"Darling it's better down where it's wetter" isn't just a line The Little Mermaid fans have had stuck in their head for the last two decades. Come April 2019, it's also the first thing likely to pop into the minds of anyone heading to one particular Norwegian restaurant. Set to open in the coastal village of Båly in the country's south, Under will plunge hungry patrons into watery surroundings, offering more than just the usual scenic vistas. At this eatery, diners will be tucking into their dishes underwater. To be specific, they'll be feasting on seafood under the sea — if you're going to open a space underneath the ocean, you have to serve up the fish, which is just what head chef Nicolai Ellitsgaard will be doing. If that sounds like your idea of a memorable meal, Under is now taking bookings from April 2019 onwards. Visitors will descend down three colour-coded levels to sip sparkling tipples in a champagne bar that boasts views of the shoreline, before enjoying their dinner in the completely submerged dining room. The latter sits five metres below the water's surface, and is surrounded by panoramic acrylic windows for quite the aquatic view. For those wondering about pressure and safety, metre-thick concrete walls will keep everyone nice and dry, in a structure designed by architecture firm Snøhetta. Describing the space as "a sunken periscope", the building is being constructed not only to wow those stepping foot inside, but to fit in with its surroundings. The grey exterior colour scheme is designed to blend in with the rocky coastline, with coarse surfacing that encourages molluscs to cling on. Indeed, over time it's hoped that Under will become an artificial mussel reef. As well as offering quite the place to eat, the project also aims to champion biodiversity, functioning as a research centre for marine life. This will include informational plaques educating visitors about the area, helping to expand not only the list of places you've tucked into a meal, but your knowledge. Start planning your 2019 Scandinavian trip now. Images: Snohetta.
Jackson Pollock's Blue poles (1952), Sol LeWitt's Wall drawing No. 380 a-d (1982) and Jon Schueler's The first day (1956), as well as works by Andy Warhol, James Turrell, Yoko Ono and Mark Rothko will all be available for your viewing pleasure this spring. The world-famous works will take over Canberra's National Gallery of Australia for American Masters 1940–1980, a free blockbuster exhibition showing more than 150 works by over 70 artists. Every piece comes from within the NGA, which impressively holds one of biggest collections of post-war American art outside of the US. Most purchases were made back in the 1970s and 80s, under inaugural director James Mollison — before the gallery's 1982 opening — and, at the time, were considered rather controversial. The show takes you on a chronological journey, beginning with abstract expressionism, which spawned Pollock, Rothko, Willem De Kooning and Frank Stella, before moving onto its many progeny, from colour field and pop to photo-realism and conceptual art. Images: Jackson Pollock, 'Blue poles' (1952), oil, enamel, aluminium paint, glass on canvas, National Gallery of Australia, © Pollock-Krasner Foundation; Installation view.
For most of us, films are synonymous with food and drink. Okay, so we're talking about popcorn and paper cups of watery Diet Coke — but sometimes we do like to also dine out at some of Melbourne's fine establishments for a much needed pre-film feed or a post-movie nightcap and plot deconstruction. With the Melbourne International Film Festival kicking off on July 28, it's time to start planning your eating schedule as well as your screening times. And to make things easier in the mad rush from cinema to cinema, we've put together a list of the best eats and drinks conveniently close to the festival's main venues: The Forum, ACMI, Kino and Melbourne Central Hoyts. So whether you need sustenance in the 45 minute gap between your third and fourth screenings for the day or you want to sit down for dinner and cocktails before a 9pm screening, here's where you can drink and dine and still get there before the opening credits start rolling. DRINK LOOP ROOF MIFF time isn't traditionally rooftop season, but, luckily, Loop Roof has been fitted with gas heaters and a large awning shielding the seats from possible downpours, making it the perfect rooftop bar in-between films. Succulents line the edges of the rooftop oasis, perfectly framing the magnificent view over busy Meyers Place. Elbow your way into one of the tight booth seats with a group of friends or pounce on one of the many garden tables for a few drinks before making your way to Kino. MARY FORTUNE If you're dragging yourself out of the house to see a film in the cold, you may as well indulge in a cocktail or two too. Flinders Lane bar Mary Fortune has teamed up with Grey Goose to create a film-themed cocktail list especially for MIFF. Bibulous film lovers can swing by the upstairs bar any time after 5pm throughout the festival, where they'll find a number of cinema-themed cocktails, including the beef bacon and thyme-infused Dick Tracy, the Bloody Pulp Fiction (with spiced tomato juice, no less), a hazelnut and butter martini named The Man with the Golden Goose, and classy A Streetcar Named Desire, which stars the Amarena cherry. If you want the full fancy film-goers' experience though, order the classic Grey Goose Le Grand Fizz, which is a simple concoction of vodka and St Germain. UNION ELECTRIC Before (or after) you enter a dark room for two to three hours, tuck yourself away in one of Melbourne's cuddly little alcoholic concaves at Union Electric. Behind the mossy green door, Huw Griffiths runs a bar rich in charm and quirky ambiance. What makes Union Electric so great is that you can actually buy a few drinks without draining your wallet. Select from the creative cocktail menu or choose one of the local and imported wines, ciders and beers. Sip them all in the outdoor smoke-free courtyard, which, shielded by a mammoth four-storey brick wall on one side and the undercover bar on the other, is cosy day and night. EAU DE VIE If you can find it, Eau de Vie is one of the best cocktail bars in Melbourne. Down Malthouse Lane, next to a hotel car park, slip through the large wooden door and enter a new world. An intimate cosy space, it's the kind of world where you feel as though you could find yourself sitting next to Jay Gatsby or Mr Fitzgerald himself. Choose a spot at the bar, or perhaps retire to one of the more private booths towards the back. Just don't forget about your film — both The Forum and Kino Cinemas are nearby. MADAME BRUSSELS Everything at Madame Brussels, from the pink walls to the fabric flowers which line the white wooden arches of the bar, will have you turning your lips up in joy — even if you've been here a million times. And that's without even tasting one of their cocktails. Nab a seat in one of the curled iron chairs in the hedged bar, or brave the elements out on the AstroTurfed terrace. It's really the best place to do it. But while you're downing a teapot of cocktails, just remember you'll have to descend the stairs to make it to your movie in one piece. EAT SAKE FLINDERS LANE Because the walk from Hamer Hall to The Forum was just a few steps too far, we're real happy Sake have opened up shop on Flinders Lane. This latest incarnation takes over the former digs of the short-lived Woody P, and offers a good alternative to Chin Chin when their waitlist almost certainly means missing the movie (which is most of the time). The space boasts that trademark Saké wow-factor, incorporating a chic designer fit-out and sleek open kitchen, but it also a basement cocktail lounge perfect for a drink and some quick dins. Plus, you can grab a great bowl of ramen up until 2am, so you can drop in for a feed even after a super late screening. FONDA FLINDERS LANE If you're looking for something fun, fast, bright and loud, then Fonda fits the bill. While their 200-seat Flinders Lane restaurant is a little overwhelming, you'll be fed delicious tacos, guacamole and cheesy corn cobs and served up frozen margaritas at lightning speed. It's the perfect precursor to popcorn. LONGRAIN This one's for when you want to make a night of it. You've got a 9.30pm session? Book at a table for 6pm and take your time eating your way through the dynamite Thai menu. Despite the big windows, this place is cosy (especially on a rainy night) and only a short laneway walk from your table to the cinema. SHANDONG MAMA MINI Dumplings and a movie is a guaranteed ride to good time town. Especially when its ShanDong Mama dumplings and a MIFF film. These guys do some of the best vegan dumplings in the city. Unfortunately everyone knows this and the place is tiny, so getting a seat is highly contested. But worth it. So, so worth it. Only open until 8pm though — so you'll have to go before the movie. SUPERNORMAL If you're planning on coming for a full three-course meal, making a booking in advance. But if you find yourself on Flinders Lane looking for a snack (like, say, a lobster roll), a drink (some sake?) or dessert (peanut butter parfait, no doubt about it), try your luck for a seat at the bar pre- or post- film. To celebrate the 65th Melbourne International Film Festival, the generous guys at Grey Goose are giving away two double passes to the MIFF Opening Night Gala on Thursday, July 28. The event will kick off with a premiere screening of Melbourne director Cris Jones' The Death and Life of Otto Bloom, followed by a party at Hamer Hall. To enter, head over here. By the Concrete Playground team.
