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Good morning, ladies and gentlemen,
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and thank you for joining us here this morning for this early session on
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arts for arts sake. We might have the music down be good yet.
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For arts rights sake,
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much as we'd like to have music as a backdrop for a panel on this nature,
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but it might be better if it's, if it's not there.
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I'm Julianne Schultz and it's my great pleasure to be here to be chairing this
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session this morning.
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Before I introduce you to the panel panelists and tell you a little bit about
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what's going to happen, let me do a little bit of of house housekeeping.
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Please make sure you've switched off your mobile phones.
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Nobody should be ringing you at this hour of the morning anyway.
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And if you wanting to tweet during this session,
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you're most welcome to so it's the hashtag is a A F O I.
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So if you want to be having a running commentary for your interest groups,
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that's would be most welcomed.
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Now the decision that we're going to have today is called arts for arts sake,
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and we've got a really terrific group of people to be on the panel.
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It's changed slightly from the original program because of,
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of other other problems with airlines and the likes. So I think we,
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we have a really good conversation with the people we've got here today.
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Let me introduce the the speakers first,
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and then I'll tell you a little bit about what we planning to do.
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The first speaker is Katrina Sedwick Katrina has been,
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was a founding director and CEO of the biennial Adelaide film festival,
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which she used to commence to 2002 that's a good, long, good, long run.
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She also curates the AFF investment fund,
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which has supported 47 new Australian projects, including features,
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documentaries cross-platform and video installation work.
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So she's really at the cutting edge of some of the creation of really terrific
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news screen screen work.
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Many IMF supported projects had gone on to garner a significant recognition,
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including Snowtown,
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which won a special jury mentioned and critics week Samson and Delilah,
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which I'm sure all of you have seen the 2009 winner of the camera door at,
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at con.
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It was recently showcased during a week week long screening at MoMA in in New
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York.
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Katrina had previously had an extensive background in the arts as a performer
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contract, creative producer and festival director,
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please welcome Katrina Sedgwick.
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Our second speaker is Lisa Slade.
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So is the project curator at the art gallery of south Australia.
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She's also a PhD candidate at Monash university in 2010.
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She curated the exhibition curious colony of 21st century,
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a window Cromer for the Newcastle art gallery.
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The exhibition linked to her research and curatorial interests and was the first
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in a series of exhibitions driven by her research into culture colonial
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collecting and contemporary art previously,
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Lisa lectured in art history and theory at the university of Newcastle,
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and she continues her role in tertiary education through a collaboration between
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the, of Adelaide and the art gallery of south Australia,
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to which she contributes as a lecturer in a range of postgraduate courses.
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Please welcome Lisa Slade.
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[Inaudible].
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Finally,
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I'm very pleased that Greg Mackey has been able to step in at the last minute to
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to, to take the place of Paul Grabowski.
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Who's been caught delayed in Indonesia,
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Greg I'm sure is well known to all of you.
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These are south Australia and who's worked to promote the arts in this state for
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a very long time. Who was water, water,
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the middle of the order of Australia for his service to the community,
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through the promotion of arts,
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particularly the Adelaide festival of ideas not so long ago.
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So it's really nice that he's able to be here on this panel,
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which is so close to his, to his, his interests.
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He was a founding director of imprints booksellers in Adelaide in 1984 and was a
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co proprietor of that business until his appointment as executive director of
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south Australia in 2004, in 2008,
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he was appointed acting chief executive of the department of premier and
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cabinet.
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And following the appointment of a new chief executive remained with the
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department as an acting chief,
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deputy chief executive departmental affairs at Sotheby's ominous
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until he was appointed to that position in 2009 he's been a really important
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player as you know, in the arts in south Australia for a long time.
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And we're delighted that he's able to be here today.
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[Inaudible].
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The session we'll,
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we'll run as a conversation and we'll have some time for questions at the end
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because I'm sure that all of you have have particular interests that you wanting
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to, to explore a bit further with the, with the panelists.
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I think that the aim of the session really is to try and unpick that old binary
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of art for its own sake and art for for commercial and socially useful
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purposes. How,
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how that divide can be made sense of in this current environment.
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I think we've moved a long way from that old simply, you know,
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it's one or the other, the sort of the intrinsic or the instrumental to,
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to thinking much more broadly about how arts and cultural policy shapes and
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intersects across all of our lives across the community,
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across the economy and across the sort of questions of identity in a much
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more expansive way. The current discussion paper that the government,
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the federal government's got out on cultural policy,
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I think is indicating a willingness to engage in these discussions much more
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broadly than an old narrow sort of art for its own sake sort of focus.
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But because each of these panelists has had particular experience with festivals
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and blockbuster exhibitions and arranging events,
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which really try and aggregate people into places where they can have these
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conversations.
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I thought that would be a really quite good place to start the conversation.
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And that is just think about how festivals change the terrain of the,
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of the arts landscape and how it maybe sets things up to,
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to grow beyond a very narrow sort of pointy definition of what
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art might be. So Katrina, given your sort of long experience in,
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in with the film festival, maybe that's a good place to, to start.
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Yeah, well, I mean, I think,
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I think festivals when they're really operating properly a catalyst for
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arts engagement in a very exciting way a festival provides,
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if you like all that subsidy provides the curators with the freedom that kind of
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should take you outside those kind of commercial
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sort of boundaries,
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if you like and should create a kind of critical mass and energy for your
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audience that allows them to take risks in terms of what they consume and allows
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you to take risks in terms of what you program and that kind of coming together.
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Really in a kind of celebration I suppose, of,
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of challenge and ideas is something that,
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that a festival should deliver when it's really operating well.
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With the Adelaide film festival,
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what's been really exciting for us has been not only to,
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well for me and my, and my board to be able to start a festival from scratch.
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That's been a fantastic thing to be able to do to start a festival,
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someone like Adelaide,
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which has a very long kind of rich history of audiences being up for trying
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things out. So that's, that's been a really great thing.
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And to start a festival where you really had to find a point of difference
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because there's, I think when we started 10 years ago,
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there was three and a half thousand film festivals in the world.
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There's now well over 4,000 film festivals in the world. So it's a very,
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very crowded terrain. So with the level of subsidy we had,
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it was a substantial amount of subsidy.
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How could we provide value and provide a point of difference?
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And that's what the other exciting and interesting challenge we had is that at
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the time that we started Adelaide was what's known as the softest market in
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Australia for art house cinema people just weren't going to see art house films.
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So how do you kind of build an audience and an enthusiasm for that?
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So our festivals really tried to create an identity that
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complimented, I suppose,
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the goals of the state in terms of engagement with screen culture complimented
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the kind of broader strategies in terms of investment and economical stuff.
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And also try to nurture and encourage a more eager kind of
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arts house engagement. But the other thing that we had which was,
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has been absolutely central to the success and identity,
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the festival has been our investment fund and having had the 10 years of
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experience of having a $1 million pool of money every two
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years to be able to put into film programs has left me very firmly
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with the belief that a role of a festival or of a large
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institution. Very importantly, if you have the opportunity,
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it should be around commissioning and fostering new work because
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you're not stuck with all the other kinds of raison
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d'etre or KPIs that other organizations have around
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economic development around industry, around commercial imperatives,
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and particularly in the world world of film,
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which is bizarrely set aside from the rest of the arts and called an industry
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and is founded as an industry and not as an art form
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a festival allows you to actually fund things on the basis of its artistic
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value. And people kept saying, why is the investment fund?
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And Adelaide had so much success.
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And I think the absolutely centrally is because we are funding things for art's
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sake and audiences want to see things that are good.
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I want to see things that are artistically challenging.
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And I think that a festival is uniquely placed to be able to not only support
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interesting new work simply in and of itself,
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but then also to be able to provide a showcase fantastic kind of premier
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opportunity to kickstart that, but I'll stop.
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It's. It is interesting because it's, it's quite a different model to festivals,
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film festivals that you've actually got that funding base to actually be
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commissioning new work. Yeah.
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Yeah, no, it is. And I mean, we got, we got copied,
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which was fantastic by Melbourne and they set up a premier fund,
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which I don't think works as well as us. I mean,
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they supported some great films, but I mean,
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of course I would say that it works,
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but I don't think they do because their fund is set up separately
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from the festival programing mechanism. So our fund,
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and it's partly because we're a biennial event, which is great.
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So I've got the luxury of time to direct the festival and run the fund.
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You know, I can do that over a two year period, but
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you know, when we're picking films that we support,
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I'm picking them because I'm the director of the festival.
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So it's part of the curatorial process. And for arts festivals in Australia,
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the kind of major arts festival, there's the, what's it called the MFI,
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it's at the major festivals initiative. And,
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and that's a similar thing where directors of festivals come together and
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there's a big pool of money. And they sort of decide, say,
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Brisbane festival and Melbourne festival might say, well,
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we love the new stalker project. So through that fund,
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they put in a larger amount of money than usual and support a new work to be
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made that wouldn't fit into the normal funding environment.
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And we're able to do that for art through our fund in Melbourne,
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the fund is run quite separately by different people that are directors on a
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panel. But it's, but you know, they cordon,
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I know do end up with films that they don't particularly want passionate
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themselves, but there are broader things at play.
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I think that thing of a curator choosing a work because they believe
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it's good, really is very effective. And because.
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You have a strong sense of what your audience is going to be, I mean,
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you're building an audience, but you're also producing, you know,
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commissioning stuff, which, you know, will appeal to that audience. So it's,
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it's a slightly different dynamic than you would get. Yeah.
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To be honest,
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I don't really think about the audience because I think that's actually one of
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the problems, right. All film is that they think too much about audience.
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What is the audience going to want? And, and it puts it into,
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it's kind of like the, the horse before the cart in a way,
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I think you're kind of second guessing what your audience might like and
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actually forgetting that an artwork is an exciting artwork in and of itself.
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And an audience discovers that artwork. I mean,
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I don't think Picasso was thinking about whether the audience would like it or
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not, when he's painting it,
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he's thinking about something that he urgently needs to express and then lo and
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behold people appreciate that. And I think that,
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that if you start being anxious about the audience,
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then I think you're compromising your instinct in terms of how you are
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personally engaging with that work.
