Editorial 14 November 2018

Once again Performance Space’s Liveworks Festival of Experimental Art has produced a program of small scale performances of often visceral intensity and formula-testing inventiveness, including works from Taiwan, Japan and Indonesia. We felt honoured to be part of this year’s festival with RealTime in real time (image above), a five-hour conversation about art in the 25 years of the magazine’s publication.

Liveworks: RealTime in real time pix

Keith Gallasch & Virginia Baxter

As part of Performance Space’s Liveworks, RealTime writers from around Australia gathered with artists and readers to consider the enormous changes in the arts 1994 to the present in an informal five-hour conversation that variously free-floated, hit home and entertained.

Liveworks 2018: Art testing

Keith Gallasch

Keith Gallasch welcomes the challenges to form, thinking and feeling provided by Performance Space’s dexterous experimental art programming, in which Branch Nebula’s High Performance Packing Tape and Rianto’s Medium proved to be exacting highlights alongside impressive works by John A Douglas, Appelspiel, Asuna and more.

The spirit of the place: 8 years of writing for RealTime

Urszula Dawkins

Urszula Dawkins evocatively reflects on adventures in reviewing highly unusual works for RealTime that tell of how we inhabit and generate places, literally and metaphorically, from the Arctic to the mind and digital imaginings.

Horror in RealTime: lovely, dark and deep

Katerina Sakkas

Katerina Sakkas created a special niche in RealTime for horror film — especially works by Australians and women in particular, in part inspired by her coverage of three of Tasmania’s Stranger With My Face festivals. Delving into her passion for the genre, she reveals its capacity to be much more than escapist.

Editorial 10 October 2018

As a prelude to our five-hour open conversation, RealTime in real time, as part of the Liveworks Festival of Experimental Art, this edition is packed with archival delights.

Liveworks: RealTime in real time

Unfolding over 5 hours on Sunday 21 October at the Liveworks Festival, RealTime in real time will be an open conversation charting the remarkable transformation of the art experience over the last quarter century and our response to it, as writers, artists and audiences.

Living the RealTime life

Kirsten Krauth

Kirsten Krauth vividly recalls her RealTime years 1998-2002, as an evolving writer, Assistant Editor and Editor of the OnScreen supplement, embracing Australian film, hypertext and much more, including a one-off stint as Ivana Caprice, digital porn artist.

A superbly slippery medium: photography in RealTime 2005-2017

Katerina Sakkas

Transformations in documentary photography, the influence of the vernacular shot, photography as history, collaboration and performativity figure in Katerina Sakkas’ survey of incisive, evocative reviewing of images wrought by Pat Brassington, r e a, Christian Thompson, Thomas Demand, Trent Parke, Heidrun Löhr, Robyn Stacey and more in RealTime.

Edited Highlights: The RealTime years

Greg Hooper

Ranging across 20 years of reviewing for RealTime, Greg Hooper selects his best opening gambits and endings, recalls the art that thrilled and did not, being shy with artists, abhoring unethically loud concerts and challenging taste-offended theorists who see in modernism and its heirs the source of contemporary evil.

Welcoming the challenge of the new

Jonathan W Marshall

Jonathan W Marshall probes his reviewing since 1998, focusing on favourite works in theatre and dance (early on in Melbourne in particular), assaying the role of RealTime and reflecting on writing from WA.