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Samantha Scott, Man Made Hybrid courtesy the artist |
we are what we eat
In Samantha Scott’s Man Made Hybrid, potatoes have eyes, actual eyes, and, uhhh… fins. Scott’s delicate and sometimes whimsical assemblages offer wry speculations on the possible ramifications of genetically modifying biology, exploring “the natural imperative of genetic information; the instructions that control how living things grow, develop and carry out life processes and survive (press release).” Scott’s exhibition is part of Craft Victoria’s Craft Cubed Festival 2011 themed HYBRID, offering a month long series of activities including exhibitions, professional development workshops, open studios, a market and an online portal. While you might have missed Adele Varcoe’s iFOLD technique in which she shapes human skin (still attached) into temporary garments, there's still time to appreciate Tessa Blazey and Alexi Freeman's Interstellar Gown made from 600 metres of gold plated chain. Man Made Hybrid, Samantha Scott, Aug 23-Sept 3, Heronswood, 105 Latrobe Parade, Dromana, Melbourne; http://craftvic.org.au/craft-cubed/satellite-events/exhibitions/man-made-hybrid; Craft Cubed Festival 2011, various venues across Melbourne, Aug 4-Sept 3; http://craftvic.org.au/craft-cubed
action fashion
public fitting, Mark Titmarsh, Todd Robinson. See Vimeo for full credits
Keeping up the fashion theme is Public Fitting at MOP Projects in Sydney, a collaboration between painter and video artist Mark Titmarsh and former fashion designer now artist Todd Robinson. In a live performance on the opening night, fashion and painting will literally collide in an action painting fashion catwalk free-for-all. The results will be exhibited as garments, videos and paintings exploring the intersection of the artists' practices. Public Fitting, Mark Titmarsh, Todd Robinson, MOP Projects, Aug 18-Sept Chippendale, Sydney; www.mop.org.au/
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Phoography, Max Lyandvert, George Poonkhin Khut & NIDA Production Students courtesy the artist |
brainwaves, soundwaves
Max Lyandvert, well known for his dark and haunting soundscapes for theatre, is currently artist-in-residence at NIDA courtesy of the Seaborn, Broughton & Walford Foundation. Collaborating with second year Properties, Costume and Production students Lyandvert has dreamt up the sound installation Phonography, which will inhabit the evocative environment of the Paddington Reservoirs with a “forest of hanging, waterlogged garments fed by currents that turn the clothes into speakers (press release).” The sounds of adjoining Oxford Street will also be fed into the caverns to “make it seem as though the audience is hearing the street sounds above from underwater.” The installation will also feature the work of George Poonkhin Khut further developing his investigations into biofeedback audio installations as he captures people’s brainwaves to create a score for musicians to play. (Read about Khut’s Cardiomorphologies here and here) Phonography, August 24-25, 5-7pm, Paddington Reservoir Gardens, Paddington, Sydney
a room of one’s own
In response to the thriving independent theatre scene in Sydney, The New Theatre has instigated The Spare Room initiative presenting the work of four new-ish local companies. The season kicked off earlier in the year with Dirtyland, a new Australian play by Elise Hearst, and the Australian premiere of UK writer Philip Ridley’s Piranha Heights. The final two shows are coming up starting with Katie Pollock’s A Quiet Night in Rangoon, presented by subtlenuance, telling the story of an Australian journalist in Burma in 2007 during the Saffron Revolution. The final work is Lucky, a physical theatre piece poetically exploring the issue of human trafficking, by Dutch writer Ferenc Alexander Zavaros and presented by IPAN International Performing Arts Network. The New Theatre is currently calling for submissions for its 2012 The Spare Room program with a deadline of September 30. The Spare Room: A Quiet Night in Rangoon, subtlenuance, Aug 18-Sept 10; Lucky, IPAN International Performing Arts Network, Oct 6-22; The New Theatre, Newtown, Sydney; www.newtheatre.org.au
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The Hamlet Apocalypse, The Danger Ensemble (Melbourne production) photo Morgan Roberts |
the end of the world as we know it
La Boite has also been showcasing the Brisbane independent theatre scene through its Indie Series. The final installment is by The Danger Ensemble presenting The Hamlet Apocalypse (to be reviewed in RT105): a group of six actors performing Shakespeare’s Hamlet on the eve of the end of the world. The Danger Ensemble is made up of artists from diverse performance backgrounds including Butoh, physical theatre and experimental cabaret. Director Steven Mitchell Wright writes: “We have gone down the path that leaves the work the most open, where time is broken and glimpses of truth and experience can be accessed by the audience in a non-literal and anti-theatrical way (director’s notes).” While Mitchell believes the work “will polarise audiences,” the production was very well received at the Melbourne Fringe Festival in 2010. La Boite Indie, The Hamlet Apocalypse, The Danger Ensemble, Aug 26-Sept 11, La Boite Theatre, Brisbane; www.laboite.com.au; www.dangerensemble.com
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Quiet Time workshop with Reckless Sleepers courtesy the company |
a bit of shush
CIA Studios in Perth is calling for participants for Quiet Time, a workshop with Mole Wetherell from the UK/Belgium group Reckless Sleepers. Quiet Time will bring together 10 artists from a range of artform areas to explore the "the city as a basis for research and stimulus(media release)." Reckless Sleepers formed in 1988 and often work with a research and residency model to create cross-disciplinary, site-specific works that are “installed rather than presented (company website)." The workshop will take place in December, with applications closing August 29. Participant stipends and interstate travel allowances are available to assist artists to attend the Lab. For more information or to be sent an application form email [email protected]; www.ciastudios.com.au/
RealTime issue #104 Aug-Sept 2011 pg. web
© RealTime ; for permission to reproduce apply to [email protected]