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I think that a good curator is somebody whose subjective instinctive response to
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work is something that a broader group of people feed
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into. And you have to go with that, your own instinct.
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And that's certainly how we choose.
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Until your, your description of,
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of doing this as arts for arts sake and finding an audience as well, you know,
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is, is, is a terrific example, you know, proof of that,
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that approach really anyways. Yeah. Okay. Listen, Lisa,
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tell us a bit about your view in the sort of visualize.
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I guess there are a couple of things that I'd like to pick up on from Katrina's
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introduction and are two really interesting phenomenon that are
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essentially pretty much 21st century phenomenon.
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One of them is the rise of the curator.
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It's interesting that we've used the word so many times to relate to cross arts
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programming.
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The curator traditionally was somebody who was responsible for the sort of
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custodial care particularly of objects.
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And I'm fascinated by the fact that we now talk about Laurie Anderson or Lou
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Reed when they did their work in Sydney, quite recently, as curators,
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this phenomenon, this idea of the curator as an important cultural interlocutor,
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somebody who's actually a mediator in his work to an audience driven by their
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passion and experience.
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And that's clearly something that we share cross cross arts.
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Cross-Platform the other is the festival ization of the visual arts.
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Now I made the call a moment ago that there are 21st century phenomenon,
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of course, in the case of the festival ization,
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they're not the great expositions of the 19th century that saw laterally failed.
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The Eiffel tower for instance,
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are very much part of a spectacularization of visual culture,
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but we do have a return to it to the point where we have a phenomenon that's
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being thrown around. The terms being thrown around now is by any elevation.
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I think there are at the moment about 35 national and
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international by any else.
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Now that I know that doesn't seem like much compared to your thousands of film
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festivals, but the idea that you have so many by any rules,
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many of them claiming to be international is fascinating in itself.
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And the expansion of those has mostly been seen throughout Asia,
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which is also a cause of great interest, I think.
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And we've also at the very same time,
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we've seen the expansion of the art fair to get back to the art for art's sake.
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You've got these two things sitting side by side,
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often geographically located, closely located.
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So you've got the rise of the biennial, which often brings the forefront art,
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which cannot be sold,
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is not intended for sale sometimes perhaps for institutions,
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but certainly not for the domestic market. And then the other side,
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the alter-ego of that is of course the art fair.
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And there are dozens of art fairs.
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There's one popping up every moment despite the climate that we're in.
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So I guess for me it T to think about how visual arts sits within this
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paradigm to think about what things have been picked up by non visual arts
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non-visual art forms from the visual arts is a real cause of interest.
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And this sort of sharing of ideas that's happening across platforms is something
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that might resound for you in your lives.
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So in terms of the visual arts,
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I mean that Katrina talked about that commissioning and the original new words.
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I mean,
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a lot of the visual arts stuff is actually aggregating the great works and
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bringing them to a different audience.
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Complex for us because we have a challenge and you can see in our building right
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next door.
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Now we have the challenge of ushering in the new that's.
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And that includes very difficult work alongside the custodial care of the
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collection and the historical representation of art.
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So we bet we wear the weight of that. We bear the weight of that,
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but we were thrilled by the possibilities that history actually generates for
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us,
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that our collection in the works that are part of that part of our collection
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can engender new work. And to that point at the moment,
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we're working very hard on the next biennial and the content for that's
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embargoed. You'll hear about it very soon,
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but it does engage with our permanent collection,
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but it also includes predominantly new work work that has never been
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seen in this country before.
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So we do attempt to use as leverage the historical parts of the collection for
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the creation of new work. But I completely concur that. That's why we're here.
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Not very interested in the dead artist, blockbuster, I must say,
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except where it can actually fund exciting new work.
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So at the moment we have a proliferation of east coast data shows where we've
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got, you know,
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a museum closes in Europe and Australia seizes an opportunity to bring out some
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old things that you may or may not have seen before.
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And we'll pop those on display and we'll create a sort of masterpiece
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blockbuster,
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pretty dull really let's let's face it not so great in terms of our cultural
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industry, doesn't feed our cultural industry,
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except that can bring in some bucks,
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which can then feed back into the sorts of projects we can do for artists that
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are perhaps not so scalable.
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And so do you, is that something that you're actively doing here? I mean,
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that's that, we're not.
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We're not doing so many dead artists blockbusters,
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but the feeding of the money into certainly. And in fact,
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we've actually increased our biennial budget. You know, it's such a,
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such a difficult time.
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We've increased our commitment to that because we see the capacity for that
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biennial. We want to put it back on the map as a sort of flagship of Australian
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contemporary art in its cultural bind realization.
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It's the only one that actually deals with Australian content solely.
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That is so we are really, we are very passionate about the,
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how that sits within our program,
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but it's one thing within a very complex program that'll sort of move
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between, you know, you have the jostling between a south Australian show,
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for instance,
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an international show driven by the collection perhaps,
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or perhaps an Asian collection focus.
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And then you've got contemporary Australian art.
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And so with it,
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just to tease that out a little bit more so with the contemporary Australian
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arts, I mean, are you identifying works or you're identifying artists, I mean,
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or you're organizing it around the themes.
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We're using our curators.That's where the rise of the curator is really
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noticeable. We've appointed two curators.
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One of them's working in Melbourne at the moment it's Alexi glass Cantor.
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And the other one is Natasha Bullock who works in Sydney and they are working
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for us as curators to do just that.
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So to make sure that there's a truly national viewpoint and they worked very
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closely with our institution to ensure that we can deliver new work
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for, for the nation really, we're not at all thinking locally.
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Good. Excellent. Okay. That's very exciting. So Greg,
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you've been sitting at a top all of this for, for, for some time. I mean, give,
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give us your perspective on how it all falls together.
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I, I, I hope that I've maintained a sense of being amidst at all,
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rather than a top at all.
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You get to see it all.
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Yeah. I've been an extraordinary early privileged position,
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but thinking about the nature of curation and Katrina,
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the Juul role that you've performed both as a,
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as a curator of finished product.
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And I use the word product in the cultural sense yet
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also an investor in risk-taking for the creation of new
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product. That's, that's an incredibly rich
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Tableau with which to work and Lisa your,
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your role in the art gallery of south Australia and the
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Patricia pigeon near ni and,
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and Sachi and others is again bringing that,
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that that concerted eye,
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that one eye to that. And one eye also to the pragmatics of,
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of operating and presenting work in you know, it'd be like in,
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within that larger, more complex set of, of of operate and operating pressures.
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I guess what I've,
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what my role has sort of evolved to now is in a
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sense, a big, a different canvas, but another kind of canvas,
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because while I don't make decisions about who receives what
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funding, I,
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I play a part in a system that enables at arms length,
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the making of decisions about those sorts of things.
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And then on the other side of my job, it's the it's the,
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it's the establishing and seeding of organizations and projects and programs
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that like, and the Adelaide thinkers in residence,
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the center for social innovation, et cetera, that,
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that themselves go on and nurture new new ideas and new work.
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So there's a kind of a similarity in the nature
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of what it is that we do. And the site, you know,
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we all have accountabilities to boards, to ministers, to,
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to others as well. But like like Katrina, I, I,
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I strongly supportive of the role of
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festivals within our cultural calendar that is of course more than
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only festivals. Because festivals at,
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at its most crudest marketing sense is a very powerful marketing
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umbrella to reach a greater number of people than one theater
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company or one individual art gallery can manage to do.
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But of course,
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historically and culturally festivals fulfill a much
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deeper and more important thing.
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And it's a celebration it's a bringing together of, of,
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of citizens of communities to well,
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obviously to, to have fun, but most importantly,
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to actually extend their imaginations guided
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by the imaginations of others. Hmm.
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So I'm interested in that, that notion about audiences,
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of how audiences engage differently with festivals than they do with the ongoing
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arts program. I mean, is that something, I mean,
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you've obviously studied that fairly closely as part of this process. I mean,
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what, what do you see as the big benefits of a festival and,
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and is there a downside in terms of the ongoing arts programs does it suck
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the energy out of the oxygen out of the others?
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Th there's there is a perspective that that's what festivals do
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I guess I hold a view that part of the cultural mission for government is to
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make art more relevant, to more people more often,
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and therefore festivals play a part in helping to
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grow the, the base, the core audience.
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And as we do that,
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and as we insert that more into the lives of more people
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the,
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the interest of some will be to actually continue and engage
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with the particular season programs that particular companies are
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producing. And also for the companies who present in a,
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in a particularly in curated festivals. But even in in a,
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in a artist risk sharing model,
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like like the Adelaide fringe I remember Lee Warren Lee, Warren,
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and dancers saying to me years ago, Greg
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if I put one show in the fringe,
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it will get me the same box office as an entire year's
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programming and Australian dance theater. Similarly it, it,
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because of the power of the marketing device,
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that is the program and the sponsorship and the,
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the buzz that's created within, within a,
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even though their particular production is competing in a
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confined time space with, with with others.
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The love is greater than the whole is greater than the individual
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part.
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So where do their audiences go, you know, for contemporary dance,
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for instance beyond the fringe, I mean,
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do they just get their dose of contemporary dance during the fringe and then,
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you know, wait until another festival.
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Well look and feel free to chime in
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now the festival and the fringe, because Lee has programmed in,
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or has been programmed in the main festival,
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but he has also entrepreneur his company into the fringe sometimes
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spectacularly successfully, sometimes less so. Yeah.
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Because I, I know companies, you know,
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who've gone into the fringe after a festival context and just get buried because
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the fringe is so completely dominated by the kind of, you know,
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big commercial comedies. It's very difficult to kind of find space.
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And if you're a kind of medium level company that is more establishment,
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I think you kind of get lost in there because you're not either the really
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commercial stuff. And you're not the really unusual indeed into stuff.
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I think you're seen as a bit sort of frumpy is the wrong word,
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but do you know what I mean?
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You're seen as kind of established in the French context and I'm not,
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it's not word for a holiday company I've surprisingly once had that much success
438
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and our ADT did, but that was only 2002. Yeah. And where did the fringe,
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and that was obviously when the festival had a far,
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smaller program that year and, you know.
