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Strategic Plan 2020-2024
Strategic Plan 2020-2024 ACE OPEN Lion Arts Centre North Terrace (West End) rt Kaurna Yarta a n. Adelaide SA 5000 aceope ACE Open Strategic Plan 2020-2024 1 ACE Open respectfully acknowledges the traditional Contents country of the Kaurna people of the Pg 3. Vision, Mission & Values Adelaide Plains and pays respect Pg 4. Executive Summary to Elders past and present. We recognise and respect their cultural Pg 5. Strategic Context heritage, beliefs and relationship with the land. We acknowledge that Planning Context they are of continuing importance to History the Kaurna people living today. Key Issues Artist Vibrancy SWOT Analysis Markets Pg 17. Goals Pg 23. Strategic Priorities Pg 24. Organisational Support Planning Management Financial Pg 33. Risk Management ACE Open Strategic Plan 2020-2024 2 Vision Our vision is to understand, expand and transform our world through contemporary art. Mission To be South Australia’s leading contemporary art space, nationally renowned for supporting artists, promoting artistic excellence and enriching audience experience. We will achieve this by: • Presenting and premiering new works from local, national and international artists • Nurturing the careers of artists to elevate their practice • Fostering conditions for critical engagement and explorations • Making art and spaces that are accessible, respectful and reflect Australia’s diversity Vision • Securing a sustainable future through strong management practices and strategic partnerships Mission Values Values Openness: We believe in making contemporary art accessible to everyone, inviting artists and audiences to experience contemporary art in an environment that is as engaging and challenging as it is welcoming. Artistic Freedom: We respect and nurture creative and cultural processes. -
Adelaide Fringe and the Adelaide Festival
Australian Services Union SA + NT Branch The ASU campaigns for fairness and equality in our workplaces, communities + globally Join the union for social justice activists 08 8363 1322 Foreword Together with our sponsors, the Don Dunstan Foundation is proud to present the 2019 Social Change Guide to the Adelaide Fringe and the Adelaide Festival. This Guide is our biggest yet with 181 shows featuring a diverse display of culture of which Don Dunstan would have been proud. Don was not only Premier of South Australia during the 1970s, but was also a trained actor. A strong supporter of the Arts throughout his lifetime, he was a patron of the Fringe and narrated Carnival of the Animals in the 1974 Festival of Arts. The Dunstan Decade saw South Australia lead the nation in progressive social reforms, and laid the foundation for Adelaide’s transformation into ‘the Festival State’. The Adelaide Festival was at the forefront of this transformation; since its launch in 1960 they have been showcasing diverse shows from all around the world. In 1974 the Fringe released its first Souvenir Programme, beginning its evolution into what is now the largest arts festival in the Southern Hemisphere. Each year, both go from strength to strength. The Arts bring us together, and help to create and celebrate our diversity. When we offer access to art in all its forms, we improve the quality of life for everyone in our community. Through the Arts we have a chance to see the world from a new perspective, and at its best, art can inspire us to take action for a fairer world. -
Download the Creative Industries Strategy
Creative Industries Strategy An industry-led Strategy produced by the Department for Innovation and Skills, in collaboration with Department for Trade and Investment and various industry representatives. 2020 GROWTH STATE Spider-Man: Far From Home - Visual effects by Rising Sun Pictures. © & TM 2019 MARVEL. © 2019 CTMG. All Rights Reserved. Credit: Rising Sun Pictures. The Department for Innovation and Skills acknowledges Aboriginal people as the state’s first peoples and Nations of South Australia. We recognise and respect their cultural connections as the traditional owners and occupants of the land and waters of South Australia, and that they have and continue to maintain a unique and irreplaceable contribution to the state. Ngarrindjeri designer Jordan Lovegrove at Ochre Dawn. Credit: Ochre Dawn Creative Industries. CREATIVE INDUSTRIES Strategy Table of Contents Message from the Minister 4 Message from the Creative Industries Ministerial Advisory Group 5 Section 1: Background 6 Executive summary 6 Growth State 6 The Creative Industries Strategy 7 What are the creative industries? 9 Advertising and Communication Design 11 Broadcasting: TV, Radio and Podcasts 11 Design 12 Design – Urban, Architecture, Interior and Landscape 12 Design – Industrial and Product 13 Fashion 14 Festivals (Creative and Cultural) 15 Music 18 Performing Arts 21 Visual Arts and Craft 21 Screen 22 Screen – TV and Film Production 23 Screen – Post Production, Digital and Visual Effects (PDV) 24 Screen - Game Development 25 Writing and Publishing 26 Technology and -
ACCESS GUIDE Contents
