cocktail, stir it with the
straw rst, turns out I was drinking most of
the alcohol and Toni got all the sweet stuff.
Father's Oce
249 Little Lonsdale St,
Melbourne VIC 3000
The staircase to get to this bar is
wallpapered with a bookshelf design and
is the coolest wallpaper I think I’ve ever
seen. As someone who is obsessed with
reading, I now want to decorate my entire
house with this design. When I nally
stopped staring at the wallpaper (and
probably scaring the door guy) we went into
the main bar. This place was absolutely
packed, it was almost impossible to move.
We ended up grabbing drinks at the bar,
and after a solid minute of scanning the
room for somewhere to sit, we settled on
standing against the wall to chat.
After we nished our drinks (I went for a
Galliano and coke this time) we decided to
leave and nd somewhere else we could
actually sit down at.
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Transit Rooftop Bar
Level 2, Transport Hotel,
Federation Square
It was rock and roll night when we went
and there were people having a ball on
the danceoor, while others were losing
themselves laughing at everyone else
attempting to dance. Granted there were
quite a few decent dancers on the oor,
but there were also a lot of people who
had no idea what they were doing, much
to everyone else’s amusement.
This was my favourite bar of the night,
possibly due to the attractive bartender
who winked at me and called me ‘love’
when he handed me my drink…
But even if attractive bartender hadn’t been
there I think I still would’ve loved it. There’s
just something really nice about being up
high and looking over the city while having
a drink with someone who’s very important
to you. If I had a partner I’d be taking them
to this bar ASAP, the beauty of looking over
the city paired with the excitement of the
live band and dancing inside would make
for the best kind of date.
After one more cider Toni and I ended
our night and jumped on a tram back to
college. By this point it was only midnight,
but we were both exhausted and our feet
hurt from walking around so much.
This night was one of my favourites in
Melbourne, after living in this beautiful
city for three years I’ve denitely had my
share of nights out, but there’s something
wonderful about going out with no real
plan or goals. Walking around a city in the
middle of the night is the best feeling in
the world. If you ever need to be healed,
I recommend going out on a busy night
and walking around, whether by yourself
or with friends, a city at night time just has
this calming effect on me, maybe it can
have the same for you, too.
CBD favourite: Section 8 Container
Bar in Tattersalls Lane
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The Long Lost
South Gippsland
Rail Line
Text and
photos by
Andrew Kruspe
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There is nothing sadder than a rusty
old rail line tracks that are used no
more. Once this great line carried
thousands of commuters, now it
lies in disrepair and rusting away.
As I walk along this decrepit track
I feel I can almost hear the faint
horn of a distant train approaching.
The stations that once populated
this line are covered in weeds and
overgrowth or destroyed by time and
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The train line is covered in blackberry bushes and
over grown weeds. Some areas are walkable but
I can’t help but feel the tragedy of it all. Where
did it all go wrong? Did cars nally kill it off or did
the rail link overstretch itself? As I walk over the
bridge, I gaze at this beautiful countryside that
lies on each side of the track. It always amazes
me how railways pick the most picturesque
scenery to place the rail line.
I spoke to a local historian and they exclaimed
it was sad day when it was announced that the
rail line would no longer run. We grab a bite and
talk about when steam locomotives hauled the
The South Gippy to and from Cranbourne and
Port Albert.
As we reminisce about the demise of this old
line, we watch modern day suburbia encroach
on this vast landscape and take over the once
boundless farmlands.
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We’re Back!
The Return
Season of
Circus Oz
to Melbourne
Part 1
Text By
Zoe Winther
Photos By
Alice Stephens
Unicycle adagio duo April Dawson and
Kyle Raftery seem to defy gravity in their
extraordinary performance
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Zoe Winther sat down with (recently
engaged!) April Dawson and Kyle
Raftery, two halves of the unicycle
adagio duo at Circus Oz ahead of But
Wait…There’s More’s opening night.
So let’s talk about the big story here,
your circus love story! How do the
two of you meet?
April: We met at a circus festival
actually! Around Australia every
year there are a couple of circus
festivals and one that I go to quite
regularly is one in Western Australia,
because I’m from WA, it’s sort of my
local hangout and it happens every
January at a tiny little place along
the beach and we were both there.
