ANNUAL REPORT.indd 3 24/5/06 5:25:18 PM · argument to justify its own, often selfish and...

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ANNUAL REPORT.indd 3 24/5/06 5:25:18 PM

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Installation

Giovanni Di DioPaul KapteinRichie KuhauptConsuelo CavanigliaTom MùllerBriony PaulBen RidingPaul RobertsonEli SmithBrendan van HekRick Vermey

Technical

Andrew ChambersAlexander DickAmanda HaydenVanessa HutchinsRoger MillerVictor O’ConnorSusan RavineScott Surgener

Bar

Emily BrenanRochelle PhillipsBelinda Verdiglione


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Exhibitions at PICA

PICA is extremely proud of the calibre of its exhibition program in 2005. Encompassing solo exhibitions, thematically curated group shows and a studio program that offered opportunities to a diverse range of practitioners, PICA was bursting at the seams throughout the year. Anecdotal feedback from participating artists was extremely positive about the level and calibre of support provided.

PICA effectively juggles the competing demands of providing support and opportunities for artists to experiment and take risks whilst offering audiences high calibre programs that stimulate, challenge and inspire. In this context the flexibility and number of spaces at PICA as well as the opportunities to provide direct financial support through PICA’s devolved R&D funding program has been fundamental to its success. Similarly the ability to program broadly – juxtaposing varying approaches and media – creates a stimulating interface between artists and audiences. Audience members may come to PICA intending to see a particular program or artist, but are exposed to a much broader range of work. Positioning WA artists within a national and international context is key to PICA’s programming strategy.

PICA began the year with three outstanding solo exhibitions and three studio residencies juxtaposing local and national artists, exhibition and praxis. Jacky Redgate’s extraordinary Survey ��0 – �00�, was a wonderful opportunity to introduce the work of a significant Australian artist to Western Australian audiences. Engaging with art history and contemporary theory, Redgate’s ongoing interest in mathematical systems, logic, taxonomies and spatial relationships is explored through a rich interdisciplinary practice at the intersection of photography, sculpture, installation and optical art. Initiated by the Contemporary Art Centre of SA, this Survey was exhibited later in the year at the Sydney’s Museum of Contemporary Art. PICA is also grateful to Zara Stanhope, Senior Curator at Heide for her illuminating essay.

Upstairs in the west end gallery, Space Active included a selection of works created between 2003 and 2005 by Polish-born local artist, Gosia Wlodarczak. The artist’s intricate, layered drawings were exhibited for the first time in tandem with photographic documentation and video footage. Thanks to Dr Ian McLean, Senior Lecturer in Art History at the University of Western Australia, for his perceptive writing.

On the balcony, Melbourne-based Paul Knight exhibited a compelling body of photographic works made using medium and large-format camera equipment. Traversing spaces such as underground carparks and abandoned offices, Knight examines architectural and interior design as well as more personal aesthetic choices. Melbourne-based Tristian Koenig wrote the accompanying essay.

PICA’s autumn exhibition program included two solo photographic exhibitions by Perth-based photographers Toni Wilkinson and Mike Gray. In Prolepsis, Wilkinson’s portraits of children and adolescents in their school uniforms focused on the uneasy tension between her young subjects and the aspirational school mottos they wear. As Amy Barrett-Lennard points out in her essay, ‘Wilkinson’s young subjects stand bewildered, confused and torn between a world that purports to follow one set of values whilst living out their opposite; a world that uses a ‘values’ based argument to justify its own, often selfish and value-less ends.’ On the other hand, Gray’s spooky photographs taken on solitary walks through Perth suburbs at night with a digital camera and flash, evoked the uncanny in this strangely familiar, apparently unpopulated environment. Kevin Ballantine and Dennis Wood wrote the supporting texts.

Newcastle based Martin Wilson’s outrageous latch-hook wool rug, Blue Budgie on Pink was installed on the 1st floor landing for the duration of this exhibition period, whilst the downstairs galleries hosted From Space to Place, a national touring exhibition curated by Marco Marcon. The exhibition featured sixteen of Australia’s most exciting, early-career contemporary artists who at different times have created new work in the Western Australian rural communities of Kellerberrin and Ballidu as part of the International Art Space Kellerberrin’s residency program. From Space to Place featured photography, installation, video, sculpture and performance and it was gratifying to note that around half the participating artists had previously exhibited at PICA in the annual Hatched: National Graduate Show.

Hatched is the largest survey of emerging artists in Australia featuring fifty-seven artists from twenty tertiary art schools participated in 2005. The increasing number of participating art schools meant that PICA had to cut the number of artists from each school from four to three. The exhibition deservedly attracted great audiences and a lot of media attention. We were delighted with the success of Hatched for Schools, the Teachers’ Professional Development Workshop and the Symposium.

As advised last year, and as a consequence of changes in strategic emphasis, Healthway significantly reduced their support for Hatched in 2005 supporting only the education component. More positively, the strength of our relationship with ACUADS (Australian Council of University Art & Design Schools), positions PICA as part of a national arts and education network, which the Hatched symposium - having involved numerous artists, writers, educators and arts professionals nationally - builds on. PICA was also grateful to receive the third and final year of Young and Emerging Artists’ initiative funding through the Australia Council’s Visual Arts Craft Board. Given the cessation of both Healthway and VAB funding in 2006, it will be necessary to secure alternative sources of financial support if this unique national initiative is to continue.


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Winter saw PICA dedicated to drawing with six exhibitions taking place throughout the galleries and studio spaces. Hannah Mathews curated her first exhibition for PICA, the popularly and critically acclaimed Drawn Out, exposing a world in which drawing operates not just as a practice in its own right, but also inhabits the intersection of various disciplines, ranging from graphic design, animation and graf culture to painting, sculpture, experimental music and performance. Artworks were drawn with pencil, charcoal, chalk and conte but also thread, ribbon, jig saws and blades. Drawings were representational, abstract, conceptual, diaristic, graphic and illustrative.

Greg Pryor’s Black Solander was a darkly compelling installation that transformed PICA’s west end gallery into a shadowy archive. Pryor undertook to represent the entire census of Western Australian plants through small black ink drawings on black sugar paper, drawn from the dead plants in the Western Australian Herbarium. The accompanying catalogue included essays by curator and writer, John Barrett-Lennard, Director of the Lawrence Wilson Art Gallery and Dr Neville Marchant, Director, Western Australian Herbarium, Department of Conservation and Land Management (CALM).

The studios also exhibited a diversity of drawing practices. In her installation, The Fold, Audrey Satar utilised the temporal qualities of charcoal, which Kentridge-like, were explored through stop motion animation, large-scale drawings and on the walls of the gallery space. New work by emerging Perth artist Duncan McKay was a study of the West Coast Drive, winding its way through Perth from Trigg to Hillarys, between suburbia and the sea. In the Tower Studio, Denis (Noz) Nozworthy continued drawing in-situ, creating a self portrait of the man and his life in prison as well as working on his ongoing tribute to Brett Whitely, the artist who inspired him and gave him the courage to believe in himself and take risks in art.

PICA was also delighted to present Noongar artist, Laurel Nannup’s Boodja (country) on the balcony. An exhibition of ink on paper monoprints, Boodja explored the colour of Western Australia’s South West throughout its six season cycle.

The July exhibition period offered a dramatic shift in focus and mood and included an outstanding sculptural installation by Melbourne-based artist, Peter Hennessy that reproduced at life size, iconic objects such as the Voyager space probe and the Apollo Lunar Rover. As he notes in his supporting essay, Hennessy was seeking to ‘undigitise’ these objects by transforming them from digital images sourced on the Internet into actual, physical things; on another, he just wanted to find out how big they actually are, and what it might feel like to stand next to them.

Upstairs, Brendan Lee’s Shootin’ from the Hip, utilised video and photography to re-enact a virtuoso gun battle, an infinite showdown shot (sic) as homage to Hong Kong action films, and was accompanied by an essay by Lily Hibberd. Shaun Wilson’s poignant Filmic Memorials, reconfigured found 8mm and 16mm footage from his family’s home video collection. Brisbane-based Alexandra Gillespie’s engaging interactive installation saw audience members lying on astro-turf looking up an illusionary night sky.

From early October, there was an emphasis on exhibitions presented in cooperation with other organisations. The Totally Huge New Music Festival took over the downstairs galleries in early October to install the First Ever Ruined Piano Convergence. Created by Ross Bolleter and combining exhibition, live performance and artists’ talks, this was a very popular project.

The annual BankWest Contemporary Art Prize (acquisitive) featured two-dimensional art – primarily painting - by twenty-four highly regarded Western Australian artists. Solo photographic exhibitions by Perth-based artist, Tony Nathan depicting evocative and eerie suburban landscapes by night, and IASKA artist-in-residence, Gerson Bettencourt Ferreira’s moving portraits of residents and visitors to the wheat-belt town of Kellerberrin, dominated PICA’s first floor galleries in October/November. PICA wishes to thank Dr Robert Cook for his essay for Tony Nathan and Curator, Marco Marcon writing on Gerson Bettencourt Ferreira.

