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PICA Annual Report2018

4 Snapshot of 2018

6 Director’s Report

10 Chairperson’s Report

12 Artistic Program

40 Publications

42 Artist Development

50 Events and Public Programs

56 Donor Events

62 Learning

66 Financial Report

100 Board and Staff

102 Thank You

Image: OK Media

Contents

Cover Image: Confusion for Three, Jo Lloyd, 2018. Photo: Christophe Canato

1Annual Report 2018

PICA’s purpose is to foster the development of, and engagement with,

contemporary arts and ideas.

PICA’s mission is to create career-defining moments for artists, life changing experiences

for audiences of all ages and critical turning points in the advancement of art forms.

Image: 歸屬 Gui Shu (Belong) Development, 2018. Photo: Ashley de Prazer.

A Snapshot of 2018

In 2018 PICA was supported by the City of Perth to undertake a social and economic study through Culture Counts.

The study captured and analysed information about our audiences, artists, their experiences and PICA’s impact on the community.

Total annual attendance:

Artists supported directly:

Exhibitions, Performances and events:

Residencies and Creative Developments:

Economic Impact:

Visitors that identify as being from culturally and linguistically diverse backgrounds:

Visitors that identify as living with a disability:

Visitors that were new:

Visitors that come more than 5 times a year:

of audiences think PICA is RELEVANT, and that what they experienced had something to say about today’s world89%

of audiences observed RISK in the work that they experienced, and felt that the artists that PICA presented were not afraid to try new things

95%

of audiences, and 100% of artists, felt that what they experienced had LOCAL IMPACT, and that it was important that it was happening in Perth

81%

of audiences told us that what they experienced had MEANING, and that it moved and inspired them78%

of audiences said that what they experienced at PICA was DISTINCTIVE, and that it was different from things they had experienced before

77%

of audiences were CHALLENGED, and their experience at PICA made them think in a different way84%

of PICA’s artists felt BELONGING, and said that their experience at PICA made them feel a part of the community85%

100

309,837

$14,966,259

25%

6%

49%

27%

206

12

of PICA’s visitors are cultural tourists38%

18% from overseas6% from regional WA63% from Perth metro area14% from interstate

4 5

Director’s Report

Image: Kimsooja, Zone of Nowhere, exhibition opening, 2018. Photo: Alessandro Bianchetti

In 2018 PICA supported over 200 artists, attracted audiences of over 300,000 and delivered a total economic impact of just under $15,000,000.

It was a year in which PICA further deepened its support of artists and its engagement with audiences, extended its program and reach well beyond its walls, critically celebrated diversity and built lasting networks within Asia.

The year began with a sequence of works that encouraged the Perth community to take an active or participatory role – and this they did, in force. The sell-out premiere of yourseven by James Berlyn and WA Youth Theatre Company saw audiences enact their own life journey while Renée Newman’s Seeking basic needs and other tales of excess offered a meditative walking tour of the streets of Northbridge, set to a soundtrack featuring personal stories of movement and migration.

The Second Woman by Nat Randall and Collaborators was a Perth Festival stand out. 100 Perth men of diverse ages and backgrounds became actors in this utterly compelling 24-hour live performance and cinema spectacle that saw audiences stay or queue well into the wee hours as the addictive nature of this complex and intriguing work took hold.

Zone of Nowhere was the first Australian solo exhibition by internationally acclaimed, South Korean-born and New York based multidisciplinary artist Kimsooja. Featuring a selection of the artist’s most significant work to date as well as a startling new commission and public art work, the exhibition filled PICA’s entire gallery spaces and spread into the streets of Perth.

The Hatched National Graduate Show 2018 expanded to include, for the first time, a number of residencies for both local and interstate artists featured in the show, while the Schenberg Art Fellowship increased to a career-catapulting $45,000.

The WA premiere of Aphids’ Howl saw PICA’s central gallery space transformed into a procession site for 15 significant and controversial moments in art history, including one that took place in our own city.

7Director’s Report

PICA continued its commitment to celebrating the histories and living cultures of First Nations peoples with the commissioning of Marrugeku’s Burrbgaja Yalirra (Dancing Forwards), a triple bill of solo works that formed a deeply affecting and vivid engagement of Indigenous cultures across dance, music and storytelling.

In 2018, PICA presented the largest survey of work by Australian/Lebanese artist Khaled Sabsabi. A Self Portrait featured a new commission as well as several works not previously exhibited and was supported by a public program examining art & identity and the role of spiritually engaged practices by Muslim artists in WA.

A partnership with the Institute of Modern Art, Brisbane and The Power Plant, Toronto resulted in the presentation of please open hurry, the first Australian solo exhibition by Argentinian/UK artist Amalia Pica. In a series of new commissioned works, Pica explored the techniques, potential and shortcomings of communication between different species.

PICA was thrilled to partner with SymbioticA in the development and presentation of Hyperprometheus: The Legacy of Frankenstein, an exhibition that celebrated the 200th anniversary of the publishing of Mary Shelley’s Frankenstein, or the Modern Prometheus (1818). Featuring the work of 19 Australian and international artists, including on and off-site performances by Stelarc, Justin Shoulder and Kira O’Reilly, the exhibition re-contextualised Frankenstein for the new millennium within the realms of contemporary and biological arts.

Derek Kreckler: Accident & Process wound up its tour in 2018, with Bathurst Regional Art Gallery being the last venue of a highly successful three year, nationwide, 8 venue tour.

In 2018 PICA supported a number of significant studio residencies and creative developments. Those to note were studio residencies undertaken by WA’s Elham Eshraghian, recipient of the 2018 Schenberg Art Fellowship, Victoria’s Drew Pettifer who was researching events around the shipwreck of the Dutch East India company’s Zeewijk and leading Taiwanese artist and academic Yao Jui-Chung.

A creative development undertaken by Steamworks Arts for their new work 歸屬 Gui Shu (Belong), an intercultural collaboration between Australian and Taiwanese dancers, filmmakers and musicians saw the company team up with Pilar Mata Dupont as a visual dramaturg for the project.

PICA partnered with Turner Galleries, the City of Perth and the Kuandu Museum of Fine Arts in Taipei to deliver a cultural exchange program between WA and Taiwan. PICA hosted residencies by Professor Chu The-I and artist Yao Jui-Chung, as well as undertaking a curatorial residency in Taipei which culminated in the development of a formal partnership and exhibition program with the Taipei Fine Arts Museum, scheduled for 2019.

PICA’s extensive range of events and public programs were designed to create special social occasions for our audiences and de-mystify contemporary art while increasing our accessibility to those with different abilities, cultural backgrounds and areas of knowledge. Our 2018 visitor survey results showed that over 25% of our audiences came from a culturally and linguistically diverse background or spoke a language other than English at home.

PICA’s learning program provided invaluable curriculum and extra-curriculum support and unique learning experiences across diverse subject areas to 3,837 students from over 110 schools, tertiary institutions and community groups.

There were a few changes to the PICA staff line-up in 2018, with the sad departure of our unflappable Engagement Coordinator Charlotte Cooper-Dixon and Marketing Assistant Joshua Allen, both in May. At the end of the year we farewelled the fabulous Zoe Hollyoak and Sophie Johnson as they moved on to new adventures.

I would like to thank the entire PICA team for their tireless enthusiasm and energy. Their talents and hard work are legendary – and deservedly so. I must also thank the PICA Board, especially the Chair Robyn Glindemann, for their wisdom, generosity and personal commitment.

Amy Barrett-Lennard

Image:

8 Director’s Report

Chairperson’s Report

2018 has been another hugely successful year at PICA, as the organisation deepened its support of artists, realised ambitious new projects, forged new partnerships and moved audiences.

We, once again, met or exceeded nearly all of the goals we had set for ourselves and this is in no small part due to the incredible staff at PICA, led by Director Amy Barrett-Lennard, who continue to impress the Board with their enthusiasm, commitment to excellence and complete dedication to PICA’s vision.

In 2018, PICA’s sustainability and dynamic artistic programming was supported by strong financial management and a renewed focus on workplace health, wellbeing and safety.

PICA’s total income in 2018 was $2,137,533 with income from core grants totalling $1,306,326 and that from sponsorship and donations totalling $412,296. Although ending the year with a small deficit of $2,662, the organisation maintained healthy reserves with a total equity of $508,921 at 31 December 2018.

Our government partners, the Australia Council for the Arts, the Western Australian Department of Local Government, Sport and Cultural Industries, LotteryWest and the City of Perth continued their vital support of PICA in 2018.

I’d like to thank every one of our Art1000, Art Ambassador, Director’s Circle and Art Commissioner donors for their personal commitment to PICA. In 2018 and for the first time, PICA offered art tours to its donors, to Adelaide in March and then to Naples and Palermo in September. In addition to cementing firm friendships, they have proved to be excellent arts learning experiences.

Thank you also to our corporate partners and sponsors who are vital in supporting PICA as it creates career-defining moments for artists. My thanks to Wesfarmers Arts, Minderoo Foundation, City Toyota, Dulux, Grace Fine Art, Keepad Interactive, Training Course Experts, the Alex Hotel, The Standard, Willoughby Park Wines and Boston Brewing.

PICA welcomed the transition of the Perth Cultural Centre public realm management from the Metropolitan Redevelopment Authority to the Perth Theatre Trust (PTT) and continued to play an active role in the development of precinct policy and strategic development.

In October 2018, PICA was advised by the State Government of new leasing arrangements in the Perth Cultural Centre, including the PICA building. We look forward to securing our tenancy in a way that supports the vision and objectives of the Perth Cultural Centre as well as PICA.

I truly believe that PICA is a vitally important part of Perth and Western Australia’s cultural fabric. Its commitment to developing and nurturing contemporary artists across different mediums and practices is unique, inspiring and essential.

Finally, thank you to my fellow PICA Board directors who are an absolute joy to work with. I would like to make particular mention of the considerable contribution of Miles Franklin award winner Josephine Wilson, whose term on the Board expired in 2018 after 6 years of the most insightful artistic guidance. Thank you all for your commitment to PICA’s vision and your support of the PICA team.

Robyn Glindemann

Image: HyperPrometheus, exhibition opening, 2018. Photo: OK Media

11Chairperson’s Report

ArtisticProgram

Image: Kimsooja, Zone of Nowhere, 2018. Photo: Gianni Costa

13

Image: OK Media Image: Aaron Webber

27 January – 17 February The streets of Northbridge

A world premiere work that explored the form of the audio tour, inviting audiences to take a path through Northbridge with a set of headphones and listen in as an original soundscape unfolded with stories of migration and patterns of human behaviour. A meditation on hope, this mindful solo encounter in public space embraced how we are always moving, shifting and changing.

Conceived, Written & Directed by Renée NewmanComposition & Sound Design: Ben CollinsDramaturgs: Steve Bull & Marcella PolainCultural Advisor: Ian WilkesStories: Lyndall Adams, Oda Aunan, Tanatchaporn Kittikong, Arad Niksefat, Federico Pidala, Casta Tongaraza, Ian Wilkes, Min Zhu & words reproduced with permission by Behrouz Boochani Voiced by Steve Turner and Renée Newman

Presented for FRINGE WORLD Festival 2018

Supported by the Department of Local Government, Sport and Cultural Industries, the Western Australian Academy of Performing Arts and Edith Cowan University. The initial concept was developed at KISS club in 2017 with the support of pvi collective and PICA.

Nominee:Best Sound Design (Ben Collins), PAWA 2018 Awards

1 - 17 February PICA Performance Space

Based on Jacques’ famous speech from “As You Like it”, yourseven asked audiences to consider their life journey through Shakespeare’s seven ages of man, framed through one-on-one encounters in seven photo booths. A world premiere, this touching work explored the cycle and value of living.

