There is a notable absence of mirrors in this shop floor-cum-project space. It’s a brave work: not everyone will be able to reconcile the portrayal of hopelessness with Long Grass’s inherent optimism: a fraught community with ancient if damaged roots is better than none. The curious spectacle of the star walking about unrecognised, at one point stumbling and being helped up from the pavement, creates a subtle feeling of displacement: a paradox where the familiar is rendered unfamiliar. In its seven Salon concerts a variety of forms true to our time will meld with music—film, video, computer gaming and a digital avatar. Eno’s album also underpins the work, emerging more visibly in the second half, where entire scenes are replaced with his songs (with two organisational principles revealed in turns, Golden Hours repeats the formal solutions of Partita 2). How to drape a T-shirt using one or more strategic press studs. To you too, we say sorry. Hamm comments, “the case is not so unusual.” Upton thinks, “it’s a point at which an abstract space, like the end of the world, can become really clear for an audience, about what you’re ignoring or in denial of, in many different ways—that’s the power of the play. In its sequential studies of ‘youth,’ Indigo Rose also features shadow play and film projection of the dancers in close-up. We believe in work with a social conscience and with a desire to create change in the world.” Companies under their producing banner include The Danger Ensemble, Little Dove Theatre and Red Moon Rising and individual artists Jeremy Niedeck, Nathan Stoneham and Morgan Rose. Bodies become otherwise in partial obscurity. These alternative cultures are very relevant to the rest of society. Joe’s face, crumpled and impassive, is projected via a video camera onto the scrim in a series of increasingly extreme close-ups. In the most engaging of the New Breed and IOU3 programs, Tanya Voges takes the text of Edgar Allen Poe’s The Pit and the Pendulum, “the shape of the text of the page,” especially punctuation, as the score for her work, …and the pendulum, to a score by James Brown and narration by Damian Asher. An internal, soft-edged proscenium arch, like the edge of the sea, extends ahead into a void. The characters are built from moments on screen and from their movements in front of us, a visual archive of their individuality. Its mottled walls suggest age (separation as an eternal curse? A strong line-up of complete showings included dance works by Shaun Parker & Company’s AM I and Antony Hamilton Projects’ Black Project 1. The set doubles as a live split-screen of well-choreographed performance with characters and narrators moving via a revolving door of fast-paced entrances and exits. Meanwhile in World War Z, the traumatised zombies are reborn as an Other beyond Others. Put out to tender, the Australia Council’s Art in Festivals strategic initiative has been twice secured by Hobart’s Salamanca Arts Centre which created the SITUATE model. There is also sly humour in Paul Gilchrist’s The Danger of Safety, in which an older woman reminisces about her own migration from England. Even though Columbia Pictures’ head Harry Cohn famously derided putting ‘messages’ into films (“If you want to send a message, use Western Union!”) Hollywood cinema has ended up the largest global producer of ‘messages.’ More promiscuous than an Amazon.com entry, they can take any form and be conservative or subversive, populist or messianic. Another inspiration for this ‘walking the line’ is to have the work go beyond generators like Performance Space and Arts House to Belvoir, Malthouse and major venues and major festivals. But as they themselves would insist, this is a peripheral matter, for we are here to apologise to the survivors of detention and to honour their courage and sacrifice. We also grieve for those who did manage to survive detention but who could not survive beyond that, who felt so haunted and hunted that they took their own lives. Thompson’s symmetrical, monochromatic designs shimmer like snowflakes or starfields. Davis tells us he hopes the ritual might conjure the actor to join us at performance’s end. At times the ensemble appears more like a kinetic sculpture, one moved by an internal motive force, again like Stein’s writing. We were in dialogue about the early stages of Endings and I flew down to Arts House in Melbourne last year to see a showing, which was very strong. Who are some of the artists we’ll find on the site? Stealing Beauty is a model of guerrilla filmmaking of the most amiable kind (Liz Magic Lazer also conducts filmed live performance interventions). It descended on Marronnier Park in exuberant flurries and tapped at the windows of the ARKO Arts Theater in Seoul’s Daehakro Daehangno district. From the very beginning, the audience was made to feel we were not in a theatre but a live TV studio, with trashy ad-breaks, a tinny theme song and el-cheapo green-screen completing the experience. Goin to the moon and back Look at how these shawtys been throwin back Ion need a bitch though Ion need no one I just needa smoke some Write another dope song, yeah It takes more than art these days to please an audience. Lang’s exploration is human-centred rather than merely objective. The Creative Producers of Arts House, Angharad Wynne-Jones, and Country Arts SA, Steve Mayhew, recognise the rich history of contemporary practices utilising digital technologies and they are quick to distance themselves from any reckoning that this is a vanguard moment. Kirsten Siddle is rightly proud of the large number of world premieres in The Salon concert