PICA’s final exhibitions for the year, continued to focus on the fine art of cooperation with a national art award and three solo exhibitions taking place simultaneously, and respectively, in association with the City of Perth, Performance Space, Sydney; the Institute of Modern Art, Brisbane; and the Centre for Contemporary Photography, Melbourne. These included Sydney-based John Gillies’ seminal Video Works; Crop, an elegant and sophisticated sculptural installation by Brisbane based Charles Robb; and photographic works by Melbourne-based Lyndal Walker. Essays by Ruark Lewis on John Gillies, David Broker on Charles Robb and texts by Lucinda Strahan for Lyndal Walker accompanied these exhibitions.

Taking place at PICA for the first time, the City of Perth Art Award was a very effective partnership. Collaboratively produced and managed by staff from both the City of Perth and PICA, this inaugural biennial and national 2-D art prize attracted significant interest nationally with twenty-seven artists being invited to exhibit.


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Performance Program 0�

In curating its performance program, PICA is interested in work that employs multiple performance languages, which is conceptually, formally or technologically ambitious and which contributes to current cultural or art form developments. As such, PICA aims to present original performance works that seek to move beyond the conventional or the established. Whilst PICA retains a keen interest and support for discrete art practices (new forms of theatre, dance, music/sound), it has a strong commitment to hybrid and/or interdisciplinary forms.

The two productions presented by PICA as a member of the national consortium, Mobile States: Touring ContemporaryPerformance, Australia met these criteria in the richest of ways. Mobile States is particularly important in a remote metropolitan centre like Perth, offering opportunities to both artists and audiences to engage with compelling and original, unique Australian performance work across the spectrum of theatre, dance and hybrid works.

Of course Perth articulates very clearly what is true for the rest of the country, a country distinguished by vast distances and a small and dispersed population. Perth’s small but committed community of independent artists and ensembles deserve the opportunity to engage with the work of their peers from throughout Australia. In this context, it has not just been the opportunity to engage with specific productions but the skills development, networking, dialogue and exchange that has taken place through the provision of workshops, floor talks and guest lectures by key creatives at institutions such as the WA Academy of Performing Arts (WAAPA)

The popularly and critically acclaimed Phobia, was a hilarious hybrid of music, physical theatre, slapstick and the timeless craft of cinematic sound effects. As always, PICA sought to value-add to the experience of the production itself by providing skills development and creative opportunities for WA artists, students and members of the general public to engage with the artists. Consequently, Graeme Leak, percussionist extraordinaire, gave a workshop for Music and Sound Design students at WAAPA. Members of the Phobia cast performed at Tura Event’s Club Zho; and a late night performance of The Ennio Morricone Experience (also comprising members of the Phobia cast) to an enthusiastic capacity house at PICA.

The second Mobile States production was de Quincey: Nerve �, the flesh of everyday speech. This darkly rigorous and demanding production offered audiences the opportunity to engage with a very different kind of hybrid performance, integrating visual and sonic poetry interwoven with a choreography grounded in Body Weather technique, and manifesting a synthesis between eastern and western dance traditions, live and media based performance. De Quincey also ran a master class in Body Weather technique and elements of Butoh. PICA is delighted that de Quincey will be returning to PICA in July 2006, to undertake a residency in collaboration with musician and composer, Jim Denley, performance poet, Amanda Stewart and video artist, Sam James.

PICA continues to support the work of independent performance makers and project-based companies through the provision of both informal and formal mentoring, financial and in-kind support and networking opportunities. PICA’s annual Putting on an Act: Play it Safe Short Performance Festival played to packed houses and enthusiastic audiences. PICA supported the production of TTS Critical Reader by pvi collective to accompany their 2005 national tour produced by Artrage. PICA supported the Totally Huge New Music Festival, Artrage, and the Awesome Festival in the realization of a range of performances and events. PICA was particularly pleased to support The Gathering by ThinIce Productions in association with Artrage. Beyond supporting The Gathering through its R&D Fund, PICA also provided venue and publicity support for this talented young group creating their first original theatre work.

Very differently, it was fantastic to host Domenico de Clario’s overnight full-moon performance in the clock-tower on Good Friday. Presented by d&k, Philomela (Damian’s Stones) transformed the PICA building into a sound and light transmitting object from sunset to sunrise.

Beyond which we were delighted to be the venue for new theatre works including Medea 0� by Steamworks Arts Productions in association with Black Swan Theatre and Welcome to Dullsville by Perth Theatre Company (PTC). PICA also supported Not the Mama Productions’ compelling production of Sam Shepherd’s States of Shock and was the venue for the remounting of Perth Theatre Company’s highly successful SkinTight. Please see the attached programs for further details

Public Programs 0�

In its second year, Hatched for Schools, coordinated by Michelle Siciliano and Brad Rummer, with the assistance of Arts Edge, saw 117 secondary students and 55 primary students participating and the program was made available to schools in more remote locations via CD and through PICA’s website. Fourteen teachers participated in the very successful Professional Development workshop.


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The Hatched Symposium included a greater number of participating artists as speakers, but also mature artists, including Anne Ooms and Stelarc. The forum, ‘Why write about art?’ included artist, editor and writer, Lily Hibberd from Melbourne’s un Magazine, and The Art Life, a blog about the Sydney art scene.

There was a substantial increase in the number of artist and curator floor talks accompanying exhibitions throughout the year, and also in the number of PICAPress publications ranging from free colour room sheets with commissioned essays for solo shows, to small catalogues for group exhibitions, extending PICA’s engagement with both artists and audiences.

Having reviewed the Research and Development Funding program, it was decided to focus more strongly on hybrid practices, so as not to duplicate funding for Media Arts now available through the Biennale of Electronic Arts (BEAP). Funding for R&D projects was also significantly increased; the assessment committee preferring to fund less but offer greater development opportunities to successful applicants.

Screenings were held in association with John Gillies’ exhibition and with the Awesome Festival. Skills and developmentopportunities were also made available through through PICA’s studio residency program, the Tess de Quincey masr classes and the Awesome Festival hosted txtA, the phone-book-ltd as artists in residence running workshops in the PICA Café. PICA also supported the Artrage creative development led by French dance artist, Annabel Bonnéry. Off-site, Time_Place_Space has been of particular importance in providing a forum for artists nationally but it also ensures the participation of WA artists who have previously been isolated from the work of their peers in other parts of the country. It’s a pleasure to report that the fourth Time_Place_Space, which in 2005 was again held at AC Arts in Adelaide, was a great success.

Numbers

In 2005, nineteen exhibitions and six studio shows were held at PICA. Three studio residencies were undertaken that included a two-week open studio and an all-night performance event. PICA presented two theatre productions in association with Mobile States: Touring Contemporary Performance, Australia and one in association with Artrage, as well as producing a festival of short performance works. PICA also presented five seasons of theatre and dance, subsidising productions by independent theatre artists, project-based companies and contemporary art form festivals. PICA also produced a one-off performance event and a master class. Public programs included a symposium, one international artist’s presentation and twelve free artist and curator talks. PICAPress published ten room sheets to accompany exhibitions, five catalogues and one critical reader. PICA awarded four Research & Development grants and hosted two creative development workshops.

Audiences

Audience numbers at PICA in 2005 reached just over 51,000. 784 students participated in PICA programs, including 285 students from 21 tertiary and adult education programs; 424 students from 17 secondary schools and 75 students from 4 primary schools.

Funding and sponsorship acknowledgements

Of particular importance has been the positive impact of the Visual Arts Craft Strategy, an initiative of the Australian, State and Territory governments and we wish to thank them for their recognition of PICA’s pivotal role locally and nationally. PICA gratefully acknowledges the support of the State of Western Australia through ArtsWA in association with LotteryWest. I would particularly like to acknowledge the assistance of ArtsWA staff. PICA is a recurrent client of the Visual Arts Board (VAB) of the Australia Council and again I’d like to acknowledge the support of VAB staff but particularly Anna Waldmann, Billy Crawford and Laura McLeod. We also wish to thank the VAB for additional support of Hatched; the Theatre Board, supported by the Dance and New Media Arts Boards for their support of Mobile States: touring contemporary performance, Australia; and the New Media Arts Board for their support of Time_Place_Space. PICA also benefited from MEAP sponsorship from Healthway: WA’s Health Promotion Foundation, through whom we were proud to promote ‘drug aware’ message. I would like to acknowledge the assistance of Henry Boston and AbaF WA.