If there's one person audiences should happily follow into a haunted house, it's Guillermo del Toro. He played with spooky spaces in the Oscar-winning Pan's Labyrinth and told ghost stories in The Devil's Backbone. Actually, the Mexican filmmaker has danced with all things dark and sinister across his career, including vampires in Cronos, Blade II and TV's The Strain; giant insects in Mimic; a demon defender in the Hellboy movies; and monsters versus robots in Pacific Rim. In Crimson Peak, del Toro dives into gothic horror territory, telling the tale of a young woman (Mia Wasikowska) seduced into confronting the secrets of the titular house. Add Tom Hiddleston, Jessica Chastain and Charlie Hunnam to the stellar cast, as well as a haunting mood and stunningly spooky imagery, and this frightening effort looks like something truly special. Plus, Crimson Peak even earned the approval of iconic horror author Stephen King, who compared it to Evil Dead. Consider us excited — and a little scared, to be honest — in anticipation. Crimson Peak (© 2015 Universal Studios. All Rights Reserved.) is in cinemas nationally from October 15, and thanks to Universal Pictures Australia, we have 10 double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter and then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Summer music festivals are all about embracing the best things in life — good vibes, great friends, and epic tunes. But Secret Garden Festival turned the happiness factor up to out-of-control joy by hosting an actual wedding ceremony at Brownlow Hill Farm. The nuptials were held as part of the annual festival's February 24 - 26 celebration of music, creativity, and disco-infused fun, all held for 48 hours against a lush forest backdrop, just one-and-a-half hours outside of Sydney. Though renowned for its stellar lineup, with The Jezabels, Japanese Wallpaper, Oliver Tank, Urthboy and more on this year's bill, the main stage became the site of a very different kind of celebration at 4pm on Saturday, February 25 — the joining in matrimony of Sydneysiders Alexis and Jimmy. Here's how it went down (and you'd best prepare to say "awwwww" quite a bit). The main stage area was set up with chairs for the wedding party, giving them the best position in the fest. Once the formalities got underway, Alexis and Jimmy swapped Peter Pan-themed vows, because that's how you make tying the knot at a festival even more magical. A brass band played 'Sexual Healing' as the newlyweds were raised over the crowd in a cherrypicker — with confetti cannons also thrown into the mix — while the crowd came together to form a "tunnel of love" for the just-hitched duo to run through. When the wedding was announced, festival director Clare Downes said her crew was pretty stoked to be taking on wedding planner duties, and promised one hell of a party for the lucky lovebirds, their friends and family, and all other festivalgoers who'd be getting in on the loved-up fun. "Alexis and Jimmy sent us an email a couple of months ago and I had to rewrite my response about nine times because I was way too overexcited," she told Concrete Playground. "They had already locked in the February 25 for their wedding, but they were just really struggling to find a venue and a celebrant etc — so it was a no brainer. I'm just so stoked they are letting us organise their wedding." While past years have seen Secret Garden host kissing booths, faux weddings, and plenty of dance floor pashes, Alexis and Jimmy's knot-tying marked its first official wedding ceremony. If you managed to get an invite — aka a highly coveted ticket almost instantly sold-out even — it's certain to have been an event to remember. ❤️ Secret Garden's first ever REAL wedding... and they have asked us to plan it 😏💥🎉 A video posted by Secret Garden (@secretgardenfestival) on Dec 12, 2016 at 1:25pm PST Secret Garden Festival takes place on February 24-26, 2017. For more info on the festival, visit secretgarden.com.au. By Libby Curran and Sarah Ward.
Dwayne Johnson (aka 'The Rock') is an absolute Hollywood powerhouse. Just physically the guy's so strong he looks like he could bench press someone while they were bench-pressing. Yet there's so much more than brute force to this wrestler-turned-box office behemoth. In recent times he's had years (such as 2013) where his films have grossed more than US $1 billion combined. With more instalments of the unstoppable Fast and Furious franchise on the horizon, he's fast becoming the most bankable man in the business. No wonder, then, he's recently been hailed as the official heir-apparent to the king of action – Arnold Schwarzenegger. Then there's Kevin Hart, fast-becoming a movie-making powerhouse in his own right. Since just 2014 he's already churned out thirteen films, prompting Chris Rock to joke at the Oscars that not even porn stars make them as quickly as he does. Hart is increasingly being likened to Eddie Murphy for his style of comedy, his likability and his growing credentials as an action-comedy star. With all that said, the only thing surprising about Central Intelligence is how long it took to actually put Hart and Johnson together. And if you're wondering, yes, the film immediately went to no.1 on the US Box Office. Plot wise, there's very little to speak of. Johnson plays Bob Stone, an unflappable CIA operative who may or may not have gone rogue from the Agency, and who twenty years prior was the enormously fat kid subjected to relentless bullying by just about everyone other than Hart in his high school. On the eve of their school reunion, Stone reaches out to Hart's character, Calvin Joyner – the former class president and guy voted 'most likely to succeed'. Joyner is now a mid-level accountant in the throws of a mid-life crisis. Together, the pair quickly find themselves pursued by the CIA as they chase down some secret classified information. It's a classic odd-couple, buddy action comedy in the vein of the Schwarzenegger/DeVito movie Twins, only with far less class and only the most threadbare of storylines. Both Hart and Johnson throw themselves completely into their roles, without which the film would be a proper stinker. They're both terrifically funny actors, and Johnson's deadpan delivery of ridiculous lines is when the movie is at its strongest. It's just frustrating to see the current kings of action and comedy let down by a movie in which the action is entirely dull and derivative, and the comedy is so absent that the only real laughs come from the outtakes playing over the final credits. It all has a feeling of 'she'll be right, mate', relying far too heavily on the celebrity and charisma of its leading men instead of giving them a clever, considered script through which to showcase all that they're capable of. The film does also boast a handful of 'surprise cameos' that briefly recapture your attention, but they're not enough to cover up the gaping holes in plot or direction. Full of potential yet thin on substance, Central Intelligence is best seen as a challenge to the next writer-director to put this pair together. Imagine how brightly these two stars could shine if only they had a decent script. https://www.youtube.com/watch?v=MxEw3elSJ8M
Spotlight is a 'deep breath' movie. The kind that holds you in your seat long after the final frame and leaves you staring at the credits lost in deep, uncomfortable thoughts. You find yourself at once furious and disconsolate, avoiding others’ gaze when possible, and offering mutual half smiles when not. Others simply cry. This is a film about child sexual abuse within the Catholic Church, told through the eyes of the Boston Globe journalists who uncovered and exposed it in 2002. The name, Spotlight, refers to the Globe's long-term investigative unit, a four person team whose secretive research and day-to-day operations existed largely outside the newspaper’s conventional structure – a sort of journalistic special forces if you will. Directed by Tom McCarthy (Win Win), Spotlight is, in almost every respect, a masterclass in restraint. From the performances, to the writing, to the direction and, most importantly, to the actions taken by the reporters themselves, it is the definitive anti-clickbait film; an ardent dedication to both an age and institution when the priority of media outlets was not 'first' but 'right'. For the Spotlight team, the mere selection of a story might take months and its final form not see the light of day for more than a year. If something couldn’t be substantiated, the story would be held for a few more months until it could. To imagine that level of patience (and budgetary freedom) in the modern era of twenty-four hour news is all but inconceivable. Of the film's six Academy Award nominations, two are for best supporting performances by Rachel McAdams and Mark Ruffalo, though more could (and perhaps should) have easily been spread across the entire cast. Michael Keaton, Liev Schreiber, Billy Crudup, John Slattery, Brian d’Arcy James and Stanley Tucci all contribute incredibly passionate and complex portrayals of the journalists and lawyers responsible for either exposing or protecting the church’s extraordinarily sordid past and practices. Indeed, there are no weak links in this confident, consummate picture, whose deft touch and understated approach neatly reflect the disciplined reserve of its characters. Powerful, absorbing and deeply moving, Spotlight is almost certainly the best film about journalism, and, specifically, print media, of at least the past decade. Probably more. https://www.youtube.com/watch?v=Zg5zSVxx9JM
Built onto the disused Sandridge Rail Bridge, The Immersery is perhaps the most innovative festival hub the Melbourne Food and Wine Festival has ever seen. Tying into the theme of water, the multi-level temporary structure features a restaurant, bar and raingarden right on the banks of the Yarra. Open every night of the festival, food will be served by local chefs Florent Gerardin (Silo), Daniel Wilson (Huxtable and Huxtaburger) and Jesse Garner (Añada and Bomba), and the country's best bartenders will converge to create cocktails inspired by the three states of water — solid, liquid and gas. With the likes of Daniel Gregory from The Everleigh and Sydney's Shady Pines, the team from Lily Blacks, Eau de Vie and more, this is one bar you can't miss. This event was one of our top picks for the 2014 Melbourne Food and Wine Festival. See the full list here.
Short film, animation and innovative video artwork will all come together at the open-plan Southgate Cinema in July. Presented by Project Quick and Dirty, Play Me highlights the works of some of the country's most talented filmmakers and artists. Best of all, it's absolutely free. Starting July 8, each Tuesday evening will feature a showcase of narrative shorts. This includes a one-off July 15 retrospective of the films of notable VCA alumni such as Adam Elliot (Harvey Krumpet) and Justin Kurzel (Snowtown). Tuesday night bookings are highly recommended to ensure that you don't miss out on a seat. Wednesday and Thursday nights, meanwhile, will be dedicated to works of a more experimental nature. The public can either pull up a deckchair or choose to wander through the atrium cinema, capturing glimpses of moving image artwork that might normally be restricted to play in galleries. For more information on the Play Me program, visit www.playmeprogram.squarespace.com Image: WTF Is Aussie Art? by Mimi Leung.
When you lick a scoop of gelato, do you take a moment to let the flavour settle onto your tastebuds? Do you stop to contemplate the creaminess, and ponder how it feels on your tongue? Perhaps you spend too long thinking not only about how your dessert tastes, but how it smells — or maybe you're obsessed with how it looks, because a good ice cream is a truly glorious sight. If we've just described your usual thought processes every time you step inside a gelato joint, then you might want to throw your name in the ring for Gelatissimo's newest gig. As part of a four-hour, once-off deal, the dessert chain will pay one ice cream-loving person $500 to taste-test its newest gelato flavours. Over the past year, Gelatissimo has been responsible for frosé sorbet, ginger beer gelato and even a gelato for dogs, so you won't be tasting your way through plain ol' vanilla or the usual mint choc-chip combination (not that there's anything wrong with those two stone cold classics). Just what flavours you'll be munching on hasn't yet been revealed, but you'll play a crucial part in evaluating them. As well as being delicious, this is serious business, requiring the utmost focus on the task at hand. That means first assessing the gelato's appearance, then enjoying a couple of scoops to get a feel for the flavour and texture. Then, after cleansing your palate with water, you'll do it all over again (and then again). If you're keen, as most people with tastebuds will be, just head to Airtasker to explain why you're the ideal candidate for the job. While the competition is open nationally, the winner will be required to get themselves to Gelatissimo's Sydney office in Rydalmere on Friday, September 27. For more information, or to apply for the Gelatissimo gelato-tasting gig, visit the Airtasker listing.