26 FEB – 14 MAR 2021 ACCESS GUIDE Contents Access Information ................................................................. 1 Website Information ................................................................. 2 Booking Tickets ........................................................................... 3 Venue Facilities ........................................................................... 4 Access Ticket Prices ................................................................. 5 Auslan Interpreted Events ....................................................... 6 Audio Described Events ......................................................... 8 Sensory/Tactile Tour Events ............................................... 9 Events With Highly Visual Content ................................... 10 Events With Assistive Listening ............................................. 13 Venues With Wheelchair Access ............................................. 15 Open House ..................................................................................... 19 Adelaide Writers’ Week Access ............................................. 21 Calendar of Events ................................................................. 22 Map ............................................................................................... 25 Sponsor Thanks ........................................................................... 27 Access Information We make every effort to ensure Adelaide Festival events are accessible to our whole audience. Please check -
Abdul Abdullah
ABDUL ABDULLAH 1986 Born in Perth, Australia 2008 BA Art, Curtin University of Technology, Australia 2017 MFA, UNSW Art and Design SELECTED SOLO EXHIBITIONS 2020 Custodians, presented by Yavuz Gallery at The Armory Show, Presents Section, New York City, USA 2019 Contested Territories, Yavuz Gallery, Sydney, Australia The waiting room, presented by Yavuz Gallery at Art Basel Hong Kong, Kabinett sector, Hong Kong 2018 Jangan Sakiti Hatiku - Don't Break My Heart, Yavuz Gallery, Singapore 2017 Terms of Engagement: Examining the Rhetoric of Radicalisation, UNSW Galleries, Australia 2016 Burden, Fehily Contemporary, Australia Coming to Terms, Fehily Contemporary, Australia 2015 Coming to Terms, Chasm Gallery, New York, USA 2014 I See A Darkness, Future Perfect, Singapore Siege, Fehily Contemporary, Australia 2013 Homeland, Fehily Contemporary, Australia 2012 Mongrel, Fehily Contemporary, Australia 2011 Them and Us, KINGS Artist-Run, Australia SELECTED GROUP EXHIBITIONS 2020 Monster Theatres, Adelaide Biennial of Australian Art, Art Gallery of South Australia 2019-2020 Violent Salt, touring exhibition, Art Space Mackay, Australia; Noosa Regional Gallery, Australia; Toowoomba Regional Art Gallery, Australia STOLEN/WEALTH, Wyndham Art Gallery, Melbourne, Australia Body Politics, Bendigo Art Gallery, Bendigo, Australia Lupercalia, Adelaide Central Gallery, Adelaide, Australia Marriage: Love + Law, Penrith Regional Gallery, Penrith, Australia Weapons for a soldier, Araluen Arts Centre, Alice Springs, Australia National Anthem, Buxton Contemporary, -
Social Change Guide to the Adelaide Fringe and Adelaide Festival 2018
The Graham F Smith Peace Foundation The Graham F Smith Peace Foundation works for peace by educating the community about human rights, social justice and environmental sustainability through the arts. Winner of the Governor’s Multicultural Award 2017 Since 2011 The Graham F Smith Peace Foundation has awarded the Peace Foundation Award at the Adelaide Fringe Festival. The purpose of the award is: Ÿ To recognise artworks that align with the objectives of the Peace Foundation (human rights, social justice and environmental sustainability) and are excellent, innovative and experimental. The winner will receive $1000 and a Statuette Previous Award Recipients: in[nate]ture Labels We Live by the Sea by Cayleigh Davies by Patch of Blue by and Human Arts Theatre Company Joe Sellman-Leava Movement 2017 2016 2017 Be Our 2018 Award Recipient! Get award application form and additional information from the website http://artspeacefoundation.org/fringe-peace-award/ Foreword Together with our sponsors, the Don Dunstan Foundation is proud to present the 2018 Social Change Guide to the Adelaide Fringe and the Adelaide Festival. This Guide features a wealth of shows in a diverse display of culture of which Don Dunstan would have been proud. Don was not only Premier of South Australia during the 1970s, but was also a trained actor. A strong supporter of the Arts throughout his lifetime, he was a patron of the Fringe and narrated Ogden Nash's for Carnival of the Animals in the 1974 Festival of Arts. The Dunstan Decade saw South Australia lead the nation in progressive social reforms, and laid the foundation for Adelaide’s transformation into ‘the Festival State’. -
Political in the Visual Arts Catriona Moore and Catherine Speck
