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# RealTime — Australia

Media Arts  I  Performance  I  Hybrid Arts  I  The World

## Sitemaps

- [XML Sitemap](https://www.realtime.org.au/sitemap.xml): Contains all public & indexable URLs for this website.

## Posts

- [Digital Native: the art of Jenny Fraser, playful provocateur](https://www.realtime.org.au/digital-native-the-art-of-jenny-fraser-playful-provocateur/) - Jenny Fraser is a tough-minded, playful provocateur, a bricoleur who will use whatever media and images are at hand to celebrate First Nations culture and to right the enduring wrongs done by racist colonisation to her fellow First Nations Australians. Jenny is a self-described “digital native” — a play on her heritage and her intimate
- [Liveworks 2023: Brooke Stamp, Mickey, Amplifying dance’s psyche](https://www.realtime.org.au/liveworks-2023-brooke-stamp-mickey-amplifying-dances-psyche/) - Perhaps it was the rejection of the proposed Voice for Australia’s First Nations peoples; the public refusal, or inability, to understand or acknowledge difference. Perhaps it was the massacre in Israel and the terror now wrought on the people of Gaza. Perhaps it was one war eclipsing the other in Ukraine. Perhaps it was all
- [Night Songs: Pied Butcherbird, centre-stage](https://www.realtime.org.au/night-songs-pied-butcherbird-centre-stage/) - Superbly carrolling and chorusing all day long, the resident magpies in our inner city suburban street constantly bring to mind Night Songs, performed as part of Performance Space’s Liveworks Festival of Experimental Art in October 2022. Magpie song and my recovery from a long illness have finally brought me to write about a deeply engaging
- [Word dance: Nikki Heywood & Mark Cauvin, Broadcast into Oblivion](https://www.realtime.org.au/word-dance-nikki-heywood-mark-cauvin-broadcast-into-oblivion/) - In our RealTime review-writing workshops conducted around Australia and overseas for many years, we discouraged learner reviewers from evoking the weather experienced before or at a performance (“It was a warm, languid evening ideal for reflecting on the human condition”), save of course for extreme circumstances (“I was blown away, so was the show”). Broadcast
- [Raghav Handa, Follies of God: A dance for life](https://www.realtime.org.au/raghav-handa-follies-of-god-a-dance-for-life/) - “Over-interpretation is just the name we give to the moment when criticism admits — gives a gasp at — the gap between form and content.” TJ Clark, art historian Raghav Handa’s Follies of God, part of Performance Space’s 2002 Livework’s Festival of Experimental Art, is a physically exacting performance for its maker and viscerally gripping
- [Kaz Therese’s Sleeplessness: Art and trauma](https://www.realtime.org.au/kaz-thereses-sleeplessness-art-and-trauma/) - Afforded the ‘luxury’ of retirement, my response to Kaz Therese’s Sleeplessness honours this little reviewed, culturally significant performance by documenting and interpreting it in warranted detail. Should Sleeplessness enjoy subsequent seasons, be warned, I describe revelatory moments in the quest Therese undertakes. At the end you’ll find links to interviews with Therese at various career
- [WE ARE HERE’s Radical Transparency: resurrecting dance](https://www.realtime.org.au/we-are-heres-radical-transparency-resurrecting-dance/) - In March, WE ARE HERE Company, co-founded by Parramatta-based FORM Dance Projects and choreographer Emma Saunders, staged Radical Transparency, a vivid depiction of the anxieties and survival tactics, recovery and restitution of a young dance team returning to performance after suffering the individual and communal depredations of the Covid epidemic. It’s a show of bits —
- [Queer spill](https://www.realtime.org.au/queer-spill/) - Owen Leong, AUTOevacuations It is 6.30 on a hot and sweaty Melbourne evening and the sun is still beating down as we step into Blackbox for the opening of Liquid Aesthetics. Melburnians like a party with their exhibition openings, but here is a full-on night club experience: the pulsing throb of dance music (does my
- [A nurturing Dancenorth](https://www.realtime.org.au/a-nurturing-dancenorth/) - Bernadette Ashley: Dancenorth, Tomorrow Makers
- [Life on the edge: Suzon Fuks’ Be Like Body—Obsolete #4](https://www.realtime.org.au/life-on-the-edge-suzon-fuks-be-like-body-obsolete-4/) - The viewer of Brisbane-based multidisciplinary artist Suzon Fuks’ Be Like Body—Obsolete #4 first experiences a sense of flight into a slow turning spiral, a galaxy perhaps, its starry tendrils curling out into deep, dark space. The poet Parvathy Baul (India) sings ethereally of a divine yogi in a cosmos where “Neither is there beginning nor
- [re:group, COIL: Looping loss & laughter](https://www.realtime.org.au/regroup-coil-looping-loss-laughter/) - re:group’s live-cinema event COIL is an astonishingly multi-layered, funny-sad eulogy for, among other things, the demise of video rental stores around Australia, including the wonderful Film Club in Sydney’s Darlinghurst, which closed March 14. The audience for COIL at Sydney’s PACT in February groaned at mention of the imminent loss. A “multi-layered eulogy” because the
- [Virginia Baxter & Keith Gallasch appointed Members (AM) of the Order of Australia](https://www.realtime.org.au/virginia-baxter-keith-gallasch-appointed-members-am-of-the-order-of-australia/) - The Editors Virginia Baxter and Keith Gallasch have been appointed Members (AM) of the Order of Australia (General Division) by the Governor-General with effect from 26 January 2022. The citation reads: “For significant service to the arts though performance, writing and production.” With shared backgrounds in theatre in Adelaide since the mid 70s, Virginia and
- [Andrée Greenwell’s Cinéaste: reflections & refractions](https://www.realtime.org.au/andree-greenwells-cineaste-reflections-refractions/) - Cinéaste Vol. 1 is a fascinating assemblage that allows composer Greenwell to lovingly reflect on the idiom of film scoring and to inventively refract her own compositions, yielding aural gems: riffs, ostinatos, hooks and soundscapes, the stuff of movies actual and imagined.
- [Mezangelling language: net.wurked writing](https://www.realtime.org.au/mezangelling-language-net-wurked-writing/) - MEZ [Mary-Anne Breeze] has been described as one of "the original net.artists" who is "…without doubt one of the most consistent, prolific, innovative artists working in new media today. Mez's work with language has had a considerable effect on the language of many…" Since 1995, she has exhibited extensively via the internet and in 'realtime.'
- [Sky Blue Mythic: Angela Goh’s fantastical myth-making](https://www.realtime.org.au/sky-blue-mythic-angela-gohs-fantastical-myth-making/) - I’m at The Studio in the Sydney Opera House. It’s the night of the premiere performance of Angela Goh’s Sky Blue Mythic; an expanded version of the 20-minute work that won Goh the 2020 Keir Choreographic Award, which I hadn’t seen. After the show I find a QR code for the program in the foyer.
- [Narcifixion: Watching the narcissists](https://www.realtime.org.au/narcifixion-watching-the-narcissists/) - This is a review that started out as a brief response, but its subject matter felt too important to treat lightly, a risk that Narcifixion itself takes as a stylishly propulsive entertainment with a simple message – in effect, ‘beware screen-driven narcissism, it’ll destroy you.’ I found myself wanting to honour the makers by detailing
- [Rakini Devi’s nightwork: the performer as visual artist](https://www.realtime.org.au/rakini-devis-nightwork-the-performer-as-visual-artist/) - The exhibition Inhabiting Erasures powerfully attests to a passion to arrest the wrongs done to women, conjures a magical otherworld of female strength and beauty and exquisitely reveals painting to be the foundation of Devi’s practice.
- [The RealTime Archive: Contributors: Jodie McNeilly](https://www.realtime.org.au/the-realtime-archive-contributors-jodie-mcneilly/) - For our archive we’re completing and updating our contributor entries. Dancer, research academic and writer Jodie McNeilly likes that writing "lets [her] turn towards the world with acute attention." Read Jodie's profile here.
- [The RealTime Archive: Contributors: Erin Brannigan](https://www.realtime.org.au/the-realtime-archive-contributors-erin-brannigan/) - For our archive we’re completing and updating our contributor entries. Writer and teacher Erin Brannigan’s passionate “motivation in writing about dance and choreography in its many forms is to help it persist into the future.” Read Erin's profile here.
- [The RealTime Archive: Contributors: Cleo Mees](https://www.realtime.org.au/the-realtime-archive-contributors-cleo-mees/) - For our archive we’re completing and updating our contributor entries. Writer, teacher and video-maker Cleo Mees reflects on music and dance, Bodyweather and writing "that makes surprising associations and confessions…” Read Cleo's profile here.
- [Excellent everyday Kathak: Raghav Handa’s TWO](https://www.realtime.org.au/excellent-everyday-kathak-raghav-handas-two/) - Raghav Handa takes the traditional Kathak dance recital, already informal in its improvisational interplay between dancer and musician, a bold step further, playing it out as a witty, intimate ‘real-life’ encounter shared with the audience. Handa warms up, tabla player Maharshi Raval arrives, there’s banter, some preliminary drumming on boxes and responsive moves from Handa.
- [Contributor profile: Jodie McNeilly](https://www.realtime.org.au/contributor-profile-jodie-mcneilly/) - Jodie McNeilly courtesy the writer Jodie McNeilly Bio In First Grade my mother was called to the school to see a report I had written on Aborigines and the so-called White Settlement. The expected three lines had expanded into three foolscap pages—a lengthy amount for a six year old who barely spoke and now, on
- [Unmoored and entranced](https://www.realtime.org.au/unmoored-and-entranced/) - Yumi Umiumare, EnTrance photo Heidrun Löhr Yumi Umiumare, EnTrance YUMI UMIUMARE DANGLES US WITHIN INNER AND OUTER WORLDS. HER BODY MEDIATES A UNIQUE COLLISION OF MOVEMENT STYLES, WHILE HER WORDS AND TEARS INVITE US TO REFLECT IN THE FACE OF OUR BEING, “I SWALLOW MY MIRROR WHILE I’M WATCHING MYSELF.” EnTrance does not merely ask
- [True calling: the good news & the bad](https://www.realtime.org.au/true-calling-the-good-news-the-bad/) - Sarah Banks, Kiralee Mulley, choreographer Julia Woolbank, students in Dance Studies, UNSW School of the Arts and Media photo Prudence Upton Sarah Banks, Kiralee Mulley, choreographer Julia Woolbank, students in Dance Studies, UNSW School of the Arts and Media AUSTRALIAN UNIVERSITIES, TAFES AND DUAL SECTOR INSTITUTIONS SUFFER ONGOING FUNDING CUTS FROM FEDERAL AND STATE GOVERNMENTS
- [Dances for a little black dress](https://www.realtime.org.au/dances-for-a-little-black-dress/) - Martin del Amo, The Little Black Dress Suite photo Heidrun Löhr Martin del Amo, The Little Black Dress Suite The ‘black dress’ is unparalleled in its iconic status as elegant, timeless, classic. One need only think of Audrey Hepburn in Breakfast at Tiffany’s to understand this powerful feminine symbol that shuttles between sexy and demure.
- [Dancing out of trauma](https://www.realtime.org.au/dancing-out-of-trauma/) - Safety in Numbers, Samantha Chester photo Heidrun Löhr Safety in Numbers, Samantha Chester Samantha Chester’s Safety in Numbers is as much about trauma as it is about hope. The dance recalled for me a fragment from Voltaire’s response to the Lisbon earthquake of 1755: “Man in the field with wounds all covered o’er, Midst heaps
- [To connect in a time of disintegration](https://www.realtime.org.au/to-connect-in-a-time-of-disintegration/) - Jodie McNeilly: Liz Roche Company, Time Over Distance Over Time
- [Privacy & protest](https://www.realtime.org.au/privacy-protest/) - Jodie McNeilly: Craig Bary, In Difference
- [Album review: Offspring Bites 3: En Masse](https://www.realtime.org.au/album-review-offspring-bites-3-en-masse/) - The launch of a bracingly addictive new album from Ensemble Offspring — Offspring Bites 3: En Masse — provides an occasion for reflection in a forthcoming RT edition on our responses over several decades in the RealTime archive to this ever-inventive Sydney-based contemporary music group. Here’s my take on the album after a couple of
- [hardcore and zen](https://www.realtime.org.au/hardcore-and-zen/) - Jon Wah, Balaclava: “if you see something say something”; 2005 THE NAKED GUY IN VERMILLION BODY PAINT GESTICULATING AMONGST THE CLOWNS, THE GOLD GIMP AND THE SERIOUS LAPTOP MUSICIANS IN WADE MARYNOWSKY’S ARTSPACE INSTALLATION AUTONOMOUS IMPROV IS JON WAH. THAT FLEETING GLIMPSE OF BRILLIANCE WAS, FOR AUDIENCES NOT FAMILIAR WITH THE LOCAL SYDNEY SOUND AND
- [Editorial Thursday 27 August 2020](https://www.realtime.org.au/editorial-thursday-27-august-2020/) - The highly successful 2019 exhibition In Response: Dialogues with RealTime, which celebrated the interplay between RealTime and the artists Martin del Amo (image above), Vicki Van Hout and Branch Nebula (Lee Wilson, Mirabelle Wouters), is now exhibited online. A generous offering of essays, performances and audio interviews sustain the legacies of the participants and provide
- [A guide to the RealTime Archive](https://www.realtime.org.au/a-guide-to-the-realtime-archive/) - Keith and Virginia guide you to the archive within the RealTime website, in UNSW Library’s Digital Collections and the National Library of Australia’s TROVE, revealing a huge online record, digitised print editions and numerous special features.