PICA gratefully acknowledges the support of our media sponsors: LunaPalace Cinemas, RTR FM Radio and X-Press Magazine. Special thanks also to those who provided in-kind sponsorship and support in 2004-05 including B&H Australia, The Program at the Department of Communications, Information Technology, Culture & the Arts, Stephanie Matthews at Arts Edge, Andrew Gaby of Heyder & Shears Fine Catering and the Riverview on Mount St for their generous support. We are very grateful to fine art carriers, Grace Fine Art, who look after all of PICA’s freight requirements for their sponsorship of Hatched.


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A very special thankyou to Gary Giles, Designer with Cox Howlett Bailey Woodland for his generosity and talent that led to the very stylish make-over of PICA Bar, despite the shoestring budget he had to work with.

Community and professional acknowledgements PICA achieves the calibre and range of programs it does with the generosity, commitment, talent and passion of an extraordinary range of artists, companies, individuals and organisations. Thank you to the Time_Place_Space team including: Sofie Gibson, Teresa Crea and Simon Wise, and I’d particularly like to acknowledge Fiona Winning, Director, Performance Space, Sydney, co-curator of Time_Place_Space, and the driving force behind Mobile States for her generous and intelligent support.

PICA inhabits a lively local and national network of intersecting interests and its relationship with other arts organisations, companies and institutions is cooperative and collaborative in nature. PICA is privileged to work with professional colleagues whose support and willingness to collaborate allows us to extend ourselves beyond our means. I’d particularly like to acknowledge those colleagues and organisations we worked with during 2005 including: Wendy Blacklock, Harley Stumm and Nina Bonacci at Performing Lines Ltd and our touring partners in Mobile States: Performance Space, Sydney, Powerhouse, Brisbane, Salamanca Arts Centre, Hobart and Arts House Melbourne; Contemporary Arts Organisations, Australia (CAOs), and particularly, Alan Cruickshank at CACSA, Blair French at Performance Space, Sydney and Naomi Cass at CCP, Melbourne. Thanks also to Marco Marcon at IASKA, Tos Mahoney and Kate Parker from the Totally Huge New Music Festival, Marcus Canning and Artrage, Helen Curtis and Belinda Cobby at the City of Perth, Nora Ohrt and BankWest, and external members of PICA’s R&D Assessment committees: Cat Hope and Josephine Wilson. I’d also like to acknowledge Jon Green, stills photographer and Steve Bull for video documentation, both for Putting on an Act and Alana Culverhouse for exhibition documentation throughout the year.

PICA Staff:

2005 was another big year. I participated in a working party formed by the Australia Council following that organisation’s restructure. After sitting as an external peer in March, I accepted an invitation from the Federal Minister for the Arts, Senator Kemp to join the Australia Council’s Theatre Board. In November I presented a paper at Leading from the Edge, a conference in Wagga Wagga, produced by Museums & Galleries NSW and the Regional Galleries Association of NSW. In December I was supported by ArtsWA, as a member of the World Cultural Forum Alliance, to speak at the second World Cultural Forum convened by the Middle Eastern Centre for Cultural and Artistic Development (MECCAD) in Dead Sea Jordan. I spent three days in Adelaide as co-curator of Time_Place_Space 4. I contributed an article to Broadsheet, a column to the London based Contemporary Magazine as well as an introduction to pvi collective’s TTS Australia: A Critical reader.

During her first year at PICA, Curator, Hannah Mathews, was invited to sit on a number of art award selection panels, including the City of Perth Art Award and Bunbury South West Survey Award. She was also asked to participate on interview committees for Curtin University, Fremantle Art Centre and Artsource. In 2005 Hannah was invited to par-ticipate on a working party for the 2006 Japan-Australia Year of Exchange program. Along with ten other curators, arts writers and administrators from the east coast, she travelled throughout Japan for ten days reviewing the state of the country’s contemporary visual arts. The outcome of the working party’s discoveries will inform a curated program cur-rently being developed by 3 leading curators in Japan and will be realised in various venues across Australia later in 2006. PICA will host the residency of artist, Yutaka Sone in partnership with Central TAFE. Hannah also gave a number of talks at local universities regarding professional practice and opportunities for artists at PICA. She also curated an exhibition in Melbourne as part of the Commonwealth Games Festival at North Melbourne’s esteemed Meat Market. This exhibition, Winners are Grinners will travel to PICA in late 2006.

General

Having stepped down from the position of Director in April, this is my last Annual Report for the Perth Institute of Contemporary Arts (PICA). It has been a great joy and privilege to work with the numerous artists, companies, organisations, Board members and staff associated with PICA and its programs over the past twelve years. I can’t begin to explain how richly rewarding it has been, to be in a position to support the promotion and presentation of contemporary art practices across media and disciplines, and there is no doubt that I will miss being at the helm of one of this country’s great institutions.

Amy Barrett-Lennard has succeeded me as Director of PICA and I know that you will all make her very welcome as she embarks on the next stage of PICA’s journey. I wish her every success.


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I want to gratefully acknowledge the support of PICA Chairman, Bret Mattes and the Board of Directors for their support and commitment to PICA programs and objectives. In particular I want to acknowledge the wonderful work done by Eric Sankey and Sue Peacock over the past six years. Having completed their maximum term, they will be stepping down from the Board at the next AGM.

Most of all, however, I want to thank PICA’s small permanent staff: David Fussell, Jonathan Lane, Hannah Mathews, Mike Nanning and Brad Rummer, for their unswerving commitment, hard work, attention to detail, and good humour. PICA also works with a great bunch of casual staff who undertake everything from installation to distribution, invigilation to reception, box-office and tending the bar and I’m very grateful to them. A special thankyou to Tom Mùller, who not only headed up the installation crew but also managed the PICA Bar for most of 2005.

Finally my thanks to the many wonderful artists, peers and professional colleagues throughout the contemporary arts sector for the support, generosity and in many instances, hard work that has marked my time as PICA’s Director. It’s been a fantastic journey.

Sarah MillerDirector (January 1994 – April 2006)


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�00� Exhibition Program

10 FEBRUARY - 20 MARCH 2005

Survey ��0-�00�Jacky Redgate (NSW)Redgate’s innovative and experimental work operates on a number of different registers, and at the intersection of different fields including photography, sculpture, installation and optical art.

Jacky Redgate - Survey 1980-2003, was an initiative of the Contemporary Art Centre of South Australia and supported by the University of Wollongong.

Room Sheet, artist’s fee, freight, airfare, accommodation, per diem, writer’s fee

Space ActiveGosia Wlodarczak (WA)Performative drawing and documentation.

Room Sheet, artist’s fee, writer’s fee

PhotographsPaul Knight (VIC)Melbourne-based photographer, Paul Knight’s solo photographic exhibition explored the urban environment using medium and large-format camera equipment.


31 MARCH - 8 MAY 2005

From Space to PlaceIASKA touring exhibition (National)Curator: Marco MarconParticipating artists: Izabela Pluta (NSW), Claire Healy & Sean Cordeiro (NSW), Anna Nazzari (WA), Hayden Fowler (NSW), James Lynch (VIC), nat & ali (VIC), Wilkins Hill (QLD), Matt Hunt (WA), Tom Nicholson (VIC), Bruce Slatter (WA), Raquel Ormella (NSW)

From Space to Place was presented by the International Art Space Australia Kellerberrin (IASKA).National tour managed by Art on the Move.

Prolepsis Toni Wilkinson (WA)Solo photographic exhibition of young children and adolescents in their school uniforms featuring aspirational school mottos.

Room Sheet, artist’s fee, writer’s fee, freight

�nd Ave Mike Gray (WA)Perth photographer Mike Gray’s new series of images applied the surreal and uncanny to a suburban landscape that on one hand is familiar but takes on different qualities when walking alone at night.

Room Sheet, artist’s fee, writers’ fees, freight

Blue Budgie on Pink Martin Wilson (NSW)A spectacular latch-hook wool rug featuring the Australian Budgie, uniquely ordinary and sentimentally Australian - the doily of the animal world, but friend to all.

Artist’s fee, freight


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20 MAY - 3 JULY 2005

Hatched 0�: National Graduate ShowThe largest and most comprehensive survey of emerging artists showcasing sixty recently graduated artists from twenty art schools across Australia.

Hatched 05 recieved financial assistance from the Australian Government through the Young and Emerging Artists’ initiative of the Australia Council, its arts funding and advisory body, and sponsorship from Healthway to promote the ‘Drug Aware’ message.

Catalogue, website, Schools program, Teachers’ PD workshop & symposium

The FoldAudrey Satar (WA)Satar’s interdisciplinary art installation used the medium of drawing to investigate the process of mark making, erasure and gesture, where the temporal qualities of charcoal are explored in stop motion animation, large scale drawings and on the walls of the gallery space.

Studio fee

Road WorksDuncan McKay (WA) This exhibition of new works was a study of the West Coast Highway in Perth, winding its way from Trigg to Hillarys between suburbia and the sea.

