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MAAP in Singapore: GRAVITY

Oct 22-Nov 17


 Da Contents H2

October 22 2004
MAAP in Singapore 2004 - Gravity: Introduction
Keith Gallasch

GRAVITY - MAAP in Singapore
November 30 1999
A museum of accidents
Virginia Baxter

GRAVITY: Kim Kichul, Sound Drawing
An eye for sound
Gail Priest

SCAN: Asia Art Archive at The Substation
Archiving history face to face
Keith Gallasch talks to Angela Seng

GRAVITY: Tsunamii.net, alpha3.5crush
Computer juice
Gail Priest

GRAVITY, Singapore Art Museum
Conceptual leaps
Gail Priest

Symposium: GRAVITY
November 30 1999
Every available space
Virginia Baxter

-+-(negative plus negative)
Living the in-between
Keith Gallasch

MAAP artists' talk
Material boys
Keith Gallasch

Katawán, Satti
The body between: an interview/review
Keith Gallasch talks to Fatima Lasay

New Video Art From Australia
The inevitable body
Michael Lee Hong Hwee

-+-(negative plus negative)
November 30 1999
The pause that refreshes
Virginia Baxter

The Gravities of Sound Audio Tunnel/GRAVITY extended
The weight of public spaces
Gail Priest

New Video Art From Australia
The wild ones
Ho Tzu Nyen

GRAVITY, Singapore Art Museum
When words flail you
Gail Priest

 

Contibutor profile: Benjamin Brooker


Ben Brooker Ben Brooker
Bio

In 2010 I completed an honours degree in drama at Flinders University. By that time I had abandoned plans to train as an actor, my creative energies increasingly directed towards writing.

I’m interested in the complete writer, the wordsmith who, like Camus, is able to turn their hand to a multiplicity of forms. I’ve penned short stories, plays, polemics, reviews, and a handful of dazzlingly unsuccessful poems. Everything I write seems to be an attempt to understand something of the nature of human suffering, but always humour seems to find a way in. This is probably significant.

Earlier in 2013, I completed a three-month emerging writer’s residency at the SA Writers’ Centre, during which I completed the first draft of my new play Dark Moon. As I write this, in November 2013, my first full-length play, the absurdist The Lake, is in production by the award-winning Adelaide independent theatre company five.point.one.

I am currently working on several projects including a performance piece that will draw on the archived letters and correspondence of the SA Writers' Centre, and a play based loosely on a short story by French Resistance writer Vercors.

Expose

I always begin a review with this thought in my mind: art would exist without criticism, but criticism would not exist without art. There’s no use denying it. Critics should never write out of a desire to belittle or to diminish, but simply because they believe art is too important to ever let it get away with not being as fulfilled and fulfilling as it can be. In other words, criticism ought to always be closer to a kind of love than a kind of loathing. Plain speaking, rigour, and unfettered engagement are the keys. Critics should never sit on their hands, only their egos.

Recent articles

Sons & mothers, from two angles
Benjamin Brooker: No Strings Attached Theatre of Disability, Sons & Mothers
RealTime issue #118 Dec-Jan 2013 p5

A painful proximity to truth
Benjamin Brooker: Flying Penguin, STCSA: Angela Betzien, The Dark Room
RealTime issue #118 Dec-Jan 2013 p36

Shadow boxing with illusions
Ben Brooker: Vitalstatistix, Adhocracy
RealTime issue #116 Aug-Sept 2013 p46

Unsettling the idea of ideas
Ben Brooker: The Festival of Unpopular Culture
RealTime issue #106 Dec-Jan 2011 p16

RealTime issue #118 Dec-Jan 2013 pg. web

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

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