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But you were saying that the, before the, the, the, the,
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the film festival has turned Adelaide from a soft art house,
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movie marketing to a much stronger, or has that.
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Not happened? We've tried. It's still soft. Yeah. It's better than it was. Yeah.
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Okay.
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Okay. And what about in visual arts? I was just thinking.
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About the,
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the breadth of the audience that a festival offers or promises to engage with is
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something that we need to in the visual arts learn from.
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We were trying really hard to do that.
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We're trying really hard to open the door to the audience who were still the
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least likely to walk into it. And that's actually families.
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We know that that's the case through research,
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but we know we can also change that we,
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the petition picture in any show that Greg cited previously is a show where we
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managed to achieve, for instance, our school audience for the entire year,
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within the eight weeks of that exhibition, for instance.
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But we've got a building that doesn't exactly invite families in.
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You should see it's,
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it's an absolute comedy to watch people with a push to try and get into that
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building.
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But that's not to say that we are not attempting to broaden our audience,
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every single thing that we do and to create a space that's much more democratic.
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We're not the first off the mark with that.
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There are some extraordinary case studies in this country and internationally
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we're activating collection for every member of the public is their
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modus operandi, essentially. And that's something we're really passionate about.
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I love the fact that curators can do their work without being reactive or
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responsive to an audience. That's the, that's the job for the rest of us,
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really,
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to work out how we can engage and sustain our audiences and how we can offer a
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breadth and depth of programming that develops new parts of our audiences
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continually not just on, you know, one Sunday, every month,
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but every single day of the year.
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And that's certainly been, I mean,
476
00:27:03.420 --> 00:27:06.090
Goma in Brisbane has been a fantastic example of that. I mean,
477
00:27:06.390 --> 00:27:09.390
how it's sort of built an audience, a young audience, a family audience,
478
00:27:09.391 --> 00:27:10.171
and it's, I mean,
479
00:27:10.171 --> 00:27:13.830
it's just transformed that whole partly it's about the physical investment,
480
00:27:13.920 --> 00:27:15.390
the investment in the physical infrastructure,
481
00:27:15.391 --> 00:27:18.030
but then it's about thinking differently about audience.
482
00:27:18.730 --> 00:27:22.150
And just riffing further on Katrina, your comments about that,
483
00:27:22.151 --> 00:27:25.910
that experience for established companies, fringe, swamped,
484
00:27:26.360 --> 00:27:30.980
festival curated, and, and and, and prominently positioned.
485
00:27:31.280 --> 00:27:36.230
I wonder whether a part of the future for a festival as now
486
00:27:36.231 --> 00:27:38.120
huge as the Adelaide fringes,
487
00:27:38.121 --> 00:27:43.010
and it just continues to grow and the ticket sales continue
488
00:27:43.011 --> 00:27:47.390
to grow. And the number of free options continue to grow, whether within the,
489
00:27:47.510 --> 00:27:52.190
within the gamut of the whole fringe program, or indeed for silo as well,
490
00:27:52.630 --> 00:27:54.740
sound strangling artists festival in in,
491
00:27:54.741 --> 00:27:59.450
in August every year whether there's a place for here's the whole package,
492
00:27:59.600 --> 00:28:03.560
but then you have you invite you know, 1, 2,
493
00:28:03.560 --> 00:28:08.210
3 or four curators to actually go through and hand pick their
494
00:28:08.510 --> 00:28:12.110
choices. And I, Frank Ford, with the cabaret festival, as the chairs,
495
00:28:12.111 --> 00:28:16.040
since its inception of the advisory group, he, he does that and it's, you know,
496
00:28:16.041 --> 00:28:20.660
he picks his top 10. And so that the it's the editor's choice. It's,
497
00:28:20.690 --> 00:28:25.100
it's the trust that some of us will have in the curatorial
498
00:28:25.101 --> 00:28:27.500
choices of one individual or another.
499
00:28:27.760 --> 00:28:32.660
And that as a way to help what peop people get into what can at
500
00:28:32.661 --> 00:28:36.650
times be an overwhelming and impenetrable density of, of,
501
00:28:36.680 --> 00:28:41.390
of options that the cornucopia can turn into a sort of a landslide of
502
00:28:41.860 --> 00:28:43.010
that. And then.
503
00:28:43.050 --> 00:28:45.680
The gaps in between, you know, where it's for us,
504
00:28:45.681 --> 00:28:48.980
it's so important that the gallery is a place where people go and spend 20
505
00:28:48.981 --> 00:28:50.870
minutes at lunch and sit in those fantastic,
506
00:28:51.200 --> 00:28:54.320
newly covered Ottomans in the elder wing, and just hang out for a while,
507
00:28:54.500 --> 00:28:58.580
because in this city of festivals and my nine year old did comment this morning,
508
00:28:58.581 --> 00:29:01.340
he did say to me, mum, is there a festival on every day in Adelaide?
509
00:29:01.880 --> 00:29:05.090
You can tell when you come, as I said, well, pretty much it's,
510
00:29:05.180 --> 00:29:09.590
it is really important that those moments between we sustain our
511
00:29:09.591 --> 00:29:11.750
programming, we sustain our engagement.
512
00:29:12.560 --> 00:29:14.900
I do think there's interesting in, in Adelaide,
513
00:29:14.901 --> 00:29:17.990
particularly that th that wonderful colonial wing of the gallery, I mean,
514
00:29:18.200 --> 00:29:22.010
it does give Adelaide a very particular sense of place. I mean, no other,
515
00:29:22.250 --> 00:29:24.800
no other gallery in any other Australian city has got that.
516
00:29:24.801 --> 00:29:29.180
You can sort of step off a busy road into that gallery and sort of be
517
00:29:29.181 --> 00:29:33.320
immediately connected with sort of the origins of, of, of this place. We've.
518
00:29:33.320 --> 00:29:35.930
We've worked very hard to put that back on the map, because in a sense,
519
00:29:35.931 --> 00:29:39.500
our 1996 extension sort of railroaded us to the back of the building.
520
00:29:39.710 --> 00:29:43.360
So we've actually tried to people to the front of our building and to the
521
00:29:43.361 --> 00:29:44.500
importance of that collection.
522
00:29:44.560 --> 00:29:48.250
And I must say it has had extraordinary effect even this morning in the,
523
00:29:48.310 --> 00:29:50.380
in the Australian, Christopher Allen is, you know,
524
00:29:50.381 --> 00:29:52.780
sticking the knife into the such a show, no surprises there,
525
00:29:53.020 --> 00:29:56.230
but at the same time, of course, he's, he's applauding the elder wing.
526
00:29:56.231 --> 00:29:58.000
So it's important that, that is there for.
527
00:29:58.000 --> 00:30:01.510
Everybody all of the time. Yeah. I mean, it's one of the things that strikes me,
528
00:30:01.690 --> 00:30:05.290
that's sort of interesting to tease out a bit is whether how much place affects,
529
00:30:05.320 --> 00:30:05.531
I mean,
530
00:30:05.531 --> 00:30:09.040
the ethos of a place affects the sorts of festivals and the sort of art that's
531
00:30:09.041 --> 00:30:11.380
being produced. I mean, I think that for instance,
532
00:30:11.381 --> 00:30:12.790
Katrina in the films that you've produced,
533
00:30:13.000 --> 00:30:15.430
there's there was something that I've been from outside,
534
00:30:15.460 --> 00:30:19.060
but he's essentially south Australian in the stuff that you've been,
535
00:30:19.360 --> 00:30:21.460
you've been commissioning and that you've done so well with now,
536
00:30:21.490 --> 00:30:22.360
I'm just wondering how the,
537
00:30:22.570 --> 00:30:26.230
how the ethos of a place sort of shapes that both that commissioning the
538
00:30:26.231 --> 00:30:29.770
curatorial role and the sort of engagement with what you do.
539
00:30:30.390 --> 00:30:35.280
Well, I think it totally does absolutely does. And you know, Adelaide is,
540
00:30:35.850 --> 00:30:39.450
you know, I mean, we're a small town, we're not a small town,
541
00:30:39.750 --> 00:30:40.583
we're a large town,
542
00:30:40.830 --> 00:30:45.180
we're a small city and our remoteness and we are very remote in the,
543
00:30:45.330 --> 00:30:49.590
in the world means that we have a particular kind of community here who are
544
00:30:49.591 --> 00:30:52.530
hungry to, to see stuff,
545
00:30:52.650 --> 00:30:55.920
to engage with stuff and festivals. You know, when they,
546
00:30:55.980 --> 00:30:58.530
when they began in the sixties, when the Adelaide festival began,
547
00:30:58.531 --> 00:31:03.180
it was community initiated because everyone was so hungry and that hunger still
548
00:31:03.181 --> 00:31:07.890
exists. And that's why I'd like festival and Adelaide fringe have,
549
00:31:07.920 --> 00:31:11.910
have evolved into the kinds of kinds of events they are and why that community
550
00:31:11.911 --> 00:31:13.350
has such a huge ownership,
551
00:31:13.380 --> 00:31:16.350
because we know the value that these events bring for us,
552
00:31:16.351 --> 00:31:19.520
which is a whole lot of stuff we wouldn't otherwise get access to. And so,
553
00:31:19.800 --> 00:31:23.730
so the way our audience engages it's very different to how an audience engages a
554
00:31:23.731 --> 00:31:25.500
festival in Melbourne or Sydney,
555
00:31:25.501 --> 00:31:27.750
where it's a much bigger circuit stuff all the time,
556
00:31:27.960 --> 00:31:30.990
you know and festivals are far more visible,
557
00:31:31.080 --> 00:31:34.890
which is why your child would be saying, is it a festival? And every day,
558
00:31:35.030 --> 00:31:37.680
it's just as many, if not more happening in Sydney and Melbourne,
559
00:31:37.770 --> 00:31:41.460
it's just that they're far less visible and they're kind of hidden amongst the
560
00:31:41.461 --> 00:31:42.720
bigness that is everywhere else.
561
00:31:42.721 --> 00:31:47.670
So I think it does affect how a community engages with the festival,
562
00:31:47.671 --> 00:31:50.730
how open they are to ideas. We find that, you know,
563
00:31:50.830 --> 00:31:54.990
our writing nights like 10 canoes, for example we ended up, you know,
564
00:31:55.020 --> 00:31:56.130
production got delayed for you.