Concept & Direction: James Berlyn Assistant Director: Grace Chow Lighting Designer: Chris Donnelly Set Construction: Chris Donnelly & Matt Bairstow Scenic Design: Jane BarwellMusic Consultation: Chris Van Tuinen Sound Editing: Late Night Shopping Stage Manager: Tegan Sorenson Cast: Adam Kelly, Ayouk Mading, Bethany Robinson, David Ratcliff, David Stewart, Elizabeth Joseph, Grace Chow, Isabel Seton-Brown , Kasia Kelly, Laura Pitts, Lily Baitup, Olivia Mitchell, Ollie Charlton, Patch Kain Gunasekera, Scarlett Hayes & Thomas Tregonning-Barwell Presented with WA Youth Theatre Company for FRINGE WORLD Festival 2018

Winner: WA Emerging Artist & ECU Performing Arts,Fringe World 2018 Awards

Seeking basic needs andother tales of excessRenée Newmanwith Ben Collins

yoursevenJames Berlyn and WAYTCo

If you could have seen the faces of our cast when they learned of who would be seeing them perform each night and then that we sold out our season. Suffice to say that with your co-presentation we achieved all the goals we had identified were important for our members and for WAYTCo. We simply couldn’t have done anything like this without you!

– James Berlyn, Executive Producer, WAYTCo

Artistic ProgramArtistic Program14 15

Zone Of NowhereKimsooja

17 February – 29 AprilAll PICA Galleries

Zone of Nowhere was the first Australian solo exhibition by internationally acclaimed, South Korean-born and New York based multidisciplinary artist Kimsooja, whose work centres around sensitive cultural and political issues and in particular those surrounding migration and displacement.

Through installation, performance, sculpture, video and photography, this exhibition transcended everyday reality, bringing together the physical and the metaphysical through repetitive actions and meditative practices.

It featured To Breathe – Zone of Nowhere (2018), an awe-inspiring installation of 30 flags created for PICA’s central gallery space. This work originated from the video To Breathe – The Flags (2012), commissioned for the London 2012 Summer Olympics.

Curated by Eugenio Viola

Zone of Nowhere was a Perth Festival event supported by Visual Arts Program Partner and PICA Public Project Partner Wesfarmers Arts.

Zone Of Nowhereon the Streets of PerthKimsooja

15 February – 8 March Perth CBD and Northbridge

Zone of Nowhere extended beyond the walls of PICA in a public project in which Kimsooja’s colourful layered flags appeared in public spaces throughout Northbridge and the Perth CBD.

With special thanks to the Western Australian Museum, State Library of Western Australia, North Metropolitan TAFE, City of Perth and Metropolitan Redevelopment Authority.

Image: Kimsooja, Zone of Nowhere, Exhibition Opening, 2018. Photo: Alessandro Bianchetti

17

Image: The Second Woman. Photo: Zan Wimberley.

The Second WomanNat Randall and Collaborators

3 – 4 March PICA Performance Space

A 24-hour live performance and cinema spectacle in which 100 different men of diverse ages and backgrounds were cast to star opposite Nat Randall in a scene inspired by John Cassavetes’ cult film Opening Night.

Co-creators: Nat Randall & Anna BreckonConcept & Performance: Nat RandallScript & Direction: Anna Breckon & Nat RandallVideo Direction: EO Gill & Anna BreckonLighting Design: Amber SilkSound Composition: Nina BuchananSet Design: FUTURE METHOD STUDIOHair & Makeup: Sophie RobertsProp coordination: Lyn RandallLead Camera: EO GillProduced by Anna Breckon

This performance featured audio description and Auslan interpretation.

Presented in association with Perth Festival 2018

Some stoic souls stayed for the whole fraught adventure... I wish I had.

Brave, intense, strange. These are a few of my favourite things.

– Seesaw

19

Hatched National Graduate Show 2018

Image: Hatched National Graduate Show 2018, Installation view. Photo: Alessandro Bianchetti

Artists:

Benjamin Bannan(Curtin University, WA)

Sacha Barker(The University of Western Australia, WA)

Kate Bohunnis(TAFE South Australia, SA)

Julia Burke(RMIT University, VIC)

Dean Cross(Australian National University, ACT)

Siân Davies(The University of New South Wales, NSW)

Lucia Dohrmann(Adelaide Central School of Art, SA)

Madison Elrick(Monash University, VIC)

Eric C(North Metropolitan TAFE, WA)

Elham Eshraghian(The University of Western Australia, WA)Winner – 2018Schenberg Fellowship

Jackson Farley(The University of Sydney, NSW)

Olivia Fisher(Deakin University, VIC)

Claire Gillam(Curtin University, WA)

Caroline Goodlet(Edith Cowan University, WA)

Yusuf Ali Hayat(University of South Australia, SA)

Phoebe Kelly(Queensland University of Technology, QLD)

Olivia Lacey(Queensland University of Technology, QLD)

Jessica Vincenza Long(The University of New South Wales, NSW)

Sonny Nguyen(University of Wollongong, NSW)

Jessica Ruth Price(Federation University Australia, VIC)

Mandy Quadrio(Griffith University, QLD)

Kelly Reynolds(Adelaide Central School of Art, SA)

Cath Robinson(University of Tasmania, TAS)

Yuval Rosinger(Victorian College of the Arts, VIC)

Aden Sargeant(Queensland University of Technology, QLD)

Kirstie Louise Scullen(Charles Darwin University, NT)

Tri Minh Tran(RMIT University, VIC)

Joe Wilson(National Art School, NSW)

Jodi Woodward(Southern Cross University, NSW)

Bethany Woolfall(Monash University, VIC)

Image: Hatched National Graduate Show 2018, Exhibition Opening. Photo: Gianni Costa

19 May – 15 JulyAll PICA Galleries

The Hatched: National Graduate Show 2018 featured the work of 30 graduates of the highest calibre rigorously selected from 22 tertiary institutions representing each of Australia’s states and territories.

The exhibition examines the pulse of the nation’s emerging arts practices while acting as an important platform for artistic careers. From painting, sculpture and drawing to installation, video and sound work, this exhibition offered an intriguing snapshot of current contemporary art practices in Australia.

This year’s Hatched selection panel included artist Agatha Gothe-Snape; Annika Kristensen (Senior Curator, Australian Centre for Contemporary Art); Fang-Wei Chang (Senior Curator, Taipei Fine Arts Museum) and Eugenio Viola (Senior Curator, Perth Institute of Contemporary Arts).

For the first time in 2018, three Hatched artists were offered an opportunity to undertake artistic residencies with the support of Minderoo Foundation and North Metropolitan TAFE.

Hatched 2018 was generously supported by Major Exhibition Partner Minderoo Foundation.


Burrbgaja Yalirra(Dancing Forwards)Marrugeku

7 – 16 June PICA Performance Space

Curated by Marrugeku’s Artistic Directors Dalisa Pigram and Rachael Swain, this evocative triple bill of new solo works invited audiences to experience intercultural exchange. Through a vibrant retelling and re-awakening of histories, locations and languages the works explored the meaning of reciprocity in Australia today.

Burrbgaja Yalirra – Three Short Works Concept, cultural and choreographic support: Dalisa PigramConcept and dramaturgy: Rachael Swain Composer and Sound Designer: Sam Serruys Set and Costume Designer: Stephen Curtis Lighting Designer: Matthew Cox

Ngarlimbah Concept, text, paintings and performance:Edwin Lee MulliganCo-direction and choreography: Dalisa PigramCo-direction and dramaturgy: Rachael Swain VisionDirection and Animation: Sohan Ariel HayesCo-composer: Dazastah

Miranda Concept, co-choreography and performance:Miranda WheenDirector and Co-choreographer: Serge Aimé Coulibaly

Dancing with Strangers Concept, text, co-choreography, performance and live music: Eric AveryCo-choreographer and Director: Koen AugustijnenCo-composer: Eric Avery Co-commissioned by PICA & Carriageworks

Burrbgaja Yalirra was supported by the Australian Government through the Department of Communications and the Arts - Indigenous Languages and Arts Program; the NSW State Government through Create NSW; the Departments of Culture and the Arts and Regional Development, Royalties for Regions and Country Arts WA.

Nominee: Best Perfomer Female (Miranda Wheen), Best Perfomer Male (Eric Avery), Best Lighting Design (Matthew Cox), Best Stage Design (Stephen Curtis), Best Stage Design (Sohan Ariel Hayes) & Best Costume Design (Stephen Curtis), PAWA 2018 Awards (Dance)

Image: Edwin Lee Mulligan in Ngarlimbah, 2018. Photo: Jon Green

Deadly!Raw and emotional and poignant.The energy was amazing.The performances were powerful.An extraordinary collaboration of immensely talented artists.

– Audience members

Artistic Program 23

HowlAphids

ArtefactAphids

27 - 28 JulyPICA Ground Floor Galleries

Howl was a performance at the intersection of parade, protest and procession that celebrated 15 significant moments in art history and explored the reactions art can invoke, along with the perspective that history permits. A WA premiere, Howl was recreated for PICA’s galleries with the inclusion of a new response to WA artist Connie Petrillo’s artwork Esse Quam Videri.

28 JulyPerth Cultural Centre Screen and Amphitheatre

A WA premiere performance on film that offered a live participatory SMS experience to audience members, screened on a large-scale screen outside PICA during the 2018 Disrupted Festival of Ideas. A tribute to brand disappearance created with the community of Kuopio, Finland that starred some of its best loved choirs, death metal singers, funeral directors and stone masons.

Image: Howl, Aphids, 2018. Photo: Aaron Claringbold. Image: Artefact, Aphids. Photo: Pekka Mäkinen.

With reference toVoina, Gustave Courbet, Andres Serrano, Ai WeiweiLynda Benglis, Charlie Chaplin, Marcel DuchampJason Wing, Julita Wójcik, The Escape From Woomera Collective, Connie Petrillo, Amber Hawk SwansonSoda_Jerk, Paul Yore

Created & Performed by:Lz Dunn, Lara Thoms & Willoh S. Weiland Howl lab artists & performers: Noemie Huttner-Koros, Jen Jamieson, Loren Kronemyer & Rhiannon PetersonShow direction: Mish GrigorSound Design: Rachael DeaseTechnical Consultants: Illuminating Possibility Production/Stage Management: Hugo Aguilar LopezAssistant Stage Management: Georgia Smith Publication Design: Rebecca McCauley

Howl was supported by the Australian Government through the Australia Council, its arts funding and advisory body and sponsored by Segway WA.

Original concept by Willoh S. WeilandMusic Direction and Original Composition by J R Brennan Cinematography by Kim Saarinen with Matthew Gingold and Lasse Hartikainen Edited by Kim SaarinenText for music by JR Brennan with Anna Akhmatova, MS DOS, Jose Saramago and “Birch Bark Letter no 22”Text for performance by Willoh S.Weiland and Emile ZileArtefact designed by Willoh S. Weiland and Susan CohnMixed and mastered by Chris Townend

Presented with Disrupted Festival of Ideas with the support of the Perth Cultural Centre Screen.


Image: Khaled Sabsabi, Corner, 2012. Photo courtesy the artist

A Self PortraitKhaled Sabsabi

4 August - 7 October PICA Ground Floor Galleries

Lebanese born and Australian based, Khaled Sabsabi explores the complexities of place, identity, displacement, and ideological differences associated with migrant experiences and marginalisation to promote cultural awareness and acceptance. Working across mediums, borders, cultures, and disciplines, Sabsabi’s practice is informed by moving between communities, and attempts to enlighten our understanding of universal dynamics.