Come Friday, May 5, 2023's Archibald Prize winner will be unveiled. Whoever emerges victorious, the award's just-announced finalists have already made history. This is Australia's most prestigious portrait prize, is now in its 102nd year and hands out $100,000 to its annual winner. And, it took until this year for more women than men to be make the final list of contenders. In total, 949 entries were received, with 57 artists named as finalists. They include 30 by women and 27 by men. One such piece: Packing Room Prize recipient Clown Jewels, a portrait of New Zealand-born comedian Cal Wilson painted by Perth-born, Cairns-based artist Andrea Huelin — who picked up the gong with her first Archibald Prize entry. [caption id="attachment_898390" align="alignnone" width="1920"] Packing Room Prize 2023 winner, Andrea Huelin 'Clown jewels', oil on board, 120.2 x 120.1 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Cal Wilson.[/caption] The Packing Room Prize is picked by three members of the Art Gallery of New South Wales' packing room team, hence the name: Timothy Dale, Monica Rudhar and Alexis Wildman in 2023. "Andrea's work jumped out at us as soon as it arrived. The bright colours really popped, and we immediately recognised Cal as a familiar face," said Wildman. "Cal's been such a mainstay on Australian television for two decades. We love the interesting pose and unique headwear and, in the tradition of the Packing Room Prize, Andrea's painting looks like Cal! This is a great, joyful portrait of someone who has brought so much laughter to Australia." [caption id="attachment_898395" align="alignnone" width="1920"] Packing Room Prize 2023 winner Andrea Huelin 'Clown jewels', featured with prize judges (left to right) Tim Dale, Monica Rudhar and Alexis Wildman, at the Art Gallery of New South Wales, photo © Art Gallery of New South Wales, Diana Panuccio.[/caption] "Being a finalist is everything I could have hoped for. Winning the Packing Room Prize is simply gobsmacking," advised Huelin. "I was inspired to paint Cal because her Instagram posts modelling her brilliant homemade headpieces on her makeshift stage made me laugh out loud. Her poses reminded me of my sister and me making ourselves laugh by pulling funny faces in the mirror as kids and I could tell we share a similar sense of humour. I posted a congratulatory comment and Cal wrote back and admired my paintings, so I asked if she'd sit for a portrait." "Cal brought her creativity and imagination to the sitting, as well as a suitcase full of headpieces and outfits. Because I'm a still life painter, I thought the headpieces were a great way for me to incorporate a still life element into the portrait. The formal portrait mocks the 19th-century style in which women were once painted, while capturing her cheeky expression and sparkly headpiece, which is actually just arts and crafts," Huelin continued. [caption id="attachment_898394" align="alignnone" width="1920"] Archibald Prize 2023 finalist, Matt Adnate 'Echoes of a teenage superstar', spray paint and acrylic on linen, 198 x 198 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Daniel Johns.[/caption] Alongside Clown Jewels, 2023's finalists include portraits of plenty of famous faces, Claudia Karvan, Sam Neill, Archie Roach, Noni Hazlehurst and Daniel Johns included. The latter comes courtesy of muralist Matt Adnate, and also marks his first Archibald entry. If you'd like to see all of the above, and the rest of 2023's finalists, they'll all be on display at the Art Gallery of NSW in Sydney from Saturday, May 6–Sunday, September 3. And, they'll have company from works shortlisted for the venue's similarly coveted Wynne and Sulman prizes. The Wynne received 726 entries, with 41 named as finalists, while the Sulman received 673 entries, naming 45 as final contenders. [caption id="attachment_898396" align="alignnone" width="1920"] Archibald Prize 2023 finalist, Anh Do 'Seeing Ruby', oil on linen, 240.4 x 200.3 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Archie Roach.[/caption] In total, 2348 works tried their luck across the Archibald, Wynne and Sulman prizes, making this year's pool the second largest ever, beaten only by 2020's. And, 2023 notched up another history-making stat: the highest-ever total number of entries by Aboriginal artists across the three prizes. Speculation about who will be awarded the coveted Archibald Prize — and, more often than not, the Archibald winner itself — usually causes much-heated debate. From 2018's five-time Archibald finalist Yvette Coppersmith's first win to Tony Costa's 2019 victory with his painting of fellow artist Lindy Lee — the first portrait of an Asian Australian to pick up the prize — it's hard a prize to pick. All that's really assured is that it'll be a portrait of a person by an Australian-based artist. [caption id="attachment_898397" align="alignnone" width="1920"] Archibald Prize 2023 finalist, Laura Jones 'Claudia (the GOAT)', oil and acrylic on canvas, 198.2 x 152.6 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Claudia Karvan.[/caption] In 2020, Vincent Namatjira's portrait of Adam Goodes did the honours, and also marked the first time the award has gone to an Indigenous artist. In 2021, Peter Wegner's portrait of fellow artist Guy Warren nabbed the gong. And in 2022, it was Blak Douglas' portrait of artist Karla Dickens in the Lismore floods that came out on top. Whoever earns the nod for 2023's Archibald, there's still another award up for grabs afterwards. If you don't agree with the judges, you can cast your own vote for People's Choice, which will be announced on Wednesday, August 9. [caption id="attachment_898398" align="alignnone" width="1920"] Archibald Prize 2023 finalist, James Powditch 'Sam I Am', acrylic on paper and board, 200 x 240 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Sam Neill.[/caption] ARCHIBALD PRIZE 2023 DATES: Art Gallery of NSW, Sydney, NSW — May 6–September 3, 2023 Mornington Peninsula Regional Gallery, Victoria — September 15–November 5, 2023 South East Centre for Contemporary Art, Bega, NSW — November 18, 2023—January 7, 2024 Goulburn Regional Art Gallery, NSW — January 19–March 10, 2024 Hawkesbury Regional Gallery, NSW — March 15–April 28, 2024 Tamworth Regional Gallery, NSW — May 11–June 23, 2024 Glasshouse Port Macquarie, NSW — July 5–August 18, 2024 If you can't make it to any of the above dates, you can check out the award winners and finalists of the Archibald, Wynne and Sulman prizes on the Art Gallery of NSW website. Top image: Excerpt of Packing Room Prize 2023 winner, Andrea Huelin 'Clown jewels', oil on board, 120.2 x 120.1 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Cal Wilson.
This South Yarra cocktail bar has a quirky library theme, elegant wood panelling and a general vibe which doesn't make you feel like you're smack bang in the middle of Chapel Street. Katuk has been mixing and shaking cocktails for locals and visitors since 2007, becoming a go-to option for those looking for a function space for a special occasion, somewhere to sip wine while overlooking the famous shopping strip, and the site of many after work drink and gossip sessions. Designed to help you finish off the working week with ease, Katuk's Friday happy hour from 5–9pm includes half price tap beer, $5 house wines and $12 house cocktails, which is about as laidback as it comes for your wallet. Give the 'Katuk's Passion' a red hot go: vodka, passionfruit, apple guava and elderflower. If you live or work locally, make sure to ask the staff about a membership card to secure yourself 25 percent off drinks.
It’s been 50 years since “I have a dream”, but Martin Luther King Jr’s legacy lives on in the Australian premiere of The Mountaintop. Katori Hall’s award-winning play blew away London and New York, with Samuel L. Jackson making his Broadway debut. Hall’s play is a vision of King’s last night before his assassination, set in a claustrophobic Memphis hotel room, where Camae — the bold young woman who brings his room service — forces him to confront his own fears and desires. King might be one of the most famous figures of the past century, but the work offers a rare, if imagined, insight into the private character behind his martyrdom and soaring rhetoric. In the Melbourne Theatre Company’s production Bert La Bonte and Zarah Newman take on this taut two-hander under the direction of Alkinos Tsilimidos, best known for his work in indie Australian cinema.
Dig out those once-a-year novelty gumboots, Groovin the Moo has unveiled its 2019 lineup. Taking the large-scale music festival out of the city and into regional centres for another year, GTM will kick things off on Friday, April 26 in South Australia and travel through Maitland, Canberra, Bendigo and Townsville before finishing up in Bunbury on Saturday, May 11. This year sees local talent new and established taking the stage, with the lineup spanning up-and-comers like Jack River, G Flip and Haiku Hands right through to recent Hottest 100 top tenner Billie Eilish, Aussie favourites Nick Murphy and Thelma Plum, Australian hip hop legends Hilltop Hoods and rockers Regurgitator. International talent like Coolio — who'll you'll most likely recognise from his hit track 'Gangsta's Paradise' — Danish pop singer MØ and American rapper A$AP Twelvyy will make their way to the Moo, too. After hosting Australia's first ever pill testing trial in Canberra last year, Groovin the Moo is moving its ACT festival to Exhibition Park for the first time. Pill testing is still a much-debated topic around the country with five people recently dying from suspected overdoses in as many months. Here's the full lineup. GROOVIN THE MOO 2019 LINEUP A$AP Twelvyy (USA) Angie McMahon Aurora (Nor) Billie Eilish Carmouflage Rose Coolio (USA) Crooked Colours DMA's Duckwrth Fisher Flosstradamus (USA) G Flip Haiku Hands Hermitude Hilltop Hoods Holy Holy Jack River Just a Gent MØ (Dnk) Nick Murphy Nicole Millar Regurgitator Rejjie Snow (Irl) Sofi Tukker Spinderella Thelma Plum TOKiMONSTA (USA) Trophy Eyes GROOVIN THE MOO 2019 DATES & VENUES Friday, April 26 — Wayville (SA) Saturday, April 27 – Maitland (NSW) Sunday, April 28 — Canberra (ACT) Saturday, May 4 — Bendigo (VIC) Sunday, May 5 – Townsville (QLD) Saturday, May 11 — Bunbury (WA) Tickets for GTM in Wayville, Maitland and Canberra will go on sale at 8am on Thursday, January 31, and Bendigo, Bunbury and Townsville will be released the day after at 8am on Friday, February 1. For more info, go to gtm.net.au. Images: Jack Toohey.