Kyle was teaching ying trapeze and
we met each other there and then
we moved to Melbourne.
You’ve obviously both been in the
circus industry for a long time then,
how did you get into it?
Kyle: I started at NICA, the National
Institute of Circus Arts, and worked
freelance for a long time until we met
and became a duo. I got into unicycles
in particular as a teenager and did
it just to be unusual I think, just to
be different, and then specialized
in unicycle. But I’ve always found it
tricky in a way because unicycle is
almost of removed from circus in a
way. In circus you have to be strong
and exible and all these things
that you work really hard on, and
then I thought how do you use all
those talents as an acrobat on the
unicycle, and that’s kind of how we
came to doing the acrobatics on the
April: I actually joined a circus when
I was 15. I was performing on the
street in my hometown and NOBODY
was there, there were maybe three
people watching, and a random guy
walked up to me and asked if I’d
fancy a job in the circus.
So the classic “run away with the
circus” story!
April: Yeah, I ended up running
away to the circus the next week! My
parents allowed me to leave in year
11 to join the circus and I’ve been
doing it ever since.
Kyle: The classic quote from April’s
parents is that she didn’t run away
to join the circus, they took her to
the bus stop.
April: Yep, they sent me on my way!
They were very supportive, so I’m
very lucky.
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Your act is very beautiful and elegant -
usually when you see a unicycle street
performer it’s quite jerky and jumpy. How
do you maintain that elegance and uidity
in your act?
Kyle: It’s the trickiest thing! If we watch
ourselves if we’ve been lmed that’s the
thing we try to get rid of the most, we
concentrate on smoothness all the time.
We watch ice-skating as well to get ideas
for lifts, we try to get that feeling in there.
April: Because it is quite a rare act. Kyle
actually went to the United States last year
and met a couple who does the same act,
but other than that we’ve never really met
anyone who does it. So our inspiration does
come from watching ice-skating, roller-
skating, vintage equestrian acts as well
because it has that kind of similar thing
with being in the round and the constant
movement and working out what you can
do while maintaining that. You can’t really
Kyle: The other thing is to ride the unicycle
you’ve always got to be off balance, you’ve
always got to be moving to where you
are falling. So when we do it together,
particular once April is on top, she’s in
charge of the speed and the direction,
so where she leans I have to ride. So we
have to be quite clear about when she’s
in control and when I’m in control and we
also have to know where we are going. It’s
easy on the stage because we know we are
going around the outside, but in our base
in Collingwood we have to draw a circle on
the oor because if we think the circle is in
a different spot it won’t work.
It’s funny you mentioned the equestrian
thing, because one day in training April
called me “My Little Pony”
April: Mister Pony!
Kyle: And I was pretty upset about it, I was
pretty quiet for the rest of the day, and so
the cast got together and they bought me
a dog tag necklace that said “Stallion” and
I was much happier with that!
April and Kyle incorporate acrobatics into their
unicycle act for a performance unlike any other.
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Did you know that would happen when you
started your act together?
April: No! It was a lot of trial and error
denitely, because Kyle would be in charge
and then all of a sudden we’d speed up
and I’d be going, “Slow down! Slow down!”
and he’d say, “I can’t! You’re the one doing
Kyle: I remember it was quite difcult at
rst because we’d kind of do one pedal and
then stop, another pedal and then stop,
but it’s to hard you have to be unbalanced
and moving all the time. So we spent a
lot of time just working on the acrobatics
while walking in a circle.
So April, are you a unicyclist as well?
April: No. I’m not even very good at riding
a bike. I have a little Razor scooter I ride
around and sometimes I even fall off that.
A lot of people ride to work but I can’t, it’s
too unsafe, I have to get public transport.
It’s actually in my bio that I spend a lot of
time on a unicycle but I actually can’t ride
When did the two of you join Circus Oz?
April: We’ve been an acrobatic duo for
about ve years and we’ve been with
Circus Oz for two Melbourne seasons,
about a year. Circus Oz is great, it is like
living the dream.