A Self Portrait was the largest survey exhibition of Sabsabi’s work to date and featured a new commission as well as several works not previously exhibited.

Curated by Eugenio Viola

Khaled Sabsabi’s ‘A Self Portrait’ was moving and I felt completely enveloped by it. – Visitor “A Self Portrait” commands a reverence [and] highlights that it is possible to appreciate the richness and weight of meaning in an ideology and culture different to our own. – Seesaw Magazine

27

please open hurryAmalia Pica

4 August - 7 October PICA First Floor Galleries

Through sculpture, photography, installation, performance and video, Amalia Pica’s work investigates how we communicate beyond the barriers of language. Born during Argentina’s dictatorship, Pica explores the relationship between form and politics, and between history and representation.

Pica’s first solo exhibition in Australia, please open hurry was a continuation of the artist’s longstanding consideration of language, comprehension, misunderstanding, translation, and listening. In a series of new commissioned works, Pica explored the techniques, potential, and shortcomings of communication between different species.

This exhibition was curated at PICA by Eugenio Viola and developed in partnership with The Institute of Modern Art, Brisbane and The Power Plant, Toronto, with the generous support of the Keir Foundation.

Image: Amalia Pica, Yerkish (detail), 2018. Photo: Alessandro Bianchetti

29

2018 AWESOME Festivalat PICA

Cheeky Monkeys – A Pint-Sized Theatre Project Whiskey and Boots

Four Go Wild in WelliesIndepen-dance

3 – 6 & 9 - 12 OctoberPICA Performance Space

A playful Australian premiere by Scotland’s award-winning inclusive professional dance company Indepen-dance that looked at how friendships are built, broken and mended.

Director: Karen AndersonPerformers: Neil Price, Emma Smith, Adam Sloan & Hayley Earlam Composer: David GoodallChoreographer: Stevie Prickett Design: Brian Hartley

ValentineRachael Woodward

2 OctoberPICA Performance Space

A visually stimulating world premiere that used a combination of clowning and interactive shadow puppetry to explore loss and love.

The Listies Make You LOLThe Listies

8 – 12 OctoberPICA Performance Space

This show for kids by comedic duo The Listies was a raucous, unruly hour of family fun featuring alien attacks, toilet paper guns and the rudest word in the world.

Written and performed by: Matthew Kelly and Richard Higgins

Image: Cheeky Monkeys. Photo: Simon Pynt Image Top to Bottom: Valentine. Photo: Marshall Stay. Image: Four Go Wild In Wellies. Photo: Brian Hartley. Image: The Listies Make You LOL! Photo: Andrew Wuttke


This world premiere experiment in theatre making relinquished all creative decisions to young writers and directors. Children aged 9-12 directed two adult actors in short plays written by year 9 students from the Specialist Visual and Performing Arts program at Mt Lawley Senior High School.

Performer/director/writer/musician: Mark StorenPerformer/producer: Georgia KingIn collaboration with: The SVAPA Program and Mount Lawley SHS

Presented by AWESOME Festival in association with PICA


HyperPrometheus: The Legacy of Frankenstein

20 October – 23 DecemberAll PICA Galleries

HyperPrometheus commemorated the 200th anniversary of the publishing of Mary Shelley’s Frankenstein, or the Modern Prometheus (1818).Considered by some to be the first science fiction novel, Frankenstein is both a celebration and warning of the seductive powers and unforeseen outcomes of scientific advancement. It uncannily predicted a world in which humans are able to overcome their limitations through human/non-human hybridity as well as reproductive and genetic manipulation.

Featuring Australian and international artists, HyperPrometheus re-contextualised Frankenstein for the new millennium within the realms of contemporary and biological arts. The featured artworks tested our understanding of what it is to be human, living, natural, functional, valid or valued.

Curated by Oron Catts, Laetitia Wilson and Eugenio Viola and presented in partnership with SymbioticA, The University of Western Australia (UWA).

HyperPrometheus was part of SymbioticA’s Unhallowed Arts event series.

ArtistsAES+FTarsh BatesErich Berger and Mari KetoErin CoatesThomas FeuersteinHayden FowlerAlexandra Daisy GinsbergHeather Dewey Hagborg and Chelsea E. ManningSam JinksOlga KisselevaDaniel LeeKira O’ReillyORLANNina SellarsJustin ShoulderStelarcLu Yang

Image: Heather Dewey Hagborg and Chelsea E Manning, Probably Chelsea, 2017. Photo: Alessandro Bianchetti

Artistic Program 33

Stickman / miniStickmanStelarc

What if this was the only world she knew?Kira O’Reilly

21 OctoberPerth Girls School

A three hour durational performance the artist developed in response to the HyperPrometheus exhibition, during which a series of material embodiments and immaterial disembodiments were performed.

Kira O’Reilly’s practice employs performance, drawing, makings, biotechnical practices and writing to consider speculative reconfigurations around The Body. She writes, teaches, mentors and collaborates with humans of various kinds, technologies and non-humans of numerous divergences including mosses, spiders, the sun, pigs, cell cultures, micro- organisms, bicycles, rivers, landscapes, rocks, trees, shoes, food, books, air, green glitter and ravens.

20 OctoberPICA First Floor Galleries

A five-hour durational performance and interactive installation created for HyperPrometheus by artist Stelarc that used an algorithm to operate a full-body robotic exoskeleton. Visitors were invited to insert their own looping choreography by moving the limbs of the miniature robot (miniStickMan) and pressing the play button, to see StickMan come to life.

The physicality of the performance was flattened and modulated by the projected shadow of ‘StickMan’ on the wall, and with live video feedback.

Sound Design: Petros VourisEngineering: Tim JewellInterface Programming: Steve BerrickAudio Engineer: Alwyn Nixon-LloydProject Coordination & Video: Steven Aaron Hughes

The installation and performance was made possible by funding from the Western Australian Department of Local Government, Sports and Cultural Industries.

Image: Kira O’Reilly, Untitled (techné) (2012). Photo: Kira O’Reilly. Image courtesy of the artistImage: Stelarc, StickMan / miniStickMan. Photo: Steven Aaron Hughes


Confusion for ThreeJo Lloyd

15 - 17 NovemberPICA Performance Space

A thrilling WA premiere with explosive physicality, live music and tour de force performances that asked us to surrender to the state of confusion for ultimate revelation. Navigating their physical histories – from traces of folk dance to idiosyncratic body rhythms – the performers revealed a series of desperate encounters, in a destabilising flood of movement.

Choreographer: Jo LloydPerformers: Rebecca Jensen, Shian Law & Jo LloydComposer & Live Music: Duane MorrisonDramaturg: Anny MokotowOriginal Lighting Design: Jenny Hector

Presented by PICA with Strut Dance

7 - 8 DecemberConnections Nightclub

A scintillating nightclub performance that compelled us to consider post-human embodiment in our state of planetary disarray.

In a continuation of Justin Shoulder’s repertoire of bestiary, the artist emerged as Carrion, a mythical chimeric creature. This hybrid human/animal/ cyborgian being delved into ancient wisdoms, the mess of the present and polymorphous complexity of a speculative future.

Carrion: Episode I is part of Shoulder’s club performance series and greater body of work Carrion and was presented in Perth in partnership with SymbioticA and Connections Nightclub.

Carrion: Episode IJustin Shoulder

Image: Justin Shoulder, Carrion. Photo: Alex DaviesImage: Confusion for Three, Jo Lloyd, 2018. Photo: Christophe Canato


PICA On Tour

Derek Kreckler: Accident & Process

Image: Derek Kreckler: Accident & Process, Installation View, 2015. Photo: Alessandro Bianchetti Image: Jupiter Orbiting, Joshua Pether, 2018. Photo: Adele Wilkes

A PICA touring exhibition curated by Hannah Mathews

2 February - 2 AprilBathurst Regional Art Gallery

Derek Kreckler: Accident & Process, was a major survey exhibition that brought together, for the first time, four decades of the artist’s oeuvre, and featured photography, video, installation and performance works that date from the 1970s to the present day. It was developed and presented by PICA in 2015 and from 2016 - 2018 PICA toured the exhibition to eight regional and metro Australian galleries, where it was visited by over 35,000 people.

The tour took in places that were significant to the artist and were reflective of the intersections of regional and urban Australia that are central to Krecker’s practice and evident in the landscapes and communities he engages with in his work. Travelling to galleries in Bunbury, Geraldton, Adelaide, Horsham, Hobart, Maitland, Wollongong and Bathurst, the exhibition used contemporary art to consider the central role that landscape plays for all Australians in shaping our lives, identity and sense of place.

10 – 13 MayNorthcote Town Hall

As part of Next Wave Festival 2018

The world premiere of Jupiter Orbiting, Joshua Pether’s second solo work that combines movement, sound and video to negotiate the hazy boundaries between fantasy and reality, myth and truth. Charting experiences of isolation and distance, this performative dance work negotiated personal identity and body politics.

Created and performed by: Joshua PetherMusic: Daniel JenatschVideography: Neil BerrickDramturg: Humphrey BowerProducer: Cameron Landsdown-GoodmanProduction Stage Manager: Dans Maree Sheehan

Co-commissioned by PICA & Next Wave Festival

Supported by Darebin Arts Speakeasy, the Australian Government through Australia Council, its arts funding and advisory body and the Department of Local Government, Sport and Cultural Industries

PICA On Tour

Jupiter OrbitingJoshua Pether

“PICA was able to provide me with a substantial length of time in which I was able to immerse myself in the creative process. This allowed me a considerable gestation period between developments and as such the quality of work produced was beyond my expectations. I do believe without the support of PICA I wouldn’t have been able to take the risks and failures I needed in order to achieve the end result.” – Joshua Pether

Derek Kreckler is an amazing artist to me, now I have discovered his work I will look out for him. I enjoyed the humour and intrigue of his work. - thank you– Visitor

38 39PICA On Tour PICA On Tour

Publications

Hatched National Graduate Show 2018

76 pp full color148mm x 210mmISBN: 978-0-6480791-2-5Design: Tim MeakinsIntroduction by Eugenio Viola

Unhallowed Arts

236 pp full color193mm x 245mmISBN: 978-1-76080-016-1Design: UWA PressEdited by: Laetitia Wilson, Oron Catts and Eugenio ViolaContributions by: Karen Barad, Amy Barrett-Lennard, Stefano Carboni, Oron Catts, Robert Cook, Ambelin Kwaymullina, Timothy Morton, Elizabeth Stephens, Eugenio Viola, Laetitia Wilson, Ionat Zurr

AphidsHowl

36 pp full color148mm x 210mmDesign: Rebecca McCauley

National Graduate Show 2018

Amalia Picaplease listen hurry others speak better

November 2018, English128 pp full color, 88 color and 6 b/w225mm x 290 mmISBN 978-3-956794-27-8Contributions by: Aileen Burns & Johan Lundh, Carolin Köchling, Rafael Ortega, Filipa Ramos, Volker Sommer, Eugenio ViolaDesign: Lotte Lara Schröder

Co-published with The Power Plant Contemporary Art Gallery, Toronto; Institute of Modern Art, Brisbane; and Perth Institute of Contemporary Arts

Image Right: Howl, Aphids, 2018. Photo: Aaron Claringbold

40 Publications

Artist Development

Image: Drew Pettifer at Open Studio, 2018. Photo: Susie Blatchford

43

Renée Newman & Ben Collins (WA)

17 - 26 January PICA Performance Space & streets of Northbridge

A third stage development leading to the world premiere of Seeking basic needs and other tales of excess, finalising the soundscape and offsite pathway through a series of practice performances with test audiences.

