Dawson City: Frozen Time: Twice born of fire

Lauren Carroll Harris

Lauren Carroll Harris is pulled into a greyscale world of flickering found footage in Bill Morrison’s essay film Dawson City: Frozen Time, which traces the concurrent birth of a medium and a culture both given to self-destruction.

Rhiannon Newton: Dancing into infinity

Cleo Mees

With media artist Benjamin Forster and the words of Gertrude Stein, choreographer Rhiannon Newton overlays repeated movement and vocal sequences to underline dance’s richness of variation and inescapable ephemerality.

Supersense: Ecstasy sought, partly met

Elyssia Bugg

For Elyssia Bugg, Melbourne’s Supersense offers moments of transcendence and lost opportunities in a challenged theatre space while the festival’s Overground program in foyers offers “the unexpected and the electrifying.”

Editorial 23 August 2017

After focusing on graduate and postgraduate artists in recent weeks in our ongoing Arts Education & Training Feature, we turn our attention to new works made by academics who are prominent artists, successfully practising from within and beyond the academy.

OzAsia & Hong Kong: Identity & connection

Chris Reid

Chris Reid speaks with OzAsia participating choreographer Chloe Wong and Hong Kong Arts Development Council Chairman Dr Wilfred Wong Ying Wai about art and the autonomous territory’s cultural identity.

Woman with an Editing Bench: How do film editors think?

Lauren Carroll Harris

Made at Macquarie University, Dr Karen Pearlman’s new film about Elizaveta Svilova, editor of Man with a Movie Camera, is both a stand-alone art work and original research into editing and distributed cognition.

Andrée Greenwell’s Cinéaste: reflections & refractions

Keith Gallasch

Cinéaste Vol. 1 is a fascinating assemblage that allows composer Greenwell to lovingly reflect on the idiom of film scoring and to inventively refract her own compositions, yielding aural gems: riffs, ostinatos, hooks and soundscapes, the stuff of movies actual and imagined.

Sky Blue Mythic: Angela Goh’s fantastical myth-making

Keith Gallasch

More essay than review, Keith Gallasch’s response to Angela Goh’s Sky Blue Mythic explores the relationship between experiencing a powerfully disconcerting work, reviewing it and engaging with the artist’s account of it.

Narcifixion: Watching the narcissists

Keith Gallasch

Anton’s vigorously propulsive, grimly funny dance work, Narcifixion, about screen-bred narcissism provokes Keith Gallasch, watching a finely streamed performance, to appreciate the logic of its structure and respond to its account of a complex condition.

Rakini Devi’s nightwork: the performer as visual artist

Keith Gallasch

The exhibition Inhabiting Erasures powerfully attests to a passion to arrest the wrongs done to women, conjures a magical otherworld of female strength and beauty and exquisitely reveals painting to be the foundation of Devi’s practice.

Excellent everyday Kathak: Raghav Handa’s TWO

Keith Gallasch

With amusing conversation and exquisite partnering dancer Raghav Handa and tabla player Maharshi Raval reveal much about collaboration, Kathak dance and the testing of boundaries.

Album review: Offspring Bites 3: En Masse

Keith Gallasch

From Ensemble Offspring potent works by Alex Pozniak (dramatically assaying weight in music), Holly Harrison (a witty take on instrumental and other distortions) and Thomas Meadowcroft (a gently vibrating meditation that opens out to a pulsing expansive vision).

Editorial Thursday 27 August 2020

Keith Gallasch & Virginia Baxter

The highly successful 2019 exhibition In Response: Dialogues with RealTime, which celebrated the interplay between RealTime and the artists Martin del Amo, Vicki Van Hout and Branch Nebula, is now exhibited online. We also interview instigator and co-curator Dr Erin Brannigan about her motivation for mounting this innovative exhibition. In another bold archival venture, Madeleine Hodge and Sarah Rodigari have created Timely Readings, a visual mapping of live art in Australia.