Circus Oz has quite a strong team of
females this year, April can you talk a bit
about how important that is to women
April: It denitely is a big part of Circus
Oz to show women’s strength. Our strong
woman, not that we have just one, is
Spenser Inwood, she is incredibly strong
and she also catches the ying trapeze
act, which in itself is a very difcult thing
to do, but on top of that everybody in the
act, aside from one person, is heavier than
her which is an incredibly empowering and
amazing thing to see.
Derek Llewellin’s roue cyr act is a highlight of
Circus Oz’s But Wait... There’s More
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We’re Back!
The Return
Season of
Circus Oz
to Melbourne
Part 2
Text By
Zoe Winther
Photos By
Alice Stephens
Olivia Porter is a soccer player turned juggler
with an incredibly unique act - but it’s her
comedic talent that really steals the show.
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Renowned for her innovative and unusual
juggling style, Olivia is a highly skilled
comedic stage performer with platinum
blonde curls and a pair of broken glasses
she somehow manages to perform in for
the majority of the show.
How did you get involved with Circus Oz?
I got involved with Circus Oz this time
last year, [Artistic Director] Mike Finch
saw me performing at a circus festival in
Mullumbimby and really liked my style of
juggling and yeah, we went from there.
You do have a very unique style of juggling,
did you develop that style yourself or have
you seen a similar act to yours at all?
I did essentially develop it myself. I’m a
soccer player, so I use my feet a lot and
I’ve always liked involving theatre and
movement and that’s really combined in
my act, my juggling and movement. I got
picked up pretty quickly in the juggling
scene because of my style, it’s a bit
different and unique.
So how did that trajectory happen, from
soccer to circus?
I was always creative, but I always really
sporty as well and after I nished high
school I just thought that the circus would
be perfect because it’s both physical and
it’s creative, it’s very athletic, and it came
kind of naturally surprisingly enough! But
it’s been a rollercoaster. I didn’t start until I
was 19 or 20 when I started doing classes
and I got picked up about a year later
as a performer and started doing more
corporate, kind of professional gigs.
What is a corporate gig for circus
performers?! Throwing balls at bankers?
Yeah, pretty much! Just lots of little roving
gigs all over the place.
You mentioned you started at around 19
or 20 years old, is that late to get into the
circus game?
Yeah it is, I’m still trying to catch up because
a lot of people started at an extraordinarily
young age. I’m still working my arse off,
but it is really fun! And it’s great because
at Circus Oz you can do that within a great
team. I can train and develop skills within
a community of great performers.
We’ve just had a little sneak preview of a
couple of acts and the music compositions
are amazing! What is the music for your
act like?
It’s awesome! I don’t really know how to
describe it, it’s kind of got an electronic
start and then it builds into quite a fanfare.
Did you have input into the composition of
the piece?
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Yeah, I worked with Ania [Reynolds, Musical
Director] quite a bit. I’m not educated
in music so I’m not very good at kind of
explaining what kind of style of music I like
but we were able to nd the rhythm and
evolve my act and things like that, I was
always consulted.
I just spoke to April about this as well,
there’s a number of women in the show
which in somewhat unusual in circus
shows, I’m sure that also provides quite a
good support system as well.
Yeah, I mean I think we all get on really well
in the whole ensemble, it’s quite amazing.
I actually left an independent show of two
other women and myself, a three-woman
show, so I’m quite used to working with
other women. It’s fun, we all support each
other. We’re all very strong, athletes, it’s
great to be able to showcase women’s
strength. I actually put on Facebook the
other day, Sharon, Spenser and I all started
doing three-highs together, so I’m pretty
stoked about that. It’s pretty impressive.
What should we look out for in the show?
Denitely my juggling…! The trapeze is
amazing, the hoops are great, it’s all great!
The adagio is beautiful. It’s all great!
Olivia Porter is a soccer player turned juggler
with an incredibly unique act - but it’s her
comedic talent that really steals the show.
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Cinema vector designed by Freepik
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Film Review: Ex Machina
Ex Machina is a visually stunning and
technically wondrous piece of cinema
which has received mixed reviews for its
portrayal of Articial Intelligence. Some
are calling it feminist sci- while others
describe it as the product of male fantasy.
