Apology to Emily Johnson

The Editors

RealTime apologises unreservedly to Emily Johnson, Artistic Director of Catalyst, for stating incorrectly on 5 December that “currently her collaborators are rarely Indigenous.” Johnson has consistently collaborated with Indigenous artists and peoples alongside non-indigenous participants in a distinguished career.

21 December 2018

Editorial 5 December 2018

Welcome to a bumper holiday edition of RealTime featuring extensive reviews of two critically important festivals, OzAsia (image above Yui Kawaguchi) and Climate Century; treasurable reflections on writing for RealTime by Richard Murphet and Gail Priest; and a look at how Australia’s Indigenous dance scene is set to change as new companies emerge.

5 December 2018

OzAsia 2018 performance: More than cultural diplomacy

Ben Brooker

Deeply engaged by five works in a bracing festival, Ben Brooker writes of their evocations of “displacement, the unsettling of body and being by the effects of colonisation, technology and environmental disruption.”

5 December 2018

OzAsia 2018: The female body from within

Chris Reid

Five artists with international reputations — Chiharu Shiota, Kawita Vatanajyankur, Anida Yoeu Ali, JeeYoung Lee and Yee I-Lann — thrillingly engage audiences “with a primary focus on performance and on the female body as a site of self-understanding and self-realisation,” writes Chris Reid.

5 December 2018

My RealTime years: art, writing & terror

At a time when “politics takes no notice” of art, Richard Murphet looks back with passion to the revelatory works he wrote about for RealTime, with a sense of community and a freedom to engage beyond the parameters of ‘reviewing.’

5 December 2018

Contributor profile: Richard Murphet

Richard has worked in theatre for over four decades, as actor, director, playwright and teacher (for a quarter of a century at the Victorian College of the Arts). He wrote about theatre for RealTime from 1996 to 2007.

5 December 2018

Notes from the sound underground

Gail Priest

Reflecting on her emergence as a writer on (and practitioner of) sound art over two decades, Gail Priest maps a wonderful constellation of artists, events, reviews, video interviews and phases in the development of a diverse and now pervasive artform.

5 December 2018

Tributes to RealTime: A collection

Keith Gallasch, Virginia Baxter

When it was announced in December 2017 that RealTime was drawing to a close, we received 100s of messages expressing sorrow and applauding the magazine’s achievements. We’ve gathered these in one document to become part of our archive.

5 December 2018

Black dance, BlakDance, companies & culture

Jeremy Eccles

In a 2009 interview Bangarra’s Stephen Page worried about the absence of other Indigenous dance companies. In 2018, Jeremy Eccles speaks with BlakDance’s Merindah Donnelly, surveying key players, emerging companies and the politics of funding.

5 December 2018

Bangarra at 20: Circle of connection

Jeremy Eccles

As Bangarra stages a tribute to the late David Page this week, we return to Jeremy Eccles’ 2009 interview with brother Stephen Page who delivers frank observations about sustaining culture, dealing with protocol challenges, skin politics and his role as elder.

5 December 2018

Climate Century: countering apocalypse

Ben Brooker

In acts of radical imagining, performances in Climate Century, produced by Vitalstatistix, place their audiences inside fantasias that evoke imminent doom and surreal alternatives, writes Ben Brooker.

5 December 2018

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.

14 November 2018

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.

14 November 2018

Writers read RealTime

In this second instalment of Writers read RealTime we bring you four more of the actual voices of our contributors reading reviews of favourite works: Ben Brooker, Erin Brannigan, Urszula Dawkins and Zsuzsanna Soboslay.

14 November 2018

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.

14 November 2018

Darren Jorgensen

Darren describes himself as a failed novelist whose life changed when he realised that art made in the remotest parts of Australia was of a quality to compare to any made in New York or Paris, yielding articles, books and a career.

14 November 2018

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.

14 November 2018

Writing the art experience: Itching shaking crying being held – Part II: On vulnerability

Zsuzsanna Soboslay

In the second of her two accounts of the experience of writing about art Zsuzsanna Soboslay vividly recalls works intimate and spectacular that laid bare thoughts and feelings about sleep, dreams, power, violence and parenthood.

14 November 2018

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.

14 November 2018

Cinesonics (1997-2001): Viscerally performative

Philip Brophy

Deploying diction “strictly associated with describing sonic and aural phenomena,” Philip Brophy in his Cinesonic series (1997-2001) thrillingly relayed the experience of how sound design, song selection/placement and score could say almost everything about a film.

14 November 2018

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