565
00:31:56.140 --> 00:31:58.380
So we ended up presenting 10 canoes as the clouds.
566
00:31:58.410 --> 00:32:00.450
One of the closing night events for the Adelaide festival,
567
00:32:00.580 --> 00:32:03.270
I think 2006 Adelaide festival bus. Well,
568
00:32:03.810 --> 00:32:06.840
we sold that two sessions standing ovations.
569
00:32:06.841 --> 00:32:11.130
We had to hold people down from running, getting it was unbelievably moving,
570
00:32:11.190 --> 00:32:15.450
the kind of response that we got. I went later that year, a few months later,
571
00:32:15.451 --> 00:32:17.910
it was the opening night of the Sydney film festivals thing.
572
00:32:18.360 --> 00:32:22.200
And the film was received so differently. The audience responded so differently.
573
00:32:22.230 --> 00:32:23.130
There was a, you know,
574
00:32:23.250 --> 00:32:26.520
it's actually a really scary slot to have the opening night of Sydney film
575
00:32:26.521 --> 00:32:30.960
festival because it's a cynical audience waiting to be oppressed,
576
00:32:31.170 --> 00:32:35.430
whereas in Adelaide, people are going, what's going to happen. Yes. So.
577
00:32:35.430 --> 00:32:37.470
Tell us a bit more about that. What the difference was,
578
00:32:37.471 --> 00:32:39.980
I'm you to describe what the response was here in Adelaide?
579
00:32:39.981 --> 00:32:40.790
What was the response in.
580
00:32:40.790 --> 00:32:42.230
Sydney? It was sitting back,
581
00:32:42.231 --> 00:32:45.500
it was waiting to be impressed as opposed to coming in and being interested in
582
00:32:45.860 --> 00:32:50.510
open phallus, right. Or certainly less visibly impressed. I mean,
583
00:32:50.511 --> 00:32:52.160
it's a wonderful film that how can we hide.
584
00:32:52.170 --> 00:32:55.510
That? And it had a long tail because in Sydney subsequently, you know,
585
00:32:55.600 --> 00:32:57.090
it built to an enormous.
586
00:32:57.340 --> 00:32:58.630
Look, it's framed very well.
587
00:32:58.631 --> 00:33:00.820
And that theatrical distribution went well everywhere. I suppose.
588
00:33:00.821 --> 00:33:04.060
It's just that kind of in a festival context, what's the response. And so,
589
00:33:04.480 --> 00:33:06.010
you know, it does mean that it's very,
590
00:33:06.070 --> 00:33:09.670
it's been very easy in terms of our festival to take risks and to kind of go
591
00:33:09.880 --> 00:33:13.140
play this official last program, for example it's,
592
00:33:13.141 --> 00:33:17.290
it's been very easy and straightforward to be able to build something like that.
593
00:33:17.340 --> 00:33:21.160
And a large part of our audience now is the visual arts buoyance who then we
594
00:33:21.370 --> 00:33:23.710
hope to push them to film. But I will say, I mean,
595
00:33:23.711 --> 00:33:27.130
I think it is it is a real challenge for Adelaide to,
596
00:33:27.160 --> 00:33:30.460
to get the audiences outside then of that festival context. I mean,
597
00:33:30.461 --> 00:33:33.490
when we were looking for a new place in the calendar to put the film festival,
598
00:33:34.480 --> 00:33:38.200
April and October with two places where we could be in terms of an international
599
00:33:38.201 --> 00:33:41.980
film festival circuit, where the gaps were, that made sense for us, you know,
600
00:33:42.040 --> 00:33:44.590
to be able to get the visibility and get the titles we wanted to and get the
601
00:33:44.710 --> 00:33:45.760
international guests we want,
602
00:33:46.210 --> 00:33:48.760
but there was no way we were going to be on an April because no one goes out at
603
00:33:48.761 --> 00:33:52.570
night in Adelaide. You know, we we've all spent our money,
604
00:33:55.000 --> 00:33:58.480
you know, and I remember one of the amazing choreographer who got brought over
605
00:34:00.940 --> 00:34:05.470
that's in the bathtub. Oh yeah. Anyway,
606
00:34:05.980 --> 00:34:09.310
it'll come to me. Let's do it. Right. Graham,
607
00:34:11.020 --> 00:34:12.460
do you know believable company,
608
00:34:12.510 --> 00:34:15.820
if you go in the LA festival that you kind of saw that straight away?
609
00:34:15.880 --> 00:34:18.310
Probably not. Certainly. I think we can,
610
00:34:18.370 --> 00:34:20.290
everyone would have gone to the festivals that have packed.
611
00:34:20.740 --> 00:34:23.230
As long as the festivals here, they were giving tickets away.
612
00:34:23.260 --> 00:34:25.930
They were begging people to go. No one went,
613
00:34:25.931 --> 00:34:28.930
it was an absolute disaster for the company who brought them because April,
614
00:34:29.230 --> 00:34:31.990
no one goes out. And then how do you deal with that? How is there a whole month,
615
00:34:32.560 --> 00:34:32.831
in fact,
616
00:34:32.831 --> 00:34:37.340
six weeks after the fringe and festival where it's just culturally dead and,
617
00:34:37.750 --> 00:34:42.160
and, and it is, so how do you kind of get over those, those kind of hurdles?
618
00:34:42.161 --> 00:34:44.170
And I know it's a real challenge for the,
619
00:34:44.230 --> 00:34:48.040
for the companies here who were trying to do ongoing subscription seasons,
620
00:34:48.610 --> 00:34:52.300
you know, state theater. It's a real, real challenge. Companies,
621
00:34:52.490 --> 00:34:56.320
not the performing arts. So I don't know what it's like for the galleries.
622
00:34:56.470 --> 00:34:59.320
I don't think it's as difficult. I don't think we experienced that.
623
00:34:59.321 --> 00:35:02.680
Drop-Off but what's really important for us is that we're sustaining our,
624
00:35:02.710 --> 00:35:04.660
as I mentioned before that we've got things happening.
625
00:35:05.020 --> 00:35:09.760
And I think it's just that, you know, I made that point about family audiences,
626
00:35:09.790 --> 00:35:12.880
but for the family audiences that we do have in this certainly growing as I sort
627
00:35:12.881 --> 00:35:15.340
of indicated, they still need someone to bring their kids.
628
00:35:15.490 --> 00:35:18.580
Like we can capitalize on, in a sense,
629
00:35:18.610 --> 00:35:21.610
the non-event nature of a visit to the gallery.
630
00:35:21.700 --> 00:35:23.290
There's something that's just very,
631
00:35:23.291 --> 00:35:26.950
every day about a visit to the gallery and it's free and it's free.
632
00:35:27.520 --> 00:35:31.270
So that's where we have that opportunity to fill that gap, I suppose.
633
00:35:31.780 --> 00:35:34.120
Do you look at that, are you looking at.
634
00:35:34.120 --> 00:35:38.040
That shadow after the value.
635
00:35:38.040 --> 00:35:42.360
Of the free arts at that point? Yeah, absolutely.
636
00:35:43.160 --> 00:35:46.370
And we're blessed in Adelaide, but I mean, there is a lot of options.
637
00:35:46.400 --> 00:35:48.980
There are a lot of options that are free.
638
00:35:49.190 --> 00:35:53.000
And particularly if you look more broadly at culture with a smaller C
639
00:35:55.280 --> 00:36:00.230
because there's the theater companies and the dance companies and the,
640
00:36:00.470 --> 00:36:03.140
the commercial galleries are not the only games in town.
641
00:36:03.170 --> 00:36:07.670
There's lots of other ways to recover from the
642
00:36:08.060 --> 00:36:08.893
orgy of,
643
00:36:09.110 --> 00:36:13.280
of indulgence that is the festival season.
644
00:36:13.340 --> 00:36:18.020
And of course the other aspect is to look at other points in the calendar where
645
00:36:18.021 --> 00:36:22.790
we can evolve new clusters of activity. I mean,
646
00:36:22.791 --> 00:36:26.960
I think most of us who are festival or fringe or film festival
647
00:36:26.961 --> 00:36:30.650
audiences bemoan the car race,
648
00:36:30.680 --> 00:36:32.780
the Clipsal 500 being, you know,
649
00:36:33.110 --> 00:36:35.960
thrusting on top of us because we were there first,
650
00:36:35.961 --> 00:36:39.260
we started the festival in 1960, the fringe of 1960.
651
00:36:39.620 --> 00:36:43.150
So the clips and water fist comes in and, and muscles in,
652
00:36:43.290 --> 00:36:46.700
and it has an act of parliament that gives the motor sport, the motor sport act,
653
00:36:46.701 --> 00:36:49.760
which gives them complete control over absolutely everything. It's like,
654
00:36:50.030 --> 00:36:51.860
it's not the Commonwealth that the, at the,
655
00:36:52.040 --> 00:36:55.310
at airports that's Commonwealth land and they can do what the hell they like,
656
00:36:55.311 --> 00:36:58.490
and they can run rough shot over, over everything. I'm not, I'm not,
657
00:36:59.720 --> 00:37:04.190
poo-pooing the the right of petrol heads to enjoy the VA.
658
00:37:05.030 --> 00:37:06.950
And I'm sure that there is a small,
659
00:37:07.040 --> 00:37:10.490
I'm sure it's only a small crossover of people who are interested in both.
660
00:37:11.810 --> 00:37:14.480
Probably in the design community and people who are interested in the designing
661
00:37:14.481 --> 00:37:18.350
of those vehicles and then driving off, but it is a complete.
662
00:37:18.380 --> 00:37:21.830
Pain. Is it not Katrina too? You know,
663
00:37:21.860 --> 00:37:23.900
there's a struggle for infrastructure. I mean,
664
00:37:23.901 --> 00:37:27.890
every time you set up an event in a car, in a park, you've got fencing,
665
00:37:27.891 --> 00:37:30.320
you've got toilets, et cetera, et cetera.
666
00:37:30.650 --> 00:37:32.990
And there's only so much of that in south Australia.