When Percy Fawcett gazes upon the Amazon in The Lost City of Z, he does so with wonder blazing in his eyes. A real-life geographer, soldier and explorer played here by Charlie Hunnam, Fawcett is dispatched from Britain to South America to survey the border between Bolivia and Brazil, only to become beguiled by his new rainforest surroundings. Many movies would explain his reaction through dialogue alone, but James Gray's latest effort works in more than just words. The filmmaker behind The Immigrant and We Own The Night, Gray is known for crafting precise, painterly visuals. It's little wonder that his excursion through tropical greenery shares Fawcett's fondness in each and every frame. To watch The Lost City of Z is to stare deep into the splendour of untamed nature, and to appreciate the mystery and allure that comes simply from looking. The colour and movement; the locals and the wildlife; the sense of how different it is to early 20th century England — it's all there, in cinematographer Darius Khondji's striking images. It's an essential touch, given that examining the mindset that inspired Fawcett's repeated treks into the jungle is one of the movie's main aims. If there were ever any doubts that Gray would be able to jump from his urban-set back catalogue to the grandness of the Amazonian wilds, they're quickly dispelled. When we first meet Fawcett, he's a young army officer hunting stag for sport. He's considered talented, yet a shadow hangs over his family name thanks to his drunken father. Asked to do the Royal Geographic Society's bidding on the other side of the world, he soon leaves his wife Nina (Sienna Miller) and infant son for trampling through luscious growth, with Corporal Henry Costin (Robert Pattinson) and on-site guides for company. If he hadn't fallen for the Amazon's magnetism, as well as a story about a lost city teeming with gold, his jaunt might've ended with a happy return home. But Fawcett is haunted by his desire to find the fabled locale — and prove that advanced civilisation exists beyond western society — even if it costs him his life. As the film's existential adventures continue, Pattinson gets grimy, Tom Holland pops up, as does Italian acting legend Franco Nero. Ultimately though, The Lost City of Z belongs to Hunnam, who wipes King Arthur from our memory. Poised, passionate and persistent, with ample charm thrown in, he plays his protagonist as an imperfect but still decent man driven by a multitude of motivators. The character is also surprisingly progressive, breaking from the racist, sexist, classist, jingoistic and colonialist attitudes of his peers. In short, he's the sort of person you'd be willing to follow through dense foliage. Just as seeing is believing when it comes to Gray's mesmerising sights, Hunnam ensures viewers feel the calling coursing through Fawcett's veins. Accordingly, The Lost City of Z becomes more than just a dazzling account of a real-life trek through uncharted terrain. That's not to say that it doesn't impress as an intimate adventure flick, an exploration of fevered obsession, or as a textured and thoughtful biopic — in fact, it succeeds as all three. But what lingers most of all is an understanding of why people chase even the most challenging and unlikely of dreams, what they hope to find, and how such mysteries leave their mark on history. https://www.youtube.com/watch?v=_2RYbGgBQeM
Hearing Gurrumul perform live is one of those haunting yet rejuvenating experiences that will last with you for days. His surreal melodies and powerful voice have captivated audiences for years, and this one-off show at Sidney Myer Music Bowl is sure to show off all his highly-acclaimed talents. From his time with Yothu Yindi right up to his most recent album, Rrakala, Geoffrey Gurrumul Yunupingu has pioneered a unique style of indigenous Australian storytelling, and his solo work — all sung in his native Yolngu — is always heavy with the burdens of his people and his land. His performance at the Melbourne Festival is the first in a three-year series, and this year he will be accompanied by Philharmonia Australia and a filmed narration of his stories made by the musician's fellow clan members. In a surprising, but welcome move, Gurrumul will also be supported by indie songstress Sarah Blasko. Though their styles are undoubtedly different, it will be interesting to see how they complement one another on the night — one Australian voice to another. Gurrumul will be performing at the Sidney Myer Music Bowl as part of the Melbourne Festival on Saturday October 12. We have a double pass to give away for this one-off show. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email win.melbourne@concreteplayground.com.au with your name and address.
Each year the Melbourne Theatre Company presents a series of semi-staged readings of new plays by Australian writers — an opportunity for a fresh crop of five playwrights to develop their work, and a great chance for local audiences to experience new performance writing on the cheap (a mere $10, or $5 for under 30s). 2014 is no exception. As 'semi-staged readings' the actors often have scripts in hand, and the focus is on refining the writing in front of a live audience rather than expecting a perfect, polished performance. Make sure to check out Declan Greene’s thoroughly un-Googleable 8GB of Hardcore Pornography – it’s receiving its premiere in Sydney later this year but its Cybec outing will have to tide Melbourne audiences over for now. There are also plays by Kylie Trounson, S. Shakthidaran, Sue Smith, and Jane Harrison, whose work The Visitors is appearing as part of the Melbourne Indigenous Arts Festival. For more details on each play check out the MTC website.
If your new year's resolution involved dancing as often as possible, the pandemic has just delivered bad news. With Victoria's COVID-19 case numbers continuing to rise again, the state's government has just announced the return of a familiar restriction: the closing of all indoor dance floors in hospitality and entertainment venues. The Footloose-style change was announced by Health Minister Martin Foley today, Monday, January 10, at Victoria's daily COVID-19 press conference, and will come into effect from 11.59pm on Wednesday, January 12. The only exception to the rule: indoor dance floors at weddings, although folks are asked to relocate them outdoors if possible. Indoor hospitality and entertainment venues are still able to remain open, however — they just have to shut their dance floors. And, the current one person per two-square-metre density requirement that kicked in back on Thursday, January 6 remains in place and unchanged as well. Victoria's mask rules are still in effect as well, with the government making masks mandatory again indoors just before Christmas. The state is also strongly recommending that people work from home if possible, as it has been since late last year as well. Victoria currently has 161,065 active COVID-19 cases, including 34,808 new cases reported today, Monday, January 10. For more information about the status of COVID-19 and the current restrictions, head over to the Department of Health and Human Services website. Top image: Jake Roden, Visit Victoria.
Imagine you only see one film this year (because of e.g. extreme electricity rationing, extreme ADHD, etc). You'd want to make it one that would blow your freaking mind. So take some advice from sad parallel universe you and, in a year where you'll probably see many films, make one of them Upstream Color, the dreamy feature that emphatically puts paid to the idea that there are only seven (or nine, or twelve) stories in fiction. Upstream Color is only the second movie from writer/director Shane Carruth, whose indie time travel headspin Primer won the Grand Jury Prize at Sundance in 2004 and a cult following soon after. The many fans of that film have since been hankering for another dose of Carruth's signature style. (If it seems unlikely a one-film wonder could have a 'signature style', you have not seen Primer.) However, it turns out festival success does not a Hollywood career ensure, and after some upsets (his much-talked-about feature A Topiary never came to fruition), Upstream Color finally exists in the world, having been written, directed, produced, shot, scored, edited and acted in by Carruth himself. The guy is a lesson in self-sufficiency. This gorgeous, unknowable, deeply affecting film makes Primer look almost conventional, given time travel is a genre filmgoers know a little something of. If Upstream Color had a genre, it'd be something like 'biological art sci-fi'. It starts with a worm. A worm found in the roots of a rare orchid stocked at an ordinary nursery. One of the nursery's customers (Thiago Martins) distills the worm into a drug, which we see, taken recreationally, allows its users to connect telepathically. This man, however, uses it to drug young professional Kris (Amy Seimetz) at a club, and through a complex process of manipulation lasting a week, rob her of her tangible assets. When Kris comes to, the worm is still in her body, wriggling about. Soon enough, a man (Andrew Sensenig) using infrasound lures her to a field, where he removes the worm from her body — and transfers it into a pig. In this world, or any other, a person does not bounce back from the experience lightly. Years later and convinced she's suffering a mental illness, Kris is still trying to piece her life back together. A man she connects with on the train, Jeff (Carruth), might be her shot at a real relationship. Meanwhile, Kris's pig goes back to life in its sty under the watch of the infrasound/surgery man, who also seems to indulge a sideline in field recording. Upstream Color is all this, but it's also not this. The effect is all in the way the story is layered, the way it cuts between these seemingly separate ecosystems, and the sensuous, organic cinematography throughout. It's not abstract — it is meticulously, concretely plotted — and yet the telling of it is open-ended and deliberately foggy as remnants of a dream. It moves like poetry but has the shape of quantum physics, conveying the beauty and pain of fate, as shaped by chance. It's a film you desperately want to piece together, and yet you know that piecing it together is not the point. (Though Carruth will spell it out for you if you want, and it won't disappoint a la Richard Kelly on Donnie Darko.) Sam Adams of the AV Club argues that we're mistaken in holding up puzzle-box movies with that perfect twist, like Memento or The Usual Suspects, as a cinematic holy grail when the rewards of a film like Upstream Color are greater, and he's right. You might solve the puzzle but it will open to reveal another. You might solve the puzzle but find the value was in the pieces. https://youtube.com/watch?v=SilYsr_3vrA
For five days in October, the Queen Victoria Market will become the cheesiest place in Melbourne, all thanks to its new Holey Cheese Festival. Running on Tuesday, October 23 and again between Thursday, October 25 and Sunday, October 28, this is the type fest that'll fill your stomach with all of things fromage — so if you're not fond of dairy, consider yourself warned. A good cheese fest is all about the tastings, and this one promises samples of the state's best hard, soft, blue, white, fresh and aged rinds from both regular market traders and local producers. When you're not nabbing a bite of gouda, camembert or raclette, you can tuck into cheesy meals from food trucks, pop-up eateries — including a 140-cheese pizza from 400 Gradi (just ten cheese's shy of its record-breaking pizza) — Melbourne chefs and, once again, the market's regulars. Throw in live music, a bar serving up wine, beer and cider, and cooking demonstrations — hopefully showing you how to whip up the cheesiest possible dishes at home — and you'll be having cheese dreams for days.