- [Thinking at the speed of light: the art of Sam James](https://www.realtime.org.au/thinking-at-the-speed-of-light-the-art-of-sam-james/) - 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.
- [space-maker](https://www.realtime.org.au/space-maker/) - from audiovisual performance, Electronic Church, Berlin (2008); Sam James SAM JAMES, QUIETLY SPOKEN BUT FIRM OF OPINION, IS THE SUBJECT OF THE SECOND IN OUR SERIES OF ARTICLES ON ARTISTS (JASON SWEENEY WAS THE FIRST, RT88, P46) WHOSE OWN CREATIONS SIT BESIDE THE WORKS MADE COLLABORATIVELY WITH OTHER ARTISTS. JAMES IS WIDELY ACKNOWLEDGED IN THE
- [In Response… now exhibited online](https://www.realtime.org.au/in-response-now-exhibited-online/) - 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.
- [Hodge and Rodigari map Australian live art](https://www.realtime.org.au/hodge-and-rodigari-map-australian-live-art/) - With a large poster, commissioned by London’s LADA, Madeleine Hodge, Sarah Rodigari and artist Ella Sutherland have created a map of Australian live art that is at once impressionistically evocative and incredibly precise, referencing 666 RealTime reviews.
- [Erin Brannigan & the living archive](https://www.realtime.org.au/erin-brannigan-the-living-archive/) - 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.
- [Strictly in  the moment](https://www.realtime.org.au/strictly-in-the-moment/) - Run Girl Run, Grit Theatre courtesy the artists Run Girl Run, Grit Theatre Live art has by now established itself in Australia, if not firmly, then at least recognisably. While it’s a loose mode that draws on a wide range of formal influences, one of the most compelling pieces of evidence of its growing importance
- [Leah Barclay: global sono-eco ambassador](https://www.realtime.org.au/leah-barclay-global-sono-eco-ambassador/) - Gail Priest
- [Ensemble Offspring’s not so lonely hemispheres](https://www.realtime.org.au/ensemble-offsprings-not-so-lonely-hemispheres/) - With compelling works expertly realised by Ensemble Offspring soloists, Australian composers Elizabeth Younan, Tristan Coehlo and Damien Ricketson constellate around those of Franco Donatoni and Luciano Berio.
- [Ensemble Offspring’s not so lonely hemispheres](https://www.realtime.org.au/ensemble-offsprings-not-so-lonely-hemispheres/) - With compelling works expertly realised by Ensemble Offspring soloists, Australian composers Elizabeth Younan, Tristan Coehlo and Damien Ricketson constellate around those of Franco Donatoni and Luciano Berio.
- [Branch Nebula demo’s evolution](https://www.realtime.org.au/branch-nebula-demos-evolution/) - In DEMO, six young performers conjure a world of emergence, conflict, cooperation, cataclysm and resurgence with little more than agile bodies, skateboards, a BMX bike and trust in their collective strength.
- [Editorial Friday 10 December 2019](https://www.realtime.org.au/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 3: Altering states](https://www.realtime.org.au/the-big-anxiety-3-altering-states/) - 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.
- [The Big Anxiety 2: Breakout My Pelvic Sorcery](https://www.realtime.org.au/the-big-anxiety-2-breakout-my-pelvic-sorcery/) - 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 2: Breakout My Pelvic Sorcery](https://www.realtime.org.au/the-big-anxiety-2-breakout-my-pelvic-sorcery/) - 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 1: listen_UP, listen deep](https://www.realtime.org.au/the-big-anxiety-1-listen_up-listen-deep/) - An installation in The Big Anxiety’s Empathy Clinic advocates and induces deep listening with which to understand the anger and underlying grieving borne of serial trauma suffered by generations of Australia’s Indigenous peoples.
- [The Long Forgotten Dream: a dream-in-progress](https://www.realtime.org.au/the-long-forgotten-dream-a-dream-in-progress/) - H Lawrence Sumner’s play about fate and loss of Indigenous culture yields powerful performances from Wayne Blair and Melissa Jaffer, and immersive design and music, but the script’s lumbering exposition, underdeveloped characters and uneven dialogue deny the work greatness.
- [Extended Play 2019: Expansive music](https://www.realtime.org.au/extended-play-2019-expansive-music/) - Bracing and embracing, Extended Play’s 12-hour festival of new music featured, among many others, Margaret Leng Tan, Decibel, Nonsemble, Alex Waite, Synergy and Sonya Lifschitz in dynamic partnership with Christine Johnston at Sydney’s City Recital Hall.
- [Rosalind Crisp’s environmental site-dance](https://www.realtime.org.au/rosalind-crisps-environmental-site-dance/) - 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.
- [2019 OzAsia Festival: Dissolving borders](https://www.realtime.org.au/2019-ozasia-festival-dissolving-borders/) - 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.
- [Sue Healey: Adaptation vs ephemerality](https://www.realtime.org.au/sue-healey-adaptation-vs-ephemerality/) - In a new Platform Paper, Capturing the Vanishing: A Choreographer and Film, Sue Healey eloquently details her struggle to sustain both artform and career by engaging with the screen as a legitimate site for dance.
- [Editorial 14 October 2019](https://www.realtime.org.au/editorial-14-october-2019/) - RealTime Extra. 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. We recently saw dancemaker Rosalind Crisp at the Sydney Opera House in
- [Liveworks 2019: Intimate, talkative, provocative](https://www.realtime.org.au/liveworks-2019-intimate-talkative-provocative/) - 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.
- [Editorial 17 July 2019](https://www.realtime.org.au/editorial-17-july-2019/) - RealTime Extra. As we continue to refine and build on the RealTime archive, we thought you’d enjoy reading about the joyous launch at UNSW Library Exhibition Space by Professor Sarah Miller OA of the complete 1994-2015 print editions of RealTime on the National Library of Australia’s TROVE website.
- [Archive alive: launching RealTime on TROVE](https://www.realtime.org.au/archive-alive-launching-realtime-on-trove/) - The launch of the 1994-2015 print editions of RealTime on the National Library of Australia’s TROVE website was a memorable night of performances, reminiscences and wise words about cultural memory and the importance of archiving, inflected with laughter and a few tears.
- [(In)formative reviewing: a decade of Sydney performance](https://www.realtime.org.au/informative-reviewing-a-decade-of-sydney-performance/) - Drawing on her writing for RealTime, Caroline Wake incisively assays theatres of ‘the real’ and of refugees, the decline of ensembles, the impacts of cultural diversity and the depredations wrought by the absence of a federal government arts policy.
- [Scene changes: Mapping Melbourne theatre 2005-2015](https://www.realtime.org.au/scene-changes-mapping-melbourne-theatre-2005-2015/) - The way across the bluestone cobbles was lit with dozens of flickering tea candles. A man stood at the corner of Clarke Street and Little Bakers Lane in Northcote, holding a lantern. Bicycles were chained haphazardly to street signs and old gas pipes jutting at crazy angles into the narrow laneway. Shadowy figures and groups
- [Scene changes: Mapping Melbourne theatre 2005-2015](https://www.realtime.org.au/scene-changes-mapping-melbourne-theatre-2005-2015/) - The way across the bluestone cobbles was lit with dozens of flickering tea candles. A man stood at the corner of Clarke Street and Little Bakers Lane in Northcote, holding a lantern. Bicycles were chained haphazardly to street signs and old gas pipes jutting at crazy angles into the narrow laneway. Shadowy figures and groups
- [RealTime dances: the big picture](https://www.realtime.org.au/realtime-dances-the-big-picture/) - Erin Brannigan takes on the monumental task of surveying RealTime’s committed engagement with Australian contemporary dance from state to state, in theatres, galleries, onscreen, in digital interactions and Indigenous practices.
- [art & asylum: politics, ethics, aesthetics](https://www.realtime.org.au/art-asylum-politics-ethics-aesthetics/) - Refugee Island, Mickie Quick [This introduction was written in September 2010. New links will continue to be added to the list below. Eds.] This archive gathers together articles about art that has responded to and represented asylum seekers over the past decade. To a lesser extent it also includes art by refugees themselves. While some
- [The slow retreat of reality: liveness in Melbourne performance](https://www.realtime.org.au/the-slow-retreat-of-reality-liveness-in-melbourne-performance/) - Jana Perkovic analyses the rise and decline since 2005 of liveness in Melbourne theatre and performance; the notion of ‘you had to be there’ weakening as the digital record supplants presence.
- [Resonant Bodies: voices matter](https://www.realtime.org.au/resonant-bodies-voices-matter/) - Matthew Thomas, Resonant Bodiesstill from video footage by Agatha YimMatthew Thomas, Resonant Bodies The Resonant Bodies Festival has run annually as a three-day event in New York since its inception in 2013. Founded and directed by vocalist Lucy Dhegrae, who travelled to Australia for this first international edition, the festival “curates around people” rather than
- [Taking care](https://www.realtime.org.au/taking-care/) - Keith Gallasch: Shopfront at Belvoir, Treats
- [Project O: into impossible places](https://www.realtime.org.au/project-o-into-impossible-places/) - Osunwunmi: interview, Jamila Johnson-Small & Alexandrina Hemsley
- [THE LOOP](https://www.realtime.org.au/the-loop-10-may-2017/) - The refugee issue has burned through Australian politics for two decades now, but how often do we hear from those in detention? Could their voices help shift the national conversation? In The Monthly, Virginia finds a book review by Maria Tumarkin that also looks at projects in which refugees in asylum tell their own stories—historical
- [Lili Almog: Lifting the veil](https://www.realtime.org.au/lili-almog-lifting-the-veil/) - Keith Gallasch: Lili Almog, The Space Within
- [THE LOOP](https://www.realtime.org.au/the-loop-3-may-2017/) - Hugo Weaving, Susie Porter, Seven Types of Ambiguity, ABC TV In the context of a screen industry obsessed with remakes, Keith is convinced by a devastating structural analysis by Inside Story’s Jane Goodall of ABC TV’s new prestige drama, Seven Types of Ambiguity. While Elliot Perlman’s original novel promised a suspenseful psychological thriller, something went
- [In the beginning...](https://www.realtime.org.au/in-the-beginning/) - Kathryn Kelly: Applespiel, Jarrod Duffy Is Not Dead
- [Table manners, dressage & music](https://www.realtime.org.au/table-manners-dressage-music/) - Laura Halligan: Never Tilt Your Chair Back On Two Legs
- [The Simpsons will save us](https://www.realtime.org.au/the-simpsons-will-save-us/) - Ben Brooker: STCSA & Belvoir, Anne Washburn's Mr Burns
- [Bundanon: creative refuge](https://www.realtime.org.au/bundanon-creative-refuge/) - Keith Gallasch: Georgie Meagher, William Zappa, Rhiannon Newton
- [Bundanon: channelling Arthur Boyd](https://www.realtime.org.au/bundanon-channelling-arthur-boyd/) - Keith Gallasch: Trevor Flinn in-residence
- [Techno-shapeshifting](https://www.realtime.org.au/techno-shapeshifting/) - Laura McLean: Firstdraft and Auto Italia South East, Rogue Agents
- [Post-industrial town's art conversion](https://www.realtime.org.au/post-industrial-towns-art-conversion/) - Lauren Carroll Harris: Cementa17
- [Art as big public infrastructure](https://www.realtime.org.au/art-as-big-public-infrastructure/) - Lauren Carroll Harris: interview, Alessio Cavallaro, curatorial director, Wynscreen
- [Science + love = explosive dance](https://www.realtime.org.au/science-love-explosive-dance/) - Kathryn Kelly: The Farm & C03, Frank Enstein
- [Vale John Clarke](https://www.realtime.org.au/vale-john-clarke/) - John Clarkeimage courtesy ABC John Clarke The death this week of satirist John Clarke is mourned by all who appreciated the wry eye he cast on the increasingly self-parodying state of Australian politics. The vision presented in his classic series The Games (1998, 2000) was beyond prophetic: Australia itself seems to be a mockumentary, stuck
- [An experimental art hub in Melbourne's west](https://www.realtime.org.au/an-experimental-art-hub-in-melbournes-west/) - John Bailey: interview, Brad Spolding, Director, The Substation
- [The audience on the inside](https://www.realtime.org.au/the-audience-on-the-inside/) - John Bailey: Passenger; Aeon
- [Experience into dance: translation and failure](https://www.realtime.org.au/experience-into-dance-translation-and-failure/) - Andrew Fuhrmann, Dance Massive 2017
- [The weight of abstraction](https://www.realtime.org.au/the-weight-of-abstraction/) - Jana Perkovic: Chunky Move, Anti—Gravity
- [Flow maps & heightened states](https://www.realtime.org.au/flow-maps-heightened-states/) - Andrew Fuhrmann, dance at Asia TOPA 2017
- [THE LOOP](https://www.realtime.org.au/the-loop-5-april-2017/) - 5 April 2017
- [New words for music](https://www.realtime.org.au/new-words-for-music/) - Matthew Lorenzon: Between 8 and 9, Chengdu Teahouse Project
- [A sustaining instrument](https://www.realtime.org.au/a-sustaining-instrument/) - Keith Gallasch: Ros Bandt, Tarhu Connections, CD
- [An Australian sect saga](https://www.realtime.org.au/an-australian-sect-saga/) - Luke Goodsell: Rosie Jones, The Family
- [Technique, plus and minus](https://www.realtime.org.au/technique-plus-and-minus/) - Ben Brooker: Adelaide Festival 2017: Backbone, Killer Pig & OCD Love, Gala
- [THE LOOP](https://www.realtime.org.au/the-loop-29-march-2017/) - Proposed site of a new cinematheque for Sydney, 107 Projects in Redfern. Lauren longs for a promised land of cinema. An audio conversation on Radio National considers how a cinémathèque could support Sydney’s film culture. The debate is back. Jason di Rosso spoke recently with one of the proponents of a new campaign for a
- [Inner & outer light](https://www.realtime.org.au/inner-outer-light/) - Amelia Winata: Ash Keating, Gravity System Response
- [Scoring conciliation](https://www.realtime.org.au/scoring-conciliation/) - Chris Reid: Chamber Landscapes, L'Orfeo, Eighth Blackbird
- [Hearts beating as one](https://www.realtime.org.au/hearts-beating-as-one/) - Andrew Harper: Colloquy of Hearts
- [Degendering](https://www.realtime.org.au/degendering/) - Keith Gallasch: Motus, MDLSX
- [Time for a reckoning](https://www.realtime.org.au/time-for-a-reckoning/) - Ben Brooker: interview: Verity Laughton, Long Tan
- [Great Kosky, great Saul](https://www.realtime.org.au/great-kosky-great-saul/) - Keith Gallasch: Barrie Kosky, Handel's Saul
- [A king for our time](https://www.realtime.org.au/a-king-for-our-time/) - Keith Gallasch: Thomas Ostermeier, Richard III
- [Virtual embodiment, real empathy](https://www.realtime.org.au/virtual-embodiment-real-empathy/) - Dan Edwards: VR+ Day, Australian International Documentary Conference
- [Beautiful failure vs fetishised perfection](https://www.realtime.org.au/beautiful-failure-vs-fetishised-perfection/) - Jonathan W Marshall: Lady Eats Apple; Meeting
- [THE LOOP](https://www.realtime.org.au/the-loop-22-march-2017/) - 22 March 2017
- [The future is almost here](https://www.realtime.org.au/the-future-is-almost-here/) - Caroline Wake: Sydney Theatre Company, Chimerica
- [Life at the limits](https://www.realtime.org.au/life-at-the-limits/) - Ben Brooker: Adelaide Festival 2017: Betroffenheit; Intimate Space; Wot? No Fish!!