Studio fee

Prison: Life and Death NOZ (WA)The exhibition consisted of a large-scale, pencil on paper self-portrait completed over 700 hours while in prison and the residency drawing of NOZ’s tribute to Brett Whiteley.

Studio fee

14 JULY - 21 AUGUST 2005

Drawn Out: a drawing project (National)Artists: Bree Chesher, Thea Costantino, Bridget Currie, Jonathan Dady, Matthew Doust, Marco Fusinato, Richard Giblett, Matthew Griffin, Andrew Hazewinkel, Matt Hinkley, Glenys Hodgeman, Raafat Ishak, Laura Johnson, Megan Keating, Andrew Nicholls, Lisa Radford, Tobias Richardson, Tim Stone, Silvia Velez, Hayley West, Gosia WlodarczakCurator: Hannah Mathews

Catalogue, Freight, airfares, accommodation, per diems

Black SolanderGregory Pryor (WA)This ambitious installation by Gregory Pryor explored the unique bio-diversity of Western Australia’s flora.

Catalogue, Artist’s fee, writers’ fee

Boodja (country)Laurel Nannup (WA)Nyungar artist, Laurel Nannup, used ink on paper monoprints to explore the colour of Western Australia’s south-west throughout its six-season cycle.

This project was supported by an investment from the State of Western Australia through ArtsWA in association with Lotterywest, and assistance from the Australian Government through the Australia Council, its arts funding and advisory body.

Artist’s feeMatt Hinkley JA! (2004), pencil on digital print, 59 x 44 cm. Photo by the artist


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1 - 25 SEPTEMBER 2005

My VoyagerPeter Hennessey (VIC)Melbourne artist Peter Hennessey’s large scale sculptures, reproducing life size iconic objects including the Voyager space probe and the Apollo Lunar Rover from the NASA space program, and performative videos to examine ideas of truth, proof, faith and experience.

Room Sheet, artist’s fee, freight, airfare, accommodation, per diem

1 SEPTEMBER - 9 OCTOBER 2005

Shootin’ from the HipBrendan Lee (VIC)Shootin’ from the hip combined dual screen video and photographic images. Lee stylises the spectacle of violence by staging a virtuoso gun battle sequence, setting the stage for an infinite showdown.

Room Sheet, artist’s fee, freight, travel, accommodation, per diem, writer’s fee

Filmic MemorialsShaun Wilson (TAS/VIC)By reconfiguring found 8mm and 16mm footage from his family’s home movie collection, Melbourne-based Shaun Wilson examined home movies as filmic narratives that evidently become a type of memorial.

Studio fee, travel, accommodation, per diem

Motion After EffectAlexandra Gillespie (QLD)An engaging interactive video installation that explored, and is named for the illusionary experience and physiological phenomenon of the motion after effect

Studio fee, travel, accommodation, per diem


The First Ever Ruined Piano ConvergencePresented by Tura New Music as part of the 7th Totally Huge New Music FestivalArtist: Ross BolleterWorld-renowned WA artist Ross Bolleter, joined by artists from around the world to create Ruined Piano installation including performances and talks

Supported by PICA

Peter Hennessey My Lunar Rover (You had to be there) (2005), velcro, plywood, steel and canvas, 298 x 206 x 396 cm. Photo by the artist


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14 OCTOBER - 13 NOVEMBER 2005

BankWest Contemporary Art Prize (WA)Artists: Tori Benz, Susanna Castleden, Olga Cironis, Penny Coss, Jo Darbyshire, Galliano Fardin, Indra Geidans, Jocelyn Gregson, Marie Hobbs, Bevan Honey, Nicole Huitson, Juliet Lea, Frank Morris, Tom Múller, Lesley Munro, Jánis Nedéla, Concetta Petrillo, Shane Pickett, Alwin Reamillo, Helen Smith, Mike Singe, Paul Uhlmann, Rick Vermey, Lisa WolfgrammWinner: Jo Darbyshire

Rental

JunctionsGerson Bettencourt Ferreira (Luxemburg/France)Bettencourt’s penetrating and empathetic images depicted a broad cross-section of residents and visitors to the small town of Kellerberrin captured in everyday public and private settings.

An IASKA (International Art Space Kellerberrin) project, supported by the Ministére de la Culture, de la Recherche et de l’Enseignement supérieur, Luxembourg and Fonds Culturel National, Luxembourg.

Unit �, Series �Pauline Williams & Kerry Wilkes (WA) Wilkes and Williams explore the act of viewing, lacing together structural possibilities to illustrate the lights and sounds that make up part of everyday lived experience.

Studio fee

City of Perth Art Award (National)Artists: Jazmina Cininas, Domenico de Clario, Simon Cuthbert, Neil Haddon, Petrina Hicks, Bevan Honey, Anna Hoyle, Megan Keating, Mart Lebedev, Nicola Loder, Anne MacDonald, Clare McFarlane, Gina Moore, Frank Morris, Tom Mùller, Louise Paramor, Shane Pickett, Trevor Richards, Kevin Robertson, Helen Smith, Joan Nancy Stokes, Holly Story, Justin Trendall, Paul Uhlmann, Joshua Webb, Gosia Wlodarczak, Jurek Wybraniec

The inaugural biennial and national 2-D art prize, with professional and emerging practitioners, eligible for the $20,000 City of Perth Award for Excellence and $5,000 Commendation Award.

2005 City of Perth Award for Excellence: Paul Uhlmann - (Breathless)2005 City of Perth Commendation Award: Joan Nancy Stokes - The Overseer and the Black Stockman

City of Perth and PICA co-productionInstallation, catalogue production undertaken by PICA; fee


Proof of LightTony Nathan (WA) Solo photographic show focussing on suburban landscapes.

Catalogue, artist’s fee, writer’s fee

Tony Nathan ‘untitled_710’ (2005), inkjet print on archival paper, 100 x 100 cm. Photo by the artist


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CropCharles Robb (QLD) Queensland artist, Charles Robb’s ongoing project of sculptural self-portraiture.


Stay YoungLyndal Walker (VIC)A series of photographs of young men in their underwear both celebrating the fleeting beauty and virility of men in their early twenties, and contributing to debates about gender stereotypes, voyeurism and the exploitation of youth and beauty.


Video WorksJohn Gillies (NSW)Key installation works by one of Australia’s most important practitioners in the field of video, stretching back over 15 years.

Room Sheet, artist’s fee, writer’s fee, airfare, accommodation, per diem, writer’s fee

Lyndal Walker Gerry, Feast of the Gods (2005), pegasus digital print, 76 x 50 cm Photo by the artist


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�00� Performance Program

6.21 PM FRIDAY 25 MARCH UNTIL 6.24 AM SATURDAY 26 MARCH 2005 (FULL MOON)

Philomela (Damian’s Stones)Domenico de Clario Presented by D&KDurational performance event presented by Studio Artists in Residence, D&K, in PICA’s clock towerLive keyboard, pre-recorded songs of nightingales and neon lights

31 MARCH – 17 APRIL 2005

Medea 0�Steamworks Arts Productions in association with Black Swan Theatre, WA Director: Sally RichardsonDesigner: Andrew LakeMusic: Steve HearneDramaturge: Alana ValentineAssistant Director: Marisa Garreffa (supported by Be Active BSX-TheatrePerformers: Marcelle Schmitz, Humphrey Bower, Hayley Gibson and Gibson Nolte.

A contemporary adaptation of Euripides’ classic tale of betrayal and revenge.

Subsidised rental

20 – 30 APRIL 2005

PhobiaPresented by PICA and Mobile States; Tour by Chamber Made and Performing Lines Sound & Music: Gerry Brophy and ensembleText & Direction: Douglas HortonPerformers: Teresa Blake, Boris Conley, Patrick Cronin, David Hewitt, Graeme Leak, and Dan WittonDesign Coordinator: Jacqui EverittLighting: Gina Gascoigne Sound Design: Darren SteffenToured by Performing Lines

A charming and hilarious hybrid of music, physical theatre, slapstick and the timeless craft of cinematic sound effects inspired by Hitchcock’s classic thriller, Vertigo.

PICA Production

Phobia


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29 APRIL 2005

Ennio Moricone ExperiencePresented by PICA and the Ennio Morricone Experience The Ennio Morricone Experience, comprising members of the Phobia cast, brought to life the Spaghetti Western soundtracks of Italian film composer Ennio Morricone.