Joshua Pether (WA)

26 March – 15 April & 30 April – 1 MayPICA Performance Space

The second stage development of Jupiter Orbiting, prior to its premiere at Next Wave Festival 2018.

Alex Tate & Olivia Tartaglia (WA)

23 March & 16 – 20 AprilPICA Performance Space

A development of The Bureau of Meteoranxiety, in preparation for its premiere at Next Wave Festival 2018.

Sacha Barker (WA)

18 June - 29 JulyStudio Zero

Sacha Barker’s art practice seeks to extend understandings of traditional art media. Her handmade textile works and installations use humble materials to explore concepts of narrative, personal history and socio-cultural meanings. Sacha used her residency to explore the potential for participation and the performative aspects of her practice through her ongoing project Thingship.

Supported by Hatched Major Exhibition Partner Minderoo Foundation.

Images: Top to bottom. Photo: OK Media. Photo: Adele Wilkes. Image: BoMa, 2017. Photograph Michael Tartaglia, Photo courtesy the artists

Emily Hornum (WA)

3 September – 30 October Studio One

Emily Hornum is a multidisciplinary artist living and working in Fremantle, Western Australia. Hornum works across a range of media including analogue photography, video and installation art.

During her residency, Emily worked on her project The world is full of hams, a video work created from 90s advertisements and TV footage from found VHS tapes.

Elham Eshraghian (WA)

7 May – Sunday 27 JuneStudio Zero

Elham Eshraghian undertook a six-week residency as part of the Hatched 2018 Residency program. During her residency Eshraghian worked with collaborators to continue her exploration of the post-diasporic experience of the 1st and 2nd generation Iranian- Australian Baha’i’s. Eshraghian’s practice draws on the memories and experiences of her family and community to create immersive multi-channel video installations that combine personal narratives with a broader perspective of world history and politics.

Supported by Hatched Major Exhibition Partner Minderoo Foundation.

Images: Top to bottom. Image: Sacha Barker, Mindfield: The Sewing Seeds, 2017. Image: Elham Eshraghian at Open Studio, 2018. Photo: Gianni Costa. Image: Emily Hornum, The World is Full of Hams, Installation View, 2018. Photo courtesy the artist

44 45Artist Development Artist Development

Residencies and Creative Developments

Drew Pettifer (VIC)

12 November – 20 December North Metropolitan TAFE / PICA

Dr Drew Pettifer’s art practice explores themes of intimacy, gender, sexuality and the politics of desire using photography, video, installation and performance.

During this residency, Pettifer continued research on a photographic and archival art project that explores the events around the shipwreck of the Dutch East India Company’s Zeewijk, which saw two young Dutch men sentenced to death for sodomy in one of the first judicial acts on Australian soil.

This residency was supported by North Metropolitan TAFE

Images: Top to bottom. Image: Yao Jui-Chung studio residency at PICA. Photo: Alessandro Bianchetti. Image: Drew Pettifer at Open Studio, 2018. Photo: Susie Blatchford. Image: Christoven Tan performing at Open Studio, 2018. Photo: Susie Blatchford

Christoven Tan (SGP)

5 November – 23 December Studio Zero

Christoven Tan is a Singaporean contemporary composer and musician whose practice seeks to redefine classical viola performance and the image of the Artist.

During his residency, Tan developed a multi-layered performance that expanded the experience of listening and investigated ways sound can intersect with vision and materiality through the use of archival footage and graphic notation.

Rebecca Riggs-Bennett (WA)

1 November – 23 December Studio One

Elsewhere/Rebecca (Rebecca Riggs-Bennett) is an emerging electronic music producer, sound artist and composer for different forms of performance. Her music is an almost otherworldly collection of ambient rhythms and dreamlike beats that playfully meet her own sound design and soundscape work. Rebecca’s practice combines sound, music and audio with live performance to create alternative, unconventional and immersive experiences for her audiences.

歸屬 Gui Shu (Belong)Steamworks Arts

5 – 11 NovemberPICA Performance Space

歸屬 Gui Shu (Belong) is an immersive performance experience combining sound, film and choreography. An intercultural collaboration between Australia and Taiwan, the work has been developed over three years through residencies in Taipei, Mandurah, Bundanon and Perth. This stage of development teamed Director Sally Richardson and Vision Designer Ash de Prazer with Pilar Mata Dupont as Visual Dramaturg for the first time. They explored the work’s interdisciplinary form, with a particular focus on integrating the performance and installation with existing video material.

Director: Sally RichardsonVision Design: Ashley de PrazerVisual Dramaturg: Pilar Mata DupontProduced by Performing Lines WA

Images: Top to bottom. Image: Rebecca Riggs-Bennett at Open Studio, 2018. Photo: Susie Blatchford. 歸屬 Gui Shu (Belong) Development, 2018. Photo: Ashley de Prazer

Yao Jui-Chung (TWN)

1 – 27 AugustStudio One

Yao Jui-Chung is a researcher, lecturer, curator and artist based in Taipei whose broad practice incorporates photography, installation and painting. Yao is known for projects that studiously document built urban environments and investigate the social and political foundations on which they are constructed. During his residency Yao explored Perth’s metropolitan landscape, undertaking site-specific research and meeting with local collaborators.

This residency was supported by Kuandu Museum of Fine Art, Taipei; City of Perth, North Metropolitan TAFE and Turner Galleries, Perth.

46 47Artist Development Artist Development

Images: Top to bottom. Image: Howl, Aphids, 2018. Photo: Aaron Claringbold. Image: Kira O’Reilly Workshop, 2018. Photo courtesy PICA. Image: Confusion for Three, Jo Lloyd, 2018. Photo: Christophe Canato

KISS club

Residency and Lab 7 – 24 MayShowing 25 May PICA Performance Space

This annual performance event for ideas in development presented the opportunity to help shape and support new work by Perth’s performance makers. For the second time, KISS club was co-curated and presented by pvi collective and PICA.

Artists:Michelle Aitken, Joe Lui, Jess Nyanda Moyle & Holly PooleyBridget Le May & Mararo WangaiCharlotte Otton with accompaniment by George AshforthRhiannon PetersenSally Richardson and Daisy SandersQ&A with Amy Barrett-Lennard and Huia Mcglinchey Presented by PICA & pvi collectiveConcept created by: Karen Therese

Image Top to Bottom: KISS club, 2018. Photo: David Cox. Image: Hatched Professional Development Forum, 2018. Photo: Gianni Costa

Hatched Professional Development Forum: Establishing Strong Practice

Saturday 19 MayPICA Performance Space

This panel offered an opportunity to hear from an extraordinary line up of speakers from across Australia with insights into navigating the art world today. National leaders in the arts sector and renowned artists shared experiences and cultivated an exchange of ideas aimed at supporting artists at all stages of their career.

Speakers: Esther Anatolitis, Executive Director NAVA, Laura McLeod, Director Visual Arts, Australia Council for the Art, Eve Sullivan, Editor Artlink, Rebecca Baumann, ArtistFacilitated by Abdul-Rahman Abdullah, Artist

48 49

Howl Artist Lab

16 – 28 July

Aphids’ Willoh S.Weiland, Lara Thoms, Lz Dunn and Mish Grigor worked with 4 WA artists to recreate and perform Howl for its adaptation at PICA. This learning opportunity focused on methodologies for collaboration, experimental performance, and site-specificity, examining the evolving contexts of art making historically, in WA and the current moment in history.

Lab participants: Noemie Huttner-Koros, Jenn Jamieson, Loren Kronemyer & Rhiannon Peterson

Kira O’Reilly Workshop: Performing with Non Human Others

23 – 24 OctoberPICA’s Performance Space and offsite surrounding areas

Kira O’Reilly, in participation with her exhibition in HyperPrometheus, led an artist workshop for 12 WA artists exploring body, site and time-based practices.

Workshop participants: Michelle Aitken, Gaea Anastas, Janet Carter, Sarah Chaffey, Noemie Huttner-Koros, Jenn Jamieson, Patrick Kain, Tanya Lee, Josten Mybergh, Joshua Pether, Sally Richardson & Therese Roberts.

Jo Lloyd & Anny Mokotow Workshop: Collaborations – A Room of Dramaturgs

12 – 23 NovemberMiddar Room, State Theatre Centre of WA

Jo Lloyd and Anny Mokotow imparted the methodology they employed for Confusion for Three over an intensive 2 week workshop for 9 artists, that culminated in a showing on 22 November.

Workshop participants: Natalie Allen, Hampus Bergenheim, Sofie Burgoyne, Christopher Chua, Alison Finn, Sheridan Gerrard, Piaera Lauritz, Xin Ong and Emily Star.

Presented with Strut Dance

I feel incredibly lucky to have been part of this workshop program. The chance to engage with an international artist in a workshop environment that is supported by a local venue is a very rare opportunity!

– Workshop participant

Labs and Workshops

Artist Development Artist Development

Events and Public Programs

Image: Greater Together, 2018. Photo OK Media

51

In conversation: Renée Newman & James Berlyn

6 FebruaryPICA Central GalleryFacilitated by Meri Fatin

Exhibition Opening:Zone of Nowhere

16 February PICA Galleries

Diversity KPOP Dance Workshop

31 MarchKing Street Arts Centre

Showing: Jupiter Orbiting Joshua Pether

13 AprilPICA Performance Space

Kimsooja Art Walk

14 & 20 AprilFacilitated by Caroline ForsburgPICA Galleries, Urban Orchard and AGWA

Reflections – Make your own Kaleidoscope

17 – 18 AprilFacilitated by Phoebe TranPICA Education Studio

Hatched Canvass: Alumni in Conversation

21 AprilSpeakers: Liam Colgan, Carly Lynch, Graham MathwinPICA Performance Space

An Illustrated Lecture with Professor Chu Teh-I

28 AprilSpeaker: Professor Chu Teh-IPICA Performance Space

Hatched Opening Night Party 2018

18 MayPICA Galleries, PICA Bar & Perth Cultural Centre Amphitheatre

Hatched Open Day 2018

19 MayPerformance

I miss when I had a good time made things and had laughter

Artist: Yuval Rosinger PICA Education Studio Performance

Empty Bags

Artist: Olivia Fisher PICA Studio OnePerformance

Hatched Artist in Residence – Open Studio

Artist: Elham Eshraghian PICA Studio Zero

Hatched Artist Talks

Artists: Mandy Quadrio, Dean Cross, Kirstie Louise Scullen, Tri Minh TranFacilitated by Esther Anatolitis PICA Galleries

Burrbgaja Yalirra pre-show panel talk

9 June Speakers: Dalisa Pigram & Rachael SwainFacilitated by Cassie LynchPICA Performance Space

Burrbgaja Yalirra post-show Q&A

14 JuneSpeakers: Edwin Lee Mulligan, Eric Avery & Miranda WheenFacilitated by Kyle MorrisonPICA Performance Space

Tactile Tour of Hatched 2018

23 JuneFacilitated by DADAAPICA Galleries

Hatched Open Studio

23 JuneArtists: Elham Eshraghian (WA), Sacha Barker (WA) and Kate Bohunnis (SA)Facilitated by Eugenio Viola PICA Galleries & Studios