- [Sights Unseen](https://www.realtime.org.au/sights-unseen/) - Virginia Baxter: Volker Gerling, Portraits in Motion
- [Unanticipated moves](https://www.realtime.org.au/unanticipated-moves/) - Kathryn Kelly: Supercell Festival of Contemporary Dance
- [Three kinds of grieving](https://www.realtime.org.au/three-kinds-of-grieving/) - Jonathan W Marshall: PIAF 2017 - Opus No. 7, Betroffenheit, Exit/Exist
- [Model dirty dancing](https://www.realtime.org.au/model-dirty-dancing/) - Sally Sussman: The Red Detachment of Women
- [Escape attempts](https://www.realtime.org.au/escape-attempts/) - Sally Sussman: Lachlan Philpott, Little Emperors
- [Our world, now different?](https://www.realtime.org.au/our-world-now-different/) - Jana Perkovic: Museum of Water, Before the Siren, The Year I Was Born
- [The power of collaboration](https://www.realtime.org.au/satan-jawa-the-power-of-collaboration/) - Satan Jawa, Asia TOPA Sitting cross-legged at the front of the stage are three female and two male vocalists, with a third doubling on saron positioned slightly behind. When Setio’s deal with Satan begins to sour, the collective male vocalists deliver a haunting chant accompanied by tremolo strings and solo cor anglais: an exquisite yet
- [Naturalism that makes space for all](https://www.realtime.org.au/naturalism-that-makes-space-for-all/) - Jana Perkovic: The Gabriels, Election Year In The Life Of One Family
- [Women's film festivals: breaking the mould](https://www.realtime.org.au/womens-film-festivals-breaking-the-mould/) - Lauren Carroll Harris: interviews, For Film’s Sake, Melbourne Women in Film Festival
- [Phases and faces](https://www.realtime.org.au/phases-and-faces/) - Timothy X Atack: In Between Time International Festival, Bristol
- [Crisis face to face](https://www.realtime.org.au/crisis-face-to-face/) - Keith Gallasch: preview, Powerhouse Youth Theatre, Tribunal
- [Of sport and gods](https://www.realtime.org.au/of-sport-and-gods/) - John Bailey: Circa, One Beautiful Thing; Next Wave, Lukautim Solwara
- [Iran onstage](https://www.realtime.org.au/iran-onstage/) - Megan Garrett-Jones: 35th Fadjr International Theatre Festival
- [Curiosity, clouds, release](https://www.realtime.org.au/curiosity-clouds-release/) - Andrew Fuhrmann: interview: Ho Tzu Nyen, Anouk van Dijk, ANTI—GRAVITY
- [Spatial effects, narrative distractions](https://www.realtime.org.au/spatial-effects-narrative-distractions/) - Alex Lazaridis Ferguson: 2017 PuSh International Festival of Performing Arts
- [Disaster meditations from Japan](https://www.realtime.org.au/disaster-meditations-from-japan/) - John Bailey: Kagerou; Time's Journey Through a Room
- [Ghosts and bones and angels](https://www.realtime.org.au/ghosts-and-bones-and-angels/) - Osunwunmi: In Between Time International Festival 2017
- [Bold, not just older](https://www.realtime.org.au/bold-not-just-older/) - Adam Broinowski: BOLD, The Bold Dance Festival
- [AUDIO: A dangerous beast](https://www.realtime.org.au/audio-a-dangerous-beast/) - Keith Gallasch: interview, Kip Williams, director, Chimerica
- [Gold Coast new art momentum](https://www.realtime.org.au/gold-coast-new-art-momentum/) - Kathryn Kelly: The Walls, 2017 program
- [Wynscreen: video art for those in transit](https://www.realtime.org.au/wynscreen-video-art-for-those-in-transit/) - Lauren Carroll Harris, interview, doeanddoe (Beatrice Chew, Su-An Ng)
- [A barbarian's right to difference](https://www.realtime.org.au/a-barbarians-right-to-difference/) - Renée Newman: Jo Randerson, Banging Cymbal, Clanging Gong
- [TAO Dance Theater in '6' and '8'](https://www.realtime.org.au/tao-dance-theater-in-6-and-8/) - Two double passes, opening night, 22 Feb, Melbourne
- [A work of art](https://www.realtime.org.au/a-work-of-art/) - Keith Gallasch: a preview of selected productions
- [Documentary in a virtual, post-truth world](https://www.realtime.org.au/documentary-in-a-virtual-post-truth-world/) - Dan Edwards: interview, AIDC Director Andrew Wiseman
- [Nam June Paik: bad video, poor performance](https://www.realtime.org.au/nam-june-paik-bad-video-poor-performance/) - Philip Brophy, 10th Anniversary Retrospective of Nam June Paik
- [Presence and strength](https://www.realtime.org.au/presence-and-strength/) - Ben Brooker: Restless, Intimate Space; Gravity and Other Myths, Backbone
- [Performing Asia in & with Australia](https://www.realtime.org.au/performing-asia-in-with-australia/) - Keith Gallasch: interview, Stephen Armstrong, Kate Ben-Tovim
- [Performance in a progression-regression helix, Adelaide 2011-17](https://www.realtime.org.au/performance-in-a-progression-regression-helix-adelaide-2011-17/) - While reflecting on works, companies and festival productions that deeply engaged him when reviewing performance for RealTime in 2011-17, Ben Brooker worries at the disadvantages suffered by the city's small-scale innovators.
- [Cultures, words, lives, limits](https://www.realtime.org.au/cultures-words-lives-limits/) - Keith Gallasch: SHIT, Ich Nibber Dibber, The Season, The Encounter
- [Another side of Mary](https://www.realtime.org.au/another-side-of-mary/) - James Whiting: The Testament of Mary
- [More than a bio-opera](https://www.realtime.org.au/more-than-a-bio-opera/) - Keith Gallasch: Sydney Chamber Opera, Biographica
- [Undoing imagination](https://www.realtime.org.au/undoing-imagination/) - James Whiting: Opera Australia, King Roger
- [Art takes on despair](https://www.realtime.org.au/art-takes-on-despair/) - Vicki Van Hout: Blood on the Dance Floor; Prize Fighter; Huff
- [Beyond sadness](https://www.realtime.org.au/beyond-sadness/) - Katerina Sakkas: Myuran Sukumaran, Another Day In Paradise
- [Music's ever evolving electronics](https://www.realtime.org.au/musics-ever-evolving-electronics/) - Chris Reid: Electronic music at MOFO
- [Art at labour's limits](https://www.realtime.org.au/art-at-labours-limits/) - Nikki Heywood: Institute; Still Life
- [Dance is the game](https://www.realtime.org.au/dance-is-the-game/) - Keith Gallasch: FORM Dance Projects, Champions
- [Senses and causes](https://www.realtime.org.au/senses-and-causes/) - Nikki Heywood: Imagined Touch; Spectra
- [Remarkable musics](https://www.realtime.org.au/remarkable-musics/) - 1967: Music in the Key of Yes concert, Sydney Festival 2017photo Prudence Upton 1967: Music in the Key of Yes concert, Sydney Festival 2017 Five concerts revealed the strength of the 2017 Sydney Festival programming of unusual concepts, forms and instruments. This was music-making of high order for welcoming audiences. 1967: Music in the
- [Shifting gravity's centre](https://www.realtime.org.au/shifting-gravitys-centre/) - Julie Vulcan: Venice International Performance Art Week
- [Lloyd Cole: the interacting synthesiser](https://www.realtime.org.au/lloyd-cole-the-interacting-synthesiser/) - Chris Reid: Lloyd Cole, Identity vs Noise: 1Dn
- [Into the internet's black holes](https://www.realtime.org.au/into-the-internets-black-holes/) - Lauren Carroll Harris, zin, The internet is where innocence goes to die and you can come too
- [Supercell Dance Festival: Brisbane dances](https://www.realtime.org.au/supercell-dance-festival-brisbane-dances/) - Keith Gallasch: interview Glyn Roberts, Co-Artistic Director
- [Aromatics of thought](https://www.realtime.org.au/aromatics-of-thought/) - Keith Gallasch: Cat Jones, Scent of Sydney
- [Dancing new lives](https://www.realtime.org.au/dancing-new-lives/) - Keith Gallasch: EkosDance Company: Cry Jailolo; Balabala
- [WOMADelaide 2017: Saving the musical mind](https://www.realtime.org.au/womadelaide-2017-saving-the-musical-mind/) - Ben Brooker: interview, Roysten Abel, Manganiyar Classroom
- [Making scents of Sydney](https://www.realtime.org.au/making-scents-of-sydney/) - Gail Priest: interview, Cat Jones, Scent of Sydney
- [In light of darkness](https://www.realtime.org.au/in-light-of-darkness/) - Laetitia Wilson: Light Geist
- [Counterbalancing chaos](https://www.realtime.org.au/counterbalancing-chaos/) - Motorgenic, Robbie Avenaim, Substationphoto Amanda BetlehemMotorgenic, Robbie Avenaim, Substation I'm chatting with Robbie Avenaim amid the rattle, clash and clatter of his Motorgenic exhibition at Melbourne’s Substation when he explains that this is a retrospective not of his work, but of his instrument, the Electronic Motorised Stick (EMS). He says this with a real affection
- [The joy of pulsing complexity](https://www.realtime.org.au/the-joy-of-pulsing-complexity/) - Greg Hooper: Singular Vectors: A Chris Dench portrait concert
- [Shifting the goalposts](https://www.realtime.org.au/shifting-the-goalposts/) - Nikki Heywood: interview, Martin del Amo, Champions
- [PIAF 2017: A very special place](https://www.realtime.org.au/piaf-2017-a-very-special-place/) - Keith Gallasch: interview, Wendy Martin, Perth International Arts Festival
- [Audiovision: Maximalised sounding vs. authored synaesthesia](https://www.realtime.org.au/maximalised-sounding-vs-authored-synaesthesia/) - Philip Brophy: Speak Percussion, Fluorophone
- [ARTLANDS Conference and Festival: re-imagining 'regional'](https://www.realtime.org.au/artlands-conference-and-festival-re-imagining-regional/) - Liz Bradshaw reports from the Artlands regional arts gathering in Dubbo that ideas practical and radical were in abundance alongside blindspots, including a telling gap between conference and festival.
