profiler dec 7, 2016
Remembrance & Forgetting. English psychoanalyst Adam Phillips, writing about Oscar Wilde in his book Unforbidden Pleasures (2015), notes that "great art, in Wilde's view...enables us to forget ourselves, our rational, conforming, intelligible, law-abiding, too-timid, explaining selves, and this forgetting makes things possible." Within a constellation of works ('great' or not) in an arts festival, we can even more intensely lose ourselves to reverie, joy, passion and bewilderment. Phillips extrapolates: "What we don't know, what we haven't understood, can be the realest thing about us." A good festival demands such openness. But it can also enact remembrance, of what we have forgotten or will forget or never knew, as Wesley Enoch looks to do with his 2017 Sydney Festival, celebrating the 1967 Referendum (which acknowledged the humanity of the Indigenous peoples of Australia), cultural continuity (in the lives of Tasmania’s muttonbirders; image above, Trevor Jamieson in The Season), and with sadness, the art of Myuran Sukumaran. Keith & Virginia
SYDNEY FESTIVAL: A GREAT SENSE OF OCCASION
Wesley Enoch’s first festival for the city has tremendous breadth but, at its core, in-depth engagement with the senses, Indigeneity and innovative art-making. Enoch tells Keith Gallasch about his vision, its aesthetics inseparable from its politics.
SYDNEY FESTIVAL: A PERSONAL GUIDE
Keith Gallasch digs through memories, rumours, reviews and video links to select the shows he's attracted to. Some of them will have escaped your attention. Some will take you out of your comfort zone. It's what a good arts festival should do.
REASSEMBLING THE COSMOS
Liza Lim's fantastical new opera, Tree of Codes, is populated with strange beings and inflected with the chirping and warbling of bellbirds and magpies. See rehearsals for the Cologne Opera production and hear Lim talk about the work's sources.
ACMI MARK II: MUSEUM OF THE FUTURE
Director Katrina Sedgwick’s revisioning of the Australian Centre for the Moving Image boldly embraces its role as a museum, offering expanded audience, industry and artist engagement, and a new position, Chief eXperience Officer.
MEMORY MADE MUSIC
In Chamber Made Opera's Permission to Speak, composer Kate Neal and director Tamara Saulwick score interviewees' childhood recollections of their parents. Andrew Fuhrmann finds that "while there's much that is sad or poignant in the remembered stories, the overall feeling is of airiness and giddy relief."
MAN AT WORK
But precisely what kind of work, asks Andrew Fuhrmann of dancer-choreographer Matthew Day’s Assemblage #1, a seeming laboratory in which the artist manipulates materials and space in search of a new mode of expression.
LIGHT MADE SOUND MADE LIGHT
With its purpose-built instruments used as lights and lights as instruments, Speak Percussion takes Madeline Roycroft into a world of transformation, featuring complex playing and ecstatic interaction.
realtime 136 dec-jan 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
Cover image (detail): Trevor Jamieson, The Season, Sydney Festival 2017, photo Simon Pynt