With captivating cinematography and
strong performances by all, it is an
engaging, scary and beautifully simplistic
lm that takes on the familiar premise of
the relationship between AI and human
experience in a unique way. The lm's
strength lies in the way it doesn't draw
attention to over-the-top special effects,
but opts for a subtler approach focusing on
interactions between characters – while
still retaining slick production values.
Provided by Nova
It is brilliantly acted and the dynamic
between the three central characters
is at once strong, intense, complex and
beautiful. The lm unfolds through the
perspective of fresh-faced Caleb (Domhnall
Gleeson), a programmer who is asked by
his boss Nathan (Oscar Isaac) to assist
him in his research into AI – specically to
implement the Turing Test with Ava (Alicia
Vikander), his latest work. But things take
an unexpected turn when Caleb and Ava
develop a connection. The two engage
in seven sessions (an allusion to the
seven days of Earth's creation) under the
watchful eye of Nathan who Ava warns is
Review By
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The climax is satisfying in its unique
nature, however the lm seems to evoke
that tired trope of Eve and the forbidden
fruit – the notion that women will cunningly
use their "womanly ways" to get what they
want. While the question of gender and
sexuality in Ava is raised during the lm, it
never seems to stray from the idea that to
be female is to be beautiful, seductive and
alluring to man’s detriment.
Sadly, Ex Machina fails to provide the
audience with something other than the
stereotypical version of what it means to be
female. It is certainly a heterosexual-male
perspective (perhaps fantasy), evident in
dialogue such as "she gets you up in the
morning" and discussions of her articial
vagina, culminating in the nal moments
where Ava embodies the virginal bride in
a white dress and stilettos. There was also
a lot of nudity which seemed to serve the
heterosexual-male viewer rst, the story
Throughout the lm Ava employs her
sexuality for survival, embodying the
archetypal femme-fatale who ensnares
the innocent male victim (in robot form).
While you could argue that the audience
is meant to perceive this as some kind of
reection of the real world (hence some
critics reading it as feminist), the lm
doesn’t take the idea any further, instead
implying that such a strategy is a natural
option for women. What I would like to see
is how this story would play out with a male
The moral of the lm seemed to be that
ultimately, women, even if they’re articial,
will seduce and deceive you. And instead of
pondering the expected question of "what
does it mean to be human?" you leave the
lm wondering "is this what it means to be
a human female?"
Nevertheless, Ex Machina is well worth
a look – Isaac is the perfect villain, the
production design and cinematography is
breathtaking and the twist, a redeeming
factor! Just don’t expect anything too
groundbreaking when it comes to
representations of women on screen.
Ex Machina is now playing at selected
Written by Alex Garland
Produced by Andrew Macdonald and
Allon Reich
Starring Domhnall Gleeson,
Oscar Isaac and Alicia Vikander
Music by Geoff Barrow and Ben Salisbury
Cinematography Rob Hardy
Edited by Mark Day
Running Time 108 minutes
Rating MA15+
Score 3.5/5
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Mad Max
Spewing re, gleaming chrome, hurtling across barren land headed for oblivion:
Mad Max: Fury Road is a lot of things.
Provided by production company
Abramo Peghini
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The latest masterpiece from Frank Miller
– a stereotype-busting feminist action
extravaganza – is an inspiring look at what
can be done from humble roots, but to me
it is distilled Australiana.
I grew up in the most remote city in the
world, Perth. My days lled with ights
of fancy because, for anyone who hasn’t
visited Perth, it is inanely boring there. My
holidays were out to Kalgoorlie, a small gold
mining town quite literally in the middle of
nowhere, nothing but red dirt, heat and
struggle. Our trips out there would take us
past barren red country that in the right
hazy, sleep-deprived state seemed very
Getting your licence in Australia is one of
the cornerstone moments in gaining your
freedom. We have always been a nation
of car lovers, forever championing the
driving holiday. As young men jumped up
on testosterone and race fuel we would
lovingly spin spanners on our cars and
take them out to race on dark forgotten
stretches of road; modern day warriors
ghting for everything and nothing. It was
our religion.