season, including new compositions by Jeanette Little, Peter de Jager, Alexander Garsden, Christopher de Groot, Paul Dean, Alex Pozniak, Marc Yeats, Evan Lawson, Elanor Webber, Julian Day, Cat Hope, Daniel Blinkhorn and Chris Perren. Mayhew is interested in how these new projects will take shape in regional settings and what can be gained for both artists and communities from a process of ‘beta testing’ in 2015, towards presentations next year. They seemed to drink and party a lot—the ‘goomies’ as they were called. The performers’ stillness emphasises their geometric positioning. We thank the artists, the activists, the lawyers, and the lobbyists for speaking out when no one would listen and for showing moral courage when many around you did not. Onstage is a jazz trio, including Bryars himself on double bass and Julien Wilson on tenor saxophone, performing as if supporting Monroe as she sings. Bosse is keen to debunk this view, and has selected artists for this exhibition whose work, she says, “convincingly argues against the idea that interiority lies at the heart of their practice.” These seven artists, she points out, are very actively engaged with the external world, and their work, far from displaying a romantically-conceived solipsism, expresses their deep interest in everyday objects and experiences. The dancers’ bodies integrate in response to image and rhythm in the way people’s bodies do dancing at music festivals—gloriously idiosyncratic and deeply interpersonally connected. We witnessed self-mortifying endurance characterised in Benjamin Sebastian’s (Performance Space UK) Three Cycles of Otherness, in which we witnessed his tattooing, scanning and printing of his body parts, and screaming over loud drums in 20-minute cycles for three days. We were interested in trying to find ways of listening to country to effect our dramaturgy in this kind of dance theatre making. For many years an integral and influential player in the Tasmanian arts scene, Koukias has moved to Amsterdam, premiering Kimisis at Splendor Amsterdam and the Karavaan Festival in 2014. In a video advertising one of Mori’s outdoor installations, the artist’s overdubbed voice—as pacific as an automated supermarket announcement—describes the cosmic energies channelling through the cold prism of Primal Rhythm (2009), a transparent pillar of industrial scale plastic that sits in a rocky bay in Japan. I step over the self-seeded spinach to my seat and take in the suburban staging—the ever evocative wire screen door, the porch peeling paint, the empty birdcage, the sombre tool-shed—door ajar. The long-lived biennial APAM, established by the Australia Council for the Arts in 1994, is a major platform for artists working across a remarkable range of practices in theatre, contemporary performance, puppetry, dance, music, live art and performative installation, including always distinctive works by Aboriginal and Torres Strait Islander practitioners. Sarah Aiken, Rebecca Jensen, Rachel Coulson, Janine Proost, Overworld. She looks, occasionally, monstrous as she leans disfiguringly out of the light, or like the tortured figure in Munch’s The Scream as her mouth yawns soundlessly open. This informs the talks, the forums, the panels and classes. For once, Hollywood CGI goes beyond its Tinkerbell fairy-dust facials and shows bodies not as singular identities, but as an uncontrollable mass of aggravated chaos. In contrast, Her (2013), where Johansson doesn’t appear in front of the camera at all, is about warm engagement. None of the other compositions in the concert made much of transitions, but Ford crafted music to flow from poem to poem. I had just seen the show (see review) and we were crossing paths in a wind-lashed cafe near La Boite before he flew out that night to attend the prestigious Asian Producers Platform Camp in Korea (see report). Malcolm Whittaker has also been camping. Live Art Camp as a whole could have been more responsive (like the methodologies it was dealing with) and more clear and concise in its agenda. The live theatrical experience is being pushed to encompass the addictive relationships we have with technology, to question it, and Wynne-Jones hopes, “maybe even to change it.”, RealTime issue #126 April-May 2015 pg. Given the paucity of major dance festivals around Australia (save for Perth’s new MoveMe Dance Improvisation Festival, see reviews by Maggi Philips & Nerida Dickinson), Australia Council investment in the event and the National Dance Forum occurring in Melbourne at the same time, interstate artists must be wondering about their standing, let alone their careers, as Dance Massive markets programmed works by bringing in international producers and presenters. Is it part of your reality? Artist Michaela Gleave recently attended her first WOMADelaide in March to see how the site worked when in full swing. In that first year of our co-directorship we co-curated SEXES, the big contemporary art festival around sex and gender with Deborah Kelly. It’s also about building the capacity of the community to be involved, to facilitate and undertake their own arts projects. We were introduced to some of the lesser-known highlights of the area: the house with scaffolding, the gate into a field, dead man’s tree, a friendly duck. As in Hapticity, 10.00-4.00pm daily in 2014? It’s a partnership between Murray Arts and our three NSW communities to explore identity through community museums. Another Other probes these themes with expertise and loyalty, a contemporary exploration of our digital age, which enables various online selves, our gaming skins and the smiling veneer of busy loneliness that they project. A man (physicist Leonard Mlodinow) is heard speaking about science, neurons, experiments and the unconscious. Norville’s delicate, tremulous Catherine reveals, in a performance of great range, just enough strength to suggest she’s a survivor. Next to Theatres, Mori’s exhibition looks like it’s come from a more ergonomic and peaceful planet. In Korea, I learn that, ‘traditionally,’ those who witness winter’s first snowfall together will have a long and happy relationship. The investment was massive, and he stood to lose most of his capital. It’s not that it’s ‘unfinished.’ It can stand as a work about unfinished business in a form that resonates with its content. Saturated and hallucinogenic, a mixture of processed and real, it’s all a blur. James Turrell: a retrospective, National Gallery of Australia, Canberra, opened Dec 12, 2014. Our dancers and choreographer took drawing lessons during a residency at Bundanon Trust and generated dance material in response to the marks they made. In his Cadence (2009) a geared-up US soldier performs a dance that bifurcates into a digital regress of his movements, so that fanning repetitions of fatigues, guns, helmets, arms and legs create a magnificent peacock-like display of military aesthetics. Reach Out Touch Faith, Sarah Rodigari with Joshua Sofaer. Dance training also heavily depends upon habit-formation, which, once established, operates without the assistance of conscious supervision. The exhibition also hosted an onsite workshop where the resident artists worked on new instruments. It’s a playful and ironic piece that interweaves fantasy and reality to such a fine degree that neither is really distinguishable; in her notes, Hardgrave describes research into psycho-physical theatre practices as they relate to “the personal and the ‘pretend’,” and the way that the self is produced through a mediation of these is where the production proves most compelling. That’s fantastic because it means audiences are coming to the building like never before, it’s on the map like it never has been. The other lab is Time_Place_Space, which we reignited last year with support from the Australia Council and our partner Arts House. Word about the first Cementa in 2013 spread quickly. But generally speaking, people love clowns and a classic circus act and happy, fun times. 23 Jan-15 March. In the afternoon we were asked to consider how we (specifically and pointedly those in the room) could contribute to a cultural shift around climate change. I grew up in Darwin and my idea of what constituted art was very much smaller as you can imagine. And what will the value of money granted from 2016 be in 2021? Tracey Moffatt, Bullied Here from the series ‘Spirit Landscapes’, Art Gallery of WA, copyright the artist, courtesy Roslyn Oxley9 Gallery, Sydney, Tracey Moffatt’s solo exhibition has fantastic elements too, apart from her playing a TV personality on a spaceship. She wears not only the requisite outfit but also a large animal skin as if she is at once hero and victim, scraping a foot across the sand like an impatient bull. He interprets the world and his own achievements in it in terms of accident and calculated risk. Emily Amisano writes that in her piece, in between dog and wolf, she is reflecting on the tension “between ‘the call of the wild’ and civilisation.” Her approach is metaphorical, engaging with a length of rope with which she has an ambivalent relationship, a kind of co-dependency in which it ties her down or she leaves it, only to return. The festival is split across Port Chalmers and Dunedin, offering comfortable, establishment venues for sound arts—the Dunedin Public Art Gallery (DPAG), which, though acoustically problematic, hosts excellent, buzz-free sound systems—the more intimate if sonically imprecise converted Masonic Hall of the Anteroom and the dark, cave-like Chicks Hotel. The workers speak for themselves in television programs such as ABCTV Four Corners’ The Guards’ Story (2008) and have penned books like The Undesirables (2014). It is a little patch of abandoned industrial dirt abutting the glittering spire of the Arts Centre that has been converted into a quiet experimental art space. I would love both multitudes and more isolation in this room. Irene Assumpter’s Fitting into Wageni contrasts the fates of those who arrive as asylum seekers with those who arrive as educated migrants: the suggestion is that this is how class differences at home are allowed to reproduce themselves in Australia. The work is “such a navel-gazing show,” she laughs. The helper and injured woman become emotionally embroiled; their path appears set. We apologise to every child who endured detention but especially those who arrived as unaccompanied minors. Gorfinkel, emerging as the star of the exhibition, had several other exquisite pieces in the workshop space, most notably Nada Laut: As Above So Below, a piece made in collaboration with Siagian where a number of conch shells were suspended over vibraphone bars. With no individual artist statements DEATH | LIFE leaves space for a more unmediated response than usual, yet it nudges the urge to contextualise and order. A line from the score to Do you speak Chinese? Loving Repeating leaves no doubt as to the potent musicality inherent in Stein’s writing. As a ‘therapeutic’ method in itself, this allows for an ever-refracting play between performed-present and performed-past selves that is further enabled by gentle dramaturgical disruptions to the ownership mother and son hold over the past.
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