Editorial 18 July 2018

In this edition we look to the present that forges the future — the 2018 OzAsia Festival’s distinctive deepening of the relationship between Asia and Australia — and to the past.

18 July 2018

Visual Arts, RealTime 1994-2004: Part 2, Convergence & Resurgence

Katerina Sakkas

Katerina Sakkas finds that RealTime’s writers “illuminate the complexities of cross-cultural exchange arising from new waves of contemporary Asian art; contextualise the millennial flourishing of photography, painting and video art; and bring linguistic playfulness to idiosyncratic installations.”

18 July 2018

OzAsia Festival 2018: Beyond borders

Ben Brooker

Artistic Director Joseph Mitchell reveals to Ben Brooker a cluster of key works in his third OzAsia program including the very real Dancing Grandmothers (South Korea), the meta-theatrical Secret Love in Peach Blossom Land (China) and War Sum Up (Denmark’s Hotel Pro Forma embraces Japanese cultural influence).

18 July 2018

Life-changing listening for RealTime: 1999-2017

Chris Reid

Chris Reid vividly reflects on enormous changes in contemporary music, applauding Stephen Whittington, Anthony Pateras, Gabriella Smart, Zephyr Quartet, Speak Percussion, Mimic Mass, Australian Art Orchestra, Guy Ben-Ary, Keiichiro Shibuya (and his robot singer Skeleton) and key festivals like Unsound.

18 July 2018

The Best of TEE OFF with Vivienne Inch

In the 1990s, RealTime backpage satirical columnists Vivienne Inch and Jack Rufus (Tooth & Claw) wickedly hybridised the worlds of art, politics and sport, drawing on real world incidents and issues. We commence a retrospective with two exemplary pieces by art-golfer Inch.

18 July 2018

Editorial 29 June 2018

Hot off the press!! At long last RealTime print editions 1-40 are available in our online archive. PDFs of each edition preserve the look of RealTime and each is searchable — treasure chests of highly responsive reviewing, critical thinking and, yes, humour (we even had ‘sports’ columns in those days).

29 June 2018

Making art in heavy weather: Australian Indigenous Performance, RealTime 1994-2000

Virginia Baxter

Virginia Baxter traces the emergence from 1994 to 2000 of a highly influential generation of Australian Indigenous performance-makers, bold experimenters sustaining and generously sharing their culture.

29 June 2018

In The Loop: silent bodies debate violence

Keith Gallasch

A violent sport, Calcio Storico, is the unlikely inspiration for Shaun Leonardo’s non-violent, wordless, movement-based, body language “debate” triggered by gun crime.

29 June 2018

Highly charged connections: Visual arts, RealTime 1994-2004, Part 1

Katerina Sakkas

In Part 1 of her survey, Katerina Sakkas reveals key trends and issues: burgeoning hybridity and cross-cultural dialogue, pivotal major exhibitions, prominence and challenges for Indigenous art, and threats to arts education and ARIs.

29 June 2018

Deep Archive: Angry at Australia

Keith Gallasch

In RealTime 95, Robyn Archer challenges director Baz Luhrmann’s use of music “deeply tied to an unreconstructed dependency on our colonisers,” while Philip Brophy in RT89 says blame the country, not the film.

29 June 2018

RealTime 1994-2000 online for the first time

Keith Gallasch

We’ve scanned the 40 print editions of RealTime’s first six years, making available online a fascinating record of a period of wildly intensive creativity, new and fervent preoccupations, humour and angry arts politics.

29 June 2018

Keith Gallasch: STC: Shaw’s St Joan, Savage’s high tragedy

Keith Gallasch

Sarah Snook’s Joan is complexly alien: a nationalist, religious fundamentalist instructed by the voices of saints; a divine fool and truth-speaking adolescent; a tragic heroine, stranger, and better for it, than George Bernard Shaw’s Joan. Possessed and poetic, she’s irreducible to 21st century individualism or idealised feminism in director Imara Savage’s ruthless adaptation with new writing from Savage and Emme Hoy that gives voice to Joan’s saints.

20 June 2018

Editorial 8 June 2018

Our grand archiving project is well underway. For the first time online you’ll soon be able to browse RealTime editions 1 to 40, a telling record of 1994-2000.

8 June 2018

Farewell Tom E Lewis, 1958-2018

Recalling his superb 2014 Sydney Festival performance in The Shadow King, RealTime mourns the death of the Aboriginal actor, singer and cultural leader.

8 June 2018

Theatre Kantanka’s Obscene Madame D: a world within

Keith Gallasch

Theatre Kantanka’s realisation of Brazilian writer Hilda Hilst’s novel immerses the audience in her radical imagination. And we bring together RealTime responses to this inventive company’s works since 2002.

8 June 2018

Unwrapped: new life for independents at the Opera House

Keith Gallasch

Reviewing the first season of Unwrapped and welcoming the appointment of Fiona Winning as Sydney Opera House’s Head of Programming, we look back to 2002 when Virginia Hyam announced her first program for The Studio.

8 June 2018

Jon Rose, Chris Abrahams and Peggy, a new CD

Keith Gallasch

Recorded towards the end of Jon Rose’s 2017 residency at Peggy Glanville-Hicks’ home, the CD is a vivid document of exploratory playing delivered with verve and passion. And we update our Jon Rose archive.

8 June 2018

Readymade Works’ very Happy Hour

Keith Gallasch

Martin del Amo and Anton, Nikki Heywood and Tony Osborne, and Kathy Cogill manifested intriguing personae in a program with which curator Julie-Anne Long celebrated the art of too-little-seen experienced independent Sydney performers.

1 May 2018

Kip Williams’ Arturo Ui: Democracy’s death dance

Keith Gallasch

With choreographic verve, cinematic prowess and a topically resonant translation by Tom Wright, director Kip Williams realises Brecht’s The Resistible Rise of Arturo Ui for STC as a swirling parable of democratic defeat.

1 May 2018

Sydney Chamber Opera’s The Howling Girls: Voicing trauma

Keith Gallasch

Pictorially and sonically immersive, Sydney Chamber Opera’s wordless The Howling Girls is a remarkable celebration of the voice and a continuation of the feminist project to depathologise and give voice to the extremes of women’s experiences.

1 May 2018
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