Contemporary Performance & Live Art:

Liveworks 2023: Brooke Stamp, Mickey, Amplifying dance’s psyche

Keith Gallasch

Night Songs: Pied Butcherbird, centre-stage

Keith Gallasch

Raghav Handa, Follies of God: A dance for life

Keith Gallasch

Kaz Therese’s Sleeplessness: Art and trauma

Keith Gallasch

Life on the edge: Suzon Fuks’ Be Like Body—Obsolete #4

Keith Gallasch

re:group, COIL: Looping loss & laughter

Keith Gallasch

Sky Blue Mythic: Angela Goh’s fantastical myth-making

Keith Gallasch

In Response… now exhibited online

Keith Gallasch, Virginia Baxter

Hodge and Rodigari map Australian live art

Keith Gallasch, Virginia Baxter

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

Keith Gallasch

Branch Nebula demo’s evolution

Keith Gallasch

The Big Anxiety 2: Breakout My Pelvic Sorcery

Keith Gallasch

The Big Anxiety 3: Altering states

Keith Gallasch

2019 OzAsia Festival: Dissolving borders

Keith Gallasch

Liveworks 2019: Intimate, talkative, provocative

Keith Gallasch

Rosalind Crisp’s environmental site-dance

Keith Gallasch

(In)formative reviewing: a decade of Sydney performance

Caroline Wake

The slow retreat of reality: liveness in Melbourne performance

Jana Perkovic

Scene changes: Mapping Melbourne theatre 2005-2015

Andrew Fuhrmann

In Response: Dialogues with RealTime, the exhibition

Keith Gallasch and Virginia Baxter

Martin Del Amo: In response…

Martin Del Amo

You’re invited to the RealTime Archive Launch

Virginia Baxter & Keith Gallasch

In Response… Artists in Action

Keith Gallasch

In Response: Dialogues with RealTime: the catalogue

Keith Gallasch

Art & review: an enduring loop

Keith Gallasch & Virginia Baxter

Sydney Chamber Opera, La Passion De Simone: spiritual turbulence

Keith Gallasch

THE LOOP: Waiting for DAU

OzAsia 2018 performance: More than cultural diplomacy

Ben Brooker

OzAsia 2018: The female body from within

Chris Reid

My RealTime years: art, writing & terror

Climate Century: countering apocalypse

Ben Brooker

Liveworks: RealTime in real time pix

Keith Gallasch & Virginia Baxter

Writers read RealTime

Liveworks 2018: Art testing

Keith Gallasch

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

Urszula Dawkins

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

Zsuzsanna Soboslay

Liveworks: RealTime in real time

Writers read RealTime

Edited Highlights: The RealTime years

Greg Hooper

Welcoming the challenge of the new

Jonathan W Marshall

Liveworks 2018: It’s Alive! It’s Alive!

Virginia Baxter

Liveworks 2018: Nicola Gunn

Liveworks: Return to Escape from Woomera                  

Back to Back, In Between Time & RealTime

Osunwunmi

Performance in a progression-regression helix, Adelaide 2011-17

Ben Brooker

Theatre of Soak: on drunkenness as performance

Bernard Cohen

Writing the art experience: Itching shaking crying being held – Part I: Of silence and silencing

Zsuzsanna Soboslay

OzAsia Festival 2018: Beyond borders

Ben Brooker

The Best of TEE OFF with Vivienne Inch

In The Loop: silent bodies debate violence

Keith Gallasch

Theatre Kantanka’s Obscene Madame D: a world within

Keith Gallasch

Unwrapped: new life for independents at the Opera House

Keith Gallasch

Readymade Works’ very Happy Hour

Keith Gallasch

Sydney Chamber Opera’s The Howling Girls: Voicing trauma

Keith Gallasch

NORPA’s Djurra: Dreaming theatre

Vicki Van Hout

Interchange Festival: The Start and the End of the Body

Nikki Heywood

Interchange Festival: The Political Body

Cleo Mees

JOLT’s musical myth-making

Elyssia Bugg

The mutable body: Thomas E S Kelly and Fishhook at PACT

Keith Gallasch

Report: Hobiennale Arts Festival

Lucy Hawthorne

Aphids’ Artefact: grieving dead tech

Malcolm Whittaker

Wired Open Day Festival’s agri-cultural magic

Neill Overton

Jackson Davis: The art of videographic performance

Keith Gallasch

Liveworks: CARRION: Magnificent mutancy

Cleo Mees

Putting Liveworks to the test

Keith Gallasch

Liveworks: Geumhyung Jeong: Actualising fantasies

Nikki Heywood

Grace Under Pressure: a call for mutual caring

Keith Gallasch

Liveworks: Can art make oxytocin?

Teik-Kim Pok

Liveworks: LabAnino’s simultaneous Filipino realities

Teik-Kim Pok

Liveworks: Tetsuya Umeda, Eisa Jocson: Process & experiment

Keith Gallasch

Liveworks: Mark Harvey: Risky chat

Teik-Kim Pok

Liveworks: AEON, a desiring flock

Cleo Mees

Proximity Festival 2017: One-on-one adventures

Nerida Dickinson

Liveworks’ ghosts of performance past

Keith Gallasch

Speakeasy: A question of independence

Andrew Fuhrmann

Soft Centre: a niche utopia

Gail Priest

Open to the land: 2017 Wired Open Day Festival

Keith Gallasch

OzAsia Festival: The cultural deep-end

Ben Brooker

OzAsia: The End: Almost human

Keith Gallasch

OzAsia Festival: The Dark Inn: Defeating ignorance

Keith Gallasch

OzAsia Festival: Worlds reconfigured

Ben Brooker

Liveworks 2017: Beautiful Disturbance; interview, Jeff Khan

Keith Gallasch

My dinner with birdfoxmonster

Katerina Sakkas

Lessons learnt from Deborah Pearson

John Bailey

The Second Woman: the female star as agent

Briony Kidd

Interview, Frances Barbe: The university as performance incubator

Keith Gallasch

The performance makers: Jessica Russell, Phoebe Sullivan

Keith Gallasch

Interview: Jo Bannon, never a ghost

Osunwunmi

Junction Arts Festival: Illuminating a town with art

Lauren Carroll Harris

Urban Kali: Face to face with Kali

Keith Gallasch

Soft Centre: Festive hardcore

Keith Gallasch

The goddess & the doctorate: Rakini Devi’s Urban Kali

Keith Gallasch

Visualising sound, making Home

Chris Reid

Interview: Steve Matthews, going seriously solo

Keith Gallasch & Virginia Baxter

Sport for art’s sake: PLUNGE

Kathryn Kelly

The Second Woman at Liveworks

Lauren Carroll Harris

OzAsia & Hong Kong: Identity & connection

Chris Reid

Speechless: Giving voice to refugees

Chris Reid

Be Your Self and Trapper: Bodies of our time

John Bailey

Jack Symonds on Britten’s The Rape of Lucretia

Keith Gallasch