667
00:37:32.991 --> 00:37:34.610
And we ended up importing a,
668
00:37:34.630 --> 00:37:39.290
in that season stuff from interstate the car rice is something that in
669
00:37:39.291 --> 00:37:40.370
2015,
670
00:37:40.371 --> 00:37:44.990
when the V8 sort of bidding for positioning in the calendar
671
00:37:45.230 --> 00:37:46.370
comes up next.
672
00:37:46.670 --> 00:37:51.290
I'm really hoping that south Australia will outbid Sydney for the November
673
00:37:51.291 --> 00:37:53.840
slot the car, the last race in the season,
674
00:37:53.841 --> 00:37:55.340
which is what we had with formula one.
675
00:37:55.610 --> 00:38:00.080
And which is why formula one was the great success in November and the festival
676
00:38:00.170 --> 00:38:03.950
and the fringe continued to be its success in in, in autumn.
677
00:38:05.090 --> 00:38:06.920
So we can, we can look at spring.
678
00:38:06.920 --> 00:38:11.660
In fact Katrina's board and Katrina have made the decision to
679
00:38:12.140 --> 00:38:14.540
shift from 2013 onwards,
680
00:38:14.580 --> 00:38:19.520
the Adelaide film festival to spring. We have, as those of you,
681
00:38:19.521 --> 00:38:24.170
who've been attending festivals of ideas every other year for a long time.
682
00:38:24.580 --> 00:38:28.700
We've moved from winter to spring. And there are, I'm going to,
683
00:38:28.701 --> 00:38:31.850
of course there's as Asia festival, which has growing its audience every year,
684
00:38:32.090 --> 00:38:34.970
so that there's ways to spread the,
685
00:38:36.250 --> 00:38:39.430
and still grow the love. But you're absolutely right. Katrina.
686
00:38:39.431 --> 00:38:44.200
There is that shadow after the from the last week of
687
00:38:44.201 --> 00:38:45.940
March to may,
688
00:38:46.480 --> 00:38:51.340
that it's that is quite quite hard for for audiences
689
00:38:51.610 --> 00:38:52.443
to recover.
690
00:38:53.090 --> 00:38:54.030
I'm interested, Greg,
691
00:38:54.050 --> 00:38:57.280
in teasing that out a little bit more in relation to the sort of government
692
00:38:57.990 --> 00:39:01.890
effectively government investment in art for its own sake, as opposed to art,
693
00:39:01.891 --> 00:39:04.890
which draws audiences for commercial and other reasons. I mean,
694
00:39:04.891 --> 00:39:08.580
I think for instance, the Melbourne festival, for instance, you know,
695
00:39:08.581 --> 00:39:13.560
has been instrumental in turning Melbourne from a dead tourist destination in
696
00:39:13.561 --> 00:39:14.250
the winter,
697
00:39:14.250 --> 00:39:17.730
apart from the football to a place where people actually go to Melbourne in the
698
00:39:17.731 --> 00:39:21.540
winter, which is sort of like not the natural fit that you would think of,
699
00:39:21.541 --> 00:39:24.480
that you would actually go to Melbourne in the winter. Similarly, I mean,
700
00:39:24.990 --> 00:39:28.320
Sydney's has capitalized on Sydney being a place you go to in the summer with
701
00:39:28.321 --> 00:39:29.160
the January festival,
702
00:39:29.161 --> 00:39:32.100
which is otherwise a period when that sort of high-end sort of art stuff
703
00:39:32.101 --> 00:39:33.540
wouldn't be, be around.
704
00:39:34.031 --> 00:39:38.850
So I'm interested in the sort of south Australia's had a long and rich
705
00:39:39.120 --> 00:39:42.420
government led investment strategy in terms of developing these stuff.
706
00:39:42.421 --> 00:39:46.860
So the teasing out of the difference between the art for its own sake and art,
707
00:39:46.861 --> 00:39:50.070
which has an instrumental value, which has a commercial value out,
708
00:39:50.071 --> 00:39:51.330
which produces tourism and.
709
00:39:51.330 --> 00:39:54.540
So on. And the bottom line,
710
00:39:54.960 --> 00:39:59.760
the two or the three are absolutely not mutually exclusive and all absolutely
711
00:39:59.761 --> 00:40:04.560
essential. No question about that. If I look over the last,
712
00:40:04.890 --> 00:40:05.671
last decade,
713
00:40:05.671 --> 00:40:09.480
which I guess is the period in which I've had access to more information
714
00:40:10.860 --> 00:40:13.320
we've of course, would I, would,
715
00:40:13.321 --> 00:40:17.070
I love there to be an extra 10 or 20 million in the arts budget you betcha.
716
00:40:17.880 --> 00:40:22.860
But we compete with every other part of public good making that
717
00:40:22.920 --> 00:40:23.753
governments do.
718
00:40:24.750 --> 00:40:29.490
Funding has grown the number of festivals and
719
00:40:30.090 --> 00:40:35.010
festival platforms has grown with that growth has
720
00:40:35.011 --> 00:40:39.870
come opportunities for the creation co commissioning and presenting new
721
00:40:39.871 --> 00:40:43.380
work by the home companies. That's the other side of the equation,
722
00:40:43.740 --> 00:40:47.970
the funding for the making of art in south Australia, albeit,
723
00:40:47.971 --> 00:40:52.920
as I said before we should was growing at a faster
724
00:40:52.921 --> 00:40:55.800
rate, has grown every year.
725
00:40:57.060 --> 00:41:00.450
So in 90, in 2004 four, when I started at arts,
726
00:41:00.451 --> 00:41:03.360
I say the annual arts budget was 78 million.
727
00:41:03.600 --> 00:41:07.280
That's 130 million now. But I,
728
00:41:07.281 --> 00:41:10.290
I don't want to Guild the Lily if you actually take that back and you break it
729
00:41:10.291 --> 00:41:15.090
down by the amount of, of, of activity programs,
730
00:41:15.091 --> 00:41:18.570
projects, institutions that that we,
731
00:41:18.600 --> 00:41:23.070
we enjoy here in Adelaide and south Australia, it,
732
00:41:23.150 --> 00:41:25.170
it gets spread thinly. We,
733
00:41:25.230 --> 00:41:30.090
I think we are probably actually the most resourceful arts
734
00:41:30.120 --> 00:41:34.730
sector in Australia as a consequence of that
735
00:41:36.560 --> 00:41:41.120
tension between access to financial resources and
736
00:41:41.121 --> 00:41:44.600
government and state government is not the only game in town. And there is,
737
00:41:44.601 --> 00:41:47.690
of course the Australia council, there's a role for local government,
738
00:41:48.140 --> 00:41:49.400
a role that local government,
739
00:41:49.790 --> 00:41:54.290
I think by and large is yet to step up to the plate fully for, I mean,
740
00:41:54.291 --> 00:41:58.130
in the local government act local government has charged by the,
741
00:41:58.160 --> 00:42:02.150
by the respective state governments with advancing the well-being of its
742
00:42:02.151 --> 00:42:02.984
communities.
743
00:42:03.530 --> 00:42:07.280
And I don't think there's probably anyone in this room who would argue that arts
744
00:42:07.281 --> 00:42:09.380
and culture are not integral to wellbeing.
745
00:42:12.170 --> 00:42:16.960
So in south Australia does for those wellbeing
746
00:42:17.230 --> 00:42:19.570
type areas of about SCADA. I mean,
747
00:42:19.780 --> 00:42:23.770
does funding come from that from departments like education and transport and,
748
00:42:24.010 --> 00:42:28.010
and other areas where there is a, you know, the instrumental value of,
749
00:42:28.011 --> 00:42:29.440
of supporting the arts and culture,
750
00:42:29.441 --> 00:42:33.070
or is it something which is final just through the Premier's department.
751
00:42:34.120 --> 00:42:36.970
Premise? Department's certainly not the only source it's,
752
00:42:37.030 --> 00:42:40.060
it's probably singularly the most significant source,
753
00:42:40.061 --> 00:42:43.750
but every major company, every festival,
754
00:42:44.170 --> 00:42:48.430
which has a company behind it are out there spruiking to other government
755
00:42:48.431 --> 00:42:49.264
agencies,
756
00:42:49.420 --> 00:42:54.310
both departments and the sort of [inaudible] acquaint goes
757
00:42:54.550 --> 00:42:58.030
that that government's partly fund for sponsorship.
758
00:42:58.870 --> 00:43:01.810
And so for example, with WOMADelaide zero waste is say,
759
00:43:01.811 --> 00:43:05.620
or the fringes world zero waste is say as a sponsor. They,
760
00:43:05.650 --> 00:43:07.120
they dip into their pockets and,
761
00:43:07.300 --> 00:43:11.320
and roll out cash in return for responsible
762
00:43:11.920 --> 00:43:16.240
consumer behavior influencing, et cetera, et cetera.
763
00:43:16.660 --> 00:43:21.370
Example of course has come out, which is, which is just such a brilliant model.
764
00:43:21.570 --> 00:43:24.070
I thought it was a festival for gay children when I arrived.
765
00:43:25.600 --> 00:43:28.000
It's a sign of just how progressive this state
766
00:43:35.320 --> 00:43:35.320
[inaudible]. but that kinda is a fantastic model because it is jointly founded.
767
00:43:35.320 --> 00:43:35.320
I think it's like two thirds arts and one third education and
768
00:43:35.320 --> 00:43:35.320
department of education it's unique. And what it means is that the, the programming that is going in the kind of arts money that's paying for the programming is completely supported by the department of education. So everything has really strong links into syllabus and curriculum, which is what the art gallery does for all of you
769
00:43:35.320 --> 00:43:35.320
are the last where th
770
00:43:35.320 --> 00:43:35.320
e last state standing with regard to department support in the building, we have, it's a con
771
00:43:35.320 --> 00:43:35.320
jured of
772
00:43:35.320 --> 00:43:35.320
ficer who works in the building, did exist in other states, but no longer exi
773
00:43:35.320 --> 00:43:36.153
sts.
