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.

In Response… now exhibited online

Keith Gallasch, Virginia Baxter

2019’s In Response: Dialogues with RealTime is now online, featuring performances, interviews and documentation from the exhibition in a superbly produced digital record that enriches the archives of artists Martin del Amo, Branch Nebula, Vicki Van Hout and RealTime.

Erin Brannigan & the living archive

Keith Gallasch

In this interview, Erin Brannigan looks back to her young dancer and street paper reviewer self on a path to developing a passion for dance history and for doing something special for the archiving of performance with In Response: Dialogues with RealTime.

Thinking at the speed of light: the art of Sam James

Keith Gallasch

With video camera and a Mini Maglite torch as wand, Blue Mountains-based artist Sam James magically engages with thought, time, objects and space. In this interview James reflects on the making of his animations and we access a powerful new work, Panic Embrace.

Editorial Friday 10 December 2019

The Big Anxiety. It’s a bold, even risky title for a festival that “brings together artists, scientists and communities to question and re-imagine the state of mental health in the 21st century”.

The Big Anxiety 1: listen_UP, listen deep

Keith Gallasch

An installation in The Big Anxiety’s Empathy Clinic advocates and induces deep listening with which to understand the anger and underlying grieving born of serial trauma suffered by generations of Australia’s Indigenous peoples.

The Big Anxiety 2: Breakout My Pelvic Sorcery

Keith Gallasch

Eugenie Lee’s multidisciplinary, collaborative VR creation for The Empathy Clinic asks health professionals to brave discombobulating discomfort in order to develop empathy for the sufferers of pelvic pain.

The Big Anxiety 3: Altering states

Keith Gallasch

With psychological insight, passion, wit and magic in the face of trauma, prejudice and panic, six distinctive works convey complex states of being in search of empathy and release.

Editorial 14 October 2019

Performance Space’s 2019 Liveworks Festival of Experimental Art and Adelaide Festival Centre’s OzAsia (image above: audience playing bankers in Ontroerend Goed’s £¥€$) both kick off in coming days with programs of rare intensity and invention. We guide you through their programs.

2019 OzAsia Festival: Dissolving borders

Keith Gallasch

Festival Director Joseph Mitchell and Keith Gallasch discuss performances that will test forms, intensify audience experience and further cross-cultural collaboration, alongside a potently interdisciplinary visual arts program.

Liveworks 2019: Intimate, talkative, provocative

Keith Gallasch

With overlapping focus on Feminist Sound and Cultural Disruptors, this about to commence Festival of Experimental Arts features Chicks on Speed, Joel Bray, Vicki Van Hout, Gail Priest, Choy Ka Fai, Lauren Brincat, John Vea, Betty Grumble and more.

Rosalind Crisp’s environmental site-dance

Keith Gallasch

While admiring its beauty, Rosalind Crisp wittily and movingly transforms the Sydney Opera House’s Utzon Room into an exemplar of our problematic relationship with nature, drawing on her own life on the land and testing dance’s activist potential.