profiler aug 31, 2016
We’ll be brief. There’s so much weird and wonderful reading in this E-dition, taking you from the Darwin Festival to Australia’s newest dance festival, Salamanca Moves (UK artist Liz Aggiss above) in Hobart, from Keith Armstrong’s imaginary ecologies to Tim Darbyshire’s human stress-test, from Toshiki Okada’s critical paean to baseball in the OzAsia Festival to ELISION ensemble’s celebratory exhibition in Melbourne and performances in Bendigo and Sydney Chamber Opera’s revelatory take on Dostoevsky. Our ongoing Arts Education feature focuses this week on Adelaide Central School of Art. While art revels in nuance, complexity and passion, the angry forces of absolutism in the new federal parliament line up to do their worst. It’s time to care. We’re off to the Bendigo International Festival of Exploratory Music—follow us on Partial Durations—and will be back with you on 14 September. Keith and Virginia
ADELAIDE CENTRAL SCHOOL OF ART
With drawing at the core of its curriculum, leading artist teachers and successful graduates, this proudly independent art school is offering travel grants and scholarships and gaining a national profile.
SALAMANCA MOVES: DANCE DIVERSITY
Curator Kelly Drummond Cawthon tells RealTime about a must-see new Australian dance festival in Hobart that makes visible all kinds of dance, in theatres, public spaces and with communities and new technologies.
OZASIA FESTIVAL: EXORCISING AMERICA
Toshiki Okada, writer-director of God Bless Baseball, tells Ben Brooker that though baseball is loved in Japan and Korea, the game embodies the problematic ongoing cultural presence of America
ELISION ENSEMBLE AT 30
Artistic Director Daryl Buckley reflects proudly on this new music ensemble’s bold venture, celebrated with an exhibition at RMIT Gallery and performances this week at the Bendigo International Festival of Exploratory Music.
Debra Petrovitch finds herself absorbed into the complex worlds, ideas, hope and fears suggested by Brisbane-based artist and academic Keith Armstrong’s solo show, Over Many Horizons, at Sydney’s UTS Gallery.
LIVING BENEATH LIFE
With a turbulent score and great performances, Sydney Chamber Opera transforms the delirium of Dostoevsky’s Notes from Underground into a work that is as beautiful as it is existentially ugly.
THE AESTHETICS OF KINETIC IMPACT
Nikki Heywood sees in Tim Darbyshire’s viscerally engrossing Stampede the Stampede a “Baconesque body reduced to spinning, spinning, eternally in dust and finally liberated in darkness.”
2016 DARWIN FESTIVAL: THE ART OF COLLUSION
A provocative play from Ireland about suicide, a participatory exercise in collective government from the Philippines and an Australian play about a child threatened by climate change, each “bring audiences closer to the process of theatre-making.”
2016 DARWIN FESTIVAL: PAST FUELS PRESENT
Tracks Dance Company walks its audience through a sacred landscape, filling it with dance; cross-gender Javanese dancer Rianto fuses ritual and modern forms; and Finucane & Smith juxtapose traditional cabaret with burlesque.
THE METADATA THAT COUNTS
Where to turn to for the latest in physics and cosmology? To De Quincey Co’s team of dancers, video, sound and animation artists and guest scientists; playing soon in Melbourne and Sydney.
realtime 134 aug-sept 2016
gideon obarzanek: after glow
keith gallasch, chunky move’s gideon obarzanek, rt81
garry stewart: dance evolution in the age of robotics
erin brannigan, adt's devolution, rt71
lucy guerin: between temperature & temperament
jonathan marshall, rt52
rosalind crisp: a european future
erin brannigan, rt48
helen herbertson: the place where things slip
philipa rothfield, delirium, rt36
tess de quincey & stuart lynch: dancing the city
keith gallasch, compression 100, de quincey lynch, rt11
Cover image (detail): Liz Aggiss, The English Channel, photo courtesy the artist and Salamanca Moves