774
00:44:14.410 --> 00:44:17.710
So we're the last state standing. We need more than one,
775
00:44:17.980 --> 00:44:20.800
but it's fabulous that we have that capacity for one in the,
776
00:44:20.890 --> 00:44:25.450
in the building who speaks directly to our school audiences and is an
777
00:44:25.451 --> 00:44:26.830
educator by and large,
778
00:44:26.860 --> 00:44:30.490
not compromised by the other public program agendas of the gallery.
779
00:44:30.930 --> 00:44:35.700
So it's so important because you can, you can make this work, you know,
780
00:44:35.730 --> 00:44:36.660
present this work,
781
00:44:37.170 --> 00:44:41.850
but teachers do not have time to research and develop the materials in order for
782
00:44:41.851 --> 00:44:46.110
their kids to properly engage with it sounds format, right?
783
00:44:46.111 --> 00:44:48.210
One teachers together, they're nodding. I mean,
784
00:44:48.330 --> 00:44:53.100
I just do not have the time and you need to be given a package so that you can
785
00:44:53.101 --> 00:44:56.040
take your kids in and go, okay, why don't you think about this?
786
00:44:56.041 --> 00:44:56.970
What do you think about that?
787
00:44:57.060 --> 00:45:00.210
Then you need expertise to be asking the right questions to really stimulate a
788
00:45:00.211 --> 00:45:04.980
child. I mean, the, the fifty-nine show at which, which we took our kids to.
789
00:45:05.040 --> 00:45:07.770
It was so fantastic. And the end of that, I don't know how many people went,
790
00:45:07.771 --> 00:45:09.660
but that room at the end,
791
00:45:09.661 --> 00:45:12.960
where you got to play with the ideas that you've been exploring in the show as a
792
00:45:12.961 --> 00:45:16.170
child, make your own things that kind of tactile. I mean,
793
00:45:16.171 --> 00:45:19.680
that stuff in terms of audience development and audience engagement and
794
00:45:20.970 --> 00:45:24.990
getting through the shadow and engaging with the festival and going to the
795
00:45:24.991 --> 00:45:28.050
blockbusters and thinking I'll spend Sunday at the art gallery are all about
796
00:45:28.051 --> 00:45:30.420
that kid's education stuff. And at the 2020 summit,
797
00:45:30.580 --> 00:45:34.260
you remember that was the strongest thing, Canada, the arts section of,
798
00:45:34.360 --> 00:45:38.430
of conversation was absolutely arts and education together.
799
00:45:38.670 --> 00:45:42.900
And we do have that model here very successfully with come out very successfully
800
00:45:42.901 --> 00:45:45.360
with the big institutions. It doesn't need more,
801
00:45:45.740 --> 00:45:49.340
but there's so such room for growth. You know, we have this massive collection,
802
00:45:49.341 --> 00:45:53.270
a very small percentage of it. You can see and interact with on a daily basis.
803
00:45:53.600 --> 00:45:58.580
We need opportunities to engage you further with that collection
804
00:45:58.610 --> 00:46:00.350
through an education lens.
805
00:46:00.530 --> 00:46:04.460
And education's the wrongs of education sounds so didactic and Victorian.
806
00:46:04.640 --> 00:46:08.540
I mean, it's really transformation. It's really this idea of an art lay,
807
00:46:08.660 --> 00:46:12.170
the learning experience. That's for all of us, it's lifelong.
808
00:46:13.130 --> 00:46:16.460
And we have the opportunity, I think, I mean, I'm very new to this place,
809
00:46:16.461 --> 00:46:20.200
but the size of this place means that we can talk to each other in ways that I
810
00:46:20.330 --> 00:46:22.070
wouldn't have dreamt of in my previous job.
811
00:46:22.071 --> 00:46:25.220
And I worked for the department of education in new south Wales for 10 years as
812
00:46:25.221 --> 00:46:26.054
a consultant,
813
00:46:26.150 --> 00:46:29.060
but I never really had the opportunity to get face to face with the sorts of
814
00:46:29.061 --> 00:46:30.920
people that we can talk to now in this state.
815
00:46:31.160 --> 00:46:33.950
So we do have that opportunity to make some really,
816
00:46:34.100 --> 00:46:35.720
to make some real innovations. I think.
817
00:46:36.440 --> 00:46:37.730
I mean, it is interesting, I, in the,
818
00:46:37.731 --> 00:46:40.460
in the frame of the sort of national cultural policy discussion as well,
819
00:46:40.670 --> 00:46:41.780
but that education, I mean,
820
00:46:41.900 --> 00:46:44.390
not only through putting arts into the national curriculum, but,
821
00:46:44.920 --> 00:46:49.010
but the way that the technology has enabled people to be creators and
822
00:46:49.011 --> 00:46:52.220
participants, as well as consumers, you know, and that,
823
00:46:52.221 --> 00:46:56.990
so that education role becomes so much more important in a lifelong sort of
824
00:46:57.350 --> 00:46:57.590
process.
825
00:46:57.590 --> 00:47:00.020
But, but you know, the, the downs,
826
00:47:00.021 --> 00:47:03.320
the flip side of all of it is I was on the children's television foundation for
827
00:47:03.620 --> 00:47:07.880
awhile. And, you know, I think the average age of teachers is 43,
828
00:47:07.881 --> 00:47:09.930
maybe a little bit older, 46, 46,
829
00:47:10.610 --> 00:47:14.870
and they do not have the skills to actually engage with the stuff that's
830
00:47:14.871 --> 00:47:15.890
available digitally.
831
00:47:16.070 --> 00:47:21.020
So what we actually need to is a complete retraining of our teaching force,
832
00:47:21.560 --> 00:47:24.680
because it's fine. If you're under 35 or even probably under 30,
833
00:47:24.681 --> 00:47:27.620
you can really engage with all those kinds of amazing resources,
834
00:47:28.460 --> 00:47:31.660
but you can't when older, you do not have those skills,
835
00:47:31.970 --> 00:47:36.460
that that idea of succession planning is actually what we also need that idea of
836
00:47:36.461 --> 00:47:39.400
bringing up that the next generation, it's not just an education.
837
00:47:39.700 --> 00:47:43.570
Like it's one of the fascinating pitfalls in the arts in fact,
838
00:47:43.571 --> 00:47:44.920
and something where, you know,
839
00:47:44.980 --> 00:47:49.660
many visual arts organizations and now trying to combat all of the old
840
00:47:49.661 --> 00:47:52.000
guys are dropping off. You will, you'll be reading the paper,
841
00:47:52.001 --> 00:47:54.220
you'll know that they're all out the door any moment.
842
00:47:54.490 --> 00:47:59.170
So we're going to see a really interesting shift for my generation and
843
00:47:59.171 --> 00:48:02.080
below in the next below is not the right word.
844
00:48:04.900 --> 00:48:07.780
That's right. In, in the next five years.
845
00:48:09.100 --> 00:48:10.570
Now, I'd like to draw you into this conversation as well,
846
00:48:10.571 --> 00:48:13.240
if people would like to ask questions.
847
00:48:13.241 --> 00:48:15.010
I don't think we've really got space for comments,
848
00:48:15.011 --> 00:48:18.280
but we've got time for questions. So if there's a microphone at the back,
849
00:48:18.281 --> 00:48:21.730
so I need to ask you to go and stand and work your ways to the,
850
00:48:21.970 --> 00:48:24.850
to the microphone because this is all being recorded.
851
00:48:26.220 --> 00:48:29.160
My questions about physical space for the arts.
852
00:48:29.991 --> 00:48:34.050
And I wonder if the panel have considered using this beautiful space between
853
00:48:34.051 --> 00:48:38.910
here and the festival theater and asking the governor politely to move as
854
00:48:38.911 --> 00:48:43.290
in Sydney to another residence. I mean,
855
00:48:43.320 --> 00:48:48.240
I'm really serious about this because there's talk about the new precinct
856
00:48:48.241 --> 00:48:52.830
of north terrace and the festival theater and what a wonderful north
857
00:48:53.250 --> 00:48:57.150
terrace we would have if that space were opened. And whenever I walked past it,
858
00:48:57.151 --> 00:48:58.980
I think, oh, this is, this is art. You know,
859
00:48:58.981 --> 00:49:02.880
this is space like Goma imagine if you had the governor's residence there where
860
00:49:02.881 --> 00:49:05.820
the library is or something in Brisbane. And I know in Sydney,
861
00:49:05.821 --> 00:49:08.430
they've done this. So panel, is it being considered?
862
00:49:11.910 --> 00:49:13.500
It's a, it's a wonderful idea.
863
00:49:14.340 --> 00:49:18.990
I ran that past the premiere in February, 2004.
864
00:49:20.220 --> 00:49:21.870
It might be an idea whose time and.
865
00:49:22.250 --> 00:49:24.090
All ideas to finally find a moment.
866
00:49:25.860 --> 00:49:30.330
And the response from not only from, from Mike, Ron, but from others,
867
00:49:30.331 --> 00:49:31.500
was Greg,
868
00:49:31.590 --> 00:49:35.880
have you had a look at the activity calendar of government house because it's
869
00:49:35.881 --> 00:49:38.040
incredibly busy. I said, okay, well, I don't want that.
870
00:49:38.070 --> 00:49:41.910
Just give me the salad garden at the back. And Ron Redford,
871
00:49:41.911 --> 00:49:43.380
who was in the director of the art gallery,
872
00:49:43.381 --> 00:49:47.820
had a fabulous concept for putting a museum of Australasian art
873
00:49:48.150 --> 00:49:49.560
on the parade ground.
874
00:49:49.950 --> 00:49:54.810
And that is an idea whose time will just probably
875
00:49:54.811 --> 00:49:59.340
have to wait until the last world war two veteran has shoveled because,
876
00:49:59.370 --> 00:50:01.110
because Mike said, Greg,
877
00:50:01.470 --> 00:50:06.420
you need to appreciate that parade ground is hallowed ground for
878
00:50:07.110 --> 00:50:07.440
servicemen,
879
00:50:07.440 --> 00:50:11.760
and we have to understand and respect that aspect of our culture as well.
880
00:50:12.660 --> 00:50:13.800
Government house itself.
881
00:50:13.860 --> 00:50:17.430
Would it make a lovely home for our Australian colonial collection? Yes.
882
00:50:17.580 --> 00:50:19.800
Does it already have a wonderful home? Yes.