This is where Mad Max strikes a chord.
The religion of cars. Early in the lm are
small glimpses of the faith: the V8 cut away
tattoo; the war songs; the incantations and
the war boys spraying their mouths with
chrome as they throw themselves towards
a glorious battle death.
This love of the road and the cars we drive on
them is entrenched in the Australian spirit
and Australian cinema. Our reimagining of
the Wizard of Oz was rock and roll movie
OZ. This lm threw Alice, a groupie for a
rock band, into a parallel world of bikies,
heartless mechanics, dumb sures and
cowardly hit men, but the real stars of
the movie are the roads and the cars.
This surreal noir-esque lm (surprisingly
marketed for children) was just one of
the many road movies in Australian lm
Even when we try to explore different
modes of lm we drag our religion of
re and steel with us - whether it be the
heavily neo-realistic The F.J. Holden or the
underdog tale of triumph that is Running
on Empty. These lms made up a big part
of my youth, including the original Max Max
trilogy. To a young gearhead they spoke to
me of the freedom of the open road in an
almost religiously fanatical manner.
We didn’t see the apocalypse, or the
monotony of suburbia, or the surreallity of
the wizard’s rock’n’roll world. Instead we
saw ourselves: road warriors, survivors,
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Melbourne Art Spotlight
Annalisa D'Ortenzio
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Melbourne Art Spotlight
Annalisa D'Ortenzio
Today I think I want to be a character
designer for Games, Films and/or Graphic
Novels. Yesterday I wanted to be a fabric
designer and tomorrow I will probably want
to be an Astronaut. For the mean time, I
just intend to draw a whole heap until my
future magically falls into place. Perhaps I
should make patterns out of characters?
For Space men?! Boom.
I work mostly in pen and ink, but have
recently discovered the beautiful simplicity
of vector art and am loving learning how to
use a computer.
I draw because I don’t understand people,
and I don’t understand myself. Some
people study science to understand how
the universe works, some people write
slam poetry to hash out their loves and
fears and confusion, some of us draw
because it is the only way we know how
to be truthful and to see things clearly.
Something hasn't happened to me until
I have drawn it from at least four angles
and really considered the pros and cons
of using a thick line versus a thin line on
the antagonist’s chin (I am always the
protagonist, clearly) – my sketchbooks are
a veritable sanctum of burning crazy.
Being in Melbourne gives me the fantastic
opportunity to share this quest with a
huge community of artists, illustrators and
makers who have no idea what is going on
either. You can be constantly distracted
by so many perfect collaborative studios,
zine fairs, workshops and life drawing
sessions... the artist stalking opportunities
are endless.
Feel free check out some more of my stuff
and ramblings at https://instagram.com/
unnahleesah/ (one day I'll grow up and get
a real website!) and get lost staring into
the souls of the herds of Melbourne artists
cataloguing their own crazy on there.
Or drop us a line on annadortenzio@gmail.
com to discuss commissions, art or true
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Jo Davenport –
A Natural
What any work of art demands of us, if we are fully
to take it in, is the gathering of all our powers of
looking and listening, understanding, feeling.
But in this intense concentration on the object
we also experience, paradoxically it might seem,
a heightened awareness of our own energy and
extract from Being There by David Malouf
(Random House), 2015
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Fast Falls the Eventide - Jo Davenport
Provided by Flinders Lane Gallery
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Jo Davenport at work in her studio
Provided by Flinders Lane Gallery
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David Malouf’s words articulate an
essential experience of art. It may be difcult,
for a less accomplished wordsmith than
Malouf, to evoke adequately an experience
that is more individual than universal.
However, it strikes me that his description of
the gathering and awareness is also broadly
applicable to the experience of nature.
Her immediate natural environment,
humanity and culture are combined
in abstract paintings by Jo Davenport.
Describing her process, she suggested, “It
starts with the earth”. These highly coloured,
often calligraphically-marked and spacious
canvases, harness the felt experience of
place, evoking a strong sense of being in
the landscape. Her lifelong immersion in the
country, living in the town of Albury (on the
border of Victoria and New South Wales),
has made relationship with place her subject
and mode of expression. While her reference
to the earth was a description of the way she
grounds her raw Belgian linen canvases,
priming them with rabbit skin glue, it notes
too the environment which sees her reaching
for an expression of an internal landscape
dened by place.