- [ACMI Mark II: Museum of the future](https://www.realtime.org.au/acmi-mark-ii-museum-of-the-future/) - Dan Edwards: interview, ACMI Director Katrina Sedgwick
- [2017 Sydney Festival: A Personal Guide](https://www.realtime.org.au/2017-sydney-festival-a-personal-guide/) - Keith Gallasch
- [Light made sound made light](https://www.realtime.org.au/light-made-sound-made-light/) - Madeline Roycroft: Speak Percussion, Fluorophone
- [Reassembling the cosmos](https://www.realtime.org.au/reassembling-the-cosmos/) - Tree of Codesphoto courtesy Cologne Opera Tree of Codes The word “COSMOS” is faintly visible against a curved white backdrop. The word is split, “CO” on the left-hand wall and “SMOS” on the right. You can’t read the whole word at once; from one half to the other your eyes traverse scaffolding holding a pile
- [Memory made music](https://www.realtime.org.au/memory-made-music/) - Andrew Fuhrmann: Chamber Made Opera, Permission to Speak
- [Man at work](https://www.realtime.org.au/man-at-work/) - Andrew Fuhrmann: Matthew Day's Assemblage #1
- [Similitudes & affinities: Dancehouse & the world](https://www.realtime.org.au/similitudes-affinities-dancehouse-the-world/) - Andrew Fuhrmann: interview, Angela Conquet, Dancehouse
- [For All We Know (or thought we knew): Part II](https://www.realtime.org.au/for-all-we-know-or-thought-we-knew-part-ii/) - Dean Walsh
- [Regional stresses & passions](https://www.realtime.org.au/regional-stresses-passions/) - Barnaby Smith: If These Halls Could Talk: Dreamland
- [Pathos: concept > document > object](https://www.realtime.org.au/pathos-concept-document-object/) - Jonathan W Marshall: Patrick Pound, Thinking Through Things
- [Music & politics of migration](https://www.realtime.org.au/music-politics-of-migration/) - Chris Reid: Zephyr Quartet and Motez, Arrivals
- [Perfect pairings](https://www.realtime.org.au/perfect-pairings/) - Eduardo Cossio: Tura New Music, Scale Variable series -Soundstorm, The Calm Before
- [Sonic art liberation](https://www.realtime.org.au/sonic-art-liberation/) - Zoe Barker: JOLT Arts, The Book of Daughters
- [Having a go at the horror](https://www.realtime.org.au/having-a-go-at-the-horror/) - Kathryn Kelly: Leah Shelton, Terror Australis
- [An ear to the future of creative radio](https://www.realtime.org.au/an-ear-to-the-future-of-creative-radio/) - Sophea Lerner: Radio Revolten International Radio Art Festival, Halle, Germany
- [When dads dance](https://www.realtime.org.au/when-dads-dance/) - Tony Osborne: Dance Makers Collective, DADS
- [All set adrift](https://www.realtime.org.au/all-set-adrift/) - Jane Goodall: Zsuzsi Soboslay, Anthems and Angels: The Compassion Plays
- [Utterly wired](https://www.realtime.org.au/utterly-wired/) - Keith Gallasch: Ella Barclay, I Had To Do It
- [Not defined by rape](https://www.realtime.org.au/not-defined-by-rape/) - Nerida Dickinson: Project Xan
- [If truth be told...](https://www.realtime.org.au/if-truth-be-told/) - Virginia Baxter: National Theatre of Parramatta, Stolen
- [Experimental art fills in the blanks](https://www.realtime.org.au/experimental-art-fills-in-the-blanks/) - Keith Gallasch: Dancenorth, If_Was_ on tour
- [RUCKUS tames Time](https://www.realtime.org.au/ruckus-tames-time/) - Keith Gallasch: RUCKUS, Speed of Life
- [Activist art: origins and resurgence](https://www.realtime.org.au/activist-art-origins-and-resurgence/) - Chris Reid: art & politics: exhibitions in Adelaide
- [The city as problem and solution](https://www.realtime.org.au/the-city-as-problem-and-solution/) - Matthew Lorenzon: Metropolis New Music Festival, Music of the City
- [A dance of minds, bodies & synchronicities](https://www.realtime.org.au/a-dance-of-minds-bodies-synchronicities/) - Keith Gallasch: interview Kyle Page, Dancenorth
- [Fraught organic/digital business](https://www.realtime.org.au/fraught-organic-digital-business/) - Ben Brooker: Larissa McGowan, Mortal Condition
- [The Choreographic: concept or con?](https://www.realtime.org.au/the-choreographic-concept-or-con/) - Keith Gallasch: 20th Biennale of Sydney, Choreography & the Gallery
- [Embracing a new reality](https://www.realtime.org.au/embracing-a-new-reality/) - Zsuzsanna Soboslay, Justus Neumann, Alzheimer Symphony
- [Next Wave Festival: complex selves & cultures](https://www.realtime.org.au/next-wave-festival-complex-selves-cultures/) - Catherine Clover: four visual art exhibitions
- [Peggy Guggenheim: Art Addict, DVD](https://www.realtime.org.au/peggy-guggenheim-art-addict-dvd-2/) - RealTime issue #133 June-July 2016
- [A musical brain of your own](https://www.realtime.org.au/a-musical-brain-of-your-own/) - Gail Priest: interview, bio-artist Guy Ben-Ary
- [Next Wave Festival:  Urgent cultural tensions embodied](https://www.realtime.org.au/next-wave-festival-urgent-cultural-tensions-embodied/) - Passing, Next Wave 2016photo Sarah WalkerPassing, Next Wave 2016 “What happens when your first language is dead?” A rhetorical question asked by one of two dancers who stand firmly; yet these very words uproot them. Displaced from a point of origin, languages dead. This is why this performance is so vital. Passing produces new dialogues
- [Next Wave Festival: Dance, decay & transformation](https://www.realtime.org.au/next-wave-festival-dance-decay-transformation/) - Desert Body Creep, Next Wave 2016photo Zan WimberleyDesert Body Creep, Next Wave 2016 Performed by its maker, Angela Goh, Desert Body Creep gives us two shape-shifting protagonists: the female body and an oversized gummi worm. The opening sequences establish Goh in preludial mode, spot-lit and dressed in unremarkable, slightly retro leisurewear, she revolves with a
- [Next Wave Festival: From disconnect to transcendence](https://www.realtime.org.au/next-wave-festival-from-disconnect-to-transcendence/) - Lilian Steiner, Admission Into The Everyday Sublime, Next Wave 2016photo Gregory LorenzuttiLilian Steiner, Admission Into The Everyday Sublime, Next Wave 2016 A gigantic navel—or rather, an image of one—hovers before us. Or maybe it’s an orifice. Or a hole in the heavens. In her program notes, choreographer Lilian Steiner promises “a performance unlike anything we’ve
- [Next Wave Festival: “How did that make you feel?”](https://www.realtime.org.au/next-wave-festival-how-did-that-make-you-feel/) - Admission Into The Everyday Sublime, Next Wave 2016photo Gregory LorenzuttiAdmission Into The Everyday Sublime, Next Wave 2016 The audience files into Admission Into The Everyday Sublime, to find themselves entering a work already in progress. Four dancers move through the smoke-filled space, administering light pressure to the spines of their counterparts, jogging when the desire
- [Next Wave, a festival of creative attentiveness](https://www.realtime.org.au/next-wave-a-festival-of-creative-attentiveness/) - Simon Eales: CAMEL, The Horse, [MIS]CONCEIVE, BlaaQ Catt
- [Next Wave Festival: The evocative power of abstraction](https://www.realtime.org.au/next-wave-festival-the-evocative-power-of-abstraction/) - Miriam Kelly: Admission Into The Everyday Sublime
- [Next Wave Festival: The art of unlearning](https://www.realtime.org.au/next-wave-festival-the-art-of-unlearning/) - Elyssia Bugg: [MIS]CONCEIVE
- [Next Wave Festival: The fantastical power of the everyday](https://www.realtime.org.au/next-wave-festival-the-fantastical-power-of-the-everyday/) - Chloe Chignell: Desert Body Creep
- [Next Wave Festival: The transmission of sensation](https://www.realtime.org.au/next-wave-festival-the-transmission-of-sensation/) - Chloe Chignell: Admission Into The Everyday Sublime
- [Next Wave Festival: Shaking loose the self](https://www.realtime.org.au/next-wave-festival-shaking-loose-the-self/) - Elyssia Bugg: Desert Body Creep
- [Next Wave Festival: Cultural tensions in a fraught sisterhood](https://www.realtime.org.au/next-wave-festival-cultural-tensions-in-a-fraught-sisterhood/) - Maximilian: Passing
- [Next Wave Festival: Dance & humour vs misinformation](https://www.realtime.org.au/next-wave-festival-dance-humour-vs-misinformation/) - Alison Finn: [MIS]CONCEIVE
- [Next Wave Festival: The violence of internalised oppression](https://www.realtime.org.au/next-wave-festival-the-violence-of-internalised-oppression/) - Miriam Kelly: Passing
- [Next Wave Festival: Re-seeing the body in motion](https://www.realtime.org.au/next-wave-festival-re-seeing-the-body-in-motion/) - Maximilian: Desert Body Creep
- [Next Wave Festival: Many ways into "energized tranquility"](https://www.realtime.org.au/next-wave-festival-many-ways-into-energized-tranquility/) - Alison Finn: Admission Into The Everyday Sublime
- [Award keeps choreographers & audiences on their toes](https://www.realtime.org.au/award-keeps-choreographers-audiences-on-their-toes/) - Keith Gallasch: 2016 Keir Choreographic Award
- [Next Wave Festival 2016: the thrill of emergence](https://www.realtime.org.au/next-wave-festival-2016-the-thrill-of-emergence/) - Jane Howard, opening weekend performances
- [Conceptual choreography & award anxieties](https://www.realtime.org.au/conceptual-choreography-award-anxieties/) - Andrew Fuhrmann: Keir Choreographic Award, Program Two
- [Addiction's vicious cycles](https://www.realtime.org.au/addictions-vicious-cycles/) - Jana Perkovic: Tony Reck, Dirty Pictures
- [Editorial 4 May 2016](https://www.realtime.org.au/editorial-4-may-2016/) - Asylum seekers on Nauru marked Australia Day by staging a protest.Photograph: SuppliedAsylum seekers on Nauru marked Australia Day by staging a protest. AUSTRALIANS, END THE INCARCERATION OF ASYLUM SEEKERS. End sickness, mental illness, self- and sexual abuse. End suicide, torture, manslaughter and murder. End hopelessness. AUSTRALIANS, ADMIT RESPONSIBILITY. For first making war on Iraq. For
- [Derek Kreckler: Accident & Process is on tour](https://www.realtime.org.au/derek-kreckler-accident-process-is-on-tour/) - Many a slip… from the series Accident & Process, 2012image courtesy the artist Many a slip… from the series Accident & Process, 2012 In “Never turn your back on the sea,” her review of Derek Kreckler: Accident & Process, Laetitia Wilson writes of one of the show’s works, Wet Dream, “Here [Kreckler] lies, partially submerged
- [Everything in the mix](https://www.realtime.org.au/everything-in-the-mix/) - Andrew Fuhrmann: Keir Choreographic Award Semi-Finals 1
- [Game on: making the virtual physical](https://www.realtime.org.au/game-on-making-the-virtual-physical/) - Ben Brooker: interview Larissa McGowan, Mortal Condition
- [A meeting of Aboriginal & Jewish cultures](https://www.realtime.org.au/a-meeting-of-aboriginal-jewish-cultures/) - John Bailey: Elise Hearst & Andrea James, Bright World
- [Playing the live art game](https://www.realtime.org.au/playing-the-live-art-game/) - Madeleine Hodge: PLAYING UP, Live Art for Kids and Adults
- [Live art, sex, death & community](https://www.realtime.org.au/live-art-sex-death-community/) - Megan Garrett-Jones, Buzzcut Festival, Glasgow
- [Love & pain: a crystalline memoir](https://www.realtime.org.au/love-pain-a-crystalline-memoir/) - The Silencesfamily photo courtesy the artistThe Silences Quiet as a prayer, The Silences is a crystalline memoir, an unearthing of secrets, a solemn ritual of provisional forgiveness, a healing. In her own voice, filmmaker Margot Nash very simply lays out her family’s history over three generations, rendering each complex with re-evaluated recollections and revelations wrought
- [Men's Business in another world](https://www.realtime.org.au/mens-business-in-another-world/) - Dan Edwards, Stephen Page’s Spear
- [Zoe's masterpiece](https://www.realtime.org.au/zoes-masterpiece/) - John Bailey: Zoe Coombs Marr, Trigger Warning
- [Liberating lo-fi for the digital generation](https://www.realtime.org.au/liberating-lo-fi-for-the-digital-generation/) - Bernadette Ashley, Dancenorth, Rainbow Vomit
- [Heather Kravas & American Realness](https://www.realtime.org.au/heather-kravas-american-realness/) - Rennie McDougall: Heather Kravas’ dead, disappears
- [The dancing museum & the politics of public space](https://www.realtime.org.au/the-dancing-museum-the-politics-of-public-space/) - Keith Gallasch: Boris Charmatz, Nina Beier & Meryl Tankard
- [Regional industry: dance versus loss](https://www.realtime.org.au/regional-industry-dance-versus-loss/) - Judith Abell: Stompin, Panorama
- [Can acrobatics liberate Modernism's heroines?](https://www.realtime.org.au/can-acrobatics-liberate-modernisms-heroines/) - Kathryn Kelly: Circa & La Boite, When One Door Closes
- [Eye to eye with the animal](https://www.realtime.org.au/eye-to-eye-with-the-animal/) - Nikki Heywood: Xavier le Roy, Temporary Title
- [The art & ideas behind an award](https://www.realtime.org.au/the-art-ideas-behind-an-award/) - Keith Gallasch, interview Phillip Keir, Keir Choreographic Award
- [Compulsion's fraught harmonies](https://www.realtime.org.au/compulsions-fraught-harmonies/) - Keith Gallasch: Boris Charmatz, Musée de la danse, Manger
- [Decibel and the new classicism](https://www.realtime.org.au/decibel-and-the-new-classicism/) - Darren Jorgensen: Decibel, The Nature of Sound
- [Art for science](https://www.realtime.org.au/art-for-science/) - Alex Christopher: Emergence, video art
- [Climate change, culture threat: Blacktown Arts Centre’s Disaffected](https://www.realtime.org.au/climate-change-culture-threat/) - Fiona McGregor, Blacktown Arts Centre’s Disaffected
