Performance Space’s Liveworks Festival of Experimental Art proved once again that it can challenge and exhilarate, generate intense debate, and party. This week we look at Eisa Jocson’s Corponomy,LabAnino’s This Here. Land (image above), Tetsuya Umeda’s Ringo, Mark Harvey’s Helping Hand, Lz Dunn’s AEON and Jen Jamieson’s Let’s Make Love, a fine constellation of works that expanded our sense of what is possible, formally and emotionally. Next week we’ll conclude our Liveworks coverage with responses to Justin Shoulder’s remarkably inventive Carrion and Geumhyung Jeong’s challenging 7 Ways and her strangely enlightening Oil Pressure Vibrator. While Liveworks offers hope through creativity, the Australian Government delivers despair, whether in its escalating, utterly callous maltreatment of refugees and those refused that status, and its nonsensical clinging to the Adani Carmichael coal mine venture. As we head towards Christmas, there’s no time to party. Art is not enough. Make your voice heard now. Keith & Virginia
LIVEWORKS: PROCESS & EXPERIMENT Eisa Jocson's innovative lecture-performance, Corpomony, surveys her body of work and its political motivation, while Tetsuya Umeda's audio-visual abstraction yields a strange beauty, writes Keith Gallasch.
EXPERIMENTA: MAKE SENSE: DISORIENTATION & DISTANCE In the second of RealTime's responses to Make Sense, Elyssia Bugg experiences "an immersive sense of disorientation," though sometimes sensing technology as a creator of distance.
CCME: VISCERAL LISTENING For the Cleveland Contemporary Music Event Lawrence English will share Viento: Blizzards of Antarctica and Beyond, a texturally rich aural buffeting that he says will open up fascinating associations for his audience.
LIVEWORKS: A DESIRING FLOCK Participating in Lz Dunn's AEON — a human simulation of complex avian behaviour — Cleo Mees experiences uncertainty, longing and awe in the push and pull of flocking.
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