Melbourne culture guide seeks eager writerly types. Ideal applicant will bond with us over pricey gin, strong coffee and excellent words. Passion for good food, great art, local theatre and loud music is a plus. Casual commitment. No walks on the beach necessary. Concrete Playground is an online weather vane pointing you to the cultural tornadoes that are just about to hit. The Melbourne site is currently on the lookout for both food writers and arts writers — bonus points to those who can cover both. Are you infamous to the baristas of Brunswick? On first name basis with the receptionist at the NGV? Maybe you have a personalised seat at La Mama? Please, lend us your cultural genius. Your job will be filling us in on the latest cultural happenings and culinary openings through the means of event previews, reviews and features. Writers will be paid per published article at set rates. To apply, please forward a short bio and some relevant writing samples to rima@concreteplayground.com.au. Image: Joybot via photopin cc.
The technological boom of the noughties saw Steve Jobs catapulted to god-like status (RIP) and CDs become basically extinct, making it hard to imagine that 20 or so years ago our enjoyment of recorded music hung largely on the now archaic mix tape. Once upon a time we sat on hard floors, fingers poised above PLAY and REC, waiting to hear and capture that one important song, should we be so lucky that it should serendipitously permeate the airwaves. The cassette tape is just one thing to feel nostalgic about at NGV's newly opened Mix Tape 1980s: Appropriation, Subculture, Critical Style. The exhibition fuses art, music and fashion seamlessly within a broader exploration of national identity to create a complex tapestry showcasing a decade that heralded dynamic change in Australia’s contemporary art and culture landscape. The exhibition is a mix tape — just like a traditional TDK cassette, it is a compilation of the most pressing and progressive issues of the time and for added authenticity the viewer even has to switch from Side A to Side B half way through. To start with Side A would be to walk into the first of the two large exhibition rooms and be met by the young girl in Peter Tyndall’s A Person Looks At A Work Of Art/ someone looks at something. As she stares out at her observer, they become desperately self aware of the very act of artistic reflection. This piece perhaps inadvertently sets the scene for the rest of the collection — the artists of the time were immersed ethically as well as stylistically in their practice, often hyper aware of their medium. The breadth of work within Mix Tape 1980s: Appropriation, Subculture, Critical Style shows no limits in terms of form, conceptualisation and subject matter. Juan Davila’s postmodern Ratman questions censorship, homosexuality and art in culture; Robert MacPherson’s Frog Poems attempts to eradicate the limits of the English language and Imants Tillers’ composite works open up all manner of artistic possibilities. Further mixing creative mediums, the digital music mix tapes by artists such as Jenny Watts and Philip Brophy strewn around the gallery (to listen to through noise-cancelling headphones) contextualise the era in which these artists lived, worked and presumably partied at the discotheque. Side B flips the viewer into a second space — this one darker, showier. The elaborate fashions and nightclub subcultures of the decade are juxtaposed by the bleaker cultural identity crisis that concurrently took place. Both Leigh Bowery’s iconic The Masquerade costume design and Peter Tully’s jewellery explore ideas of gender and homosexuality as influenced by pop culture, highlighting the currency of their work beyond its role as fashion. Deeper into the gallery, introspections of personal and cultural identity are further explored. Many works centre upon identification, Indigenous society, environmentalism, womanhood and feminism. This cultural existentialism present in the drawings, painting, sculpture and photography create a critical and even, at times, Kafka-esque view on the society. Fusing mediums both aurally and visually Mix Tape 1980s: Appropriation, Subculture, Critical Style is not just a kitschy throwback to the colourful music, art and fashion of 1980s Australia, but a deeper homage to a dynamic decade of exploration that continues to permeate and inform the present day. Image Maria Kozic Self Portrait 1987, via ngv.vic.gov.au
Up-and-coming craft brewery Fury & Son is getting ready to launch its latest creation, opening the doors to its onsite taproom next Friday, February 2. It's a much-anticipated move for the label, which set up shop in Keilor Park back in 2016, and has been winning fans and busting onto beer lists ever since. Now, punters will be able to get an insight into the team behind the brews, as they sample beers like the pale ale and the IPA fresh from the source. From next week, the brewery will be open every Friday, the eight-strong tap list featuring six house creations alongside a couple of rotating guest beers. It'll also be the number one spot for fans to get their hands on Fury & Son's special-edition releases, with the first keg of any new seasonal beer pouring here for free. Taking care of the food side of things will be the team from Houston's BBQ, armed with a rotating menu of treats cooked low 'n' slow. To kick things off, there'll be proper US-style hot dogs, chicken wings and pulled pork burgers, plus veggie dishes like smoked cauliflower and capsicum. Working to the motto of "welcome to the family", it's the kind of joint that'll feel like coming home. Find Fury & Son's brewery and taproom at 46 Concorde Drive, Keilor Park. Visit their website and Facebook page for further details.
Richmond's much-loved patisserie gem Penny for Pound has officially reopened in expanded digs, just a stone's throw away from its original hole-in-the-wall venue. Known for freshly baked goodies of all sweet and savoury varieties, the new location on Bridge Road boasts a broad takeaway and dine-in menu to suit its newly-acquired space. "We are really excited about our new Richmond store, it's like coming home. Penny for Pound was born with the ethos of supplying people around Melbourne with the best tasting, freshest baked goods, and we are thrilled to be able to continue to do so," says Matilda Smith, Penny for Pound co-founder and trained pastry chef. Penny for Pound's Bridge Road store will bring along all the team's well-known artisanal pastry staples, along with new favourites for Melbourne pastry-lovers to try. Expect rich confit garlic and cream cheese scrolls, twice-baked red velvet croissants and passionfruit doughnuts. The team's infamous salted chocolate chip cookie, ricotta and honey cruffins, plus a range of fruit danishes have also made their way across to the new spot. A rotating selection of toasted sandwiches, a range of salads and hot pies running to the likes of beef bourguignon and a vegetarian Mexican bean are great options for lunch patrons. Images: Supplied. Penny for Pound Richmond is now open at 418 Bridge Rd, Richmond from 7am - 3pm.
Battles will be had, blood will be shed, and brothers will unite on stage in this Bell Shakespeare production of Henry V, but not quite as you remember it from high school lit. Shakespeare's tale tells the story of King Henry V who, having ascended the throne following the death of his father, promptly — after a few people tell him he should probs do something else — declares war on France. More or less, it's about Henry trying to rally his troops to fight their bestest while simultaneously avoiding assassination, and getting a French wife (because nothing says romance quite like declaring war on your crush's country). In this production, director Damien Ryan is bringing the story to life with a contemporary take, inspired by a true story. During the London Blitz in 1941, a group of young men, bored and stuck in a bunker, started a club, where they would rehearse and perform plays to others in the shelter. "With England on the precipice and Churchill comparing the fighter pilots to the 'happy few' at Agincourt, it is hard to imagine that a Henry V would not have struck their hearts," said Ryan. With this in mind, he has re-imagined one of Shakespeare's more politically charged plays in this context. An exploration of violence, manhood and assumed power from the heart of a gloomy British bunker.
Since 2010, the City of Stonnington has livened up their streets with ART-Town, two weekends a year where the south side is packed to the brim with live art. Over 130 artists will set up their stations to create pieces from the artistic domains of stencil art, murals, installations, photography, multimedia, digital, graphic art, illustration and painting. The artists are all Australian but not all Melbourne locals, which makes for some interesting interpretations of a city so many of us call home. Highlights for this year’s ART-Town include Anthony Sawney’s abstract designs being painted on the grass at Grattan Gardens, and fine art body painter Susanne Daoud will demonstrate her work as process by painting a live model. For those more interested in street art, Jessica Kease's multilayered, award-winning stencil art is a thing of beauty, and Buff Diss' freehand pieces constructed from tape are both unusual and impressive. Have a blast exploring the Chapel Street precinct and make some new artistic discoveries.
For most of us, Pizza Hut visits have been happily locked away — or banished, if you ever ate one of those Four'n Twenty meat pie-stuffed crust pizzas — in the childhood memory bank for good. Since then, we've swapped our ten-year-old desires for more grown-up gourmet pies, preferring real pizzas with high-quality ingredients that are made lovingly by an Italian family, served with nice wine and maybe even come with the option of vegan cheese. But if you want to renege on all that pizza progress and go back to where it all began with a chewy, cheesy large Hawaiian, Pizza Hut will welcome you back with open arms. The restaurant chain this week opens its doors to a new dine-in 'concept store' in Sydney. If you haven't already, forget what a 90s-style Pizza Hut looks like. In the vein of McDonald's — which opened a concept cafe called The Corner in Sydney in 2014 — Pizza Hut's latest venture is giving a red-hot crack at being cool by distancing itself from its usual branding. The fit-out sits awkwardly between clean white-tiled minimal cafe (with neon signage!) and a small suburban pizza place circa 1992. As well as its pizzas, the restaurant menu has adapted modern food trends for a selection of 'tapas-style' entrees and a dedicated dessert bar, featuring free-flowing 'real' ice cream and frozen custard. The chain is also bringing back the vice of greedy 90s kids that is the all-you-can-eat model, in the form of unlimited pizza by the slice on Tuesday nights and Saturday afternoons. You'll be able to get a medium pizza and a soft drink for the bargain basement price of $8 and the kitchen will be open until midnight on Fridays and Saturdays. The Waterloo restaurant will also become the brand's new 'innovation lab', where it will create and trial new (no doubt, questionable) creations. It launches today — and while there are so many other places we'd recommend you eat pizza in Sydney, if you're looking for an excuse to check it out, the store is giving out free pizza all day today from 11am. Find Pizza Hut's new Waterloo store at 7 Archibald Avenue, Waterloo. For more info, visit pizzahut.com.au.