- [Facing trauma with dance](https://www.realtime.org.au/facing-trauma-with-dance/) - Alex Ferguson: Kidd Pivot & the Electric Company, Betroffenheit
- [20th Biennale of Sydney: fierce return of the Futurists](https://www.realtime.org.au/20th-biennale-of-sydney-fierce-return-of-the-futurists/) - Keith Gallasch: Justene Williams, Sydney Chamber Opera, Victory Over the Sun
- [2016 Next Wave: the future now](https://www.realtime.org.au/2016-next-wave-the-future-now/) - Keith Gallasch: interview, Artistic Director Georgie Meagher
- [The beautiful music of mortality](https://www.realtime.org.au/the-beautiful-music-of-mortality/) - Angus McPherson: SSO at Carriageworks, Crossing the Threshold
- [La Mama's Uncle Vanya plays in regional Victoria](https://www.realtime.org.au/la-mamas-uncle-vanya-plays-in-regional-victoria/) - Uncle Vanyaphoto Tess Hutson Uncle Vanya “A groundbreaking version of Anton Chekhov’s Uncle Vanya…the fourth wall of traditional theatre resoundingly broke down as the audience perched amid the action, inside and out.” Norie Neumark, Real Time Read the full review here. This acclaimed two-day, live-in, site-specific production, premiered in Avoca in 2015, now travels to
- [Old transgressions, new art & understanding](https://www.realtime.org.au/old-transgressions-new-art-understanding/) - Andrew Fuhrmann: Howl, Hotel Obscura, Give Me a Reason to Live
- [A dance-propelled Newcastle](https://www.realtime.org.au/a-dance-propelled-newcastle/) - Keith Gallasch: interview Cadi McCarthy, Catapult Dance
- [The art of disappearance](https://www.realtime.org.au/the-art-of-disappearance/) - Virginia Baxter: Mette Edvardsen, No title
- [The art of sensory expansion](https://www.realtime.org.au/the-art-of-sensory-expansion/) - Chris Reid: Tectonics
- [The ever-evolving string quartet](https://www.realtime.org.au/the-ever-evolving-string-quartet/) - Chris Reid: Australian String Quartet; Zephyr Quartet
- [The summed hum of time and space](https://www.realtime.org.au/the-summed-hum-of-time-and-space/) - Gail Priest: Tim Bruniges, Drones
- [The joy of mesmeric disquietude](https://www.realtime.org.au/the-joy-of-mesmeric-disquietude/) - Kathryn Kelly: Clark Beaumont, Now and Then
- [Screen as time lens](https://www.realtime.org.au/screen-as-time-lens/) - Gail Priest: interview, Daniel Crooks, Phantom Ride
- [Hyperreal Tales](https://www.realtime.org.au/hyperreal-tales/) - Participants from the Shoalhaven region in New South Wales have committed their stories, bodies and feelings for the land to collaborate with two artists to create on screen fantastical visions of their reality. Hyperreal Tales emerged from a Bundanon artist residency in 2011 when Philip Channells ran dance workshops for the Shoalhaven community. The Bundanon
- [Redefining form and experience](https://www.realtime.org.au/redefining-form-and-experience/) - Urszula Dawkins, Festival of Live Art
- [Dances of protest](https://www.realtime.org.au/dances-of-protest/) - Ben Brooker: ADT, Holy Body Tattoo, Pina Bausch
- [Everyday tech, intimacy & illusion](https://www.realtime.org.au/everyday-tech-intimacy-illusion/) - Andrew Fuhrmann: Vanitas, Are We The One?, Alter, The Naked Self, Programmed to Reproduce, Sex and Death, Erotic Dance, i might blow up someday
- [Ambiguities of the Word and the Flood](https://www.realtime.org.au/ambiguities-of-the-word-and-the-flood/) - Jonathan W Marshall, Perth International Arts Festival 2016
- [Road rage art](https://www.realtime.org.au/road-rage-art/) - Darren Jorgensen: Rumblestrip
- [Narcissism critiqued and indulged](https://www.realtime.org.au/narcissism-critiqued-and-indulged/) - Lauren Carroll Harris: Miranda July, Lost Child!
- [One heart beating for the many](https://www.realtime.org.au/one-heart-beating-for-the-many/) - Keith Gallasch: Romaine Moreton, One Billion Beats
- [Paying attention to the lives of others](https://www.realtime.org.au/paying-attention-to-the-lives-of-others/) - Nerida Dickinson
- [Arts workers analyse the market](https://www.realtime.org.au/arts-workers-analyse-the-market/) - Victoria Carless: APAM 2016 Exchange Program
- [Music, equity & belonging](https://www.realtime.org.au/music-equity-belonging/) - Clinton Green: Adam Simmons, 100:25:1
- [Between evasion and overload](https://www.realtime.org.au/between-evasion-and-overload/) - Ben Brooker: The Country; Deluge
- [Dance & other performance art](https://www.realtime.org.au/dance-other-performance-art/) - Keith Gallasch: 20th Biennale of Sydney
- [Exiled from our being](https://www.realtime.org.au/exiled-from-our-being/) - Ben Brooker: Socìetas Raffaello Sanzio, Go Down, Moses
- [A new landscape for new circus](https://www.realtime.org.au/a-new-landscape-for-new-circus/) - Keith Gallasch: interview, Yaron Lifschitz, Landscape with Monsters
- [A sad bunch of lonely kings](https://www.realtime.org.au/a-sad-bunch-of-lonely-kings/) - Ben Brooker: The James Plays Trilogy
- [Wired to make a difference](https://www.realtime.org.au/wired-to-make-a-difference/) - Ann-maree Ellis: MAMA, Murray Art Museum Albury
- [MESS: not so old machines, new music](https://www.realtime.org.au/mess-not-so-old-machines-new-music/) - Gail Priest: interview, Robin Fox & Byron J Scullin
- [PIAF 2016: Contemporary techno-tragedy](https://www.realtime.org.au/piaf-2016-contemporary-techno-tragedy/) - Jonathan W Marshall: Aurélien Bory, Plexus
- [PIAF 2016: Survival arts](https://www.realtime.org.au/piaf-2016-survival-arts/) - Nerida Dickinson: Within, Guide Gods, Blackmarket
- [PIAF 2016: A personal sharing](https://www.realtime.org.au/piaf-2016-a-personal-sharing/) - Jonathan W. Marshall: James Berlyn, I Know You’re There
- [Adelaide Festival: No pastoral refuge](https://www.realtime.org.au/adelaide-festival-no-pastoral-refuge/) - Ben Brooker: interview Paulo Castro, director The Country
- [Francophone dance, a difference](https://www.realtime.org.au/francophone-dance-a-difference/) - Jana Perkovic: Kevin Trappeniers, Daniel Léveillé
- [Perth International Arts Festival: Modernism repackaged?](https://www.realtime.org.au/perth-international-arts-festival-modernism-repackaged/) - Jonathan Marshall: William Kentridge, Refuse the Hour
- [Perth International Arts Festival: Dark matter](https://www.realtime.org.au/perth-international-arts-festival-dark-matter/) - Laetitia Wilson: Dani Marti, Black Sun
- [lingering + spatialising + listening](https://www.realtime.org.au/lingering-spatialising-listening/) - Alex Ferguson: PuSh Festival, Vancouver
- [Rights, copyright and the license to critique](https://www.realtime.org.au/rights-copyright-and-the-license-to-critique/) - Erin Pike, That’swhatshesaidphoto Tim Summers Erin Pike, That’swhatshesaid Over 300 years of hard-won rights (read AC Grayling’s Towards the Light or Lynn Hunt’s Inventing Human Rights, both 2007) are being eroded every year by neoliberal governments in the name of endless growth, lower taxes, heightened security and deregulation, the latter creating a new kind of
- ["These are the dancers"](https://www.realtime.org.au/these-are-the-dancers/) - Rennie McDougall: interview, Miguel Gutierrez, New York
- [The Gods come to Earth](https://www.realtime.org.au/the-gods-come-to-earth/) - Philipa Rothfield: Pichet Klunchun Dance Company, Dancing with Death
- [Audiovision: Panoptic spreadsheets & political art](https://www.realtime.org.au/panoptic-spreadsheets-political-art/) - Philip Brophy, EXIT, Palais de Tokyo
- [Good works for hardworking audiences](https://www.realtime.org.au/good-works-for-hardworking-audiences/) - John Bailey: POINT 8 SIX; The Village Bike
- [A wild flowering of new works](https://www.realtime.org.au/a-wild-flowering-of-new-works/) - Keith Gallasch: Performance Space’s Liveworks Overview
- [The intimate weave of art and life](https://www.realtime.org.au/the-intimate-weave-of-art-and-life/) - Fremantle Arts Centre: Dani Marti, Black Sun
- [A positive disturbance](https://www.realtime.org.au/a-positive-disturbance/) - Simon Hinton: Dana Waranara
- [Trim, taut, terrific](https://www.realtime.org.au/trim-taut-terrific/) - Keith Gallasch: About An Hour
- [Blurred vision](https://www.realtime.org.au/blurred-vision/) - Keith Gallasch: Marrugeku, Cut The Sky
- [Post-traumatic stress disorder from the inside](https://www.realtime.org.au/post-traumatic-stress-disorder-from-the-inside/) - Keith Gallasch: The Events
- [Conversation and arts politics in the arts marketplace](https://www.realtime.org.au/conversation-and-arts-politics-in-the-arts-marketplace/) - Cerita Anak (Child’s Story) Project, Polyglot Theatre, Papermoon Puppet Theatrephoto Indra Wicaksono Cerita Anak (Child’s Story) Project, Polyglot Theatre, Papermoon Puppet Theatre How many times have you heard it said that a conference was okay but the real work was going on in between-sessions socialising? In sociology the distinction has long been made between overt
- [When dance makes music](https://www.realtime.org.au/when-dance-makes-music/) - Keith Gallasch: Sydney Festival, Anne Teresa De Keersmaeker & Rosas
- [Maelstrom & meditation](https://www.realtime.org.au/maelstrom-meditation/) - Angus McPherson: Sydney Festival, Exit Ceremonies
- [A remaking of resurrected manifestos](https://www.realtime.org.au/a-remaking-of-resurrected-manifestos/) - Andrew Fuhrman: Julian Rosefeldt, Manifesto
- [Dance, music & biomimicry](https://www.realtime.org.au/dance-music-biomimicry/) - Oliver Downes: Interview: Brendan Woithe, ADT’s The Beginning of Nature, WOMADelaide 2016
- [Sympatico neuron dancing](https://www.realtime.org.au/sympatico-neuron-dancing/) - Judith Abell: Mofo 2016 Dancenorth, Syncing Feeling
- [More Mofo provocations](https://www.realtime.org.au/more-mofo-provocations/) - Andrew Harper: Mofo 2016
- [The thrill of a cut-above festival](https://www.realtime.org.au/the-thrill-of-a-cut-above-festival/) - Keith Gallasch: Passion, Woyzeck, Meow Meow’s Little Mermaid, Double Blind
- [Dance, not product, but living culture](https://www.realtime.org.au/dance-not-product-but-living-culture/) - Vicki Van Hout
- [A conference for irrevocable change](https://www.realtime.org.au/a-conference-for-irrevocable-change/) - Emily Johnson speaking at Dana Waranaraphoto Mick Roberts Emily Johnson speaking at Dana Waranara It’s just over a month since the Dana Waranara Indigenous-led dance conference. I’m sitting in a hotel room on 7th Avenue in New York, and there’s a faint smell of smoked salmon permeating my room. It’s an intense minus three outside
- [Dancing to the Dana Waranara challenge](https://www.realtime.org.au/dancing-to-the-dana-waranara-challenge/) - Liza-Mare Syron
- [This is how we might live, and die](https://www.realtime.org.au/this-is-how-we-might-live-and-die/) - Teik-Kim Pok: Forced Entertainment; Christopher Brett Bailey
- [Dana Waranara—Privilege and Responsibility](https://www.realtime.org.au/dana-waranara-privilege-and-responsibility/) - December 10 group shot, Dana Waranaraphoto Mick Roberts December 10 group shot, Dana Waranara I was privileged to attend the Dana Waranara Convergence. This timely and vital gathering aimed to bring together Indigenous choreographers/dancers and invited presenters and producers from around Australia (with several representatives from around the globe); to exchange conversations and ideas that
- [Magic in detritus](https://www.realtime.org.au/magic-in-detritus/) - Virginia Baxter: Geoff Sobelle, The Object Lesson
- [Percussion: the beating heart of art](https://www.realtime.org.au/percussion-the-beating-heart-of-art/) - Delia Bartle: Mofo 2016
- [Art versus the war against Nature](https://www.realtime.org.au/art-versus-the-war-against-nature/) - Sumugan Sivanesan: Climate Games Paris, 2015
- [A momentary wondrous artefact](https://www.realtime.org.au/a-momentary-wondrous-artefact/) - Andrew Fuhrman: Chunky Move - Atlanta Eke, Miss Universal
- [Ice, art & urgency: Latai Taumoepeau, Repatriate I & II](https://www.realtime.org.au/ice-art-urgency/) - Fiona McGregor: Latai Taumoepeau, Repatriate I & II
- [Everything depends on dramaturgy](https://www.realtime.org.au/everything-depends-on-dramaturgy/) - Ben Brooker: Interview, Romeo Castellucci, Go Down, Moses
- [The past drives dance into the future](https://www.realtime.org.au/the-past-drives-dance-into-the-future/) - Nani Losari, Topeng Cirebonphoto courtesy OzasiaNani Losari, Topeng CirebonFrom the darkened space comes a rhythmic stamping, steady and implacable. Slowly, from the black, an eerie white spectre appears, then legs in loose red pants illuminated by a tight spotlight. We see a man, feet pounding, down on the ball of his right foot, then the
- [Fragility, resilience, work & home](https://www.realtime.org.au/fragility-resilience-work-home/) - Melati Suryodarmo, 24,901 Milesphoto courtesy OzAsia Festival, 2015Melati Suryodarmo, 24,901 MilesOver a roomful of red sand 15 centimetres deep, Melati Suryodarmo transports a large, white mattress. She carries it on her head in the familiar burden-bearing posture of the Global South or arches it over her prostrate body as though sheltering from the elements. The
- [Cultural play & interplay](https://www.realtime.org.au/cultural-play-interplay/) - Dear John, M.O.V.E Theatrephoto courtesy OzAsia Festival 2015Dear John, M.O.V.E TheatreThis year’s OzAsia Festival music program included two highly innovative and absorbing musical performances: Taiwan’s M.O.V.E. Theatre produced a homage to John Cage that involved dance, light displays, technological gadgetry and audience participation as well as sound, and the Australian Art Orchestra combined with musicians