53Events and Public Programs

Stitch & Bitch: A Quilting Workshop

3 July Facilitated by Eric C and her mother LindaPICA Reading Room

Cardboard Carpentry Workshop

10 JulyArtist: Sacha Barker PICA Reading Room

Stories From Her

14 JulySpeakers: Esther McDowell, Shirley McPhersonFacilitated by Cassie LynchPICA Ground Floor Galleries

GREATER TOGETHER Late Night Party

Saturday 21 JulyArtists: Aphids, The Huxleys,Jen Jamieson, Loren KronemyerHouse Of Bok, Mummy’s Plastic Alex Lekias, Wompp, Hyclass Jamilla, Jane Jaya Ayres, Nicole Filev, Lana RothniePICA Building

An Illustrated Lecture with Amalia Pica

1 August PICA Performance Space

Exhibition Openings: A Self Portrait and please open hurry

3 AugustPICA Galleries

The Communication Series #14 August

In Conversation with Khaled Sabsabi

Speakers: Khaled Sabsabi, Eugenio Viola PICA Ground Floor Galleries

Catalogue of great ape gestures (in alphabetical order)

Dancer: Storm HelmorePICA First Floor GalleryPerformance

An Illustrated Lecture and Open Studio with Yao Jui-Chung

18 August PICA Performance Space and Studio Zero

The Communication Series #28 September

Art & Identity: Muslim Artists in Western Australia Speakers: Marziya Mohammedali, Aisyah Aaqil SumitoFacilitated by Abdul-Rahman AbdullahPICA Performance Space

Catalogue of great ape gestures (in alphabetical order)

Artist: Storm Helmore First Floor GalleryPerformance

The Communication Series #3: Beginners AUSLAN Workshop

22 SeptemberPICA Performance Space

Mental Health Week: Self Care in the Arts

10 October Speakers: Kelli McCluskey, Stuart Halusz, Jen Jamieson, Shona Erskine, Amy Welsh PICA Performance Space

Beyond The Body: An Illustrated Lecture With Kira O’Reilly


Exhibition Opening: HyperPrometheus

19 OctoberPICA Galleries

HyperPrometheus Artist Talks

20 October Speakers: Nina Sellars, Tarsh BatesFacilitated by Eugenio ViolaPICA Galleries

Open Studio

27 October Artist: Emily HornumFacilitated By Jenn GarlandStudio Zero

Image: Stories From Her, 2018. Image courtesy PICA

Post Show Q&A: Confusion for Three

16 November Speakers: Jo Lloyd, Rebecca Jensen, Shian Law & Anny MokotowFacilitated by Paul Selwyn NortonPICA Performance Space

Showing: A Room of Dramaturgs

22 November Middar Room, State Theatre Centre of WAArtists: Jo Lloyd, Anny Mokotow, Natalie Allen, Hampus Bergenheim, Sofie Burgoyne, Christopher Chua, Alison Finn, Sheridan Gerrard, Piaera Lauritz, Xin Ong and Emily Star.

An Illustrated Lecture with Justin Shoulder

8 DecemberPICA Performance Space

Open Studio

15 DecemberArtists: Rebecca Riggs-Bennett, Drew Pettifer, Christoven Tan PICA Reading Room & Studios

Aperitivo with Eugenio Viola

15 December PICA Reading Room

54 55Events and Public Programs Events and Public Programs

DonorEvents

Image: Greater Together, 2018. Photo OK Media

57

Foray into Fringe Seeking basic needs and other talks of excess and yourseven

10 FebruaryPICA Performance Space & Reading Room

VIP Exhibition Preview:Zone of Nowhere

16 FebruaryPICA Galleries

An Adelaide Art Adventure

2 – 4 MarchAdelaide

Lunchtime Conversation with Frankie Airey

7 March State Theatre Centre Board Room

Director’s Circle Gathering

2 May Private home

VIP Exhibition Preview:Hatched National Graduate Show 2018

18 May PICA Galleries

Opening Night:Burrbgaja Yalirra (Dancing Forwards)

8 JunePICA Performance Space & Reading Room

ART Hour: Hatched

28 JunePICA Galleries

ART Hour: Artist talk with Dan McCabe

15 JulyMoore Contemporary

GREATER TOGETHER VIP Banquet

Saturday 21 JulyPICA Building

VIP Exhibition Preview:A Self Portrait and please open hurry

3 August PICA Galleries

Curator’s Tour to Naples & Palermo

10 – 19 SeptemberItaly

VIP Exhibition Preview:Hyperprometheus: The Legacy of Frankenstein

19 October PICA Galleries

Fremantle Studio Tour & 2019 Program Announcement

Saturday, 2 DecemberFremantle Art Centre, Artsource Studios and PSAS

Image: Aperitivo with Eugenio, 2018. Photo: Susie Blatchford

5958 Donor Events

An Adelaide Art Adventure Napoli & Palermo Trip

Images courtesy PICA

10 – 19 September 2018

A group of Director’s Circle donors joined Senior Curator, Eugenio Viola and Director Amy Barrett-Lennard on an adventure to Naples and Palermo.

Eugenio’s network of gallerists, collectors and curators showed our donors a rare and unique perspective on Naples and its hidden treasures. Highlights of the trip included a thrilling mix of private tours of major contemporary art galleries and collections. Heritage and archeological museums featured, including a tour of the restoration in progress of the 14th Century Palazzo Caracciolo di Avellino, the home of the Morra Greco Foundation. A visit to Vigna San Martino, overlooking the Bay of Naples was a unique and beautiful respite for the travellers.

The journey continued to Palermo, Sicily for the European biennial of contemporary art Manifesta 12.

2 – 4 March 2018

Art Ambassadors and Director’s Circle donors experienced a whirlwind few days in Adelaide to experience the festival city at its best and to enjoy a tailored program of exclusive “insider” tours and events lead by PICA Director Amy Barrett-Lennard and Senior Curator Eugenio Viola, with a little help from their Adelaide friends. The program started with the preview and VIP opening of the 2018 Adelaide Biennial of Australian Art: Divided Worlds at the Art Gallery of South Australia and artist talks across the weekend.

Artist talks and tours of key galleries as part of the Biennial included The Anne & Gordon Samstag Museum of Art, the Jam Factory, ACE Open, Tandanya National Indigenous Cultural Institute, the Santos Museum of Economic Botany and the Adelaide Botanic Gardens kept everyone moving.Saturday culminated with the Festival performance of Memorial by Alice Oswald.

Tours

60 Donor Events

Learning

Image: HyperPrometheus, Exhibition Opening, 2018. Photo: OK Media

63

Learning Program

17 February – 29 AprilKimsooja: Zone of Nowhere:School tours, activity sheets, education notes

17 February – 29 AprilAll Ages Activity:Design A Flag

31 MarchDiversity KPOP Dance Workshop

14 & 20 April KickstART Festival: Kimsooja Art Walk

17 & 18 AprilKickstART Festival: Reflections – Make your own kaleidoscope workshop with Phoebe Tran

19 May – 15 JulyHatched: National Graduate Show 2018:School tours, activity sheets, education notes

19 May – 15 JulyAll Ages Activity:Printing Plants

4 August – 7 OctoberA Self Portrait and please open hurry:School tours, activity sheets, education notes

4 August - 7 OctoberAll Ages Activity:Create Your Own Lexigram

20 October – 23 DecemberHyperPrometheus: The Legacy of Frankenstein:School tours, education notes

20 October – 23 DecemberAll Ages Activity:Monster Making

Image: HyperPrometheus, Exhibition Opening, 2018. Photo: Steven Aaron Hughes

Since 2011 PICA has partnered with the Bunbury Regional Art Gallery (BRAG) on their annual Iluka Visions Exhibition, a showcase of artworks by High School students from the South West region that has provided PICA with the opportunity to award a participating student with an internship at PICA. This year BRAG invited PICA to broaden their engagement with the exhibition and the community.

PICA’s Front of House Manager and practising local artist, Jenn Garland joined the selection panel for the exhibition in August and visited 15 schools in the region while PICA’s Exhibitions Manager, Charlotte Hickson delivered a presentation to students at BRAG’s professional development event in September that explored career pathways in the arts.

In October, PICA Director, Amy Barrett-Lennard was thrilled to officially open the Iluka Visions exhibition at BRAG and present the exhibition’s awards, including the PICA Internship award.

Learning programs at PICA seek to foster a life-long interest in the arts amongst students and young people by introducing them to contemporary art through creative and engaging activities and resources. PICA links its artistic program to curriculum areas and provides free guided tours, education notes and activities for schools, tertiary institutions and community groups.

In 2018, PICA’s learning programs attracted 3,837 students from over 110 school groups.

64 Learning

Financial Report

Image: Stelarc, StickMan / miniStickMan. Photo: Steven Aaron Hughes

6766

The directors present their report on Perth Institute of Contemporary Arts Limited (PICA) for the financial year ended 31 December 2018.

General information

Directors

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

Names Appointed/Resigned

Amy Barrett-Lennard

Robyn Glindemann

Ben Opie Resigned 10.01.2018

James Brown Appointed 26.02.2018

Susanna Castleden

Marco D'Orsogna

Joanne Farrell

Neil Fernandes

Josephine Wilson End of Terms 26.05.2018

Abdul-Rahman Abdullah

Kenley Gordon

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

Principal activities

The principal activity of Perth Institute of Contemporary Arts Limited during the financial year was the promotion, development and presentation of contemporary arts within Western Australia.

No significant changes in the nature of the Company's activity occurred during the financial year.

Mission

To create career-defining moments for artists, life changing experiences for audiences of all ages and critical turning points in the advancement of art forms.

Goals

The Company's goals are:

• Commission, produce, curate and present high impact contemporary arts• Foster experimentation and risk• Partner and collaborate locally, nationally and globally• Develop diverse and engaged audiences for contemporary art• Provide cultural leadership• Create innovative arts learning experiences• Maintain a committed and motivated board and staff• Build organisational sustainability

68 69Financial Report Financial Report

Key performance measures

The company measures its own performance through the use of both quantitative and qualitative measures. These key performance indicators are used by the directors to assess the financial sustainability of the Company and whether the Company's mission and goals are being achieved.

2017 Key Performance Indicator 2017 Target 2017 Actual

Commission, produce, curate and present high impact contemporary arts projects

New exhibitions, productions and publications created each year

28 30

Foster Experimentation and Risk Interdisciplinary projects supported each year 18 27

Cross-discplinary laboratory and/or commission

1 1

Percentage of artists who felt they were able to take risks at PICA

75% 93%

Partner & collaborate locally, nationally and globally

Regional, national or international collaborations in the creation or presentation of new work

24 43

Community partnerships 35 105

Regional engagements 6 22

Develop diverse and engaged audiences for contemporary art

Audience numbers 280,000 298,702

Unpaid media coverage 700 516

Campaigns that focus on equality and inclusion

8 18

Percentage of surveyed audiences who would recommend PICA

95% 95%

Provide cultural leadership Participation on boards, panels, industry events

30 93

Create innovative arts learning experiences

Attendees/participants in learning programs 3,600 3,983

Public program attendance/participation 6,500 9,283

Maintain a committed and motivated board and staff

Investment in Professional Development $18,000 $14,761

Volunteers 70 35

Annual board audit and review 1 0

Build organisational sustainability Cash reserves 20% 23%

Foundation corpus $2.5 Mill 0

2018 Key Performance Indicator 2018 Target 2018 Actual

Commission, produce, curate and present high impact contemporary arts projects

New exhibitions, productions and publications created each year

28 29

Foster Experimentation and Risk Interdisciplinary projects supported each year 21 24

Cross-discplinary laboratory and/or commission

2 2

Percentage of artists who felt they were able to take risks at PICA

75% 87%

Partner & collaborate locally, nationally and globally

Regional, national or international collaborations in the creation or presentation of new work

24 27

Community partnerships 35 79

Regional engagements 6 7

Develop diverse and engaged audiences for contemporary art

Audience numbers 300,000 309,837

Unpaid media coverage 700 572

Campaigns that focus on equality and inclusion

10 12

Percentage of surveyed audiences who would recommend PICA

95% 82%

Provide cultural leadership Participation on boards, panels, industry events

32 73

Create innovative arts learning experiences

Attendees/participants in learning programs 3,800 3,837

Public program attendance/participation 7,200 7,215

Maintain a committed and motivated board and staff

Investment in Professional Development $22,000 $18,834

Volunteers 75 28

Annual board audit and review 1 0

Build organisational sustainability Cash reserves 20% 24%

Foundation corpus^ $5 Mill 0

^Organisational Sustainability Strategy has shifted focus to alternative income streams.