CHAPTER 5 How the personal became (and remains) political in the visual arts Catriona Moore and Catherine Speck Second-wave feminism ushered in major changes in the visual arts around the idea that the personal is political. It introduced radically new content, materials and forms of art practice that are now characterised as central to postmodern and contemporary art. Moreover, longstanding feminist exercises in ‘personal-political’ consciousness-raising spearheaded the current use of art as a testing ground for various social interventions and participatory collaborations known as ‘social practice’ both in and outside of the art gallery.1 Times change, however, and contemporary feminism understands the ‘personal’ and the ‘political’ a little differently today. The fragmentation of women’s liberation, debates around essentialism within feminist art and academic circles, and institutional changes within the art world have prompted different processes and expressions of personal-political consciousness-raising than those that were so central to the early elaboration of feminist aesthetics. Moreover, the exploration and analysis of women’s shared personal experiences now also identify differences among women—cultural, racial, ethnic and class differences—in order to 1 On-Curating.org journal editor Michael Birchall cites examples such as EVA International (2012), the 7th Berlin Biennial and Documenta 13 that reflect overt and covert political ideas. Birchall outlined this feminist connection at the Curating Feminism symposium, A Contemporary Art and Feminism event co-hosted by Sydney College of the Arts, School of Letters, Arts and Media, and The Power Institute, University of Sydney, 23–26 October 2014. 85 EVERYDAY REVOLUTIONS serve more inclusive, intersectional cultural and political alliances. -
Access Guide ADELAIDE FESTIVAL 2019
ADELAIDEA FESTIVAL 1 -17 MARCH 2019 FAccess Guide ADELAIDE FESTIVAL 2019 Contents Access Information 3 Website Information 4 Booking Tickets 5 Venue Facilities 6 Access Ticket Prices 7 Auslan Interpreted Events 8 Audio Described Events and Touch Tours 9 Events with Highly Visual Content 10 Pay What You Can 12 Adelaide Writers’ Week Access 13 Calendar of Events 14 Map 17 Sponsor Thanks 19 2 A Access F Information We make every effort to ensure Adelaide Festival events are accessible to our whole audience. Please check event pages in the guide and on the website for access information and session times. When booking your ticket please inform the operator of any access requirements. This program is also available in the following alternative formats from late November: • Online at adelaidefestival.com.au The website has font enlargement capabilities, a large print PDF and RTF files available for download. • Via audio versions of every event page at adelaidefestival.com.au Via Auslan interpreted videos on selected event pages at adelaidefestival.com.au • On audio CD, phone + 61 8 8216 4444 • In Braille on request, phone + 61 8 8216 4444 Access Symbols: Wheelchair Assistive Audio Sign Partly/Fully Access Listening Description Interpreting Surtitled 3 Website Information The website has a dedicated Access Menu located at the top on the right hand side of the main navigation. Every event page includes audio versions of the page information. Each event in the festival program contains detailed access information for that event in the booking guide and on the website. For up to date Adelaide Festival information sign up for Festival Insider, follow us on social media (see below) and regularly check the Access Pages at adelaidefestival.com.au We also encourage you to sign up with Access2Arts at access2arts.org.au for regular updates and offers to accessible arts events. -
Women's Studies Librarian on Women, Gender, And
WOMEN’S STUDIES LIBRARIAN NEW BOOKS ON WOMEN, GENDER, AND FEMINISM Numbers 58–59 Spring–Fall 2011 University of Wisconsin System NEW BOOKS ON WOMEN, GENDER, & FEMINISM Nos. 58–59, Spring–Fall 2011 CONTENTS Scope Statement .................. 1 Reference/ Bibliography . 58 Anthropology...................... 1 Religion/ Spirituality . 59 Art/ Architecture/ Photography . 2 Science/ Mathematics/ Technology . 63 Biography ........................ 5 Sexuality ........................ 65 Economics/ Business/ Work . 12 Sociology/ Social Issues . 65 Education ....................... 15 Sports & Recreation . 73 Film/ Theater..................... 16 Women’s Movement/ General Women's Studies . 74 Health/ Medicine/ Biology . 18 Periodicals ...................... 76 History.......................... 22 Indexes Humor.......................... 28 Authors, Editors, & Translators . 77 Language/ Linguistics . 28 Subjects....................... 94 Law ............................ 29 Citation Abbreviations . 121 Lesbian Studies .................. 31 Lesbian, Gay, Bisexual, Transgender, Intersex, & Queer Studies . 31 New Books on Women, Gender, & Feminism is published by Phyllis Holman Weisbard, Women's Studies Librarian for the University of Wisconsin System, 430 Memorial Library, 728 Literature State Street, Madison, WI 53706. Phone: (608) 263-5754. Drama ........................ 34 Email: wiswsl @library.wisc.edu. Editor: Linda Fain. Compilers: Elzbieta Beck, Madelyn R. Homuth, Beth Huang, JoAnne Leh- Fiction ........................ 35 man, Michelle Preston, -
Leading Australian Artist Sally Smart to Present World Premiere of Installation the Violet Ballet at Adelaide Festival 2019
