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As we sense the world crumbling around us, environmentally and politically, it’s some relief to see so many artists attempting to rebuild through understanding the nature of suffering, nurturing empathy and envisaging new ways of thinking and being. Adelaide’s OzAsia Festival opens our senses to new ways of knowing our regional neighbours and ourselves (photo: Phare Circus, Cambodia); Urban Theatre Projects’ Simple Infinity faces us with the tentativeness of relationships for troubled minds; and Andrea James’ Winyanboga Yurringa addresses the healing, practical and spiritual, that needs to go on within Aboriginal communities. These are not plainly didactic ventures; they variously play with form, media and mood, but they do speak with a directness that is increasingly evident in the arts in testing times. On the other hand, there’s pleasure to be had from works that disconnect us from the intensifying demands of the everyday, such as the must-see media art works of dancer Hiroaki Umeda, teamLab, Mikuni Yanaihara and Kingsley Ng featured in the 2016 OzAsia Festival. They’re not frivolous, revealing instead the potential for creative responses to the same technologies that produce our assumed reality.

Keith and Virginia
Simple Infinity
FRAGILE DEALINGS            Keith Gallasch loops into Urban Theatre Project’s Simple Infinity, a gently surreal world in which Ultraviolet, Olive Green and Midnight Blue live ‘on the spectrum,’ seeking connection through words, music and gesture.
OZASIA, THE NECESSARY FESTIVAL     In a passionate account of his 2016 festival, Director Joseph Mitchell reveals key issues at play in bold works in theatre, experimental performance, media art and thrilling hybrids.
Andrea James
SERIOUSLY FUNNY       Director-writer Andrea James tells Keith Gallasch about her new play, Winyanboga Yurringa, which takes six Aboriginal women back to country to deal with issues of repatriation, drug-taking and children at risk, but with strength found in humour.
IVAN SEN’S GOLDSTONE         Amid the dust, actual and metaphorical, that pervades the film, Katerina Sakkas witnesses the emergence of mythic dimension in Ivan Sen’s crime thrillers.
Performing Climates
PERFORMING CLIMATES              In game-playing, art made sacred and a drone’s eye view of a threatened Earth, Andrew Furhmann witnesses new forms designed to change cultural attitudes.
In The Astronaut, Samantha Chester takes flight in a gentle reverie depicting a woman’s childhood recollections, memories of the Moon-landing, Elvis Presley and the rituals that sustain her.
Julie Williams
THE TEARS               Convalescing artist Julie Williams created a performative video from her bed, layered with images of a Blue Mountains site that offers spiritual succour. Read Virginia Baxter’s response and see the video.
Strange Attractor
Dance artists came from across Australia to Canberra to work with David Pledger to create new works that address their role as “canaries in the coalmine of democracy.”
Point of View
Opening this week at Fremantle Arts Centre, Matthew Ngui celebrates democracy with an installation, Every Point of View, in which viewers enter a PVC forest of opinions written with light and sound.
Apply now to be mentored by the Editors of RealTime and Partial Durations in an intensive writing workshop at the wonderful three-day Bendigo International Festival of Exploratory Music.

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.

Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher. 

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