Members' guarantee

Perth Institute of Contemporary Arts Limited is a company limited by guarantee. In the event of, and for the purpose of winding up of the company, the amount capable of being called up from each member is limited to $ 1 towards meeting any outstanding obligations of the company.

At 31 December 2018 the collective liability of members was $ 18 (2017: $ 20).


Directors’ Report

For the Year Ended 31 December 2018

Information on directors

The names of each person who has been a director during the year and to the date of this report are:

Amy Barrett-Lennard

Ex-officio board member PICA CEO

Robyn Glindemann

Experience Lawyer, Environment, Native Title and Corporate Social Responsibility AdvisorySpecial Responsibilities Chairperson

Ben Opie

Experience Corporate Tax, Accounting and Corporate AdvisorySpecial Responsibilities Treasurer (Resigned 10.01.2018)

James Brown

Experience Corporate Tax, Accounting, Risk Management and TreasurySpecial Responsibilities Treasurer (Appointed 26.02.2018)

Susanna Castleden

Experience Academic, Artist

Marco D’Orsogna

Experience Company Director and Businessman - Food Manufacturing and Processing, Fellow of the Australian Institute of Company DirectorsSpecial Responsibilities Deputy Chairperson

Joanne Farrell

Experience Human Resources, Organisational Compliance

Neil Fernandes

Experience Education, Governance, Strategy and Policy

Josephine Wilson (End of Terms 26.05.2018)

Experience Performer, Dramaturg, Writer

Abdul-Rahman Abdullah

Experience Artist

Kenley Gordon

Experience Marketing and Communications

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


Meetings of directors

During the financial year, 6 meetings of directors were held. Attendances by each director during the year were as follows:

Signed in accordance with a resolution of the Board of Directors:

Director:

Robyn Glindemann

Date: 7 May 2019

Directors’ MeetingsNumber eligible to attend

Number attended

Amy Barrett-Lennard 6 6

Robyn Glindemann 6 6

Ben Opie – –

James Brown 6 5

Susanna Castleden 6 6

Marco D’Orsogna 6 6

Joanne Farrell 6 4

Neil Fernandes 6 5

Josephine Wilson 3 3

Abdul-Rahman Abdullah 6 5

Kenley Gordon 6 6


Note 2018 $ 2017 $

Revenue 3 2,137,533 2,314,662

Administration expenses (372,875) (321,846)

Cost of sales (1,624) (61,100)

Depreciation and amortisation expense (23,844) (22,622)

Marketing and promotion expenses (151,983) (155,377)

Program and production expenses (291,108) (246,491)

Salaries, wages and consultant expenses (1,298,761) (1,452,985)

(Deficit) Surplus before income tax (2,662) 54,241

Income tax expense 2(h) – –

(Deficit) Surplus for the year (2,662) 54,241

Other comprehensive incomeTotal comprehensive income for the year – –

Total comprehensive income for the year (2,662) 54,241

The accompanying notes form part of these financial statements

Statement of profit or loss and other comprehensive income For the Year Ended 31 December 2018


Statement of Financial Position As At 31 December 2018

Note 2018 $ 2017 $

ASSETS

CURRENT ASSETS

Cash and cash equivalents 5 979,697 1,089,309

Trade and other receivables 6 25,490 83,774

Other assets 7 7,552 4,162

TOTAL CURRENT ASSETS 1,012,739 1,177,245

NON-CURRENT ASSETS

Property, plant and equipment 8 41,466 54,792

TOTAL NON-CURRENT ASSETS 41,466 54,792

TOTAL ASSETS 1,054,205 1,232,037

LIABILITIES

CURRENT LIABILITIES

Trade and other payables 9 95,237 196,829

Income in advance 10 350,959 422,934

Employee benefits 11 87,836 93,501

TOTAL CURRENT LIABILITIES 534,032 713,264

NON-CURRENT LIABILITIES

Employee benefits 11 11,252 7,190

TOTAL NON-CURRENT LIABILITIES 11,252 7,190

TOTAL LIABILITIES 545,284 720,454

NET ASSETS 508,921 511,583

EQUITY

Reserves 12 36,000 36,000

Retained Earnings 472,921 475,583

TOTAL EQUITY 508,921 511,583


Statement of Changes in Equity For the Year Ended 31 December 2018

2018 Retained Earnings $

General Reserve $ Total $

Balance at 1 January 2018 475,583 36,000 511,583

Deficit attributable to members of the entity (2,662) – (2,662)

Balance at 31 December 2018 472,921 36,000 508,921

2017 Retained Earnings $

General Reserve $ Total $

Balance at 1 January 2018 421,342 36,000 457,342

Surplus attributable to members of the entity 54,241 – 54,241

Balance at 31 December 2017 475,583 36,000 511,583


Statement of Cash Flows For the Year Ended 31 December 2018

Note 2018 $ 2017 $

CASH FLOWS FROM OPERATING ACTIVITIES:

Cash received in the course of operations 575,804 670,113

Receipt from grants 1,587,522 1,626,699

Payments to suppliers and employees (2,266,283) (2,239,437)

Interest received 4,863 6,095

Net cash provided by operating activities 18(b) (99,094) 63,470

CASH FLOWS FROM INVESTING ACTIVITIES:

Purchase of property, plant and equipment (10,518) (2,228)

Net cash used by investing activities (10,518) (2,228)

Net (decrease)/increase in cash and cash equivalents held (109,612) 61,242

Cash and cash equivalents at beginning of year 1,089,309 1,028,067

Cash and cash equivalents at end of financial year 18(a) 979,697 1,089,309



Notes to the Financial Statements


1 Basis of Preparation

Perth Institute of Contemporary Arts Limited ("the Company") applies Australian Accounting Standards - Reduced Disclosure Requirements as set out in AASB 1053: Application of Tiers of Australian Accounting Standards.

The financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards - Reduced Disclosure Requirements of the Australian Accounting Standards Board (AASB) and the Australian Charities and Not-for-profits Commission Act 2012. The company is a not-for-profit entity for financial reporting purposes under Australian Accounting Standards.

Australian Accounting Standards set out accounting policies that the AASB has concluded would result in financial statements containing relevant and reliable information about transactions, events and conditions. Material accounting policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless otherwise stated.

The financial statements, except for the cash flow information, have been prepared on an accruals basis and are based on historical costs modified, where applicable, by the measurement at fair value of selected non-current assets, financial assets and financial liabilities. The amounts presented in the financial statements have been rounded to the nearest dollar.

2 Summary of Significant Accounting Policies

(a) Property, plant and equipment

Each class of property, plant and equipment is carried at cost less, where applicable, any accumulated depreciation and impairment.

Plant and equipment

Plant and equipment are measured on the cost basis and are therefore carried at cost less accumulated depreciation and any accumulated impairment losses. In the event the carrying amount of plant and equipment is greater than its estimated recoverable amount, the carrying amount is written down immediately to the estimated recoverable amount and impairment losses recognised in either profit or loss or as a revaluation decrease if the impairment losses relate to a revalued asset. A formal assessment of recoverable amount is made when impairment indicators are present (refer to Note 2(c) for details of impairment).

Depreciation

Property, plant and equipment is depreciated on a straight-line basis over the assets useful life to the Company, commencing when the asset is 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 asset are shown below:

Class of Fixed Asset Depreciation rate

Plant and Equipment 10 - 40%Motor Vehicles 25%Leasehold Improvements 11%

At the end of each annual reporting period, the depreciation method, useful life and residual value of each asset is reviewed. Any revisions are accounted for prospectively as a change in estimate.

Gains or losses on disposals are determined by comparing proceeds with the carrying amount. These gains or losses are recognised in the period in which they arise.

(b) Financial instruments

Initial recognition and measurement

Financial instruments are recognised initially using trade date accounting, i.e. on the date that the Company becomes party to the contractual provisions of the instrument. For financial assets, this is the equivalent to the date that the Company commits itself to either the purchase or sale of the asset.

On initial recognition, all financial instruments are measured at fair value plus transaction costs (except for instruments measured at fair value through profit or loss where transaction costs are expensed as incurred).

Classification and subsequent measurementFinancial instruments are subsequently measured at either fair value, amortised cost using the effective interest rate method, or cost. Where available, quoted prices in an active market are used to determine fair value. In other circumstances, valuation techniques are adopted.

Amortised cost is calculated as the amount at which the financial asset or financial liability is measured at initial recognition less principal repayments and any reduction for impairment and adjusted for any cumulative amortisation of the difference between that initial amount and the maturity amount calculated using the effective interest method.


(b) Financial instruments Continued

The effective interest method is used to allocate interest income or interest expense over the relevant period and is equivalent to the rate that exactly discounts estimated future cash payments or receipts (including fees, transaction costs and other premiums or discounts) through the expected life (or when this cannot be reliably predicted, the contractual term) of the financial instrument to the net carrying amount of the financial asset or financial liability. Revisions to expected future net cash flows will necessitate an adjustment to the carrying amount with a consequential recognition of an income or expense in profit or loss.

(i) Loans and receivables

Loans and receivables are non-derivative financial assets with fixed or determinable payments that are not quoted in an active market and are subsequently measured at amortised cost. Gains or losses are recognised in profit or loss through the amortisation process and when the financial asset is derecognised.

(ii) Financial liabilities

Non-derivative financial liabilities (excluding financial guarantees) are subsequently measured at amortised cost. Gains or losses are recognised in profit or loss through the amortisation process and when the financial liability is derecognised.

Derecognition

Financial assets are derecognised where the contractual rights to receipt of cash flows expires or the asset is transferred to another party whereby the company no longer has any significant continuing involvement in the risks and benefits associated with the asset. Financial liabilities are derecognised where the related obligations are either discharged, cancelled or expired. The difference between the carrying value of the financial liability extinguished or transferred to another party and the fair value of consideration paid, including the transfer of non-cash assets or liabilities assumed, is recognised in profit or loss.

(c) Impairment of assets

At the end of each reporting year, the company assesses whether there is any indication that an asset may be impaired. If such an indication exists, an impairment test is carried out on the asset by comparing the recoverable amount of the asset, being the higher of the asset’s fair value less costs of disposal and value in use, to the asset’s carrying amount. Any excess of the asset’s carrying value over its recoverable amount is recognised immediately in profit or loss, unless the asset is carried at a revalued amount in accordance with another Standard (eg in accordance with the revaluation model in AASB 116: Property, Plant and Equipment).

Where it is not possible to estimate the recoverable amount of an individual asset, the Company estimates the recoverable amount of the cash-generating unit to which the asset belongs.

(d) Cash and cash equivalents

Cash and cash equivalents comprises cash on hand, demand deposits and short-term investments which are readily convertible to known amounts of cash and which are subject to an insignificant risk of change in value.

