With images that are coolly precise and quietly performative, the apparent everyday quality of the scenes typically belies the web of temporal and perceptual concerns that cook and simmer with prolonged looking. Both Melbourne and Brisbane legs of the festival will include an exhibition component with core artists including international guests Chris Watson (UK), Werner Dafeldecker (Austria) and Andrea Juan (Argentina) along with locals—audiovisual artist Scott Morrison, installation artist David Burrows and the curators. Two dancers (Claire French and Anne Cooper) learn Rainer’s original score while watching it on a monitor for the first time. How did you manage to get such a huge experimental arts centre like this funded? “The concerto has always been the testing-ground of virtuosity,” explains Richard Vella, mastermind of the competition and Head of Drama, Fine Art and Music at the University of Newcastle. In keeping with her desire to transport the viewer, Gleave located the installation’s entry at the rear of the Bay where a dressing room housing the protective wet weather gear awaited. My objective with the piece is not to show any effort and to be as calm as I can be and not to fatigue. Jeff Wall will also be in situ for a time, in conversation with AGWA’s Chief Curator Gary Dufour at 2pm on Sunday May 27. Although giving more screen time to Ted, Tucker presents both protagonists without taking sides, creating a sense that a cultural misunderstanding is at the heart of the problem. It’s a common error to assume that innovative arts action only happens in big cities. At times these tropes can perpetuate a reductive dichotomy between nature and technology. MAKES HIM THINK OF A HOSPITAL. Aurora Festival of Living Music: Oren Ambarchi, Joan Sutherland Performing Arts Centre, Penrith, NSW, May 10; www.auroranewmusic.com.au, RealTime issue #109 June-July 2012 pg. JD But that collaborative improvising musician which you clearly are, a lot of people might not know about that Jon Rose.
The thoughtfully chosen final field offered a snapshot, albeit subjective, of contemporary practice, a litmus test of the sector as it were. It’s a feeling scattered through a prism, isn’t it—all the characters at some point feel abandoned, to the extent that you wonder, is this one man’s nightmare or something larger? IN THE AMERICAS, CLASSICAL MUSIC IS AN IMPORT. In the New Modes of Presentation section you can think about the long history of the concerto and find new ways of presenting it. The award coincided too with the biannual Queensland Festival of Photography, a series of events and exhibitions held across the state, and was complemented at Gold Coast City Art Gallery by Lorikeet Island, an exhibition of collaborative work by Alana Hampton and Marian Drew. It works on echoes and on memories but with more of a theatrical language to do with what’s happening to these bodies in space and what’s happening inside these people, less than necessarily the story of what has happened.
We’re not there for those long days when minutes becomes hours; when time slows the way it does when you’re waiting for someone who doesn’t arrive, who never returns. “There is a very close intersection between art and science.
It’s pretty mammoth. Of the same era as Bernstein’s Mass, Miles Davis’ On the Corner is taken in new directions by Grabowsky, Pateras and Rex.
It is Ana who pulls together these disparate elements. In 1973 the hard edge painter Joe Szabo, for instance, lived in the most contested area of the street and organised an exhibition in support of the Green Ban. Some work translates directly; you change nothing. The whole thing is stressful but I’m not interested in stress.
…In the second half of the 70s I was in this strange country and I just got on with what I thought was appropriate. Following this is the long awaited Copper Promises: Hinemihi by Victoria Hunt. Your references to “embodied exchange, deep engagement, time to settle” are indicative of this dynamic quality of the works. There’s a rich and detailed text, covering the history of film production in Australia but told very much from the cinematographers’ perspective, and there are fascinating and often very funny biographical sketches of many of those who have worked behind the camera throughout that history. Not only that, but it has to have said something significant about the original itself to make its mutated resurrection worthwhile. And then the ghosts appear.
The works start to speak to each other in different ways. At the same time, in our relief at the survival of a fellow spectator, we can also say with Božić—and with Norman Armour—“Yes to staying here.” For as long as we can bear it. Yes, entrapment and escape in Figaro are richly comic and inventively realised as such by Andrews and his adroit cast, but as with the opera’s rare moments of soulful interiority and loving embrace, the comedy needs to turn dark to reveal its deep seriousness. THE THREE PIECES ARE VASTLY DIFFERENT BOTH VISUALLY AND THEMATICALLY, YET STRIVE TO SHARE A UNIQUELY AUSTRALIAN POINT OF VIEW OF BALLET. Inside, empty chairs placed in methodical rows remain attentive before a decrepit portrait of Queen Elizabeth II. Our hope is that this will lead to a co-production which will premiere in Belgium in December 2013 and then play in Australia and, possibly, tour in Europe.”. He invites me to sit at a table that might have been constructed purely for letter writing. It’s a one-on-one experience, an invitation to find your way through the ‘laboratory’ of these massive shapes impregnated with sound and visual installations. Read another review of Tilted Fawn at Perth’s Fringe World on page 7. RealTime issue #88 Dec-Jan 2008 pg. Rufus! Each was found guilty on three counts of murder, and Baldwin was sentenced to life imprisonment. Performance Space, Dimension Crossing: Copper Promises: Hinemihi Haka, concept, choreography, dance Victoria Hunt, lighting Clytie Smith, sound James Brown, producer Fiona Winning, Performance Space, Carriageworks, Sydney, May 4-12, © Pauline Manley; for permission to reproduce apply to realtime@realtimearts.net.
