profiler mar 22, 2017
With the Adelaide Festival's sense of celebration (as in the image above from Barrie Kosky's wondrous Saul) and gravitas still resonating, it was a pleasure to hear that Arts Minister Mitch Fifield has shut down the Catalyst Fund. The return of $61m to the Australia Council was cautiously welcomed by the small to medium arts sector, hoping that funds will definitely now go directly to those for whom they were originally intended. Some 60 arts organisations have gone unfunded, some barely sustained by state government funding, others not, careers floundering, while Catalyst became an electoral slush fund and lucky dip for large arts organisations, festivals, academics and questionable arts ventures benefitting from the suffering of others. The return of funds might look like a victory for art in the culture wars, but there's a lot of catch-up to do, funding levels are less than adequate and Coalition arts policy set at zero. At the very least, we can be thankful that we still have an Australia Council for the Arts while we feel for US artists as President Donald Trump goes gunning for the NEA. Keith & Virginia
ADELAIDE FESTIVAL: LIFE AT THE LIMITS
Ben Brooker is taken with Betroffenheit's dreamscape account of grieving as trauma; admires the unaffected account of the complexities of everyday life in Wot? No Fish!!; and is compelled by Intimate Space to reflect on public limits imposed on people with disability.
ADELAIDE FESTIVAL: GREAT KOSKY, GREAT SAUL
With fidelity and ingenious invention, Barrie Kosky and collaborators have transformed Handel's oratorio into a glorious opera in which, writes Keith Gallasch, a kiss, a touch and an embrace lift the work out of the 18th century into the present.
ADELAIDE FESTIVAL: A KING FOR OUR TIME
The extremity of Thomas Ostermeier's vision of Richard III and Lars Eidinger's brilliant performance as the villain king puts Shakespeare's genius and our very conditional empathy for Richard to the test, writes Keith Gallasch
ADELAIDE FESTIVAL: SIGHTS UNSEEN
Volker Gerling's engaging flipbook portraits of strangers taken on the artist's walking tours across Germany prompt reflections on “truth" and the "unseen" in photography, writes Virginia Baxter.
THE FUTURE IS ALMOST HERE
Caroline Wake sees in Kip Williams' rivetting production of Lucy Kirkwood's Chimerica the imminence of the personal, cultural and political transformation that will come with inevitably greater engagement with Asia.
Lauren's reading this week finds images of Brutalist buildings in Paris with a connection to Sydney, an insightful account of the theatrical framing of Asghar Farhadi’s film The Salesman, and a fine example of the fusion of personal narrative with theatre criticism.
JODIE MCNEILLY: PRIVACY & PROTEST
Craig Bary's powerful new dance work, In Difference, is a call to move beyond crude debate about same-sex marriage to nuanced understanding of the issue and respect for lives laid bare, writes Jodie McNeilly.
PIAF: BEAUTIFUL FAILURE VS FETISHISED PERFECTION
Jonathan Marshall detects a contrasting complementarity between Back to Back's Lady Eats Apple, about the religious making of a flawed humanity, and Antony Hamilton and Alisdair Macindoe's Meeting, with its competition between mankind and its machines.
VIRTUAL EMBODIMENT, REAL EMPATHY
Although it promises the potential for developing empathy, Dan Edwards writes from the Australian International Documentary Conference that VR looks set to reignite "ethical debates, long a part of documentary practice....with a vengeance."
PARTIAL DURATIONS NOW
Matthew Lorenzon reviews Ensemble Offspring’s International Women’s Day performance, US new music group Eighth Blackbird and Tilde 2017, a fascinating Melbourne experimental music festival.
realtime 137 feb-march 2017
gideon obarzanek: after glow
keith gallasch, chunky move’s gideon obarzanek, rt81
garry stewart: dance evolution in the age of robotics
erin brannigan, adt's devolution, rt71
lucy guerin: between temperature & temperament
jonathan marshall, rt52
rosalind crisp: a european future
erin brannigan, rt48
helen herbertson: the place where things slip
philipa rothfield, delirium, rt36
tess de quincey & stuart lynch: dancing the city
keith gallasch, compression 100, de quincey lynch, rt11
Saul, Adelaide Festival 2017 (detail), photo Tony Lewis