- [A festival that feels, senses and thinks](https://www.realtime.org.au/a-festival-that-feels-senses-and-thinks/) - Keith Gallasch: Interview, Wendy Martin
- [Fun durational art](https://www.realtime.org.au/fun-durational-art/) - zin, Each Otherphoto Alex Davieszin, Each OtherMaking fun art calls for serious motivation. Like Hissy Fit’s I might blow up someday, zin’s Each Other crossed from the world of performance art to the world of music. Clad spectacularly in neon Lycra and silver Converse wedges, artists Roslyn Helper and Harriet Gillies bust choreographed moves to
- [Let’s do hysteria](https://www.realtime.org.au/lets-do-hysteria/) - Hissy Fit, I Might Blow Up Somedayphoto Alex DaviesHissy Fit, I Might Blow Up SomedayThe queer art trio Hissy Fit are all about blasting the notion of ‘hysteria’ for the way nonconformist women have been pathologised through the ages, dismissed as mentally ill rather than deviating politically from gender norms. Their latest work, I might
- [Tracing counterpoint](https://www.realtime.org.au/tracing-counterpoint/) - A Garden of Parallel Pathsphoto Daniel CrooksA Garden of Parallel PathsThe first thing you notice about the group exhibition People Like Us at UNSW Galleries is the sound. You enter a foyer through glass doors and immediately hear snippets of violin, the ascending tones of woodwinds and a soaring operatic soprano. Michael Nyman’s The Art
- [Feminist manifestos converse](https://www.realtime.org.au/feminist-manifestos-converse/) - To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation, Pauline Boudry and Renate Lorenzphoto Zan WimberleyTo Valerie Solanas and Marilyn Monroe in Recognition of their Desperation, Pauline Boudry and Renate LorenzIn the early days of the historical avant-garde, Futurist and Dada manifestos were recited, performed and even shouted by their authors in front
- [Eclectic fusion](https://www.realtime.org.au/eclectic-fusion/) - Jochen Gutschphoto John Frape, copyright Campbelltown Arts CentreJochen GutschWe hear Bronwyn Cumbo’s amplified violin before we see it. A forlorn melody heralds her entrance from behind a curtain. A second violin voice is soon added as Natalya Bing enters from the other side of the stage. The peripatetic violinists feed off each other, the music
- [Sonica's good-looking sounds](https://www.realtime.org.au/sonicas-good-looking-sounds/) - Gail Priest: Cryptic’s Sonica, Glasgow
- [Hearing through capital’s illusions](https://www.realtime.org.au/hearing-through-capitals-illusions/) - Brandon LaBellephoto Keelan O’HehirBrandon LaBelleThe exhibition statement for Capitalist Surrealism is the ultimate in sponsorship acknowledgements: “this program of lecture-performances by sound artists is brought to you by the new cultural logic of capital—real, but honestly, also kind of surreal.” A one-night event, Capitalist Surrealism aimed to assay capitalist social formation by thinking through the
- [A tribute to transcendence](https://www.realtime.org.au/a-tribute-to-transcendence/) - Arcko Symphonic Ensemblephoto Langdon RoddaArcko Symphonic EnsembleAn all-star band of swashbuckling musicians, the Arcko Symphonic Ensemble has a reputation for performing some of the most sublime and yet neglected Australian works. It makes sense then that they should champion one of Australia’s most sublime and neglected composers, Nigel Butterley. Butterley belongs to a generation of
- [Talents, minds & cultures united](https://www.realtime.org.au/talents-minds-cultures-united/) - Reflection Tourphoto Holly JadeReflection TourThe TURA-led Reflection Tour brought together two of Australia’s most revered Indigenous musicians, William Barton and Steven Pigram, with a range of instrumentalists from different performance contexts to make up the Narli Ensemble. Travelling to 12 locations around Western Australia’s Kimberley and Pilbara regions, the eclectic ensemble performed concerts and school
- [Occupy the street](https://www.realtime.org.au/occupy-the-street/) - Urszula Dawkins: Skye Gellmann, Bodies Over Bitumen
- [What’s in a name?](https://www.realtime.org.au/whats-in-a-name/) - Desdemonaphoto Mark AlanDesdemona“I’m thinking it would be more fulfilling for the viewer if she or he had read Othello.” Toni Morrison, NY Times, October 2011 Filling in at short notice for our reviewer suddenly confined to quarters with a twisted ankle and having no time to read the play, I invite a friend to accompany
- [Refugee awareness: a way through?](https://www.realtime.org.au/refugee-awareness-a-way-through/) - A Sri Lankan Tamil Asylum Seeker’s Story as performed by Australian Actors under the guidance of a Sinhalese Director, Merrigong Theatre Companyphoto Carolyn NowaczykA Sri Lankan Tamil Asylum Seeker’s Story as performed by Australian Actors under the guidance of a Sinhalese Director, Merrigong Theatre CompanyRelations between regional Australia and refugees are complicated. On the one
- [Performance & the restoration of the real](https://www.realtime.org.au/performance-the-restoration-of-the-real/) - Slow Love, Richard Murphet, La Mama Theatrephoto Jeff BusbySlow Love, Richard Murphet, La Mama TheatreLet’s start with a remark from the philosopher Gilles Deleuze: “The modern fact is that we no longer believe in this world. We do not even believe in the events which happen to us, love, death, as if they only half
- [All a part of something](https://www.realtime.org.au/all-a-part-of-something/) - Matuse, Naomi Nazarin, Aida Zjakic, The Wayphoto Lee PhamMatuse, Naomi Nazarin, Aida Zjakic, The WayDavid Byrne, former frontman of Talking Heads, once wrote of Australia’s suburbs as “a residential theme park in what is essentially a desert.” Though there’s some truth to this, I can only guess Byrne didn’t visit the western suburb of Bankstown,
- [The unexpectedly ecstatic](https://www.realtime.org.au/the-unexpectedly-ecstatic/) - Carla Tilley in The Bacchaephoto Pia JohnsonCarla Tilley in The BacchaeMelbourne in 2015 might be remembered as a place and time in which art took an unexpected turn towards the ecstatic. There was even an entire festival at our Arts Centre devoted to work that comes under the label. You could trace some genealogy back
- [The perils of emptiness overcome](https://www.realtime.org.au/the-perils-of-emptiness-overcome/) - Yoke Chin as fox-dancer, Oppenheimerphoto Lee NutterYoke Chin as fox-dancer, OppenheimerCursed to live 500 lives as a fox for wrongly concluding that an enlightened being falls outside the laws of karma (cause and effect), the weary spirit of a monk, Hyakujo, has become legend. A waki (traveller) goes to Hiroshima to find a temple associated
- [Boldly narrowing the gap](https://www.realtime.org.au/boldly-narrowing-the-gap/) - Prize Fighter, La Boite Theatre, Brisbane Festivalphoto Dylan EvansPrize Fighter, La Boite Theatre, Brisbane FestivalThis year’s Brisbane Festival was carefully shaped by brave programming and warm place-making, where even the large public festival spaces like Arcadia and the Theatre Republic felt like private house parties rather than public way stations. The dance between popular and
- [Reality’s other perspectives](https://www.realtime.org.au/realitys-other-perspectives/) - The Importance of Being Earnest, Wild Ricephoto courtesy Brisbane FestivalThe Importance of Being Earnest, Wild RiceI’m going to be very honest here and admit that there have been years recently where the Brisbane Festival has come and gone and I haven’t really registered that it’s on. Riverfire (the festival’s culminating firework spectacular) happens, sneaking up
- [Ode To Modernism](https://www.realtime.org.au/ode-to-modernism/) - Lehte IIphoto Jude WaltonLehte IIJude Walton’s Lehte II could well have been created in the mid-20th century. Its clean, clear, sleek distillation of time and space into a fine dance work draws on many of art modernism’s principles, most notably its sense of abstraction, which underlies the very construction of this work. Lehte’s manner of
- [Rewind forward](https://www.realtime.org.au/rewind-forward/) - Glenn Thompson, Julie-Anne Long, 4’33’’ Into the Pastphoto Heidrun LöhrGlenn Thompson, Julie-Anne Long, 4’33’’ Into the PastDespite a reluctance to do so, one can’t ignore saying something about John Cage’s performance 4’33’’ and the tradition within which this work sits. Why? Because even though Julie-Anne Long and Glenn Thompson do not directly perform this famously
- [Cultural climate change](https://www.realtime.org.au/cultural-climate-change/) - Asian Ghost-ery Store, Crack Festivalphoto Mitch LeeAsian Ghost-ery Store, Crack FestivalCrack Theatre Festival is one third of the festivals that make up the annual Newcastle gathering This Is Not Art. Works in the 2015 program took place in makeshift performance spaces throughout the coastal town, most prominently in an abandoned BI LO supermarket, affectionately re-named
- [Audiovision: Unsound vision](https://www.realtime.org.au/unsound-vision/) - Philip Brophy: David Bowie Is
- [Place, displacement & disposition](https://www.realtime.org.au/place-displacement-disposition/) - U.F.O. (Unidentified Female Object), Rakini Devi; costume Evangelos Laios and Jason Patten, Siteworks 2015, Bundanonphoto Heidrun LöhrU.F.O. (Unidentified Female Object), Rakini Devi; costume Evangelos Laios and Jason Patten, Siteworks 2015, BundanonArthur and Yvonne Boyd’s Bundanon property was gifted to the Australian public in 1993 as a centre for education and to support creative arts practice.
- [Walking, animal dances & becoming](https://www.realtime.org.au/walking-animal-dances-becoming/) - Martin Nachbarphoto Gehard LudwigMartin NachbarGerman choreographer Martin Nachbar sure kept himself busy during his three-city visit to Australia. In Brisbane he undertook research for his PhD, in Sydney he taught workshops and in Melbourne he presented one of his dance works. Catching up with Nachbar in Sydney, I soon found out that this was not
- [Insanity, inside & out](https://www.realtime.org.au/insanity-inside-out/) - Geoffrey Rush, Max Cullen, King Lear, Sydney Theatre Companyphoto Heidrun LöhrGeoffrey Rush, Max Cullen, King Lear, Sydney Theatre CompanyInsanity took centrestage in major productions in Sydney of Shakespeare’s King Lear and Fausto Romitelli’s An Index of Metals. In each the rupturing of a personal relationship yields terrible consequences. In Lear we watch the whole process
- [A common magic](https://www.realtime.org.au/a-common-magic/) - Haunting, creative team led by Julie Montgarrett, On Common Ground, CAD Factoryphoto Jason RichardsonHaunting, creative team led by Julie Montgarrett, On Common Ground, CAD FactoryLast year The Cad Factory, along with National Museum of Australia’s historian George Main and friends, took a three-day healing walk from the Narrandera Common on the Murrimbidgee to Birrego, 40km
- [An integrated & evolutionary vision](https://www.realtime.org.au/an-integrated-evolutionary-vision/) - Nick Cave, Heard:Detroit 2015 image courtesy the artist and James Prinz PhotographyNick Cave, Heard:Detroit 2015What would we do without Carriageworks? CEO Lisa Havilah and her staff continue to integrate an expanding range of contemporary art practices, international artists and artist development strategies into its programs both within and beyond the building into Western Sydney and
- [Of kings, carnations & psyches in crisis](https://www.realtime.org.au/of-kings-carnations-psyches-in-crisis/) - Monumental, The Holy Body Tattoophoto Chris RandleMonumental, The Holy Body TattooFor his final festival Artistic Director David Sefton is mounting some mighty works, invoking Adelaide Festivals past with Pina Bausch’s Nelken and Romeo Castellucci’s Go Down, Moses (see the interview, p22) and including his own with The James Plays trilogy, recalling Toneelgroep’s Roman Tragedies in
- [The art of empathy](https://www.realtime.org.au/the-art-of-empathy/) - A Mile in My Shoes, promotional imagephoto Kate RaworthA Mile in My Shoes, promotional imageIn enlightened programming, Wendy Martin, the new Artistic Director of the Perth Festival of International Arts, has invited curators Clare Patey and Kitty Ross and cultural thinker Roman Krznaric to stage A Mile in My Shoes, a work in which you
- [Guide to a festival of great gifts](https://www.realtime.org.au/guide-to-a-festival-of-great-gifts/) - Woyzeck, Thalia Theater Hamburgphoto Krafft AngererWoyzeck, Thalia Theater HamburgHaving foregone the pleasure of a conventional launch with all its speech-making in favour of opening the festival well in advance with the Peter Sellars production of Toni Morrison’s Desdemona, Sydney Festival Artistic Director Lieven Bertels is in fine form, elaborating on the works in his action-packed
- [Canny Robotics](https://www.realtime.org.au/canny-robotics/) - Stephen Jones: Wade Marynowsky, Robot Opera
- [Obsession, creation & re-invention](https://www.realtime.org.au/obsession-creation-re-invention/) - Muscle Mouthphoto courtesy Liveworks, Performance SpaceMuscle MouthAs great a shame as it is that the performances by New Zealand company Muscle Mouth for Liveworks had to be cancelled due to an injury, it is somehow fitting that a work which explores creative process so intently should be represented in another format where process is exposed.