PICA Production

12 - 23 JULY 2005

States of ShockPulitzer Prize winning playwright Sam Shepard’s violent snapshot of the American dream By Sam ShepherdPresented by Not the Mama Productions Inc.Director: Melissa CantwellProducer: Georgia MaloneLighting: Nicholas HigginsSound: Matt CheethamCostumes: Fleur KingslandFeaturing: Bill McCluskey, Peter Webb, Naomi Hanbury, Nikki Jones and Sean Walsh

Subsidised rental

2 - 6 AUGUST 2005

Putting on an Act 0�: drug aware short performance festivalPICA’s annual rapid-fire performance season encompassing dance, spoken word performance, physical theatre, live and audio-visual art - all in bite-sized pieces.

Participating artists & groups: Weeping Spoon Productions: Adrianne Daff, Kym Cahill, Tim Watts, Wyatt Nixon-Lloyd, Nathan Tetlaw, Shane Adamczak; Katrina Davis with Laura Ross & Hannah Cann; Clyde McGill; 3 minutes.net collective: Ellen McCarthy, Kat Black, Jasper Cook, Dmitry Sergeev, Lucia Franchina, Greg Lawrence; Anxious Milk Productions: Laura Motherway, Tim Watts, Emily Widdowson, Wyatt Nixon-Lloyd, Brendon Weymouth; Mark Parfitt; Caitlin McLoughlin with Caitlin McLoughlin and Jonathan Cope; Tomas Ford’s Cabaret of Death; Cherie Davies; Mar Bucknell & Allan Boyd; Bronwyn Turnbull; Russya Connor with Stefanie Ressin; S.Kompany; Seanne Kinsey & David Sparrow; Pash Galbavy; Johny Radar (Bradley Wynne); Cirque Bizirque Troupe: Mandy Curties with Ash Repo, Zac Saleh, Scott Craig, Renee Pilkington, Jarrod Cuff, Kat Byrt, Matt Dales; Vivienne Glance with Dan Keel, Melinda O’Garr, Jennie Newman, Geraldine Pillinger, John Briggs, Keith Clements and Afeif Ismail; Pamela B Konijn with Helen Duncan and Hannah Cann; Anna Houston and Jess Manuel with Angus Howell, Michelle Sowden & Jennie Courtney; Christopher McInnes; Storydoor Theatre: Teresa Izzard with Blake Barratt, Michelle Sullivan and Rick Pearson; Molly Tipping & Jen Jamieson; Emma Kanyon and Sara Green; Larissa Pryce; Sunni origami: Kate Smith, Adam Timol, Emma Bacon and Gaby Everall; Laura Ross with Emma Harris and Laura Ross; Vanessa Kelly; Alexis Millar with Jo Derbyshire and Rowena Naylor

Produced and presented by PICA and sponsored by Healthway to promote the “drug aware” message.

22 - 27 AUGUST 2005

TapasWAAPA Dance A diverse program of new choreographic works from second and third year Dance students from the WA Academy of Performing Arts.

Rental

9 - 17 SEPTEMBER 2005

Skin TightPerth Theatre CompanyWriter: Gary HendersonOriginal score: Chris WardDirector: Alan BecherFeaturing Stuart Halusz & Karen RobertsDesign: Zoë AtkinsonLighting: Graham Walne

Skin Tight tells the intimate story of a rural marriage, through an exhilarating feast of fights, passion and tenderness.

Rental


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De Quincey: Nerve �: the flesh of everyday speechPerformer: Tess de QuinceyPoetry and vocals: Amanda Stewart Video and soundscape: Debra PetrovitchText: Francesca da Rimini.Toured by Performing Lines for MOBILE STATES: Touring Contemporary Performance, Australia

Visual and sonic poetry interwoven with choreography based in a synthesis of Eastern and Western dance traditions.

Mobile States is a touring initiative of the Theatre Board of the Australia Council with participation from the Dance Board and the New Media Arts Board.

PICA Production


Totally Huge New Music Festival Tura New Music World-renowned WA artist Ross Bolleter joined by artists including Annea Lockwood (USA) and Michal Murin (Slovakia) for 9 days of performances and talks as part of the Ruined Piano installation.

Supported by PICA

10 & 11 OCTOBER 2005

�mn & other worksAnnabelle Bonnéry presented by ARTRAGEAnnabelle Bonnery, Artistic Director of Grenoble’s ‘company l’Ane a belles’ presents her solo work ‘9mn’ in conjunction with a new work developed with WA dance and sound artists.

Supported by PICA


The Gathering Presented by Thinice Productions in association with Artrage and PICA Directed by Matthew Lutton Written by Eamon Flack and Matthew Lutton in collaboration with the company Designed by Bryan Woltjen Projections by Sohan Ariel Hayes Sound by Kingsley Reeve Composition by Ash Gibson Greig Lighting by Nick Higgins A fast paced and highly visual production with digital projection and filmic un derscoring creating a constantly transforming space within which four lives gather themselves out of the muck of the last century.

Supported by PICA

19 NOVEMBER - 10 DECEMBER 2005

Welcome to Dullsville Perth Theatre CompanyWritten by PTC Writers’ Lab MembersDirector: Alan Becher

Is Perth the third-most liveable city in the world, or a boil on the backside of the planet? A tongue in cheek, warts and all celebration of our city and life.

rental

Totally Huge New Music Festival

The Gathering


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�00� Education & Public Programs

Including: Schools program, Artists & Curators’ floor talks, symposia and screenings

Hatched for Schools 0�Education program for primary and secondary schools and contemporary art professional development session for teachers.

29 May 2005Teacher’s Professional Development Workshop facilitated by Michelle Siciliano7 – 17 JuneSchool Visits and Tours with Education packs including:Free teachers’ notes on CDFree guided/activity toursFree exhibition catalogueClass activity sheets including curriculum linked education.

12 - 5pm, Saturday 21 May 2005Hatched 0� Symposium

Participating artists, educator/artists and writers from around Australia come together to discuss some of the compelling issues confronting the overlapping worlds of arts education and professional arts practice.

Artists talking 1Chair: Steven Carson (SA) Speakers: Anne Ooms (NT), Genevieve Staines (QLD), Linden Langdon (TAS), Donna Franklin (WA)

Why write about art?Chair: Josephine Wilson, writer (WA)Speakers: Lily Hibberd (VIC) and The Art Life (NSW)

Art education onlineChair: Associate Professor Domenico de Clario (WA)Speaker: Annie English (WA)

Artists talking 2Speakers: Sarah CrowEST (SA), Bruce Mowson (VIC), Stelarc (VIC)

1pm, Thursday 21 July 2005 Drawn Out: a drawing projectSpeakers: Hannah Mathews, curator & artists Andrew Nicholls, Laura Johnson and Matt Doust (WA)

6pm, Thursday 28 July 2005Black Solander Artist’s Talk with Gregory Pryor (WA)

6.30pm, Monday 1 August 2005time_place_space �: Threes Anna Artist’s talk (Netherlands)

2pm, Saturday 6 August 2005Artist’s talk with Dennis (NOZ) Nozworthy (WA)

2pm, Saturday 13 August 2005Artist’s talk with Duncan McKay (WA)

1pm, Thursday 1 September 2005Artist’s talk with Brendan Lee (VIC)

Saturday 1 & 8 October and Sunday 2 October 2005 First Ever Ruined Piano Convergence Floor Talks


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1pm, Thursday 20 October 2005Artist’s Talk with Tony Nathan (WA)

1pm, Thursday 27 October 2005Junctions Curator’s talk with Marco Marcon (WA)

1pm, Thursday 24 November 2005Artist’s talk with Lyndal Walker (VIC)

1pm, Thursday 24 November 2005Artist’s talk with Charles Robb (QLD)

6pm, Thursday 24 November 2005Artist’s talk and screening of Divide by John Gillies (NSW)

Friday 25 November 2005Screening of On The Edge, presented by the �00� AWESOME FestivalProducers: Bonnie Davies and Mat De Koning with young and emerging WA video artists and musicians

Brendan Lee, Shootin’ from the Hip (2004), Lambda print. Photo by Paul Batt


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�00� PICAPress

Survey ��0 – �00�Jacky Redgate

Essay by Zara Stanhope4 page A4 with colour images

Space ActiveGosia Wlodarczak

Essay by Dr Ian McLean4 page A4 with colour images

PhotographsPaul Knight

Short essay by Tristian Koenig2 page A4 with colour images

TTS AUSTRALIA CRITICAL READERpvi collective

Introduction by Marcus Canning & Sarah Miller 71 page A5 with colour images

ProlepsisToni Wilkinson

Essay by Amy Barrett-Lennard4 page A4 with colour images

�nd AveMike Gray

Essays by Kevin Ballantine and Dennis Wood2 page A4 with colour images

Hatched �00�Various artists

Introduction by Sarah Miller 92 page A5 with colour images

Drawn OutVarious artists

Introduction by Sarah Miller 40 page A5 with colour images

Black SolanderGregory Pryor

Essays by John Barrett-Lennard and Dr Neville Marchant24 page A6 b&w illustrations