With Bannisters' duo of hotels at Mollymook now a firm fixture on New South Wales' south coast, the accommodation brand is turning its gaze to the north. Later this year, Port Stephens will be in for a good dose of swank, with the company taking over the Soldiers Point site previously occupied by Salamander Shores. As at Mollymook, you can expect luxury. Of the 80 four-and-a-half-star rooms, 50 will afford views straight across Karuah River, while the other 30 will look over bushland. If you've cash to splash about, book the penthouse or one of four extra-fancy suites. Wherever you sleep, you'll be welcome to make the most of the infinity pool, hang out in the high-ceilinged lobby and kick back at the onsite pub over a pizza — or indulge in a course or three at the Rick Stein signature restaurant. "The abundance of top-quality seafood is a massive attraction, as is the proximity to the Hunter Valley's wineries," said Stein. "I will be working closely with head chef Mitchell Turner, designing a menu featuring local king prawns, Yellowfin bream, flathead, calamari and school whiting, not to mention the fabulous oysters." Looking the part, all these spaces — and the rest — will be sorted out by Bannisters' stellar design team, made up of architect Tony Freeman, interior designer Romy Alwill and landscape designer Will Dangar. And as for bringing the Bannisters brand to the area, general manager Peter Bacon said "there is so much potential in Port Stephens, and it is a natural progression for us to take a formula that works and replicate it." Find Bannisters Port Stephens at 147 Soldiers Point Roadd, Soldiers Point from later in 2018.
East Malvern's humble Central Park isn't quite as grand as the one in NYC, but it'll certainly be tastier with the East Malvern Food and Wine Festival coming to its green lawns in November. The weather will be warming up definitively by then and it'll be a wise call to spend a day in the park — especially when you add a vast range of winery and brewery produce into the mix. Go along to taste vino from Bendigo and Heathcote regions, beers from local craft breweries, and taste till your heart is content and you've forgotten tomorrow is Monday. Food-wise, there'll be offerings from Riserva and Nepal Dining, as well as pop-ups from Richmond Oysters, That's Amore Cheeses and a Christmas pudding stall where you can really go all out and treat yourself. You'll be able to stock up on artisanal produce and, if you or your mates have kids, you can send them to a magician masterclass. Meanwhile, your other (furrier) kids can score some doggie treats from the Canine Wellness Truck.
Six Melbourne councils are looking for input from inner-Melbourne makers, on an online initiative that will map and promote the city's vibrant creative culture. www.makers.melbourne is a new website where artists and boutique manufacturers can upload their information, creating a one-stop guide for Melburnians looking to support local businesses while indulging in a little retail therapy. The site was launched in the wake of a study by the University of Melbourne. Commissioned by the cities of Melbourne, Port Phillip, Stonnington, Yarra and Maribyrnong, who were later joined by Moreland City Council and the Metropolitan Planning Authority, The Dilemma of Urban Employment Land was designed to help local government make decisions in regard to the competing demands between commercial land use and residential development. "There is great value to Melbourne in nurturing small urban makers and innovators," said Stonnington Mayor Claude Ullin. "The www.makers.melbourne hub is part of a research project that will provide insights into how new forms of Australian manufacturing can be supported and fostered." Dozens of small businesses have already registered on the site, ranging from furniture makers to fashion designers to architecture firms to restaurants and cafes. For more information visit www.makers.melbourne.
Fast forward to the end of December and we all know we're going to be committing to staying fit come 2021 for our New Year's resolution. We may not follow through, but a fresh sportswear outfit can be some good motivation. If you're looking to get in early, LSKD is lending a helping hand by taking up to 70 percent off its sportswear in its huge Black Friday sale. Formed in 2007, LSKD (pronounced loose kid) is an Australian-owned and operated clothing company specialising in sportswear, streetwear and accessories. The company produces high-quality, stylish clothes for both men and women ready for a trip to the beach, gym or a night out. From 6pm Tuesday, November 24 until Thursday, December 3, LSKD will be offering a heap of its threads wildly low prices, from women's tights, tanks and sports bras to men's tees, hoodies and shorts. This is the brand's only sale of the year so check out the store and maybe save a few bucks. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
He tore down a massive concrete letter ‘M’ in Sweden. In the Netherlands, he made a giant ‘S’ of vegetables to be devoured by a horde of pigs. Across the world, from Europe to Brazil, via India, New Zealand and Papua New Guinea, Spanish installation artist Santiago Sierra has been making and destroying super-size letters as part of his two year project The Destroyed Word. What could they spell? With nine out of ten letters down and Sierra’s famously anti-capitalist stance it’s getting pretty obvious by now, but the last letter’s being incinerated on Wednesday and if you want to witness the culmination of this grand vision, you’re invited to come and watch it burn as part of the Melbourne Festival. There’ll also be an exhibition at NGV from October 17, featuring film of all ten demolitions, so you can partake in Sierra's rage against the global machine without risking getting smoke in your eyes.
Every year the Fringe Festival gives Melbourne the chance to show itself off with exhibitions, performances and live art filling up the city’s humming laneways, theatres, and unconventional spaces. The upside of an uncurated festival is access to the unlimited scope, diversity, and imagination of the independent scene, but sometimes the sheer number of events and artworks on offer can be a bit overwhelming. Running between September 18 to October 6, this year the Fringe has over 300 shows on offer. Now that it’s become a Melbourne institution, it would be easy for the festival to rest on its laurels, but a great number of these artists stand out for their sense of risk. Shows like Kids Killing Kids and Viet Kieu are testament to the increasing value Melbourne audiences are finding in cross-cultural performance, while Digital Outlawed, Momentum: Live and the Fringe’s own Digital Gardens show us a tantalising glimpse of the possibilities on the next frontier for contemporary art. Have a look at the full program here, or check out our list of top picks here.
Melbourne is fast becoming Australia's bottomless capital — with more than 21 bottomless brunches to choose from. Or, if you need some action with your free-flowing drinks, there's also infinite darts, prosecco and snacks at Flight Club. Now, Northside Wines has come on board with bottomless small plates. For $49 per person, you'll be snacking your way through 90 minutes' worth of bites. Some are well-established favourites, while others are new creations. Northside's classics include Tahitian snapper ceviche with citrus pearls, crispy pork belly with sherry glaze and fresh apple slaw, and duck and tarragon croquettes. Among the newcomers are cauliflower steaks with brown butter puree, and eggplant glazed with citrus tahini. Thirsty? For another $49, you can add bottomless wines to your feast. The list is big on small-batch wines made by experimental Australian producers, so you can count on unusual varietals — from the Alles Klar vermentino made in South Australia's Riverland to Norte Wines' durif made in the Bendigo region. Both bottomless menus are available anytime.
Well-loved and ever-cheerful family-run gift spot Think Thornbury is about to clock up six years of life — and you're invited to help celebrate with a weekend of discounts, cake and community. The colourful High Street store, founded by visual artist Maggie May and musician Joshua Moshe, has managed to weather a global pandemic and multiple lockdowns, not to mention some of the other tough bits life can throw one's way. And if that doesn't call for a party, we don't know what does. Head along to join the festivities from Saturday, April 29, when Think Thornbury kicks off its first-ever sale. Everything in store and online will be discounted by 10-percent for the weekend; plus if you head along in person, you'll find more goodies slashed by up to 40-percent off. There are even more excuses to head along on Sunday, April 30, when the store busts out the streamers and lets down its hair for a proper knees-up from 2pm, complete with bubbly, birthday cake and a bunch of lucky door prizes. Images: Marie-Luise Photographer
If you think of famous artists, you may recall the likes of Picasso, Dalí, Monet, Michelangelo, Rothko and Warhol. One thing these artists have in common is none of them are Australian. Another is that they're all men. They are, undoubtedly, some of the greats. But this year the National Gallery of Australia is turning its focus to the Aussie women who have greatly contributed to the arts with an upcoming exhibition. Dubbed Know My Name: Australian Women Artists 1900 to Now, the free exhibition kicks off on Friday, November 13 and will run till Sunday, July 4— so you'll have plenty of time to catch it. The blockbuster exhibition is part of the gallery's ongoing initiative to increase the representation of female artists. As the name suggests, it'll showcase works by artists from the early 1900s to the present day, including some brand-spanking-new commissions. By bringing together artists of different times, as well as cultures, practices and places, the exhibition challenges the assumption of Australian art being male-dominated. There'll be more than 350 works on display, featuring everything from paintings to performance art and a floor-to-ceiling presentation of the artists' portraits. Highlights include a commission by the Tjanpi Desert Weavers; performance art by Bonita Ely and Jill Orr; Tracey Moffatt's key series of photographs, Something more; a huge painting by the Ken Family Collaborative; and an installation by Justene Williams. You can also expect works by KuKu and Erub/Mer artist Destiny Deacon, leading modernist painter Grace Cossington Smith, famed printmaker Margaret Preston, photographer Rosemary Laing, Anmatyerr artist Emily Kame Kngwarreye and contemporary painter Anne Wallace. [caption id="attachment_775540" align="alignnone" width="1920"] Anne Wallace, 'She Is' 2001 , oil on canvas, National Gallery of Australia, Canberra, Purchased 2002, © Anne Wallace[/caption] Coinciding with the exhibition's launch will be a three-day conference, which will bring together established and emerging artists, curators and academics to discuss everything from creative practice to women and gender equity in the arts. The conference will run from November 11–13. Know My Name: Australian Women Artists 1900 to Now is showing at the NGA from November 13 through July 4, 2021. The gallery is open from 10am–5pm daily and entry is free. Top images: Yvette Coppersmith, 'Nude selfportrait, after Rah Fizelle' 2016, oil on linen, Private collection, ©Yvette Coppersmith; Roma Butler and Yangi Yangi Fox, from Irrunytju in Western Australia, with their sculptures, 2017, photo: Rhett Hammerton; and Grace Cossington Smith, 'The Bridge in building' 1929, oil on pulboard, National Gallery of Australia,Canberra, Gift of Ellen Waugh 2005. For the latest info on ACT border restrictions, head here.
