RealTime E-dition 10 September 2018

RealTime E-dition

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Once again Performance Space’s Liveworks Festival of Experimental Art has produced a program of small scale performances of often visceral intensity and formula-testing inventiveness, including works from Taiwan, Japan and Indonesia. We felt honoured to be part of this year’s festival with RealTime in real time (image above), a five-hour conversation about art in the 25 years of the magazine’s publication. Also in this edition, Zszusanna Soboslay adds a second instalment of her reflections on writing for the magazine across those many years and Philip Brophy looks at motivation and writing practice in the production of his revered Cinesonic series (1997-2001) for RealTime. Urszula Dawkins singles out a fascinating preoccupation with place among some of the 40 articles she wrote for us and Katerina Sakkas provides an insightful overview of her responses to horror films, especially those made in Australia and empowering women filmmakers. Finally, we’ve issued another batch of Writers read RealTime, in which intriguing correspondences between reviewers’ voices and writing styles are revealed. Good reading and listening, Virginia and Keith

LIVEWORKS: REALTIME IN REAL TIME As part of Performance Space’s Liveworks, RealTime writers from around Australia gathered with artists and readers to consider the enormous changes in the arts 1994 to the present in an informal five-hour conversation that variously free-floated, hit home and entertained.

LIVEWORKS 2018: ART TESTING Keith Gallasch welcomes the challenges to form, thinking and feeling provided by Performance Space’s dexterous experimental art programming, in which Branch Nebula’s High Performance Packing Tape and Rianto’s Medium proved to be exacting highlights alongside impressive works by John A Douglas, Appelspiel, Asuna and more.

THE SPIRIT OF THE PLACE Urszula Dawkins evocatively reflects on adventures in reviewing highly unusual works for RealTime that tell of how we inhabit and generate places, literally and metaphorically, from the Arctic to the mind and digital imaginings.

HORROR IN REALTIME: LOVELY, DARK AND DEEP Katerina Sakkas created a special niche in RealTime for horror film — especially works by Australians and women in particular, in part inspired by her coverage of three of Tasmania’s Stanger With My Face festivals. Delving into her passion for the genre, she reveals its capacity to be much more than escapist.

MORE WRITERS READ REALTIME
In this second instalment of Writers read RealTime we bring you four more of the actual voices of our contributors reading reviews of favourite works: Ben Brooker, Erin Brannigan, Urszula Dawkins and Zsuzsanna Soboslay.

CONTRIBUTOR PROFILE: DARREN JORGENSEN
Darren describes himself as a failed novelist whose life changed when he realised that art made in the remotest parts of Australia was of a quality to compare to any made in New York or Paris, yielding articles, books and a career.

ITCHING SHAKING CRYING BEING HELD: VULNERABILITY
In the second of her two accounts of the experience of writing about art Zsuzsanna Soboslay vividly recalls works intimate and spectacular that laid bare thoughts and feelings about sleep, dreams, power, violence and parenthood.

CINESONICS:
VISCERALLY PERFORMATIVE
Deploying diction “strictly associated with describing sonic and aural phenomena, Philip Brophy in his Cinesonic series (1997-2001) thrillingly relayed the experience of how sound design, song selection/placement and score could say almost everything about a film.

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RealTime E-ditions are published by Open City an Incorporated Association in New South Wales. Open City Inc is supported by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy [VACS], an initiative of the Australian, State and Territory Governments.

Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher.

RealTime, Open City Inc
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