883
00:50:21.300 --> 00:50:25.830
but it's a very fair question that there's I think over the course of the
884
00:50:25.831 --> 00:50:28.010
next well, the next six months,
885
00:50:28.340 --> 00:50:32.450
we're undertaking a master plan for what it's called the cultural campus,
886
00:50:32.451 --> 00:50:35.120
which is this bit here, but it's intended,
887
00:50:35.150 --> 00:50:36.980
this is the integrative design commissions work.
888
00:50:37.220 --> 00:50:41.780
It's intended to also link up the master plans and
889
00:50:42.050 --> 00:50:46.940
identified the gaps in master planning for the entire precinct from Hackney road
890
00:50:47.000 --> 00:50:48.740
down to port road.
891
00:50:49.490 --> 00:50:53.030
And we've got a number of amazing opportunities there,
892
00:50:53.750 --> 00:50:58.310
but we have to also measure and balance that in time and budget
893
00:50:58.610 --> 00:51:01.910
capacity, there's probably 50 years of,
894
00:51:02.170 --> 00:51:04.520
of refinement expansion,
895
00:51:04.790 --> 00:51:07.220
new opportunities for our cultural collections,
896
00:51:07.221 --> 00:51:11.960
new opportunities for our performing arts spaces. The river bank of course, is,
897
00:51:12.610 --> 00:51:17.210
is, is subject of quite a bit of focus at the moment as in the bit between the
898
00:51:17.840 --> 00:51:19.490
festival center and the Morford street bridge.
899
00:51:19.960 --> 00:51:20.830
But it is wonderful. Listen,
900
00:51:20.860 --> 00:51:23.840
when you can get that life and activity in a precinct, it's got,
901
00:51:23.890 --> 00:51:25.570
it gives it another dynamic with people.
902
00:51:25.900 --> 00:51:27.400
People come in and we have it already.
903
00:51:27.910 --> 00:51:31.510
It's absolutely unique to have everybody lined up on this extraordinary
904
00:51:31.511 --> 00:51:35.020
Boulevard together. We just have to remember that. And we have to,
905
00:51:35.090 --> 00:51:38.830
I'm not saying that we should settle for what we have at all love the idea of
906
00:51:38.831 --> 00:51:41.050
expansion. Of course, we need a new building at least one,
907
00:51:42.710 --> 00:51:45.220
but I think embracing what we have in,
908
00:51:45.400 --> 00:51:47.350
along here and not losing that is also key.
909
00:51:48.160 --> 00:51:53.020
And let's not forget the the opportunity post 2016 when
910
00:51:53.350 --> 00:51:58.030
the Royal Adelaide hospital moves to its new campus that the
911
00:51:58.120 --> 00:52:01.780
hospital, the existing Eastern campus presents,
912
00:52:02.170 --> 00:52:05.890
it's probably itself a 10 year project from there to the, you know,
913
00:52:05.950 --> 00:52:09.790
2026 in terms of what we,
914
00:52:09.910 --> 00:52:14.890
what we let go of what we preserve and what we adapt in
915
00:52:14.891 --> 00:52:15.724
that process.
916
00:52:16.570 --> 00:52:17.231
I've got to say, I mean,
917
00:52:17.231 --> 00:52:21.700
I just spent a couple of days in Melbourne and I love that Federation square.
918
00:52:21.820 --> 00:52:24.160
It's so fantastic. And it was just,
919
00:52:24.161 --> 00:52:28.210
this kind of took autocratic leadership over there, you know,
920
00:52:28.300 --> 00:52:32.620
to get it through because people hated it, absolutely hated it. And,
921
00:52:33.130 --> 00:52:36.130
you know, there was lots of things I really didn't like about Kenneth, but he,
922
00:52:36.220 --> 00:52:40.930
he was a bully on cultural policy and a bully on things like
923
00:52:40.960 --> 00:52:43.660
liquor licensing and urban planning in terms of that city.
924
00:52:43.930 --> 00:52:46.360
And you look at Melbourne and I just, you know,
925
00:52:46.990 --> 00:52:51.400
we've got to really wake up to ourselves and stop being so conservative and
926
00:52:51.401 --> 00:52:52.870
being happy with it, like it is,
927
00:52:53.350 --> 00:52:56.620
and actually push ourselves and make some bold decisions.
928
00:52:56.650 --> 00:53:00.310
And it might just require some forcefulness to get across the kind of
929
00:53:02.200 --> 00:53:03.033
smug, settled.
930
00:53:03.930 --> 00:53:05.770
A big vision, what it is it.
931
00:53:05.770 --> 00:53:06.720
Is, and it pays off,
932
00:53:06.740 --> 00:53:10.780
you can change things and you can make things vibrant all the around,
933
00:53:10.930 --> 00:53:14.020
which Melbourne is vibrant in winter,
934
00:53:14.021 --> 00:53:18.670
partly because there's all those fantastic bars and restaurants and people live
935
00:53:18.671 --> 00:53:22.720
there. And it just buzzy, you know, we've certainly got destination events.
936
00:53:22.721 --> 00:53:26.610
We need destination architecture too. That's for sure. Next question.
937
00:53:27.750 --> 00:53:32.670
My art supporting friends and I very concerned about the impact of the
938
00:53:32.671 --> 00:53:37.650
Adelaide oval redevelopment on our access to arts events
939
00:53:37.740 --> 00:53:41.130
and the wonderful arts precinct here.
940
00:53:41.760 --> 00:53:45.960
We don't have the transport infrastructure that Melbourne has, unfortunately.
941
00:53:46.440 --> 00:53:51.240
So how are we going to actually get to these wonderful events
942
00:53:51.241 --> 00:53:52.980
and centers?
943
00:53:54.710 --> 00:53:57.680
Is your concern with car parking or, well, yeah,
944
00:53:57.681 --> 00:54:02.300
it's just that if you have that massive people coming to footy events regularly,
945
00:54:02.570 --> 00:54:04.790
how do you really get in effectively?
946
00:54:06.140 --> 00:54:11.120
I th I th I can promise you that there's been a lot of traffic
947
00:54:11.121 --> 00:54:14.900
modeling there's been a lot of public transport modeling done,
948
00:54:15.170 --> 00:54:20.090
and it all will work. And, and in terms of city parking,
949
00:54:20.091 --> 00:54:24.950
we actually have the highest per capita parking of any city
950
00:54:24.951 --> 00:54:25.784
in the world.
951
00:54:26.000 --> 00:54:30.110
There is something like 60,000 parking bays,
952
00:54:30.111 --> 00:54:34.670
not in people's backyards, not people's private, residential parking,
953
00:54:34.671 --> 00:54:37.130
but we have and there's,
954
00:54:37.670 --> 00:54:41.090
I believe about another 5,000 that have been approved,
955
00:54:41.091 --> 00:54:45.860
but as yet to be constructed, we're not going to be sure of parking capacity.
956
00:54:46.130 --> 00:54:50.450
And a lot of effort is being put into modeling pedestrian movement
957
00:54:51.560 --> 00:54:56.270
so that when we do have a day where there's 50,000 people at Adelaide oval
958
00:54:57.050 --> 00:55:01.910
of where and how they will get across the river and back into the main part of
959
00:55:01.911 --> 00:55:05.360
the city and I can promise you, it works.
960
00:55:05.990 --> 00:55:10.490
And I've, I reckon that Adelaide oval thing is fantastic for the arts.
961
00:55:11.030 --> 00:55:15.230
I think it's the best thing that could happen to the festival center, which is,
962
00:55:15.500 --> 00:55:19.430
you know, it's not a magnet for people at the moment, frankly,
963
00:55:20.150 --> 00:55:24.170
and have forcing funneling all these peoples through is going to be so
964
00:55:24.171 --> 00:55:26.750
incredibly positive. We've got to get out of our little arts bubble,
965
00:55:26.990 --> 00:55:29.570
a really good group of people who are incredibly supportive.
966
00:55:29.960 --> 00:55:31.160
How do we get to everybody else?
967
00:55:31.340 --> 00:55:33.890
The fringe can do it and no one else can do it at the moment. Yeah.
968
00:55:34.190 --> 00:55:37.250
And having that over with all those people coming along,
969
00:55:37.490 --> 00:55:41.960
it's just going to be such a fantastic burn for the arts. Okay.
970
00:55:41.990 --> 00:55:44.150
Thank you. Next question. Thank you.
971
00:55:44.510 --> 00:55:48.230
I'd like to acknowledge the panel for their experience for sharing their
972
00:55:48.231 --> 00:55:52.280
experience and their expertise and particularly their enthusiasm.
973
00:55:52.640 --> 00:55:55.400
I have two questions, firstly, to Lisa,
974
00:55:55.401 --> 00:56:00.110
you haven't mentioned your neighbor to the other
975
00:56:00.111 --> 00:56:00.561
side,
976
00:56:00.561 --> 00:56:05.120
the museum who often present exhibitions
977
00:56:06.410 --> 00:56:10.160
Arctic submissions like the Waterhouse with all the different
978
00:56:11.150 --> 00:56:13.700
approaches to nature and the present nature,
979
00:56:14.390 --> 00:56:16.010
that exhibition that they have owned.
980
00:56:16.490 --> 00:56:20.600
And also to Greg there was just a very brief mention of
981
00:56:20.601 --> 00:56:24.430
WOMADelaide, but no mention at all its offspring,
982
00:56:24.460 --> 00:56:27.730
which in two weeks time would take over Berlin national park.
983
00:56:28.210 --> 00:56:29.920
And from looking at the program,
984
00:56:30.070 --> 00:56:34.900
there seems to be more leaning towards festival of ideas and festival of
985
00:56:34.901 --> 00:56:38.770
music. If you'd like to comment on that, I'll go first.
986
00:56:38.770 --> 00:56:42.400
Sure. Thank you. Great question indeed and neighbors.
987
00:56:42.550 --> 00:56:47.410
We have items from that collection in our building and the art gallery of south
988
00:56:47.411 --> 00:56:50.110
Australia at the moment. In fact, part of reworking,
989
00:56:50.111 --> 00:56:52.600
the elder wing and the story of Australian art was to borrow from the
990
00:56:52.620 --> 00:56:55.390
collection, but to reconfigure, to change the lens,
991
00:56:55.391 --> 00:56:57.640
which is precisely what they're doing for the Waterhouse show.