My VoyagerPeter Henessey

Essay by Peter Hennessey 4 page A4 with colour images

Shootin’ from the HipBrendan LeeEssay by Lily Hibberd 4 page A4 with colour images

Proof of LightTony NathanEssay by Robert Cook 4 page A4 with colour images

JunctionsGerson Bettencourt FerreiraEssay by Marco Marcon1 page A4 mono

City of Perth Art Award (�00�)Introduction by Ted Snell 20 page 210x210 with colour images

CropCharles Robb (in association with the Institute of Modern Art, Brisbane)Essay by David Broker6 page A5 with colour images

Stay YoungLyndal Walker (in association with the Centre for Contemporary Photography, Melbourne)Text by Lucinda Strahan2 page A4 with colour images

Video WorksJohn GilliesEssay by Ruark Lewis4 page A4 with colour images


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Shootin’ from the HipBrendan LeeEssay by Lily Hibberd 4 page A4 with colour images

Proof of LightTony NathanEssay by Robert Cook 4 page A4 with colour images

JunctionsGerson Bettencourt FerreiraEssay by Marco Marcon1 page A4 mono

City of Perth Art Award (�00�)Introduction by Ted Snell 20 page 210x210 with colour images

CropCharles Robb (in association with the Institute of Modern Art, Brisbane)Essay by David Broker6 page A5 with colour images

Stay YoungLyndal Walker (in association with the Centre for Contemporary Photography, Melbourne)Text by Lucinda Strahan2 page A4 with colour images

Video WorksJohn GilliesEssay by Ruark Lewis4 page A4 with colour images

Creative and Skills Development Programs

PICA RESIDENCIES 10 February - 8 May, 2005

Open studio: Tower Studio: d & k (David Turley and Korin Gath), Studio 1: Hagley & Kamasz, (Kaerin Hagley & Bronwen KamaszStudio 2: Benz & Dare (Tori Benz & Mel Dare)Summer studio residency program for emerging artists

Studio fees

PICA’S RESEARCH & DEVELOPMENT FUND

Out of an extremely competitive field of applications, Geoffrey Drake-Brockman was awarded $7,100 towards the development of ‘Coherent Passage’, using interactive computer controlled laser projections to create intimate virtual theatres that ‘pop up’ in public space once the sun goes down.

Sam Fox and Matthew Boaro were awarded $12,490 to develop and trial technological capabilities for the real and perceived movement of sound; develop new creative processes and hybrid methodologies and develop the structural and performative foundations of a new, major hybrid performance work.

Paea Leach, in collaboration with David Corbett and Simon Ellis, has been awarded $10,000 to undertake an inquiry into performativity beyond the notion of ‘liveness’, as a means of re-framing apparently non-live performance modalities…

Cameron and Yvette Merton were awarded $13,180 to undertake R&D into a system that utilises the basic tenets of traditional Japanese Noh Theatre in concert with scripted 3D characters to develop a generative, virtual theatre entitled Yugen.

PICA wishes to gratefully acknowledge the support of the State of Western Australia through ArtsWA, for their support of PICA’s Research and Development Fund.

TIME_PLACE_SPACE 4 9 – 24 July 2005

AC Arts, South AustraliaCurators: Teresa Crea (SA), Sarah Miller (WA), Fiona Winning (NSW)Managed by Performance Space SydneyInternational Facilitators: Shigeaki Iwai (Japan), Ahn Pil-Yun (Korea), Threes Anna (Netherlands)Australian Facilitators: Elizabeth Drake (VIC), Derek Kreckler (WA), Teresa Crea(Coordinating Facilitator, SA)Participants: Greg Ackland (SA), Kirsten Bradley (VIC), Scot Cotterell (TAS) Sohail Dahdal (NSW), Sam Haren (VIC), Noëlle Janaczewska (NSW), Gareth Jenkins (NSW), Elka Kerkhofs (NT), Jason Lam (NSW), Fiona Malone (NSW), Stephen Noonan (SA), Simone O’Brien (VIC), Abigail Portwin, Sarah Rodigari (VIC) Jodi Rose, (NSW), Yana Taylor (NSW), Bronwyn Turnbull (WA), Ingrid Voorendt (SA/VIC), Sarah Waterson (NSW), Tim Webster (VIC)

The fourth residential workshop of a five-year, national initiative, time_place_space aims to challenge, invigorate and strengthen the area of hybrid arts practice in Australia, with an emphasis on performance.

time_place_space is an initiative of the New Media Arts Board with support from the Dance and Theatre Boards of the Australia Council, the Australian Government’s arts funding and advisory body.

ONLINE RESIDENCY PROJECT commencing November 2005

Physical / Virtual SitesNicola KayeA PICA web residency focusing on the artist’s current research into virtual communities and contemporary visual interrogative practices.


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BODY WEATHER & BUTOH MASTERCLASS 10am-2pm, Saturday 1 October

with Tess de QuinceyParticipants: Blake Barratt, Katrina Bell, Rebecca Bradley, Phillipa Clarke, Susannah Day, Teresa Izzard, Isabelle Jeneve, Sian McMillan, Agnes Michelet, Emma Paterson, Kieran Stewart, Michelle Sullivan, Emma Sully, Molly TippingAn introduction to BODY WEATHER principles, alongside elements of BUTOH training. Produced by PICA in association with Mobile States

CREATIVE DEVELOPMENT 7.30pm, 11 October

Annabelle Bonnéry (France)Produced by ARTRAGEA new work was created with Perth: myriad short pieces constructed from the dynamics of pre-existing solos, trios and quartets: rebuilt. reconstructed. reconstituted.

Supported by PICA

TXTA THE-PHONE-BOOK-LTD 11am - 4pm , 19 - 27 November

Produced by the �00� AWESOME Festivalthe-phone-book-ltd are media pioneers who work with artists, filmmakers and writers internationally to create innovative mobile phone content. the-phone-book-ltd undertook a residency at the PICA Café, working with local artists and young people to make and distribute music, micro-movies, animations and digital art using mobile phones and the internet. Outcomes screened and streamed daily.

Supported by PICA


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PERTH INSTITUTE OF CONTEMPORARY ARTS LIMITEDABN 49 009 372 927

DIRECTORS’ REPORT

Your directors present their report on the company for the financial year ended 31 December, 2005.

The names of the directors in office at any time during or since the end of the year are:

Sarah MillerGuy FrenchKate McMillanEric SankeySue PeacockDomenico de ClarioStephen BirdCat HopeTos MahoneyBret MattesMichael DulaneyAnnette Walker

Directors have been in office since the start of the financial year to the date of this report unless otherwise stated.

Governance Experience MeetingsDirector Date Appointed Special Responsibilities held Attended S Miller January 1994 Director 8 8G French April 1999 Solicitor, Chairman (to April 2005) 2 2K McMillan May 1999 Artist 4 4E Sankey May 2000 Bookkeeper, Finance 8 8S Peacock May 2000 Performer, Choreographer, Teacher 8 7D de Clario May 2003 Artist, Academic 8 5S Bird June 2004 Lawyer 6 5C Hope May 2004 Artist, Academic 8 7T Mahoney May 2004 Entrepreneur 7 4B Mattes May 2004 Marketing Director, Chairman (from May 2005) 8 7M Dulaney September 2005 Lawyer, 2 2A Walker September 2005 HR Consultant 2 2

There was a profit for 2005 of $5,501. The company continues to receive support from the state and federal governments in respect of its operations and will endeavour to seek additional revenues towards improved programming.

No significant changes in the company’s state of affairs occurred during the financial year.

The principal activity of the company during the financial year was the promotion of contemporary arts within Western Australia.

No significant change in the nature of these activities occurred during the year.

No matters or circumstances have arisen since the end of the financial year which significantly affected or may significantly affect the operations of the company, the results of those operations, or the state of affairs of the company in future financial years.


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DIRECTORS’ REPORT (CONT’D)

Likely developments in the operations of the company and the expected results of those operations in future financial years have not been included in this report as the inclusion of such information is likely to result in unreasonable prejudice to the company.

The company’s operations are not regulated by any significant environmental regulation under a law of the Commonwealth or of a state or territory.

No indemnities have been given or insurance premiums paid, during or since the end of the financial year, for any person who is or has been an officer or auditor of the company.

No person has applied for leave of Court to bring proceedings on behalf of the company or intervene in any proceedings to which the company is a party for the purpose of taking responsibility on behalf of the company for all or any part of those proceedings.

The company was not a party to any such proceedings during the year.

Adoption of Australian Equivalents to IFRS

As a result of the introduction of Australian equivalents to International Financial Reporting Standards (IFRS), the company’s financial report has been prepared in accordance with those IFRS standards as contained in Note 1 to this report.