You put up the money. You helped stomp the grapes. Well, even if you didn't, the people-powered winemakers at Noisy Ritual are inviting you to put a cork in 2017 — literally. Members of the Brunswick East-based urban winery have produced five batches of homemade vino which they're now about to bottle. And they're using it as an excuse to throw a party. Cracking open their casks on the afternoon of Sunday, November 19 in their bar and cellar door, the Noisy Ritual Bottling Party will be your very first chance to try the 2017 vintage – straight from the bottle you helped pour it into. In addition to the wine, there'll be $5 tinnies from 2–3pm, food by Raph's Boogie BBQ and music from The Leafblowers and Expat Lima.
Last time Hunx & His Punx were here — back in 2012 — they charmed many an Antipodean heart with their penchant for getting (nearly) naked, offers to autograph genitalia and expletive-rich expressions of self-desire. In short, they delivered nothing less than what you’d expect of San Francisco’s maddest and baddest bubblegum punk band. So it’s only natural that we’ve invited them back. And this time, they’re bringing Shannon and the Clams in their suitcases. On Friday, March 14, tickets go on sale for a five-date April tour that will see the two bands smashing genres in Melbourne, Sydney, Wollongong, Brisbane and Perth. Since their previous visit, Hunx & His Punx have been busy blending ‘80s hardcore and ‘90s grrrl sounds to create nasty yet catchy tunes for their new album Street Punk, which was released in 2013 via Hardly Art. Meanwhile, co-tourers Shannon and the Clams have lately been spending time playing SXSW sideshows and Psych Fest and hitting the road via Burgerama tours. They mash ‘60s girl group sounds with West Coast garage rock, delivering “doo woppers, bomp stompers, punk rippers, country clippers and psych-o trippers”. Trying say that really quickly five times in a row. Here are the dates: THU 17 APR – Copacabana, MELBOURNE. Tickets via Oztix. SAT 19 APR - Oxford Art Factory, SYDNEY. Tickets via OAF. SUN 20 APR – Farmer and the Owl Laneway Party, WOLLONGONG. Tickets via the Farmer and the Owl. TUE 22 APR - The Zoo, BRISBANE. Tickets via the Zoo. THU 24 APR - The Rosemount, PERTH. Tickets via the Rosemount. Tickets go on sale on Friday, 14 March. Tickets via Oztix.
Cold nights got you down? Couldn't think of anything worse than taking off your ugg boots and heading outside into the chill? What if we told you there was a winter night market happening every Wednesday from now until August 27. Tempted? You should be, your beloved uggs don't even match up to the snuggliness of this hub of merriment. Queen Vic Markets are at it again with their Wednesday night markets. Following the success of last year's season, the winter market is proving to be just as popular as its summer cousin. Kicking off at 5pm every Wednesday, Luna1878 offers up toasty food, warm drinks, silent disco, a sheesha lounge, market stalls, cabaret, roaming performers and enough lively music enough to make you forget it was ever winter in the first place. There'll be open fires going and mulled wine a-flowing, so you can't pull the "it's too cold" excuse. Hidden from the wind within the Queen Victoria Market sheds, Luna1878 is the perfect post-work wind down and mid-week reminder that winter really isn't all that bad. https://youtube.com/watch?v=uEJile-LKoY
There are neither aliens nor gods to be found in the latest instalment of the seemingly unstoppable Marvel movie franchise. Instead, this is an 'enemy within' offering, and it's very much the better for it. Captain America (Chris Evans) is the Avenger in question this time round, and for a movie about the perils of extra-governmental espionage and unregulated oversight, there could be no more suitable a hero than that unfailingly honest idealist Captain Rogers. In The Winter Soldier, Cap finds himself contemplating a life beyond the military, only to be drawn deep back inside the shadowy organisation S.H.I.E.L.D following an assassination attempt on his boss, Nick Fury (Samuel L. Jackson). With the story's many twists and turns, it's risky to disclose much more, but at its heart this is a film about trust, betrayal and (inevitably) good ole-fashioned right and wrong. Fitting, then, that his holiness the pope of '70s plot-based paranoia, Robert Redford, makes an appearance as S.H.I.E.L.D's chairman Alexander Pierce. It's difficult in any film not to get excited whenever Redford embarks upon one of his trademark disquisitions on the state of democracy, freedom or peace, and in The Winter Soldier you get the full-blown triple play. Joining him in the mix are S.H.I.E.L.D regulars Black Widow (Scarlett Johansson) and Agent Hill (Cobie Smulders), as well as the instantly appealing newcomer 'Falcon' (Anthony Mackie). Inevitably, a superhero movie with a budget as big as its leading man's pecs is going to feature the periodic sensory onslaught of explosions, car chases, plane chases and carplane chases to keep the blockbuster fans satiated. The highlights in The Winter Soldier, however, are the smaller-scale, human melees, because let's be honest — Cap's superpowers aren't all that super ("Fitter than the average man, more honest than Abe Lincoln, Chris Evans is...the Truthy Runner"). As a result, his action sequences require more imagination on the part of the writers than they might for, say, Iron Man, and where the team most often delivers is in all the creative ways Cap uses his iconic shield, both in defence and on offence. Not quite as witty as Whedon's Avengers yet more engaging than Thor 2, Captain America: The Winter Soldier offers a darker and more thoughtful superhero story than most, if not all, of its Marvel predecessors. https://youtube.com/watch?v=7SlILk2WMTI
It's only February but already it might be possible to name both the worst film and least funny comedy of the year. Fist Fight, starring Charlie Day and Ice Cube, is a monument to stupidity. Its characters are amongst the thinnest and most derivative ever constructed, its plot is simultaneously ludicrous and entirely dull, and its capacity for comedy exists almost solely as outtakes in the final credits. The film's first-time screenwriters rely exclusively on a three-tiered approach of dick jokes, incessant swearing, and a female teacher's desire to have sex with a minor, forever backed by Day's high-pitched stammering whine. Story wise, Fist Fight takes place on muck up day in a US public school, where the students run riot, the teachers are powerless (or apathetic, or both), and the school board is laying off staff to meet budgetary requirements. When Day and Cube's characters clash over an incident in which Cube takes to a student's desk with a fire axe, Cube challenges the diminutive Day to a fist fight in the school yard after class to settle things once and for all. That none of the faculty, campus security or police department demonstrate any interest in properly addressing either the axe-on-student incident OR the imminent crimes of: assault and battery, disturbing the peace, affray or disorderly conduct, somehow represents the least implausible part of this entire abysmal experience. Alongside Day and Cube are various actors of note in roles that are completely beneath them. Tracy Morgan plays an incompetent sports coach, Christine Hendricks plays a butterfly-knife wielding French teacher, and Jillian Bell plays a meth-addicted guidance counsellor determined to get herself some 'teenis' (teenage penis). The whole conceit is so laughably unlaughable that it's astounding the script ever caught a studio's attention. That actors willingly signed on, well...let's just hope the money was worth it. https://www.youtube.com/watch?v=9aIzXYo6VCE
The Makers and Shakers Market will visit Melbourne again this November, bringing with it the whole kit and caboodle of bespoke ceramics, homewares and jewellery (as well as tasty food to rejuvenate you when you get the oh-no-I-just-spent-all-my-money sweats). Kick things off at 10am with a coffee, spend a few hours browsing, and then chow down on a toastie or perhaps a gluten-free vegan doughnut from Nutie. The market gives space to local makers to sell their handmade wares, with everything from ceramic keep cups to floral tote bags to be found. Stallholders this time round include bright art by Laura Blythman, flowers from Mittoo Blooms, designer soaps by Fazeek, whimsical lamps from Upswitch and jars of sticky caramel from Misty's Salted Caramel. And that's just the crust of the pie — there are many more to choose from when you take a full bite, and a free Christmas craft workshop at 11am. Images: Alana Dimou.
Australian specialty coffee brand Toby's Estate has just dropped a new line of single-serve instant coffee bags, aiming to improve the quality of instant coffee — and provide a product for both coffee aficionados and casual drinkers. To get you on board, a pop-up is happening at Southern Cross Station this weekend, where you can get yourself a free sample and enter into the draw to win a year's supply of coffee. The single-serve coffees come in two flavour profiles: 'The Next Frontier', with hints of dark chocolate and toffee; and 'Forbidden Planet', for the more fruity taste of strawberries and milk chocolate. You can give them a try from 9am–1pm — or until Melbourne's coffee lovers drink them all — on Saturday, February 22. In a time when "single use" is a hot topic, it'll be interesting to see how people take to the concept of individually packaged, one-use-only coffees, — even though the bags are 100-percent biodegradable and the outer packaging is made from renewable and compostable materials. Of course, it can't be denied that a cheap and quick coffee option that actually tastes good wouldn't go astray in most office kitchens.