- [Bending a brass band](https://www.realtime.org.au/bending-a-brass-band/) - No Performance Today, Bree van Reyk & Lauren Brincat and New South Wales Police Bandphoto Amanda JamesNo Performance Today, Bree van Reyk & Lauren Brincat and New South Wales Police BandDo you remember the last time you were excited to see a police band? They’re in parades, public remembrance ceremonies, Olympic openings, but if advertised
- [With an ear to the wall](https://www.realtime.org.au/with-an-ear-to-the-wall/) - Wall of Sound, Bree van Reykphoto Amanda JamesWall of Sound, Bree van ReykA friend confirms Wall of Sound doesn’t go for an hour as listed on the schedule, only five minutes, but that it’s one-on-one so I need to get my name on ‘the list.’ Staff have the list and it’s somewhere around the back,
- [When life turns surreal](https://www.realtime.org.au/when-life-turns-surreal/) - Thomas Kelly, Vicki Van Hout, Les Festivités Lubrifierphoto Heidrun LöhrThomas Kelly, Vicki Van Hout, Les Festivités LubrifierThomas E S Kelly is on stage to welcomes us. A pile of clothes heaped stage left. Red plastic cups, and six-packs of beer stacked on a trolley stage right. Vicki Van Hout enters, part concealed in a well-padded,
- [Varieties of creative intimacy](https://www.realtime.org.au/varieties-of-creative-intimacy/) - Nerida Dickinson: Proximity Festival 2015
- [For highbrow perusal](https://www.realtime.org.au/for-highbrow-perusal/) - Eisa Jocson, Macho Dancerphoto Giannina OttikerEisa Jocson, Macho DancerEisa Jocson comes to us with accolades from Europe. These two solos investigating the performance of gender and sexuality are in a mode familiar to Sydney audiences of queer parties and clubs going back decades. Performance Space itself has intermittently supported such work since cLUB bENT in
- [Primal myth magic](https://www.realtime.org.au/primal-myth-magic/) - Tangi Wai, Victoria Hunt, Liveworks Festival, Performance Spacephoto Alex Davies Tangi Wai, Victoria Hunt, Liveworks Festival, Performance Space A piercing single light source, an eye which surveils. Cracking, rumbling materiality of Earth’s movements sonified. Visual and auditory marks of something transcendent above and below. It exists; we are born. These, the originating gestures of Victoria
- [New connections, strange directions](https://www.realtime.org.au/new-connections-strange-directions/) - 101.IS TO 5000.AU, Sandpit /Kviss Búmm Bang performancephoto Jennifer Greer-Holmes 101.IS TO 5000.AU, Sandpit /Kviss Búmm Bang performance Near and Far is the first public project of Performance & Art Development Agency (PADA), founded by Vitalstatistix Creative Director Emma Webb and Country Arts SA Creative Producer Steve Mayhew. “Exploring distance, time, communication and personal agency”
- [Renewal through reflection](https://www.realtime.org.au/renewal-through-reflection/) - Jumaadi, Landscape of Longingcourtesy OzAsia FestivalJumaadi, Landscape of LongingThis year’s OzAsia visual art program foregrounded Indonesian contemporary art, focusing on the reflexive re-invention of the individual in a rapidly evolving world as evident in the works of eminent Indonesian artists FX Harsono, MES56, Eko Nugroho and Jumaadi who all reconsider cultural and national histories. The
- [A rigorous engagement with Asia](https://www.realtime.org.au/a-rigorous-engagement-with-asia/) - Ben Brooker: Performance
- [Editorial: Last Print Edition, Not Last Words](https://www.realtime.org.au/editorial-last-print-edition-not-last-words/) - Writing in the Rain, FX Harsonophoto courtesy OzAsia Festival 2015Writing in the Rain, FX HarsonoNo, we’re not ailing. It just so happened that our choice of cover image of a performer in an MRI machine coincided with our decision to go totally online. It’s a scene from the great Italian artist Romeo Castellucci’s Go Down,
- [Experimental art—having to speak for itself](https://www.realtime.org.au/experimental-art-having-to-speak-for-itself/) - Stelarc and audience, keynote for NEAFphoto Daniel Grant Stelarc and audience, keynote for NEAF The idea of experimental arts is evident in the branding of national bodies. The Australia Council for the Arts now has an Emerging and Experimental funding category, replacing its Inter-Arts Office. UNSW Art & Design (formerly the College of Fine Arts)
- [Declaration of Sonic Rights](https://www.realtime.org.au/declaration-of-sonic-rights/) - Stephen Whittington & Daruma, JapanSounds were ‘born free, but everywhere they are in chains’ (Rousseau). Captured, held prisoners in hard drives, USB sticks, iPods, smart phones, they are forced to remain mute in the darkness of their digital cells, released for a short time, if at all, at the whim of those who believe they
- [Seeing the Trees from the Wood: models in sustainability for new, experimental, and ‘other’ music performance](https://www.realtime.org.au/seeing-the-trees-from-the-wood-models-in-sustainability-for-new-experimental-and-other-music-performance/) - National Sawdust, New Yorkphoto Jon RoseNational Sawdust, New YorkLast month Jon Rose was invited to be one of the curators in launching New York's new ‘new music’ space National Sawdust with his Interactive Sonic Ball project and to undertake a 12-concert residency at The Stone performing with John Zorn, Marc Ribot, Mark Dresser, Shelley Hirsch,
- [The force inhabits you](https://www.realtime.org.au/the-force-inhabits-you/) - Ryoji Ikeda, superposition, 2015, Carriageworks, SydneyImage Zan WimberleyRyoji Ikeda, superposition, 2015, Carriageworks, SydneyIt is film history legend that the release of Star Wars (1977, now known as Star Wars: Episode IV—A New Hope) changed the course of cinema sound. Director George Lucas and his gun sound design team used the just-emerged technology of Dolby Stereo
- [Pippa Samaya, film: Dancing in the Now](https://www.realtime.org.au/pippa-samaya-film-dancing-in-the-now/) - Dancing in the Now - Full Length from Ubuntu Samaya on Vimeo. Pippa Samaya is a 27-year old recent RMIT graduate in commercial photography who has made an engrossing, self-funded and ambitious 50-minute documentary, Dancing in the Now, freely available online. The film features interviews with dancers—Stephanie Lake, Antony Hamilton, Paea Leach, James Vu Ahn
- [Miss Universal dances the Transmodern, with love](https://www.realtime.org.au/miss-universal-dances-the-transmodern-with-love/) - Key image, Miss UniversalAtlanta EkeKey image, Miss UniversalAtlanta Eke's work tends toward the hybrid. It's the essence of her choreography, drawing visual, sonic, new media and conceptual forms into new relationships of exchange with the dancing body. "I'm probably more cerebral," explains Eke, who last year won the inaugural Kier Choreographic Award. "The practice for
- [Performing hysteria](https://www.realtime.org.au/performing-hysteria/) - Hissy Fit, Episode, Day for Night, Performance Space (2014)photo Lucy ParakhinaHissy Fit, Episode, Day for Night, Performance Space (2014)“It’s an exciting trend that contemporary art in Sydney is now performance art,” says Nat Randall of self-proclaimed queer, sexy art group Hissy Fit. “Five years ago that shift was not evident in gallery spaces. It’s an
- [On your feet: protest & walking as art](https://www.realtime.org.au/on-your-feet-protest-walking-as-art/) - Victoria Carless: Metro Arts, Slipstream, Festival Of Time Based Art
- [Australia and Indonesia draw near](https://www.realtime.org.au/australia-and-indonesia-draw-near/) - Jenni Sanderson, Janine Sutter, Antonietta Vanzella, Maria Vlastuin, Last Light, Tracks Dancephoto Peter EveJenni Sanderson, Janine Sutter, Antonietta Vanzella, Maria Vlastuin, Last Light, Tracks Dance2015 introduced a new Artistic Director with a strong history in Asian and Australian Indigenous performing arts to Darwin Festival. Andrew Ross’ first festival program provided a taste of what may
- [And now for something different](https://www.realtime.org.au/and-now-for-something-different/) - Dead Puppet Society, Argusphoto Elise DerwinDead Puppet Society, ArgusBlack, white, queer and Indigenous-queer, minimalist and outrageously maximalist productions afforded Nicola Fearn an impressive view of Australian Theatre varietals in the 2015 Darwin Festival with companies sourced from Brisbane (Dead Puppet Society collaborating with new music ensemble Topology) and Melbourne (Red Stitch, Malthouse and Little Ones
- [In Profile: Zoe Scoglio, artist](https://www.realtime.org.au/in-profile-zoe-scoglio-artist/) - Video still from work-in-progress, Zoe Scoglio, Iceland artist residency, 2015courtesy the artistVideo still from work-in-progress, Zoe Scoglio, Iceland artist residency, 2015Stretching from abiogenesis to the Anthropocene Age, Zoe Scoglio’s purview reaches across deep time and space and draws in ideas from the geological to the ceremonial. Running parallel to an obsession with the mineral, the
- [Likeness unlimited](https://www.realtime.org.au/likeness-unlimited/) - Nalina Wait, Martin del Amo, Raghav Handa, On Viewphoto Heidrun LöhrNalina Wait, Martin del Amo, Raghav Handa, On ViewThe commonest expression shared among the subjects of portraiture—in painting, photography and film—is in fact an absence of expression, a neutrality which allows artists and viewers to search for meaning in the gaze, the wrinkled brow, a
- [One-on-one: truly, urgently present](https://www.realtime.org.au/one-on-one-truly-urgently-present/) - Interviews Helen Cole, Robert Cook: Proximity Festival
- [Liveworks Festival Of Experimental Art](https://www.realtime.org.au/liveworks-festival-of-experimental-art/) - Eisa Jocson, Hostphoto Andreas EndermannEisa Jocson, HostThe drought is about to break, impatience and irritability soon to be quelled as Performance Space’s looming storm of experimental creativity, Liveworks, brings promise of relief and excitement, flooding expectation with a mass of negative (wicked, outrageous and, of course, subversive) cultural ions, invigorating the spirit and inducing aliveness.