Auditor’s Independence Declaration

A copy of the auditor’s independence declaration as required under section 307C of the Corporations Act 2001 is set out on page 34Signed in accordance with a resolution of the Board of Directors:

Director __________________________________

BRET MATTES

Director __________________________________

ERIC SANKEY

Dated this 3rd day of May 2006


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INDEPENDENT AUDIT REPORT

To the members of Perth Institute of Contemporary Arts Limited

ScopeWe have audited the attached financial report, being a special purpose financial report, of Perth Institute of Contemporary Arts Limited for the year ended 31 December, 2005 comprising the Income Statement, Balance Sheet, Cash Flow Statement, Statement of Changes in Equity, Notes to the Financial Statements and Directors Declaration. The Directors are responsible for the financial report and have determined that the accounting policies used and described in Note 1 to the financial statements which form part of the financial report are appropriate to meet the requirements of the Corporations Act 2001 and are appropriate to meet the needs of the members. We have conducted an independent audit of the financial report in order to express an opinion on it to the members of Perth Institute of Contemporary Arts Limited. No opinion is expressed as to whether the accounting policies used, and described in Note 1, are appropriate to the needs of the members.

The financial report has been prepared for distribution to the members for the purpose of fulfilling the directors’ financial reporting requirements under the Corporations Act 2001. We disclaim any assumption of responsibility for any reliance on this report or on the financial report to which it relates to any person other than the members, or for any purpose other than that for which it was prepared.

Our audit has been conducted in accordance with Australian Auditing Standards. Our procedures included examination, on a test basis, of evidence supporting the amounts and other disclosures in the financial report and the evaluation of significant accounting estimates. These procedures have been undertaken to form an opinion whether, in all material respects, the financial report is presented fairly in accordance with the accounting policies described in Note 1, so as to present a view which is consistent with our understanding of Perth Institute of Contemporary Arts Limited’s financial position, and performance as represented by the results of its operations and its cash flows. (These policies do not require the application of all Accounting Standards and other mandatory professional reporting requirements in Australia.

The audit opinion expressed in this report has been formed on the above basis.

IndependenceIn conducting our audit, we followed applicable independence requirements of Australian professional ethical pronouncements and the Corporations Act 2001.

In accordance with ASIC Class Order 05/83, we declare to the best of our knowledge and belief that the auditors independence declaration set out on page 34 of the financial report has not changed as at the date of providing our audit opinion.


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INDEPENDENT AUDIT REPORT (CONT’D)

Audit OpinionIn our opinion, the financial report of Perth Institute of Contemporary Arts Limited is in accordance with:

(a) the Corporations Act 2001, including:

(i) giving a true and fair view of Perth Institute of Contemporary Arts Limited’s financial position as at 31 December, 2005 and its performance for the year ended on that date in accordance with the accounting policies described in Note 1; and

(ii) complying with Accounting Standards in Australia to the extent described in Note 1 and complying with the Corporations Regulations 2001; and

(b) other mandatory professional reporting requirements in Australia to the extent described in Note 1.

WILLIAM COSSON & COChartered Accountants

____________________________

W D COSSONPrincipal

Herdsman, WA, 3rd day of May 2006


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DIRECTORS’ DECLARATION

The directors have determined that the company is not a reporting entity and that this special purpose financial report should be prepared in accordance with the accounting policies described in Note 1 to the financial statements.

The directors of the company declare that:

1. The financial report as set out on pages 33 to 45 are in accordance with the Corporations Act 2001 and:

(a) comply with Accounting Standards as described in Note 1 to the financial statements and the Corporations Regulations 2001; and

(b) give a true and fair view of the company’s financial position as at 31 December, 2005 and of its performance for the year ended on that date in accordance with the accounting policies described in Note 1 to the financial statements.

2. In the opinion of the directors, there are reasonable grounds to believe that the company will be able to pay its debts as and when they become due and payable.This declaration is made in accordance with a resolution of the Board of Directors.

Director __________________________________

BRET MATTES

Director __________________________________

ERIC SANKEY

Dated this 3rd day of May 2006


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AUDITOR’S INDEPENDENCE DECLARATION UNDER SECTION �0�COF THE CORPORATIONS ACT �00�

I declare that, to the best of my knowledge and belief, during the year ended �� December, �00� there have been:

(i) no contraventions of the auditor’s independence requirements as set out in the Corporations Act �00� in relation to the audit; and

(ii) no contraventions of any applicable code of professional conduct in relation to the audit.

WILLIAM COSSON & COChartered Accountants

____________________________

W D COSSONPrincipal

Herdsman, WA �rd May �00�


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INCOME STATEMENTFOR THE YEAR ENDED �� DECEMBER, �00�

Note 2005 2004 $ $

Revenue 3 1,000,497 879,994

Visual arts program expenses (227,098) (181,061)Performance program expenses (32,168) (29,909)Education expenses (8,390) (34,133)Marketing and promotion expenses (54,799) (57,523)R & D devolved funding expenses (76,409) (5,685)Administration expenses (181,984) (168,768)Salaries and wages expenses (357,613) (342,070)Depreciation and amortisation expenses (56,141) (48,004)Bad and doubtful debts (394) (30) Profit attributable to operating activities 5,501 12,811

The accompanying notes form part of these financial statements.


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BALANCE SHEETAS AT

�� DECEMBER, �00�

Note 2005 2004 $ $ASSETSCURRENT ASSETSCash and cash equivalents 5 326,806 359,611Trade and other receivables 6 39,849 13,013Inventories 7 1,590 -Other current assets 8 493 6,429 TOTAL CURRENT ASSET 368,738 379,053

NON-CURRENT ASSETSProperty, plant and equipment 9 127,655 80,432 TOTAL NON-CURRENT ASSETS 127,655 80,432 TOTAL ASSETS 496,393 459,485

CURRENT LIABILITIESTrade and other payables 10 100,393 43,847Short-term provisions – other 11 55,140 47,545Other current liabilities 33,369 66,103 TOTAL CURRENT LIABILITIES 188,902 157,495 TOTAL LIABILITIES 188,902 157,495 NET ASSETS 307,491 301,990 EQUITYReserves 36,000 36,000Retained earnings 271,491 265,990 TOTAL EQUITY 307,491 301,990



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STATEMENT OF CHANGES IN EQUITYFOR THE YEAR ENDED�� DECEMBER, �00�

Retained General Earnings Reserves Total $ $ $

Balance at � January, �00� 253,179 36,000 289,179Profit attributable to operating activities 12,811 - 12,811 Balance at �� December, �00� 265,990 36,000 301,990

Profit attributable to operating activities 5,501 5,501 Balance at �� December, �00� 271,491 36,000 307,491



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CASH FLOW STATEMENTFOR THE YEAR ENDED�� DECEMBER, �00�

Note 2005 2004 $ $

CASH FLOWS FROM OPERATING ACTIVITIESReceipts from members and customers 7,803 -Receipts from program operators 60,823 71,223Payments to suppliers and employees (891,700) (860,570)Grants and sponsorships received 885,085 844,878Interest received 8,548 17,700Rental received - 4,036GST paid 1(a) - (97,586)Input tax credits received 1(a) - 41,415 Net cash (used in) operating activities 70,559 21,096

CASH FLOWS FROM INVESTING ACTIVITIESPayment for property, plant and equipment (103,364) (28,639) Net cash (used in) investing activities (103,364) (28,639)

Net (decrease) in cash held (32,805) (7,543)Cash at beginning of year 359,611 367,154 Cash at end of year 326,806 359,611

Note 1(a)For the 2005 year, the amounts included in the cash flows from operating activities are shown GST inclusive in accordance with UIG 1031 ‘Accounting for the Goods and Services Tax (GST)’



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NOTES TO THE FINANCIAL STATEMENTSFOR THE YEAR ENDED�� DECEMBER, �00�

Note �: Statement of Significant Accounting Policies

The financial report is a special purpose financial report prepared to satisfy the financial report preparation requirements of the Corporations Act 2001. The directors have determined that the company is not a reporting entity.

Perth Institute of Contemporary Arts Limited is a company limited by guarantee, incorporated and domiciled in Australia.

Basis of Preparation

The report has been prepared in accordance with the requirements of the Corporations Act 2001, and the following applicable Australian Accounting Standards and Urgent Issues Group Interpretations:

AASB 101: Presentation of Financial Statements;AASB 107: Cash Flow Statements;AASB 108: Accounting Policies, Changes in Accounting Estimates and Errors;AASB 117: Leases;AASB 1031: Materiality.

No other Accounting Standards, Urgent Issues Group Interpretations or other authoritative pronouncements of the Australian Accounting Standards Board have been applied.

Reporting Basis and Conventions

The financial report has been prepared on an accrual basis and is based on historic costs and does not take into account changing money values, except where specifically stated, or the current values of non-current assets.

Statement of Compliance

The financial report complies with AIFRS. Compliance with AIFRS ensures that the financial report is compliant with International Financial Reporting Standards (IFRS).