Media Release For immediate release, Wednesday 31 October 2018 Leading Australian artist Sally Smart to present world premiere of installation The Violet Ballet at Adelaide Festival 2019 Adelaide contemporary art gallery ACE Open will premiere leading Australian artist Sally Smart’s installation, The Violet Ballet, as part of the 2019 Adelaide Festival from 2 March – 27 April, 2019. Widely known for her large-scale assemblage installations, South Australian-born Smart has amassed a significant international career over more than three decades. Her accolades include major exhibitions in New York, Singapore, Jakarta and across Australia, as well as a 2017 collaboration with luxury Italian fashion house, Marni. The Violet Ballet continues Smart’s investigation into avant-garde dance company the Ballets Russes, and their experimental choreography, costume and theatre design. In an immersive and layered installation constructed from textile curtains, costumes, projection, puppetry, shadowplay and dance-on- film, Smart re-imagines one of the Ballet’s most macabre and visually complex works, Chout (Tale of the Buffoon). Through her research and the resulting installation, the artist draws parallels to the Indonesian Wayang character Punokawan (the clown), to examine ideas of identity politics, cultural hybridity, the historical and contemporary avant-gardes entwined legacies of colonialsm and orientalism. As part of the re-staging of Chout in the film component of the work, Smart has collaborated with the writer Maria Tumarkin to create spoken and sung word, with operatic vocals performed by Billie Tumarkin, along with choreography and performance by dancer Brooke Stamp. Billie Tumarkin and Brooke Stamp will also perform live as part of the exhibition’s free opening celebration on Saturday 2 March from 5pm. -
Glenda Carrière Thesis (PDF 1MB)
GOING UP THE DOWN ESCALATOR: An ethnographic case study of the uptake and utilisation of information and communication technologies by three Women in Film and Television (WIFT) organisations at the State, National and International level, 1995-2000. ♦ Glenda Mary Carrière © 2004 B.A. Griffith University, 1982 G.Cert.Higher.Ed. Griffith University, 1995 M.Bus. (Media Studies) Queensland University of Technology, 1995 Creative Industries Research and Applications Centre (CIRAC) Queensland University of Technology Thesis submitted in full requirement for the award of IF49 Doctor of Philosophy ii Given our history, it’s not possible to assume that women will automatically share equally in any gains that come from the present information revolution…and there’s plenty of evidence today to suggest that women are again being kept out of the production of information as we move to the electronic networks (Dale Spender,1995:161). ...new technology seems to be doing the impossible. It is running backward - back to a period before the current Women's Movement, back before the growth of multinational corporations, before the expansion of government-sponsored research, back before the suffragist era, back to the Industrial Revolution, to the Scientific Revolution, back perhaps to the early roots of capitalism and rationalism in the Middle Ages... (Zimmerman, 1983: 3). iii KEYWORDS Internet: Gender issues, Access, Emancipatory, Democratisation; Information and Communication Technologies (ICTs); New Media Technologies; Women's Non Government Organisations (NGOs); Non Profit Organisations (NPOs); Women in film and Television, (WIFT) Case Study; Pamela's List; Australian Peak Women's NGOs. iv ABSTRACT This thesis examines the implementation of the new digital information and communications technologies (ICTs) by the Women in Film and Television (WIFT) Non-government organisation (NGO) at the state, national and international levels through an ethnographic, participant observation case study, informed by the precepts of feminist research. -
Table of Contents
TABLE OF CONTENTS Introduction 2-38 1. Obscene ecstasy: Interactions between seeing men and blind women in The Architect, The Blind Eye, Transplanted and Miranda 39-87 2. Looking (im)properly: Women objectifying men’s bodies in Last of the Sane Days, Miranda and The Architect 88-137 3. Different ways of seeing and knowing? Psychic abilities and homeopathy in The Blind Eye and The Architect 138-170 4. Happily (n)ever after: The (im)possibilities of equitable heterosexuality in The Blind Eye, Last of the Sane Days, Transplanted and Machines for Feeling 171-210 5. How to survive (without) a shipwreck: Explorations of feminism, postmodernism and the perception/construction of men’s bodies in Miranda 211-248 Conclusion 249-260 Works Cited 261-286 1 Introduction How to praise a man? She cannot vow His lips are red, his brow is snow, Nor celebrate a smooth white breast While gazing on his hairy chest; And though a well-turned leg might please, More often he has knobbly knees; His hair excites no rapt attention – If there’s enough of it to mention. She cannot praise his damask skin, Still less the suit he’s wrapped it in; And even if he’s like Apollo To gaze upon, it does not follow That she may specify the features That mark him off from other creatures. No rime can hymn her great occasion But by a process of evasion; And so she gives the problem over, Describes her love, but not her lover, Despairs of words to tell us that Her heart sings his magnificat.