RealTime E-dition 6 September 2017

RealTime E-dition

Forward to a friend

This week, fascinating works for watching and listening. For our new Critical Audio series, Tasmania’s Sisters Akousmatica (image above) have made a playlist of sound works created by adventurous Australian female practitioners. And visual artist Gabriella Hirst does a double-act. Featured in our latest Critical Video series, she struggles against a relentless wind to practise her craft, and, as part of our ongoing Arts Education feature, reflects on her time at COFA (now UNSW Art & Design) and the National Art School and on the trajectory her career has taken from Berlin to London. In observations that suggest an organic vision of art practice, Hirst writes of cross-disciplinary practice that “research and adopted medium are in constant interplay” and that art schools yield art ecosystems. Also this week, Joanna Di Mattia offers an impressive account of Francis Lee’s God’s Own Country and kindred films that allow “straight audiences [to] deal with the realities of queer desire” and so see in queer bodies “actual flesh and blood human beings.” Keith and Virginia

TOLD THROUGH BODY AND LAND: GOD’S OWN COUNTRY
God’s Own Country and a suite of other queer-focused films at MIFF ask us "to take a step further — to acknowledge and respect what is different," writes Joanna Di Mattia.

CRITICAL AUDIO: HEARKEN (PRETER L’OREILLE)
For our first Critical Audio column, we invite Tasmanian radiophonic curators Sisters Akousmatica to create a playlist of risk-taking radio and broadcast art by Australian women. On with the headphones!

CRITICAL VIDEO: FORCE MAJEURE, GABRIELLA HIRST
Briony Kidd sees Gabriella Hirst's video work Force Majeure as a satire of the artistic life, speaking to the gap between expectation and outcome, and the artist reflects on her art education and career overseas.

EDINBURGH INTERNATIONAL FESTIVAL: ART'S HARD WORK
Works in the first week of the Edinburgh International Festival "had central figures attempting to re-write histories in new ways, to re-examine the ways that we tell ourselves ‘what has happened,'" reports Mish Grigor.

OZASIA FESTIVAL: HISTORY, EPIC & INTIMATE Chris Reid speaks to the makers of two acclaimed theatre productions from Singapore — W!LD RICE's Hotel and Checkpoint Theatre's Recalling Mother — which are part of 2017 OzAsia Festival.

KILLING GROUND: HORROR'S LIMITS
Katerina Sakkas finds Damien Power's directorial debut, Killing Ground, problematic in its reliance on Australian horror tropes and gratuitous depictions of violence against women.

ZACH'S CEREMONY:
COMPLEX MANHOOD
This week's Giveaway of DVDs of this culturally significant documentary about an Indigenous urban boy’s initiation into Law calls for a re-run of Tyson Yunkaporta’s insightful, personal review.

GIVEAWAY: ZACH’S CEREMONY DVD
We're giving away 3 copies of Zach's Ceremony, a coming-of-age story that follows for the first time onscreen a young Indigenous man from childhood to initiation into his society, while avoiding “a simplistic, romanticised message of ‘walking in both worlds.’”

Don't keep RealTime a secret, forward this email to a friend or fellow art lover.

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
PO Box A2246
Sydney South 1235
Australia

Tel 61 2 9283 2723

realtime@realtimearts.net
www.realtime.org.au

If you wish, you can unsubscribe from this list.