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This week we offer our third and final set of reviews of the Liveworks Festival of Experimental Art, an invaluable event in a city where independent contemporary performance, live art and dance often seem scattered and sparsely programmed across the year. Alongside reviews of works by Justin Shoulder and Geumhyung JeongKeith completes his series of responses focusing on the expectations raised by the use of the descriptor ‘experimental’ and how it might be more meaningfully engaged with in future Liveworks. Rounding out our Liveworks coverage, we bring up from our Deep Archive a wonderful article about Gena Rowlands, the film actress whose role-within-a-role Nat Randall adopts in The Second Woman, a great Liveworks success. This week we’re streaming via Facebook forums featured in Hobiennale, the current gathering in Hobart of ARI representatives from across Australia and New Zealand. We’ll report on the event’s exhibitions with images, video and a review in coming weeks. After a short break, we’ll be back on 22 November. Keith & Virginia
ACSA
CARRION
LIVEWORKS: MAGNIFICENT MUTANCY               Cleo Mees experiences Justin Shoulder's CARRION as "a dream-space... of fantastical proportions" in which occurs "a profound melding of costume and body, a mutual transformation which produces creatures that feel real, through and through."
Liveworks
PUTTING LIVEWORKS TO THE TEST
Keith Gallasch's overview of a richly engaging 2017 Liveworks Festival of Experimental Art asks how seriously are we to take its "experimental" standing and how it might be openly addressed.
JOLT
Wreck
THE WARMUN WRECK            Jon Rose's wonderfully vivid account of the second in the Wreck Projects in which a retired car in Warmun in the East Kimberley becomes a potent musical instrument reveals the challenges and pleasures of a unique venture.
JOLT
SOUND ARTISTS JUST GOTTA HAVE FUN             For Melbourne Music Week, James Hullick, Artistic Director of JOLT, promises "a wild sci-fi sound art/acousmatic/chamber music/pop art experience" with hard-core philosophical enquiry framed by humour.
Grace
A CALL FOR MUTUAL CARING          David Williams and Paul Dwyer's Grace Under Pressure is sensitively crafted verbatim theatre rich with the observations of those who are responsible for us in hospitals and whose own lives are subject to often inordinate pressures, writes Keith Gallasch.
Opening Night
THE DEEP ARCHIVE: BEING GENA ROWLANDS    In the wake of Nat Randall's success with The Other Woman, it's time to consider the performance that inspired it, celebrated in a superb article from 1994 about performance and identification by Lesley Stern.
Oil Pressure
LIVEWORKS: ACTUALISING FANTASIES                  Geumhyung Jeong's puppeteering of devices that sexually dominate her in 7 Ways is revealed in Oil Pressure Vibrator to be fundamental to a quest for hermaphroditism in performances of obsessive artistry, writes Nikki Heywood.
North Korea
AUDIOVISION 28: POST-POLITICS & TOTALITARIAN TONALITY
Philip Brophy queries the veracity of Ugis Olte and Morten Traavik’s Liberation Day, a documentary about Slovenian industrial music collective Laibach's 2015 concert in North Korea.
Una giveaway
GIVEAWAY: UNA DVD
Australian theatre director Benedict Andrews' feature film debut is a tense, chilling account of a young woman vengefully confronting a former neighbour who sexually abused her when she was a child. We have 5 DVDs to give away, courtesy of Madman Entertainment.
Stop Adani

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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.

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