992
00:56:58.000 --> 00:57:01.510
That's a show that fits, I think really well within their institution,
993
00:57:01.511 --> 00:57:05.110
because of course their institution is about natural history and some of the
994
00:57:05.111 --> 00:57:09.040
lines have blurred between museological sort of paradigms. There is,
995
00:57:09.070 --> 00:57:10.390
there is a direct conversation.
996
00:57:10.570 --> 00:57:13.930
We want people to go come out of our building and go into this and vice versa.
997
00:57:14.500 --> 00:57:17.800
I don't, we probably haven't as neighbors spoken as much as we should.
998
00:57:17.920 --> 00:57:18.753
Some neighbors,
999
00:57:18.850 --> 00:57:22.000
some they believe relationships are best kept like that really let's face it
1000
00:57:23.050 --> 00:57:27.580
mutual respect. So look, I can't, from my perspective,
1001
00:57:27.581 --> 00:57:29.560
it is so extraordinarily exciting to,
1002
00:57:29.680 --> 00:57:32.890
to work alongside an institution from which we can borrow,
1003
00:57:33.190 --> 00:57:35.350
particularly in terms of indigenous material.
1004
00:57:35.351 --> 00:57:39.610
We know it's the best in the world to have the capacity to borrow that from that
1005
00:57:39.611 --> 00:57:42.640
collection just strengthens what we can do.
1006
00:57:43.770 --> 00:57:46.110
And very, very quickly, cause I know we're almost out of time.
1007
00:57:46.590 --> 00:57:49.140
WOMAD the why matter of station and a fortnight, if that,
1008
00:57:49.170 --> 00:57:53.220
if anybody is not aware of it, it's up at long gully in Berlin national park,
1009
00:57:53.460 --> 00:57:53.941
it is,
1010
00:57:53.941 --> 00:57:58.740
and was always conceived as a combination of music of debate and
1011
00:57:58.741 --> 00:57:59.574
discussion.
1012
00:57:59.940 --> 00:58:03.900
And I think it's going to be a wonderful addition to the menu of cultural
1013
00:58:03.901 --> 00:58:06.630
offerings here in, in the state. And I commend it.
1014
00:58:06.840 --> 00:58:11.370
You can get up on the train to Belair which makes moving around much,
1015
00:58:11.371 --> 00:58:15.880
much easier as part of the ticket. Good. That's good.
1016
00:58:16.500 --> 00:58:17.910
The next question we could, we,
1017
00:58:17.970 --> 00:58:19.770
can we do all the three questions or just do one?
1018
00:58:22.140 --> 00:58:25.200
Okay. I'm sorry. I was just gonna say like, you know,
1019
00:58:25.201 --> 00:58:27.480
when I was thinking about what was going to be discussed here,
1020
00:58:27.481 --> 00:58:30.600
I thought format festival might come up a bit more because that's,
1021
00:58:30.630 --> 00:58:34.740
to me is an example of something that's just art for art's sake. Like, you know,
1022
00:58:34.741 --> 00:58:36.210
people aren't making any money out of it.
1023
00:58:36.420 --> 00:58:39.810
People are not necessarily even part of like a career in the arts,
1024
00:58:39.840 --> 00:58:42.270
just like they have some crazy idea that they want to get out there and they
1025
00:58:42.271 --> 00:58:45.420
want to, I don't know, just express themselves.
1026
00:58:46.200 --> 00:58:49.110
I was part of one show that was in that space during the fringe.
1027
00:58:49.170 --> 00:58:53.460
And I think for about a week there was a 20 hour lifespan.
1028
00:58:53.640 --> 00:58:57.150
Like people would set up for an exhibition that afternoon or that evening,
1029
00:58:57.300 --> 00:59:00.030
the next morning they'd come in and bump out while other people were moving
1030
00:59:00.031 --> 00:59:02.490
their stuff in. I think, you know, there was a,
1031
00:59:02.820 --> 00:59:05.790
there was a show on that had less than 24 hours before we arrived and started
1032
00:59:05.791 --> 00:59:08.490
setting up hours and they're pulling out their years, we're setting up hours,
1033
00:59:08.850 --> 00:59:09.061
you know,
1034
00:59:09.061 --> 00:59:12.030
we pull up flat out things at midnight and the next morning somebody else's
1035
00:59:12.031 --> 00:59:14.310
coming in with the next show, it was just impossible to keep up.
1036
00:59:14.880 --> 00:59:18.330
I believe the popup, the pop-up bar, the pop-up exhibition long live.
1037
00:59:18.540 --> 00:59:19.260
It it's a fantastic.
1038
00:59:19.260 --> 00:59:21.000
Model. Yeah.
1039
00:59:21.020 --> 00:59:25.280
Like format seems to be this one was this like outlet and just this
1040
00:59:25.281 --> 00:59:27.260
explosive kind of arts for arts sake,
1041
00:59:27.290 --> 00:59:31.940
just this surge of people just expressing themselves and making art and
1042
00:59:31.941 --> 00:59:34.670
sharing art and that kind of thing. And I guess, you know,
1043
00:59:34.700 --> 00:59:37.880
throwing up and you guys like, you know, is that kind of,
1044
00:59:38.270 --> 00:59:41.060
how do you channel that kind of surge? You know,
1045
00:59:41.061 --> 00:59:43.420
how do you make that part of the culture? Well, w.
1046
00:59:43.420 --> 00:59:43.840
We,
1047
00:59:43.840 --> 00:59:47.470
we desperately tried to channel that surge and worked with fall about this time.
1048
00:59:47.650 --> 00:59:48.311
Cause we, I mean,
1049
00:59:48.311 --> 00:59:53.140
we are totally excited by what format's doing and format is also
1050
00:59:53.141 --> 00:59:55.240
very successfully not just doing the festival,
1051
00:59:55.450 --> 00:59:57.400
but doing activity all year round,
1052
00:59:57.550 --> 01:00:01.870
engaging with audiences that are very kind of diverse and quite hidden and
1053
01:00:01.871 --> 01:00:06.310
motivating people to get up and get together and do things in unusual ways.
1054
01:00:06.311 --> 01:00:08.530
And that it's a really fantastic model.
1055
01:00:08.740 --> 01:00:12.130
And also has an audience that you don't see a huge amount at some of the more
1056
01:00:12.131 --> 01:00:16.510
established festivals, which is younger people. Like, you know,
1057
01:00:16.511 --> 01:00:20.980
I think the bulk of audience audience at formats that have what like 18 to 23 or
1058
01:00:20.981 --> 01:00:23.050
something like that, it's, it's really young. That's,
1059
01:00:23.051 --> 01:00:27.010
that's what everyone wants. It's the gold audience.
1060
01:00:27.070 --> 01:00:31.270
And and you know, format is absolutely to be commanded.
1061
01:00:31.270 --> 01:00:35.020
I didn't really format is actually now what the fringe was.
1062
01:00:36.100 --> 01:00:38.680
We've just had a strange success. The last two, Friday nights,
1063
01:00:38.681 --> 01:00:41.200
I started strange because it wasn't anticipated a lot of the,
1064
01:00:41.320 --> 01:00:43.840
the more established members of staff were like,
1065
01:00:43.841 --> 01:00:46.300
there's no way this is going to work. But for the last Friday nights,
1066
01:00:46.301 --> 01:00:49.420
we've tried something for a younger audience that hasn't been part of our
1067
01:00:50.500 --> 01:00:52.540
focused departure program. It's called Saatchi up late.
1068
01:00:52.541 --> 01:00:55.150
You just buy a ticket to the show and you come on, it's a paid bar.
1069
01:00:55.330 --> 01:00:58.780
We had 800 people on the first Friday last night,
1070
01:00:58.781 --> 01:01:02.170
we had 590 something. So it's just,
1071
01:01:02.171 --> 01:01:04.900
it shows that we can speak to that audience.
1072
01:01:04.930 --> 01:01:06.760
I know that's a slight segue from the format,
1073
01:01:06.910 --> 01:01:09.130
but it is a discussion around how we can get that audience.
1074
01:01:09.131 --> 01:01:10.930
But sometimes we just need to change what we do.
1075
01:01:11.140 --> 01:01:13.480
So we set up a pop-up bar in that great courtyard.
1076
01:01:13.481 --> 01:01:16.990
That's underutilized apart from that imposing Donald Judd sculpture that I'm
1077
01:01:16.991 --> 01:01:19.660
sure you all love just like me. So we have, you know,
1078
01:01:19.661 --> 01:01:23.290
we have a bar happening in that space and it's working beautifully.
1079
01:01:24.160 --> 01:01:28.180
I think, alongside format and you know, all credit to format. There's a,
1080
01:01:28.450 --> 01:01:31.690
at the moment running in parallel with the festival of ideas is the festival of
1081
01:01:31.691 --> 01:01:35.140
unpopular culture. Very, very tiny, very, very emergent.
1082
01:01:35.560 --> 01:01:39.190
But if you can grab a brochure, there's people wearing strange outfits,
1083
01:01:39.550 --> 01:01:41.020
handing them out around the place.
1084
01:01:41.530 --> 01:01:45.610
I'm sure that will grow its own life for a new Adelaide or behind that that this
1085
01:01:45.611 --> 01:01:50.140
is part of the regenerative evolving process of of a robust culture.
1086
01:01:50.680 --> 01:01:51.190
Hmm.
1087
01:01:51.190 --> 01:01:55.660
Now that's a great segue because I should now remind you and invite you to stay
1088
01:01:55.661 --> 01:01:59.260
around for the next session, which is called future-proofing our children.
1089
01:01:59.290 --> 01:02:03.520
So somewhere between the, the young people who, who are involved in format,
1090
01:02:03.760 --> 01:02:05.560
going to these bars, there's those younger ones,
1091
01:02:05.561 --> 01:02:07.210
who are you going to nurture into that space? So
1092
01:02:08.740 --> 01:02:10.990
I'd like to ask you to join me in thanking the panelists.
1093
01:02:18.310 --> 01:02:18.310
[inaudible].