(e) Employee benefits

(i) Short-term employee benefits

Provision is made for the Company’s obligation for short-term employee benefits. Short-term employee benefits are benefits (other than termination benefits) that are expected to be settled within 12 months after the end of the annual reporting period in which the employees render the related service, including wages, salaries and sick leave. Short-term employee benefits are measured at the (undiscounted) amounts expected to be paid when the obligation is settled.

Contributions are made by the company to employee nominated superannuation funds and are charged as expenses when incurred.

(ii) Other long-term employee benefits

The Company classifies employees’ long service leave and annual leave entitlements as other long-term employee benefits as they are not expected to be settled wholly within 12 months after the end of the annual reporting period in which the employees render the related service. Provision is made for the Company’s obligation for other long-term employee benefits, which are measured at the present value of the expected future payments to be made to employees. Expected future payments incorporate anticipated future wage and salary levels, durations of service and employee departures, and are discounted at rates determined by reference to market yields at the end of the reporting period on corporate bonds that have maturity dates that approximate the terms of the obligations. Upon the remeasurement of obligations for other long-term employee benefits, the net change in the obligation is recognised in profit or loss classified under employee benefits expense.

The Company’s obligations for long-term employee benefits are presented as non-current liabilities in the statement of financial position, except where the Company does not have an unconditional right to defer settlement for at least 12 months after the end of the reporting period, in which case the obligations are presented as current liabilities.

(f) Trade and other payables

Trade and other payables represent the liabilities for goods and services received by the Company during the reporting period which remain unpaid at the end of the reporting period. The balance is recognised as a current liability with the amounts normally paid within 30 days of recognition of the liability.


(g) Fair value of assets and liabilities

The Company measures some of its assets and liabilities at fair value on either a recurring or non-recurring basis, depending on the requirements of the applicable Accounting Standard.

“Fair value” is the price the Company would receive to sell an asset or would have to pay to transfer a liability in an orderly (i.e. unforced) transaction between independent, knowledgeable and willing market participants at the measurement date.

As fair value is a market-based measure, the closest equivalent observable market pricing information is used to determine fair value. Adjustments to market values may be made having regard to the characteristics of the specific asset and liability. The fair values of assets and liabilities that are not traded in an active market are determined using one or more valuation techniques. These valuation techniques maximise, to the extent possible, the use of observable market data.

To the extent possible, market information is extracted from the principal market for the asset and liability (i.e. the market with the greatest volume and level of activity for the asset and liability). In the absence of such a market, market information is extracted from the most advantageous market available to the Company at the end of the reporting period (i.e. the market that maximises the receipts from the sale of the asset or minimises the payments made to transfer the liability, after taking into account transaction costs and transport costs).

For non-financial assets, the fair value measurement also takes into account a market participant’s ability to use the asset in its highest and best use or to sell it to another market participant that would use the asset in its highest and best use. The fair value of liabilities may be valued, where there is no observable market price in relation to the transfer of such financial instrument, by reference to observable market information where such instruments are held as assets. Where this information is not available, other valuation techniques are adopted and where significant, are detailed in the respective note to the financial statements.

(h) Income Tax

The Company is exempt from income tax under Division 50 of the Income Tax Assessment Act 1997.

(i) Revenue and other income

Grant revenue

Grant revenue is recognised in the statement of profit or loss when the Company obtains control of the grant, it is probable that the economic benefits gained from the grant will flow to the Company and the amount of the grant can be measured reliably.

Revenue from grants is recognised at fair value where there is reasonable assurance that the grant will be received and all grant conditions will be met. Grant revenue for which there are specific conditions which have yet to be met are carried forward as a liability until all conditions have been fulfilled.

The Company receives non-reciprocal contributions of assets from state government and other parties for zero or a nominal value. These assets are recognised at fair value on the date of acquisition in the statement of financial position, with a corresponding amount of income recognised in the statement of profit or loss.

Donations

Donations and bequests are recognised as revenue when the company gains control, economic benefits are probable and the amount of the donation can be measured reliably.

Goods and services donated in kind is included at fair value when this can be quantified.

Interest revenue

Interest revenue is recognised using the effective interest rate method, which for floating rate financial assets is the rate inherent in the instrument.

Rendering of services

Revenue recognition relating to the provision of services is recognised upon the delivery of the service to the customers.

Sale of goods

Revenue from the sale of goods is recognised upon the delivery of the goods to the customer.

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

(j) Goods and services tax (GST)

Revenue, expenses and assets are recognised net of the amount of goods and services tax (GST), except where the amount of GST incurred is not recoverable from the Australian Taxation Office (ATO).

Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the ATO is included as part of receivables or payables in the statement of financial position.

Cash flows in the statement of cash flows are included on a gross basis and the GST component of cash flows arising from investing and financing activities which is recoverable from, or payable to, the taxation authority is classified as operating cash flows included in receipts from customers or payments to suppliers.


(k) Leases

Lease payments for operating leases, where substantially all of the risks and benefits remain with the lessor, are charged as expenses in the periods in which they are incurred. The lease is not recognised in the statement of financial position.

(l) Comparative figures

When required by Accounting Standards, comparative figures have been adjusted to conform to changes in presentation for the current year.

(m) Critical accounting estimates and judgements

The directors evaluate estimates and judgements incorporated into the financial statements based on historical knowledge and best available current information. Estimates assume a reasonable expectation of future events and are based on current trends and economic data, obtained both externally and within the Company.

Key estimates - In-kind Support

The Company received assistance from external parties during the year in the form of equipment and vehicle hire, catering and sponsorship, advertising and freight costs. In these instances, the company has to assess a best estimate for the value of these in-kind support using values given by the external parties providing the support.

(n) Economic dependence

Perth Institute of Contemporary Arts Limited is dependent on the funding received from its principal funding agencies for the majority of its revenue used to operate the business. The future operations of the company are dependent on the continued receipt of funding from these principal funding agencies or from the generation of funding and income from other sources.

(o) Going concern

Subject to continued funding from both the Commonwealth government via the Australian Council for Arts and the West Australian government via the Department of Local Government, Sport and Cultural Industries, the Directors’ expectation is that the Company will continue as a going concern.

The company's lease with the West Australian government for the building it occupies in the Perth Cultural Centre expired in July 2012 and is currently on a month-by-month basis. The company is in negotiations to secure a new please. The terms and conditions of the new lease are yet to be finalised at the date of signing the financial report.

The ability of the company to continue as a going concern is also dependent upon it being able to negotiate a lease on acceptable terms or to obtain alternative premises from which to operate.

Notes to the Financial Statements


3 Revenue

4 Result for the Year

The result for the year includes the following specific expenses:

5 Cash and Cash Equivalents

2018 $ 2017 $

Core grants 1,306,326 1,299,276

Other grants 167,021 212,196

Sponsorships/donations 412,296 461,212

Other income 247,027 335,883

Interest income 4,863 6,095

Total Revenue 2,137,533 2,314,662

Expenses 2018 $ 2017$

Depreciation and Amortisation

- Plant and equipment 17,193 15,816

- Leasehold improvements 3,305 5,174

- Motor vehicles 3,346 1,632

Total Depreciation and Amortisation 23,844 22,622

Rental expense on operating leases:

- Minimum lease payments 7,413 5,998

Note 2018 $ 2017 $

Cash at bank 978,697 1,088,309

Cash on hand 1,000 1,000

15 979,697 1,089,309


(a) Provision for impairment

Provision for impairment as at 1 January 2017 –

Change for the year 66,627

Provision for impairment as at 31 December 2017 66,627

Written off (66,627)

Provision for impairment as at 31 December 2018 –

2018 $ 2017 $

CURRENT

Trade receivables 19,744 150,401

Provision for impairment 6(a) – (66,627)

Other receivables 5,746 –

25,490 83,774

(b) Financial assets classified as loans and receivables

2018 $ 2017 $

Note

Trade and other receivables- total current 25,490 83,774

Less: – –

GST receivable (5,746) –

15 19,744 83,774

6 Trade and Other Receivables

The Company writes off a trade receivable when there is available information that the debtor is in severe financial difficulty and there is no realistic likelihood of recovery.

The carrying value of trade receivables is considered a reasonable approximation of fair value due to the short-term nature of the balances. The maximum exposure to credit risk at the reporting date is the fair value of each class of receivable in the financial statements.

2018 $ 2017 $

CURRENT

Prepayments 7,552 4,162

7,552 4,162

7 Other Assets

8 Property, plant and equipment

2018 $ 2017 $

PLANT AND EQUIPMENT

Plant and equipment

At cost 81,898 753,582

Accumulated depreciation (51,855) (716,864)

Total plant and equipment 30,043 36,718

Motor vehicles

At cost 16,364 16,364


Total motor vehicles – 3,346

Leasehold improvements

At cost 47,131 155,165


Total leasehold improvements 11,423 14,728

Total property, plant and equipment 41,466 54,792

Plant and Equipment $

Motor Vehicles $

Leasehold Improvements $ Total $

Year ended 31 December 2018 Balance at the beginning of year 36,718 3,346 14,728 54,792

Additions 10,518 – – 10,518

Depreciation expense (17,193) (3,346) (3,305) (23,844)

Balance at the end of the year 30,043 – 11,423 41,466

(a) Movements in Carrying Amounts

Movement in the carrying amounts for each class of property, plant and equipment between the beginning and the end of the current financial year


9 Trade and Other Payables

10 Income in Advance

Note 2018 $ 2017 $

CURRENT

Trade payables 73,976 65,880

GST/PAYG payable – 108,987

Sundry payables and accrued expenses 16,261 16,962

Deposits and bonds 5,000 5,000

95,237 196,829

(a) Financial liabilities at amortised cost classified as trade and other payables

Note 2018 $ 2017 $

Trade and other payables

Total current 95,237 196,829

Less:

GST/PAYG payable – (108,987)

Financial liabilities as trade and other payables 15

95,237 87,842

Note 2018 $ 2017 $

CURRENTUnspent grants 21 349,774 382,934

Other deferred income 1,185 40,000

350,959 422,934

Trade and other payables are unsecured, non-interest bearing and are normally settled within 30 days. The carrying value of trade and other payables is considered a reasonable approximation of fair value due to the short-term nature of the balances.

2018 $ 2017 $

CURRENT

Provision for annual leave 37,403 44,430

Provision for long service leave 50,433 49,071

87,836 93,501

NON CURRENT

Provision for long service leave 11,252 7,190

11,252 7,190

11 Employee Benefits

Provision for employee benefits represents amounts accrued for annual leave and long service leave.

The current portion for this provision includes the total amount accrued for long service leave entitlements that have vested due to employees having completed the required period of service. Based on past experience, the Company does not expect the full amount of long service leave balances classified as current liabilities to be settled within the next 12 months. However, these amounts must be classified as current liabilities since the Company does not have an unconditional right to defer the settlement of these amounts in the event employees wish to use their leave entitlement.

The non-current portion for this provision includes amounts accrued for long service leave entitlements that have not yet vested in relation to those employees who have not yet completed the required period of service.

In calculating the present value of future cash flows in respect of long service leave, the probability of long service leave being taken is based upon historical data. The measurement and recognition criteria for employee benefits have been discussed in note 2(e).


12 Reserves

13 Leasing Commitments

Operating lease commitments

Non-cancellable operating leases contracted for but not capitalised in the financial statements

2018 $ 2017 $

Improvement and equipment reserve 36,000 36,000

Total Reserves 36,000 36,000

The lease relates to hire of office equipment.

Lease of Premises

The company 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 was $1 plus all outgoings as defined in the lease. The lease expired 31 July 2012 and is currently on a month-by-month basis. The leased land also includes buildings and improvements on the land. The company is currently in negotiations to secure a new lease.