After grounding the canvases, paint
and colour is applied in layers, while she
awaits an almost alchemical emergence
of the image. “Slowly I can see things and I
follow.” The impact of place is at once subtle
and all pervasive, as is the scale of her work
- large enough to embrace the viewer in an
expression of the sublime within the tangible.
While involved in creative pursuits all
her adult life, Davenport did not complete
her MA in Fine Arts until 2011. Since then
sell-out exhibitions at Flinders Lane Gallery
have been matched with similar results in
Sydney. In 2013 her work was included in
Action/Abstraction”, a prestigious exhibition
at Wangaratta Regional Gallery that proled
the work of four of Australia’s leading
abstract painters (Sally Gabori, Todd Hunter,
Ildiko Kovacs and Aida Tomescu).
However, Davenport’s discussions
of her journey toward the artistic career
that now sees her in the studio some six
days each week are also an expression of
the intangibility and sensory expression
that place may offer. A daily walk to Nouriel
Park on the Murray River is evident in River
(2015), which takes in the verticality of the
weeping willows at the river’s edge and their
ability to overshadow the horizon, alongside
an internal space that harnesses the gentle
movement of the water, the trees and a place
to dream. Reections of a Fading Sky (2015)
also speaks to the varied experience of the
river, the water a mirror for a state of mind,
with patches of intensity and a glorying in
the jagged ephemerality of the moment.
Davenport noted, “I am not trying to
record what is physically there but more
a layering of emotions. My paintings sit
somewhere between abstraction and
representation, but it’s not always about the
sublime greatness of the landscape; it may
also evoke its fragility and intimacy.”
Accordingly, these images offer up
immense variety, a sensory experience of
being there that is at once universal and
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If you can fix how
ugly you are, it’s
okay to do so
Pexels Stock Image
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‘Let your natural beauty shine,’ says the
woman who is actually naturally beautiful.
I’m sorry but is anyone else getting tired of
hearing that everyone is beautiful just the
way they are?
I don’t mean to say what is becoming social
unacceptable but unfortunately some
people are down right hideous.
If you’re one of the few people on the planet
who are delightfully awless, that is fabulous.
You’re fabulous. Kudos to you!
But if you’re like me and maybe the vast
majority of the planet who sometimes wake
up with a pimple or possibly occasionally
trip and fall and on the way down you
accidently consume a family pack of peanut
butter M&Ms and then later nd yourself
complaining that you’re not skinny, well
you’re not alone, you crazy thing you.
What do I think? I think that you should
do whatever the hell you want to feel good
about yourself!
The wise and worldly Bindi Irwin has come up
with the perfect pose for a #NoMakeUpSele
displaying her porcelain and youthful
complexion and then urged other females to
“let their inner beauty out” and “be true to
Oh the great-master-mentor-Bindi. I’m so
sorry! My foundation was only intended
to hinder my zit from revealing itself to the
innocent victim who could potentially be
enduring the long haul of a rather bad
day and the last thing they need in their
miserable life is an eyesore throbbing in
their face during a conversation. The world
will now see that I am lacking honourable
qualities. I will go to hell with the other fakes
who are also deprived of this inner beauty.
Bindi, I have small eyes and I feel that a bit of
mascara would be me being true to the lack
of lashes that I so unluckily inherited.
It is about condence. If a girl feels that
enhancing her features gives her the
condence to strut into the ofce every
morning does that make her fake?
Some people are sadly convinced that the
train is a private place to hold a conversation.
It is not. I heard this:
Possible 16-year-old female/stranger: “She
wears too much blush. So vain.”
Other possible 16-year-old female/
stranger/friend of the Possible 16-year-
old female/stranger: “I feel sorry for her,
feeling like she has to impress people.”