At the moment, you can't go visit your local bar for a round of after-work negronis on a Friday afternoon. But that doesn't mean you need to forego your usual end-of-week drinks with your colleagues. A heap of bars, wineries and distilleries are bringing the happy hour to you — virtually. Whether you'd like to learn how to whip up a Bond-worthy martini, show off your beer knowledge at a boozy trivia session or taste your way through some top drops (and learn a thing or two) at an online cellar door event, there are plenty of digital happy hours to get around while you work from home. Here are some of our favourites.
Grabbing a meal. Going to work. Eating at a restaurant with friends. Making a living cooking up a storm or waiting tables. We've all had a bite to eat at a cafe, and many of us have worked in hospitality — and we should all be able to enjoy both in a safe space. With tensions rising across the United States since the election of Donald Trump as the country's 45th President, a new initiative has emerged to ensure both patrons and employees can do just that. Sanctuary Restaurants provides resources to eateries to help ensure that people can dine and work in a discrimination-free environment, and to assist with supporting customers and staff that find themselves targeted. Establishments that join the movement — currently 64 at the time of writing — have a zero tolerance policy for sexism, racism, and xenophobia. More explicitly, they do not allow "any harassment of any individual based on immigrant/refugee status, race, religion, gender, or sexual orientation to occur in their restaurant". After signing up, they're advised to place a sign in their windows advertising their policy: "SANCTUARY RESTAURANTS: A Place At the Table for Everyone". While such an initiative should definitely be commended, as should the restaurants signing up and the effort to make sure that restaurants remain inclusive and welcoming for all, the fact that it is needed really says plenty about the current climate of hatred and fear festering around the globe. As long as something like this is necessary, here's hoping more places join in — and that the commitment to cultivating safe spaces continues to spread, including beyond America. Via MUNCHIES.
All of the taste, none of the seed storage proteins: if you need to eat a gluten free diet, that's all you ever want. And, if you've been craving a few of your favourite biscuits but usually have to steer clear because they don't fit the bill, Arnott's has released new versions of a few well-known varieties. The big one: the Scotch Finger. Last year, the much-loved Australian biscuit maker released the recipe for its original version, but this is obviously even better if you can't consume gluten. The new variety is made with a gluten free flour blend, which uses locally sourced maize, tapioca, rice, sorghum and soy. This one apparently has a sweet base as well, and you can expect both buttery and vanilla tastes. And yes, it still snaps in half — which is perfect for sharing, or for just treating yourself to two smaller pieces instead of eating one big one. That's not the only Arnott's biscuit that's getting a gluten free version, with both Tiny Teddy and Choc Ripple bikkies also receiving the same treatment. For the former, you'll be able to tuck into small, bear-shapped biscuits peppered with chocolate chips. With the latter, expect the usual cocoa flavour, and the same crunchiness. The gluten free range hits stores today, Monday, July 19, and you'll only be able to grab them from Woolworths supermarkets. You'll pay RRP$4.70 per pack, and all three new bikkies have been developed with Coeliac Australia. Arnott's gluten free Scotch Finger, Tiny Teddy and Choc Ripple biscuits will be available from Woolworths supermarkets from Monday, July 19.
When it comes to history's legendary painters, Claude Monet's name stands out above most. Now, for the first time ever, Australian audiences are invited to experience the painting that the entire Impressionist movement was named after as the National Gallery of Australia exhibits Monet's world-famous masterpiece, Impression, sunrise. As well as a striking collection of other Monet paintings — including the instantly recognisable Waterlilies and On the Beach at Trouville — the exhibition features works by an array of artists who inspired or followed Monet into leaving behind the studio and painting 'en plein air'. From JMW Turner to James McNeill Whistler and Eugène Boudin, other contemporaries of Monet featured at the NGA include Alfred Sisley and Berthe Morisot, one of the few female painters among the Parisian Impressionists. With their visible brush strokes and incredible depictions of light and its subtle changes, many of these works have been gathered from the Musée Marmottan Monet in Paris, which almost never loans its collection. Running until Sunday September 1, Monet: Impression Sunrise is undoubtedly worth taking a wintertime road trip to Canberra for, so grab your pals and hit the road. Images: Claude Monet, Impression, sunrise (1872), courtesy Musée Marmottan Monet, Paris and Christian Baraja SLB; Claude Monet, Waterlilies (1914–17), courtesy NGA; Claude Monet, On the beach at Trouville (1870), Courtesy Musée Marmottan Monet, Paris and Bridgeman Images.
Palo Alto should come with a warning: may cause optic nerve damage as a result of excessive eye-rolling. Adapted from a collection of semi-autobiographical short stories by Instagram-age Renaissance man James Franco, the film marks the directorial debut of 26-year-old Gia Coppola, the granddaughter and niece of filmmakers Francis Ford and Sofia, respectively. A portrait of teenage disaffection, it's a film that attempts to capture the aimlessness, the angst and the self-aggrandised melancholy of youth. That it more or less succeeds in that goal is a big part of what makes it so unbearable. Emma Robert and newcomer Jack Kilmer play April and Teddy, a pair of brooding high schoolers absorbed by personal drama. He's a delinquent skater who's actually an unappreciated artist; she's the neglected daughter of self-absorbed parents who begins an affair with her creepy soccer coach (Franco). Meanwhile, Teddy's best bud Fred (Nate Wolff) finds himself drawn to increasingly anti-social behaviour to hide his insecurities, while another classmate Emily (Zoe Levine) turns to sex in order to hide her own. While Coppola and Franco do their best to depict the nuances of teenage ennui, their interlocking stories end up bringing little new material to what is already an over-saturated genre. Likewise, while the mannerisms of the characters feel pretty accurate, the kids ultimately come across more like ciphers than real people. There's little insight into why they do the things that they do, other than they're bored, perhaps, or feel entitled. Or maybe the world just, like, doesn't understand. Coppola's direction shows promise, only to fall into indie film cliché. Midnight strolls through deserted streets look as though they've been pulled from a Smashing Pumpkins music video circa 1996, while some of the visual metaphors — Fred driving the wrong way down the freeway, for example — are way too obvious to be profound. Despite this stumble, there's enough in Palo Alto to suggest the youngest Coppola may have a future ahead of her. You'd be less inclined to be charitable towards Franco, whose aggressive desire to be taken seriously makes it basically impossible to do so. https://youtube.com/watch?v=sTqMUu1iTIo
UPDATE MAY 2, 2017: The Lucas Group have given us an opening date for Kisumé: Monday, May 15. Bookings can now be made on the website for the sushi bar, restaurant and private dining room. Reservations for the top-floor 12-seat omakase Kuro Kisume will open in the near future. Chris Lucas gave Melbourne foodies and cult Chin Chin queuers plenty to get excited about last year when he announced plans for a three-level Japanese restaurant on Flinders Lane. But three months out from the expected launch date, he's got us positively drooling in anticipation, finally dropping the venue's name and confirming exactly who will be heading up its food and drink offering. Parked just down the road from Chin Chin at 175 Flinders Lane, the sprawling eatery will be called Kisumé. The name roughly translates to 'pure obsession with beauty', and reflects The Lucas Group's plans for a venue that blends Japanese sensibilities with that classic hospitality that is synonymous with their restaurants Chin Chin, Baby, Kong and Hawker Hall. As Lucas explains, it's an idea that's long been in the works. "My daughter Holly was born in Tokyo, so this restaurant opening is a very personal one," he says. "It's the culmination of years of hard work and fulfils a dream that one day I could do justice to the beauty and elegance of Japanese food right here in my hometown." As previously revealed, Shaun Presland is jumping ship from Sake (where he was the restaurant's founding executive chef), to bring decades of training and a reputation as one of the country's top contemporary Japanese chefs to Kisumé. And, as if that wasn't enough skill in one kitchen, we now know he'll be joined in the executive chef role by acclaimed Korean-born chef, K. S. Moon. Known the world over for his innovative flair, Moon arrives fresh from his own Singapore restaurant, Mikuni, armed with some serious certifications and even skills as an international sake sommelier. Meanwhile, it looks like punters will be in just as good hands when it comes to the drinks offering, with The Lucas Group's general manager of wine Phillip Rich, who will be helming an extensive wine and sake program. He'll be joined by Markus Tschuschnig, fresh from his post as food and bev director of famed New York omakase restaurant MASA. The Lucas Group will open Kisumé in May. They're also opening a second iteration of their Kong restaurant on Smith Street towards the end of the year. Kisumé will open at 175 Flinders Lane on Monday, May 15. Bookings are now open. To make one or for more info, visit kisume.com.au.
Summertime in the Garden of Eden began as a piece of scratch theatre, whipped up in three weeks and playing to packed out audiences in a Thornbury shed. A short November season at Theatre Works in St Kilda is the last chance for Melbourne audiences to catch a glimpse of Sisters Grimm's anarchic vision before they take the show to Sydney's Griffin Theatre. Between its premiere in 2012 and now, the company — a collaboration between Ash Flanders and Declan Greene —have enjoyed a meteoric rise, cemented by their NEON Festival offering, The Sovereign Wife, a three-hour, two-interval epic that sold out after the first night. The Sisters' work leaves gender roles exploded in their wake, shattering familiar tropes of stage and screen. In Summertime, the cotton fields of the American South provide rich pickings for their brand of melodrama, drag, and obscenity — undercut at all times by a keen, subversive edge.
