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pics pages - rt97


Clare Britton, Hole in the Wall, Performance Space Clare Britton, Hole in the Wall, Performance Space
photo Heidrun Löhr
Wondermart, Rotozaza Wondermart, Rotozaza
photo Ant Hampton
Roberta Bosetti, The Persistence of Dreams: The Sandman, IRAA Theatre Roberta Bosetti, The Persistence of Dreams: The Sandman, IRAA Theatre
photo Umberto Costamagna
Oil Can, Tatsumi Orimoto, 4A Centre for Contemporary  Asian Art Oil Can, Tatsumi Orimoto, 4A Centre for Contemporary Asian Art
photo Alex Craig
Here we offer a mini-gallery of performance strategies for dealing with that unruly entity—the audience. Takers for Rotazaza’s Wondermart look afresh at everyday places (see review). In IRAA’s The Persistence of Dreams: The Sandman, an audience of one invites a group of friends to join them at their home to be bound and blindfolded as Roberta Bosetti recounts a dark bedtime story (see review), while Hole in the Wall participants are moved about in four rooms on wheels (see review). In Oil Can, at Sydney’s 4A Centre for Contemporary Asian Art, passersby are invited to climb into one of 15 oil cans to stand motionless alongside the artist Tatsumi Orimoto, for 30 seconds, which they obligingly do. Read about Oil Can here.

RealTime issue #97 June-July 2010 pg. 2-3

© RealTime ; for permission to reproduce apply to realtime@realtimearts.net

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