Squished between a sweaty gym enthusiast
and a man who could perhaps spill his
morning coffee on me, I was being educated
by possible 16-year-olds. Apparently simply
contouring one’s check bones is vain these
Unfortunately the world is a judgemental,
shallow place and women have a lot of
pressure put on how their bodies look. But
hearing that cellulite is okay from a size six
supermodel who would not have a job if
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she had cellulite (making it not okay to have
cellulite) doesn’t support the claim.
In 2010, unretouched pictures of Jennifer
Hawkin’s body were featured on the cover
of Marie Claire Magazine. The supermodel
stated, “I’m not a stick gure. I thought
it would be great to tell women to just be
themselves and be condent.”
What a heroine! Women everywhere must
bow in gratitude. However Jen, if you’re not a
stick gure, I guess I am not so average after
all; in fact I think I just got fat. Good job Jen,
my condence is soaring.
You see, to me it is like hearing an individual
who has been blessed with sublime
sunkissed skin return from a delightfully hot
tropical holiday only to declare to their pasty
white counterparts that in fact they do not
appreciate girls who spray tan.
Personally I have been blessed with a
wonderfully thick, long and healthy head
of hair and for some reason it sits okay
naturally, but that doesn’t mean I go around
giving girls who wear extensions a hard time
for not being true to their split ends. In fact,
go ahead straighten, curl or blow wave that
short, frizzy mop, even wear a wig. It just
might make you feel great.
So ladies, if it is just the pre-night-out-with-
the-ladies application of red lippy that
provides the self-condence needed to be
proudly pouting in every self-loving sele
taken that evening: Go for it, girls!
Women have too many pressures. Ladies,
don’t follow the rules. Do whatever it is that
allows you to love yourself.
Pexels Stock Image
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Black Widow?
Andrew Kruspe
The Disney Corporation has come under re
from women and Marvel devotees alike due
to the representation of Black Widow, the
female heroine of the Avengers franchise.
When it comes to the portrayal of women,
Disney hasn’t had the best track record,
consistently representing them as helpless
and dependent on knights in shining armour
to ride to their rescue.
A classic example of this misrepresentation
of women is Frozen, the massive 2013 hit
lm. Elsa and Anna are strong-minded –
indeed Elsa has enough strong will to launch
an eternal winter - but they are trapped in
the same world of long dresses and being a
princess that Disney brought us in 1937 with
Snow White. I have seen so many Frozen
costumes on little girls, but not a single one
of Black Widow. Perhaps more annoying is
that not one action gure of Black Widow
has been created, while the other members
of the Avengers have been done to death. It
begs the simple question: Why? Where are
all the Black Widows and why doesn’t she
resonate with younger girls?
Don’t little girls today want to be independent,
opinionated and self-reliant?
For too long girls have been indoctrinated
that as long as you have a man in your life
that earns money and keeps you pampered
your life will be okay and you’ll live happily
ever after. Female villains in Disney tell us
that if you become too independent you
become cold-hearted monsters in your mid-
30s because you’ve chosen a career over
You would think that little girls everywhere
would embrace the image of strong women.
But alas, the mothers want a little princess
rather than an assassin who is strong, has
no fear of treacherous zones and thrives in
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Empyrean - Press Play ft. Blitz
Golden Vessel - Control ft. Caleb Hodges
Tell Me - Atlas Bound
New Days Old Ways - Toorak Social Club
Lay Me Down - Sam Smith (Flume Remix)
What Have You Done For Me - Nouvel Age
Sugar, You - Oh Honey
Love Again - Ta-ku ft. JMSN & Sango
Get Real (Can’t Touch Your Love) - Loframes
Lil Silva - Salient Sarah ft. Sampha
Uptown Funk - Mark Ronson & Bruno Mars (Broiler Remix)
Drumming Song - Florence & The Machine
Blue Skies - Lenka
Missing You - Abstract & Logic
Out Of My Hands - Angus Dawson
Floating - Benet
Ain’t Got Time - Featurecast & The Gaff
Hey Mama – David Guetta (Tyron Hapi Bootleg)
Pretty - Jnthn Stein ft. Keren Tayar
All Dulled Out - Kira Puru
Home - Little May
This Place - Retiree
Bend - Chet Faker
Morning World - Teen Daze
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