Accounting Policies

The following is a summary of the material accounting policies adopted by the company in the preparation of the financial report. The accounting policies have been consistently applied, unless otherwise stated.

(a) Income Tax Income tax has not been provided in this financial report as the association is a non-profit organisation for the promotion of art and culture and as such is exempt from income tax under section 50-45 of the Income Tax Assessment Act 1997.

(b) Inventories Inventories are measured at the lower of cost and net realisable value. Costs are assigned on a first-in first- out basis.

(c) Property, Plant and Equipment Each class of property, plant and equipment is carried at cost less, where applicable, any accumulated depreciation.

Plant and equipment Plant and equipment are measured on the cost basis.


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Note �: Statement of Significant Accounting Policies (cont’d)

(c) Plant and Equipment (cont’d) The carrying amount of plant and equipment is reviewed annually by directors to ensure it is not in excess of the recoverable amount from these assets. The recoverable amount is assessed on the basis of the expected net cash flows that will be received from the assets employment and subsequent disposal. The expected net cash flows have been discounted to their present values in determining recoverable amounts.

Depreciation The depreciable amount of all fixed assets, is depreciated on a straight-line basis over their useful lives to the economic entity commencing from the time the asset is held ready for use. Leasehold improvements are depreciated over the shorter of either the unexpired period of the lease or the estimated useful lives of the improvements.

The depreciation rates used for each class of depreciable assets are:

Class of Fixed Asset Depreciation Rate Plant and equipment 10-40% Motor vehicle 25% Leasehold improvements 30%

The assets’ residual values and useful lives are reviewed, and adjusted if appropriate, at each balance sheet date.

The assets’ carrying amount is written down immediately to its recoverable amount if the assets carrying amount is greater than its estimated recoverable amount.

Gains and losses on disposals are determined by comparing proceeds with the carrying amount. These gains or losses are included in the income statement.

(d) Leases Lease payments for operating leases, where substantially all the risks and benefits remain with the lessor, are charged as expenses in the periods in which they are incurred.

(e) Employee Benefits Provision is made for the company’s liability for employee benefits arising from services rendered by employees to balance date. Employee benefits that are expected to be settled within one year have been measured at the amounts expected to be paid when the liability is settled, plus related on-costs. Employee benefits payable later than one year have been measured at the present value of the estimated future cash outflows to be made for those benefits.

(f) Provisions Provisions are recognised when the company has a legal or constructive obligation, as a result of past events, for which it is probable that an outflow of economic benefits will result and that outflow can be reliably measured.

(g) Cash and Cash Equivalents Cash and cash equivalents includes cash on hand, deposits held at call with banks, other short-term high liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within short-term borrowings in current liabilities on the balance sheet.


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Note �: Statement of Significant Accounting Policies (cont’d)

(h) Revenue Revenue from the sale of goods is recognised upon the delivery of goods to customers.

Interest revenue is recognised on a proportional basis taking into account the interest rates applicable to the financial assets.

Revenue from the rendering of a service is recognised upon the delivery of the service to the customers.

All revenue is stated net of the amount of goods and services tax (GST).

(i) Goods and Services Tax (GST) Revenues, expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred is not recoverable from the Australian Taxation Office. In these circumstances the GST is recognised as part of the cost of acquisition of the asset or as part of an item of the expense. Receivables and payables in the balance sheet are shown inclusive of GST.

Cash flows are presented in the cash flow statement on a gross basis, except for the GST component of investing and financing activities, which are disclosed as operating cash flows.

(j) Comparative Figures Comparative figures have been adjusted to conform to changes in presentation for the current financial year where required by accounting standards or as a result of changes in accounting policy.

Note �: Grants Unexpended grants Grants income Grants expenditure Unexpended grants b/fwd from previous Received this year c/fwd to next financial year this year (Net Grant income) financial year Australia Council Visual Arts and Craft Board - 100,000 100,000 - Visual Arts and Craft Strategy - 150,000 150,000 - Other Australian Council - 25,000 25,000 - Australian Council Total - 275,000 275,000 - State Arts Funding ArtsWA Core Grant - 434,800 434,800 - ArtsWA Project Grant - 90,000 90,000 - ArtsWA Devolved Funding 63,705 30,000 76,408 17,297 ArtsWA Non-recurrent Grant - 24,790 10,822 13,968 ArtsWA Total 63,705 579,590 612,030 31,265 Other Mobile States - 8,000 8,000 - Other Total - 8,000 8,000 -

Total Grants 63,705 862,590 895,030 31,265


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Note �: Revenue 2005 2004 $ $Grants 895,030 743,619Sponsorship 28,000 50,000Rentals - 682Performance program income 24,269 27,681Visual arts program income 36,654 31,942Other 7,726 8,370Interest 8,548 17,700Bar and café trading 270 - 1,000,497 879,994

Note �: Profit from Ordinary Activities

(a) Expenses

Depreciation of property, plant and equipment - Plant and equipment 40,527 40,278 - Motor vehicle 4,398 4,790 - Leasehold improvements 11,216 2,936 Total depreciation 56,141 48,004 Remuneration of auditor - audit or review 3,000 3,000 - other services - 500 3,000 3,500 Rental expense on operating leases- minimum lease payments 3,960 660

Note �: Cash Assets

Cash on hand 52 367Cash at bank 326,754 359,244 326,806 359,611 Reconciliation of cashCash at the end of the financial yearAs shown in the statement of cashFlows is reconciled to items in theBalance Sheet as follows:Cash and cash equivalents 326,806 359,611 326,806 359,611


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Note �: Receivables 2005 2004 $ $CURRENTTrade receivables 29,164 5,404Other receivables 10,685 7,609 39,849 13,013

Note �: Inventories

CURRENTFinished goods at cost 1,590 - 1,590 -

Note �: Other Current Assets

CURRENTPrepayments 493 6,429 493 6,429

Note �: Property, Plant and EquipmentPLANT AND EQUIPMENTPlant and equipment at cost 426,863 380,450Less accumulated depreciation (362,466) (322,464) 64,397 57,986 MOTOR VEHICLEMotor vehicle at cost 19,159 19,159Less accumulated depreciation (19,152) (14,754) 7 4,405 LEASEHOLD IMPROVEMENTSLeasehold improvements at cost 122,552 66,126Less accumulated amortisation (59,301) (48,085) 63,251 18,041 Total property, plant and equipment 127,655 80,432

Note �0: PayablesCURRENTTrade payables 45,604 16,136Sundry payables and accrued expenses 54,789 27,711 100,393 43,847


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Note ��: Provisions 2005 2004 $ $

CURRENTEmployee benefits 55,140 47,545 55,140 47,545

Note ��: Reserves

The general reserve was used in prior years to record amounts set aside to fund future equipment purchases and leasehold improvements.

Note ��: Capital and Leasing Commitments

(a) Operating Lease Commitments Non-cancellable operating leases contracted for but not capitalised in the financial statements:

Payable – minimum lease payments - not later than 12 months 3,960 3,960 - between 12 months and 5 years 3,300 7,260 - greater than 5 years - - 7,260 11,220

Note ��: Lease of Premises

The company has entered into a lease of land and buildings with the Minister for Works for a period of 21 years commencing 1 August, 1991. The annual rental cost payable is $1.00 plus all outgoings as defined in the lease. The leased land also includes all buildings and improvements on the land.


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Note ��: Cash Flow Information

2005 2004 $ $

Reconciliation of Cash Flow fromOperations with Profit from OrdinaryActivities

Profit from ordinary activities 5,501 12,811Non-cash flows in profit from ordinary activities Depreciation 56,141 48,004 Adjustment to retained earnings 465 -Changes in assets and liabilities Increase in receivables (26,791) (126) Decrease (Increase) in prepayments 2,056 (1,622) Increase in inventories (1,590) - Increase (Decrease) in payables 59,916 (19,253) Increase in provisions 7,595 7,118 Decrease in grants in advance (32,440) (25,548) Decrease in deposits and bonds (100) (50) Decrease in memberships in advance (194) (238) Cash flows from operations 70,559 21,096

Note ��: Members Guarantee

The company is limited by guarantee. If the company is wound up, the memorandum of association states that each member is required to contribute a maximum of $1.00 towards meeting any outstanding contributions of the company. At 31 December, 2005, the number of members was a minimum of 117.

Note ��: Company Details

The registered office of the company is: Perth Institute of Contemporary Arts Ltd 51 James Street Perth WA 6000

The principal place of business is: Perth Institute of Contemporary Arts Ltd 51 James Street Perth WA 6000


ANNUAL REPORT.indd 3 24/5/06 5:25:18 PM · argument to justify its own, often selfish and...

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Transcript of ANNUAL REPORT.indd 3 24/5/06 5:25:18 PM · argument to justify its own, often selfish and...