Change and transformation are pivotal to this E-dition. In Unseen, performance artist Lauren Simmonds uses illusion to reveal an unseen world behind the everyday, uniting us all. An injury compels circus artist Emma Serjeant to reinvent her practice for a new work, Grace. Actor Raoul Craemer becomes both troubled grandson and fascist grandfather in his play Pigman’s Lament. To duel with his animated self as The Ramayana’s Jatayu, Raghav Handa transforms into Ravana in Mens rea: The Shifter’s Intent. On seeing Ranters’ Come Away with Me to the End of the World and Anni and Maude Davey’s Retro Futurismus [image above], John Bailey reflects on how we render others, the past and future as eccentric. PACT, Sydney’s Centre for Emerging Artists, runs programs that turn eager young practitioners into confident artists, but Australia Council defunding threatens to defuse that transformative power. Director Katrina Douglas and supporters are determined to push on: continuity is the foundation for transformation.
ANGLES ON ECCENTRICITYIn Ranters’ Come Away with Me to the End of the World and Anni and Maude Davey’s Retro Futurismus, John Bailey senses our uneasy dealings with eccentricity.
THE POWER OF ILLUSION
In Unseen, Elyssia Bugg sees performance artist Lauren Simmonds magically transform the everyday, revealing in her refractions an uplifting unity.
DAMAGE MAKES ART
Circus artist Emma Serjeant (Circa, Casus) tells Kathryn Kelly how an injury has transformed her practice in a new work, Grace, directed by John Britton.
RealTime E-dttions are published by Open City an Incorporated Association in New South Wales. Open City Inc is supported by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy [VACS], an initiative of the Australian, State and Territory Governments. RealTime’s Principal Technology Partner is the national communications carrier, Vertel.
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