profiler jul 27, 2016
As we sense the world crumbling around us, environmentally and politically, it’s some relief to see artists in the 2016 OzAsia Festival and others appearing here attempting to rebuild through understanding the nature of suffering, nurturing empathy and envisaging new ways of thinking and being. They play with form, media and mood, but speak with a directness that is increasingly evident in the arts in testing times. On the other hand, there’s pleasure to be had from works that disconnect us from the intensifying demands of the everyday, such as the must-see media art works of dancer Hiroaki Umeda, teamLab, Mikuni Yanaihara and Kingsley Ng featured in the 2016 OzAsia Festival. They’re not frivolous, revealing instead the potential for creative responses to the same technologies that produce our assumed reality. Keith & Virginia
Keith Gallasch loops into Urban Theatre Projects' Simple Infinity, a gently surreal world in which Ultraviolet, Olive Green and Midnight Blue live ‘on the spectrum,’ seeking connection through words, music and gesture.
THE MAGICAL MUNDANE
In The Astronaut, Samantha Chester takes flight in a gentle reverie depicting a woman’s childhood recollections, memories of the Moon-landing, Elvis Presley and the rituals that sustain her.
OZASIA, THE NECESSARY FESTIVAL
In a passionate account of his 2016 festival, Director Joseph Mitchell reveals key works and issues at play in bold works in theatre, experimental performance, media art and thrilling hybrids.
Convalescing artist Julie Williams created a performative video from her bed, layered with images of a Blue Mountains site that offers spiritual succour. Read Virginia Baxter’s response and see the video.
Dance artists came from across Australia to Canberra to work with David Pledger to create new works that address their role as “canaries in the coalmine of democracy.”
Director-writer Andrea James tells Keith Gallasch about her new play, Winyanboga Yurringa, which takes six Aboriginal women back to country to deal with issues of repatriation, drug-taking and children at risk, but with strength found in humour.
ANGLES ON DEMOCRACY
Opening this week at Fremantle Arts Centre, Matthew Ngui celebrates democracy with an installation, Every Point of View, in which viewers enter a PVC forest of opinions written with light and sound.
IVAN SEN’S GOLDSTONE
Amid the dust, actual and metaphorical, that pervades the film, Katerina Sakkas witnesses the emergence of mythic dimension in Ivan Sen’s crime thrillers.
BIFEM MUSIC WRITERS’ WORKSHOP
Apply now to be mentored by the Editors of RealTime and Partial Durations in an intensive writing workshop at the wonderful three-day Bendigo International Festival of Exploratory Music.
In game-playing, art made sacred and a drone’s eye view of a threatened Earth, Andrew Furhmann witnesses new forms designed to change cultural attitudes.
realtime 133 june-july 2016
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
Cover (detail): Phare Circus, photo courtesy the artists and OzAsia 2016