For AMPED we’ll be there May 10 with interactive electronics, microphones, keyboard, guitars [Zane Banks’ guitar quartet] and a Max/MSP program to create a duet between electronics and human input—and let the kids have a go. Performance rhythm did briefly return after the painful thud to earth of a suicidal man who, unlike St Michael’s defeat in his challenge to a jealous God, fell inexplicably from the high-rise apparatus onto a pile of thick mats. See also RT's Archive Highlight on Clocked Out which features many reviews by Greg Hooper.
The mechanics of each performance, including the nightly collective improvisations, produced a beautiful harmony of artistic intent and sense-stimulating sound-making. At various moments, both trumpeter Scott Tinkler and Pateras appear to be conducting, and the scattered AAO ensembles cohere into a tightly unified whole.
Knowing that Davis’ late work, particularly his On the Corner album (1972) was influenced by Karlheinz Stockhausen, Pateras pays homage to the experimentalism of both Davis and Stockhausen by exploring the conjunction of jazz improvisation and experimental music. Millis argues for the walk as art: ephemeral, collaborative, memorial, political. So what is the reason for this sudden boom. I guess it is for some musicians and I guess that’s really important for music that there are people who will do that—keep the Mozart churning out. And if you go without earplugs then your hearing is damaged and you don’t get to hear anyone else’s music with the same acuity. 21, © Kath Dooley; for permission to reproduce apply to realtime@realtimearts.net. I SPOKE WITH CREATIVE PRODUCER ANGHARAD WYNNE-JONES ABOUT ARTS HOUSE AND ITS PROGRAM FOR THE SECOND HALF OF 2012. This willingness to point out and then embody the absurd dissimilarities that exist between all cultures has quickly endeared the artists to their audiences. Like Jack Thompson and Sandy Gore as the Voices in the STC’s stage account of the radio play, I performed the lines from a mix of memory and reading from a hardbound copy of the script. The Sydney-based actor has written five full-length plays: 12 (short-listed for the Patrick White Award in 2006 and workshopped at the Australian National Playwrights Conference), Warren, Silver (performed by Whittet as part of the 2009 B Sharp Season at Belvoir and at the National Theatre of Iceland in Reykjavik) and two commissioned works, Fugitive for Windmill Theatre and Harbinger for Brink Productions—both staged in Adelaide in 2010. NOW IN ITS 15TH YEAR, PERTH’S PREMIER FILM FESTIVAL SHOWS NO SIGNS OF SLOWING DOWN. Colorado-based collective M12 created the Ornitarium, an architectural sculpture situated at the Wetlands Education Centre—operated by Green Skills—in the softer climes of Denmark in the state’s southwest. A government wanting “to examine the operation of media and communications regulation in Australia and assess its effectiveness in achieving appropriate policy objectives” had many places to focus. Life remains absent from Black Project 1, however. Then there was Cherine Fahd’s whimsical and humorous 365 attempts to meditate, 2011, composed of 50 small images of a person blowing up a balloon. I should probably explain what Intimate Transactions is for those who may not have experienced it. “I’m not talking about brand, as that’s something you put on top; identity is getting to the heart of who you are, what you want to do and therefore what kind of films you want to make…I also think there is a correlation with the bravery you show as a filmmaker and the distinction of identity that your film will have.”. Four ladders are used to great effect. While the Involuntary incorporates ideas about technology, systemisation and unconscious actions, for Katrina Lazaroff the work is primarily “a culmination of all of my passions and thoughts and feelings. Let me know if something turns up. Obarzanek isn’t wringing the Swan’s neck but rather asking the audience to reconsider what ballet is. The result was a salon hang of names, from well established and mid-career artists such as Petrina Hicks, Anne McDonald, Tamara Dean, Merilyn Fairskye and Darren Sylvester (who also gave a talk as part of the opening events), through to more emerging artists. None of this particularly matters, except that it becomes a blind spot the work-in-progress does not seem interested in tackling. This highlighted a dedication to the open and democratic craft of improvised music from the performers who invited audience members to experience the joys of supple creativity. It was at this point that Abdullah, Ayres and Beard became The Greater Asia Co-Prosperity Sphere. This openness to the best possibilities is concurrent with my current thinking and recent collaborations, typified by our NBN-based project, Long Time No See, or my forthcoming ANAT-Synapse Residency, Reintroduction, with the Australian Wildlife Conservancy. “SO WHAT KIND OF WRITER AM I,” DYER LAMENTS, “IF I AM REDUCED TO A SUMMARY OF A FILM?…WHAT IS THE PURPOSE OF SUCH AN EXERCISE?”. But in Australia, nobody came up with a genre. Several of the installations are sound or movement-activated. greg hooper: the trilling wire series We are in their space, in their world as their audience. A lot of the works in this program are really reliant on an audience to complete them—to be part of a forum after a performance or to step into work designed for the experience of one person, as with Impasse or Hold. The structure of the theatrical event provides the necessary “safe word.”. Quite early I think but I don’t make decisions till quite late. Another illustration of the mix between determinism and chance, Williams Mix, has a huge score that provides a precise one-to-one mapping from score to lengths of audio tape. AFTER AN EXHAUSTIVE REVIEW PROCESS, WHICH INVOLVED SEVERAL ROUNDS OF CONSULTATIONS, AN ISSUES PAPER AND A DISCUSSION PAPER AND HUNDREDS OF SUBMISSIONS TO BOTH, THE AUSTRALIAN LAW REFORM COMMISSION HAS SEEN ITS FINAL REPORT ON THE ENQUIRY INTO AUSTRALIA’S CLASSIFICATION SYSTEM, THE FIRST FOR 20 YEARS, TABLED IN FEDERAL PARLIAMENT LAST MONTH. There is so much work here about the body, yet bringing bodies and objects into contact is almost always forbidden in art museums, even a place like this.
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