(a) Improvement and equipment reserve

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

2018 $ 2017 $

Minimum lease payments under non-cancellable operating leases:

- no later than 1 year 6,591 6,591

- between 1 year and 5 years 1,617 8,208

8,208 14,799

14 Key Management Personnel Remuneration

Any person(s) having authority and responsibility for planning, directing and controlling the activities of the company, directly or indirectly, including any director (whether executive or otherwise) of that company is considered key management personnel.

The total remuneration paid to key management personnel of the Company is$192,762 (2017: $186,268).

No other Directors received any remuneration for their services.

15 Financial Risk Management

The Company’s financial instruments consist mainly of deposits with banks, local money market instruments, accounts receivable and payable.

The totals for each category of financial instruments, measured in accordance with AASB 139 as detailed in the accounting policies to these financial statements, are as follows:

Note 2018 $ 2017 $

Financial Assets

Cash and cash equivalents 5 979,697 1,089,309

Loans and receivables 6(b) 19,744 83,774

Total financial assets 999,441 1,173,083

Financial Liabilities

Financial liabilities at amortised cost

Trade and other payables 9(a) 95,237 87,842

Total financial liabilities 95,237 87,842

16 Members' Guarantee

The Company is incorporated under the Corporations Act 2001 and is a Company limited by guarantee. If the Company is wound up, the constitution states that each member is required to contribute a maximum of $ 1 each towards meeting any outstandings and obligations of the Company. At 31 December 2018 the number of members was 18 (2017: 20).

17 Operating Segments

The Company operates predominately in one business and geographical segment being Western Australia.


2018 $ 2017 $

Reconciliation of net income to net cash provided by operating activities:

(Deficit)/Surplus for the year (2,662) 54,241

Non-cash flows in surplus:

Depreciation 23,844 22,622

Provision for doubtful debts 22,209 61,060

Changes in assets and liabilities:

– (increase)/decrease in trade and other receivables 41,821 (82,881)

– (increase)/decrease in prepayments (3,390) (30,436)

– increase/(decrease) in trade and other payables (107,338) (21,927)

– increase/(decrease) in income in advance (71,975) 34,442

– increase/(decrease) in employee benefits (1,603) (9,493)

Cashflow from operations (99,094) 63,470

18 Cash Flow Information

(a) Reconciliation of cash

Cash at the end of the financial year as shown in the statement of cash flows is reconciled to items in the statement of financial position as follows:

2018 $ 2017 $

Cash and cash equivalents 979,697 1,089,309

(b) Reconciliation of result for the year to cashflows from operating activities

(c) Credit standby arrangement and loan facilities

The company has no credit standby or loan facilities.

19 Events after the end of the Reporting Period

The financial report was authorised for issue on 07 May 2019 by the Board of Directors.

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.

20 Company Details

The registered office and principal place of business of the company is:

Perth Institute of Contemporary Arts Limited51 James StPERTH WA 6000

Unexpended grants b/fwd from previous financial year $

Grant income received this year $

Grant recognised this year $

Unexpended grants c/fwd to next financial year $

Australia Council Core Grants

- Multi-Arts Key Organisation 151,500 304,515 (303,000) 153,015

- Visual Arts Craft Strategy 146,663 295,672 (293,326) 149,009

298,163 600,187 (596,326) 302,024

State Arts Funding

- DCA Core Grant – 710,000 (710,000) –

– 710,000 (710,000) –

Total Core Grants 298,163 1,310,187 (1,306,326) 302,024

Other Grants

- Visions of Australia Project Grant 36,937 – (36,937) –

- City of Perth Grant – 30,000 (12,250) 17,750

- DLGSC Project 47,834 100,000 (117,834) 30,000

84,771 130,000 (167,021) 47,750

Total 382,934 1,440,187 (1,473,347) 349,774

21 Grants


Directors' DeclarationThe directors of the Company declare that:

1. The financial statements and notes, as set out on pages 5 to 21, are in accordance with the Australian Charities and Not-for-profits Commission Act 2012 and:

a. comply with Australian Accounting Standards - Reduced Disclosure Requirements; and

b. give a true and fair view of the Company's financial position as at 31 December 2018 and of its financial performance for the year ended on that date.

2. In the directors' opinion, 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 section 60.15(2) of the Australian Charities and Not-for-profits Commission Regulation 2013 and is signed for and on behalf of the directors by:

Director:

Robyn Glindemann

Date: 7 May 2019



PICA Board and Staff

BOARD

Robyn Glindemann ChairMarco D’Orsogna Deputy ChairBen Opie Treasurer (until January)James Brown Treasurer (from January)Abdul-Rahman Abdullah Amy Barrett-Lennard (ex-officio)Susanna CastledenJoanne Farrell Neil Fernandes Kenley Gordon Josephine Wilson (until May)

STAFF

Amy Barrett-Lennard DirectorCaris Harper General ManagerJennifer Garland Front of House ManagerEugenio Viola Senior Curator Charlotte Hickson Exhibitions ManagerTim Carter ProducerCharlotte Cooper-Dixon Engagement Coordinator (until May)Sarah Rowbottam Guest Curator (May – July)Kira Rikkers Communications ManagerTim Meakins Graphic Designer Joshua Allen Marketing Assistant (until May)Zoe Hollyoak Marketing Assistant and Events Coordinator (April – December)Jo Malone Development ManagerSophie Johnson Development Officer (June – December)Suzanne Fielding Accountant

CASUAL STAFF

Matt Bairstow, Ben Bannan, Bridget Bathgate, Dan Bourke, Lydia Bradshaw, David Brophy, Amanda Campbell, Damien Capone, Gary Carter, Alex Coles, Liam Colgan, Caroline Forsberg, Tim Green, Brent Harrison, Mark Homer, Miranda Johnson, Simone Johnston, Isaak Karagoglou, Guillermo Kramer, Alexandra Lekias, Giorgia Mack, Olivia Nicholls, Amy Perejuan-Capone, Annabella Snell, Phoebe Tran, Tron Tran, Andrew Varano, Claire Wohlnick, Hans-Dieter Zeh

INTERNS

Ben Bannan, Sesha Dalton, Leslie Rigot, Evana Tanner

VOLUNTEEERS

Anastasia Beasley, Hannah Boulton, Maddy Collins, Natsumi de Dianous, Nikki de Zwart, Aimee Doyle, Fernanda Gerdes, Holly Langford-Smith, Kyung-ei Lee, Phoebe Mulcahy, Fariha Rehman, Carolyn Smith, Rose Stewart, Kiara Vincent, Alisa Waddell, Heidy Asri Kumala Yunita

Image: Aperitivo with Eugenio, 2018. Photo: Susie Blatchford

100 PICA Board and Staff

Foundations

Ungar Family Foundation

Bequests

Dr Harold Schenberg Griselda Hitchcock, estate of Shelagh Wakely, artist

ART Patrons

Charles Morgan and Caroline De MoriDesi and Marcus CanningTim BradsmithBux Charitable FoundationTony ChongBen and Kate OpieMarco D’OrsognaDi and Jeff HayGriselda HitchcockMatthew HowisonJoanne FarrellWilliam KentridgeGolden GroupFred and Georgina NagleVéronique RaménWesfarmersRobyn GlindemannZoé Lenard and Hamish MilneMichael and Liza BlakistonFrédéric and Capucine FlipoDavid MartinAdrian and Michela FiniFranklin GaffneyDarryl Mack and Helen TaylorUngar Family FoundationZelinda Bafile

ART Commissioner

Golden Group

Director’s Circle

David MartinMarco D’OrsognaJoanne FarrellDesi and Marcus CanningFrédéric and Capucine FlipoAllan Miles and Steven ShadwellAdrian and Michela FiniMichael and Liza BlakistonJamie Price and Gillian GallagherZelinda Bafile

ART Ambassadors

Zoé LenardHamish MilneWaldemar KolbuszGeorgia MaloneRobyn GlindemannMelvin YeoSandra Barrett-LennardPatti Simpson and Michael BennettRob and Lola WilsonDarryl Mack and Helen TaylorBux Charitable FoundationDane Etheridge and Brooke Fowles

ART1000 Donors

Neil Archibald and Alan DodgeJustin and Amanda MannoliniNaomi ButtonHenry BostonPenelope EagleLinda and Andy RobbElizabeth FongCarole PetersChristian Lyon and Russell DateTurner GalleriesLiz TerraciniRodney and Penelope ThompsonEvi FerrierAmy Barrett-Lennard and Michael LevineTim DoylePerth Veterinary OncologyJo and Michael Malone OAMSign SupermarketSt John of God Health Care Art CollectionYen LeeMarisa D’OrsognaFranklin GaffneyMargaret MooreJames Brown and Kim MercerDr Andrew Lu OAM and Dr Geoffrey Lancaster AMNeil FernandesAmy’s FriendsBevan HoneyGenevieve SimpsonAnonymous x 1Warwick HemsleyWilly and Mimi Packer


Thank You

102 Thank You

Government Partners

Thank You

Major Exhibitions Partners Freight Partner

Supporting Partners Beverage Partners Hospitality Partner Corporate Partners

Automotive Partner

PICA’s ongoing programs are primarily supported by an investment from the State of Western Australia through the Department of Sport, Local Government and Cultural Industries in association with Lotterywest, assistance from the Australian Government through the Australia Council, its arts funding and advisory body. PICA is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

Additional Partners

Art Guide, Art Monthly, Artist’s Chronicle, ArtLink, Business News, Concreto, Discus Digital Print, Fabric Quarterly, Fineline Print, Fox & Rabbit, Generics, Ginger B, Grand Cru, Grandiflora, Hickey Hardware, Highgate Continental, Limeburners, Out in Perth, Periscope, Petition, Plastic Sandwich, QT, RTR FM, Scoop Digital, Segway, Sign Supermarket, State Theatre Centre, Streetpitch, Sue Lewis Chocolatier, The Como, Tres Amici, UWA Grounds, Wildflower, William St Cycles, William Topp

Program Partners

Perth Festival, FRINGE WORLD, Edith Cowan University, WAAPA, WA Youth Theatre Company, pvi collective, Marrugeku, Carriageworks, UWA Cultural Precinct, Next Wave Festival, Aphids, Metropolitan Redevelopment Authority, State Library of Western Australia, Disrupted Festival of Ideas, Centre for Stories, Institute of Modern Art Brisbane, North Metropolitan TAFE, turner galleries, Segway WA, SymbioticA, University of Western Australia, Performing Lines WA, STRUT Dance, AWESOME Festival, Propel Youth Arts WA, Australian Cultural Fund, Whiskey + Boots, The Blue Room Theatre

Art Addicts Partners

Alex Hotel, Art Gallery of Western Australia Shop, Black Swan State Theatre Company, Chicho Gelato, City Toyota, Co3, Francoforte Spaghetti Bar, Generics, Highgate Continental, Jacksons Drawing Supplies, Lil Toastface, Livingstone’s Ubran Jungle, Luna Palace Cinemas, No Mafia, Northside Books, PICA Bar + Café, Pretzel, RTR FM 92.1, The Blue Room Theatre, UWA Publishing, William Topp

Image: A Self Portrait & please open hurry, Exhibition Opening, 2018. Photo: OK Media

Community Engagement Partner

104 Thank You

Perth Cultural Centre 51 James St Northbridgepica.org.au | 9228 6300

@pica_perth

Gallery Open Tue – Sun | 10am – 5pmBox Office Open Mon – Sun | 10am – 5pm

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