- [Never turn your back on the sea](https://www.realtime.org.au/never-turn-your-back-on-the-sea/) - Laetitia Wilson: Derek Kreckler, Accident And Process
- [Unseen energies manifest as art](https://www.realtime.org.au/unseen-energies-manifest-as-art-2/) - Geology, installation view, detail, 2015courtesy MCAGeology, installation view, detail, 2015In a long overdue acknowledgement of the work of Joyce Hinterding and David Haines, the MCA has exhibited a significant retrospective of their work. Keith Gallasch recorded my observations (and a few of his own comments) about the meanings of the works and how they function
- [Percussive possibilities](https://www.realtime.org.au/percussive-possibilities/) - Louise Devenish, Electroacoustic Music for One Percussionistphoto Nik BabicLouise Devenish, Electroacoustic Music for One PercussionistPerth percussionist Louise Devenish teamed up with local sound engineer-extraordinaire Stuart James to deliver a program of new electroacoustic percussion works, including three premieres, in the cozily retro setting of Mt Lawley’s Astor Lounge. Over time Devenish has established herself as
- [Celebrating Room40 & a world of textures](https://www.realtime.org.au/celebrating-room40-a-world-of-textures/) - Makino Takashiphoto Paul ClipsonMakino TakashiCelebrating 15 years of the Brisbane-based organisation Room40, founder Lawrence English decided to throw the main birthday party at Carriageworks in Sydney in the form of the Open Frame Festival. Lucky for us, as opportunities to see an impressive selection of international experimental electronic artists are all too rare in this
- [Raw beauty and complexity](https://www.realtime.org.au/raw-beauty-and-complexity/) - members of trio Noreum Machi, Earth Cryphoto Timothy Constablemembers of trio Noreum Machi, Earth CryTrio Noreum Machi stages contemporary music that draws on South Korean shamanic rituals and the Sori vocal tradition as well as performative drumming including that pioneered by group SamulNori. For Noreum Machi director Kim Juhong, Earth Cry, their recent collaboration with
- [Targeted by art drones](https://www.realtime.org.au/targeted-by-art-drones/) - A Drone Operaphoto Lucy SpartalisA Drone OperaEvery drone has a human operator. Even self-directed drones on autopilot rely on the human behind the software to give them purpose. Someone is always calling the shots. And it’s this necessary human element which is at issue in A Drone Opera, an exciting high-tech, high-art spectacle created by
- [Joys of the ascent](https://www.realtime.org.au/joys-of-the-ascent/) - Argonauts soloist, Forlorn Remix, BIFEM 2015photo © Marty Willams & City of Greater BendigoArgonauts soloist, Forlorn Remix, BIFEM 2015A brass and electronics fanfare by Thomas Reiner heralded the third Bendigo International Festival of Exploratory Music from atop the former mining tower in Bendigo’s central park (above). Just down the hill another fanfare by Igor Stravinsky
- [Kaleidoscopic pleasures](https://www.realtime.org.au/kaleidoscopic-pleasures/) - Argonaut Ensemble, Superimpose Cycle, 2015 BIFEMphoto Jason Tavener PhotographyArgonaut Ensemble, Superimpose Cycle, 2015 BIFEM“Splits between real and faked instruments; a hyperactive zapping through styles and stereotypes” is how Hamburg composer Alexander Schubert describes his 2011 Superimpose Cycle for Jazz Quartet and Electronics. This whimsical idea was energetically realised in the work’s Australian premiere by the
- [Teenagers dream The Bacchae](https://www.realtime.org.au/teenagers-dream-the-bacchae/) - Lois Scott, The Bacchaephoto Carla TilleyLois Scott, The BacchaeThere’s a long history in which adult imaginations conjure fictional teenage societies defined by competition and conflict. From Lord of the Flies to The Hunger Games, these are worlds in which larger structural tensions and hierarchies are displaced onto young individuals, who are themselves nonetheless rendered categorically
- [Creativity, generosity & taking the pledge](https://www.realtime.org.au/creativity-generosity-taking-the-pledge/) - Actors ‘take a bow’ for the playwright by holding scripts aloftphoto Shane ReidActors ‘take a bow’ for the playwright by holding scripts aloftThe 8th National Play Festival, held this year for the first time in Adelaide, showcased six new Australian plays in full readings and four by emerging South Australian playwrights in excerpts. Two distinct
- [Regaining equilibrium](https://www.realtime.org.au/regaining-equilibrium/) - TAO Dance Theatre, 6 7, Tanz im Augustphoto Duan NiTAO Dance Theatre, 6 7, Tanz im AugustThe 27th edition of Tanz im August, the second year under the artistic direction of Finn Virve Sutinen, started with an announcement of a significant budget increase to its main presenter, performance house Hebbel am Ufer. Good news for
- [When ‘hypnotic’ is good](https://www.realtime.org.au/when-hypnotic-is-good/) - A String Sectionphoto Pete BrundleA String SectionDescribing a performance as ‘hypnotic’ usually opens up a space of ambiguity that isn’t necessarily helpful to anyone, and not just because one person’s ‘hypnotic’ is another’s ‘boring as hell.’ The descriptor covers a range of experiences that can be dissimilar in intent and effect—the dazzling bewitchment of a
- [In the flux of the moment](https://www.realtime.org.au/in-the-flux-of-the-moment/) - Shari Sebbens, Airlie Dodds, Paula Arundell, The Bleeding Tree, Griffin Theatrephoto Brett BoardmanShari Sebbens, Airlie Dodds, Paula Arundell, The Bleeding Tree, Griffin TheatreAlthough Angus Cerini’s The Bleeding Tree and Andrew Upton’s The Present (after Chekhov’s Platonov) each has something important to say about families, relationships and violence (of various kinds), their gripping productions also excited
- [Putting Africa into Othello](https://www.realtime.org.au/putting-africa-into-othello/) - Rokia Traoré, Desdemonaphoto Mark AlanRokia Traoré, DesdemonaIt’s been more than 10 years now since Peter Sellars first locked horns with Toni Morrison over the merits of Othello. To the American director, Shakespeare’s tragedy was best forgotten, having far outlived its usefulness, if indeed it ever had any. To Morrison, Nobel- and Pulitzer Prize-winning novelist, the
- [The dance life of objects](https://www.realtime.org.au/the-dance-life-of-objects/) - Varia Karipoff: Sarah Aiken, Set
- [Audience phones in addiction](https://www.realtime.org.au/audience-phones-in-addiction/) - No-one Cares About Your Cat, Tantrum Theatrephoto Claire AlbrechtNo-one Cares About Your Cat, Tantrum TheatreWhile waiting in the foyer for this performance to begin, audience members were handed a card with a mobile number on it and invited to SMS a cat photo for later use in the show. This is probably the first audience
- [Meaning & its absence in the everyday](https://www.realtime.org.au/meaning-its-absence-in-the-everyday/) - Personwhowatchestoomuchtelevisionphoto Huw TrenordenPersonwhowatchestoomuchtelevisionContrasting concepts of dance were portrayed in Double Bill, with recorded spoken text, instrumental music, electronics and video framing one work and movement generating sound in the other, if in an intriguing relationship with it. Personwhowatchestoomuchtelevision Personwhowatchestoomuchtelevision, which premiered in the 2015 Adelaide Fringe Festival, is a collaborative work for four dancers—Mieke Kriegesvelt,
- [Liveness = not being lost in the crowd](https://www.realtime.org.au/liveness-not-being-lost-in-the-crowd/) - Emma Hall (and goat) in Sarah Rodigari’s Reach Out Touch Faith (2014) which will be performed by Josephine Were in Near and Farimage courtesy PADAEmma Hall (and goat) in Sarah Rodigari’s Reach Out Touch Faith (2014) which will be performed by Josephine Were in Near and FarA new contemporary arts organisation in Adelaide, Performance &
- [Virtual restoration as theatre](https://www.realtime.org.au/virtual-restoration-as-theatre/) - Cut Piece (1964) performed by Yoko Ono in New Works of Yoko Ono, Carnegie Recital Hall, New York, March 21, 1965Photograph by Minoru Niizuma. Courtesy Lenono Photo Archive, New YorkCut Piece (1964) performed by Yoko Ono in New Works of Yoko Ono, Carnegie Recital Hall, New York, March 21, 1965The relationship between performance and the
- [Liberate media art & animate the gallery](https://www.realtime.org.au/liberate-media-art-animate-the-gallery/) - Mummy of Panechates, Son of Hatres, (Egypt 1st - 3rd centuries AD)photo Lizzie MullerMummy of Panechates, Son of Hatres, (Egypt 1st - 3rd centuries AD)Something that has always irritated me is placing media art works together on the basis that they all plug into an electrical wall socket or are made with a computer. Such
- [Audience on the spot, inside and out](https://www.realtime.org.au/audience-on-the-spot-inside-and-out/) - Urszula Dawkins: Field Theory - Site Is Set: MASS, The Talk
- [Running for your life, and art](https://www.realtime.org.au/running-for-your-life-and-art/) - Fields of Gloryphoto Pekka MäkinenFields of GloryANTI is a small but mighty contemporary art festival in the Finnish city of Kuopio, set in a region dominated by lakes, pines and the people’s enthusiasm for outdoor activities. Though ANTI has gained international renown as an annual event of live and public art, its organisers have signalled
- [The Filipino body and labour capital](https://www.realtime.org.au/the-filipino-body-and-labour-capital/) - Eisa Jocson, Hostphoto Andreas EndermannEisa Jocson, HostIn an unlikely underground bar on the outskirts of Geneva, as part of the 2014 Antigel Festival, contemporary Filipina dancer and artist Eisa Jocson delivered Macho Dancer, a solo performance based on her study of male macho dancers, a distinct breed of performers who haunt Manila’s gay bar scene.
- [Editorial: Liveness/Deadness](https://www.realtime.org.au/editorial-liveness-deadness/) - Promotional image, Proximity Festival 2015, Perthphoto Matt SavPromotional image, Proximity Festival 2015, PerthRealTime 129 features ‘liveness’ and its burgeoning manifestations in experimental art practices. It’s an exciting time to be testing the limits of art and finding audiences that keenly embrace direct engagement as participants, co-makers and experimenters. At the very same time, many artists,
- [Feral thought, fears & fun](https://www.realtime.org.au/feral-thought-fears-fun/) - The Feral Amongst UsLucas Ihlein, Siteworks 2015The Feral Amongst UsPerched high on a bend of the snaking Shoalhaven River, the stunning grounds of Bundanon Trust’s Riversdale site will be the location for SITEWORKS 2015. The annual ‘welcoming of Spring’ gathering will host a range of artists, academics, environmentalists and horticulturalists for a one-day exploration of
- [Experimental, subversive, visceral…underground](https://www.realtime.org.au/experimental-subversive-visceralunderground/) - LoveThere’s a compelling array of features, documentaries, shorts and workshops in store at this year’s Sydney Underground Film Festival, which opens tomorrow at Marrickville’s Factory Theatre with Gaspar Noé’s explicit 3D chronicle of a youthful affair, Love (2015). The steadily expanding festival embraces the thought-provoking, experimental, subversive and visceral in a program whose generous scale
- [The power & beauty of resonance & cadence](https://www.realtime.org.au/the-power-beauty-of-resonance-cadence/) - The Argonaut Ensemble perform Boulez’s Sur Incisesphoto by Marty WilliamsThe Argonaut Ensemble perform Boulez’s Sur IncisesThe stage layout for Argonaut ensemble’s performance of Boulez’s Sur Incises sculpts an image of the sound world to come. Three pianos at the front of the stage are shadowed by three harps—extensions of their resonant strings. Behind, three batteries
- [soundinitiative does Lang doing Deleuze doing Beckett](https://www.realtime.org.au/soundinitiative-does-lang-doing-deleuze-doing-beckett/) - Fabienne Séveillac performs The Exhausted with soundinitiativephoto by Marty WilliamsFabienne Séveillac performs The Exhausted with soundinitiative“Exhausted is so much more than tired” begins Gilles Deleuze’s essay on Samuel Beckett (“The Exhausted,” trans. Anthony Uhlmann, 1995). Tiredness assumes there is more to be done; the exhausted has consumed, expended, or used up all possibilities. Everybody has
- [Vivid new music imaginings](https://www.realtime.org.au/vivid-new-music-imaginings/) - Defunensemble perform at the Ulumbarra Theatrephoto by Jason TavenerDefunensemble perform at the Ulumbarra TheatreA thread running through the festival weekend was the artistic and philosophical challenges facing composers and listeners when images and sound cohabit a performance. A panel at a Composer Colloquium had discussed this earlier in the day and it was a recurring
- [A generous learning and sharing](https://www.realtime.org.au/a-generous-learning-and-sharing/) - Gaspar Cortes, Site: The Ramayana Revisitedphoto Crispian ChanGaspar Cortes, Site: The Ramayana RevisitedToday’s environment, distinguished by an active hostility from government to its constituents in the public education and arts sectors, suggests that more than ever graduating students need great resilience to survive as artists, actors and performance makers. Consequently, our concern at the University
- [In between moment and momentum](https://www.realtime.org.au/in-between-moment-and-momentum/) - Erik Griswold performs Wallpaper Musicphoto by Marty WilliamsErik Griswold performs Wallpaper MusicCombine the melodic charm of the piano with the raw elements of percussion, and you have the prepared piano. It’s a musical universe filled with metallic rattles, buzzing bell-like tones and dulled acoustics that inventive Brisbane-based composer and pianist Erik Griswold has been exploring
- [Amplified Elephants, Select Naturalis](https://www.realtime.org.au/amplified-elephants-select-naturalis/) - Founding Amplified Elephants member Kathryn Sutherland demonstrates the RESONANCE table for the audience after the concertphoto by Marty WilliamsFounding Amplified Elephants member Kathryn Sutherland demonstrates the RESONANCE table for the audience after the concertThe lights are dimmed already, giving this small but regal room in Bendigo’s Capital Theatre a warm, apricot hue. The dull glow
- [Creating togetherness, making democracy](https://www.realtime.org.au/creating-togetherness-making-democracy/) - The Streets, Teater Garasi, OzAsiaphoto courtesy OzAsia 2015The Streets, Teater Garasi, OzAsiaThe first thing I noticed at the launch of this year’s OzAsia Festival–the ninth since its inception by Adelaide Festival Centre CEO Douglas Gauthier in 2006–was the branding. Absent were the Chinese dragons and awkward ‘east meets west’ juxtapositions of previous festivals. In their
- [Culture and constraint](https://www.realtime.org.au/culture-and-constraint/) - Ursula Yovich, Harry Greenwood, Love and Information, a Sydney Theatre Company and Malthouse productionphoto © Pia JohnsonUrsula Yovich, Harry Greenwood, Love and Information, a Sydney Theatre Company and Malthouse productionWar in Bertolt Brecht’s Mother Courage and Her Children, obligation in Aboriginal society in Kylie Coolwell’s Battle of Waterloo, the opposition between myth and science in
- [New light on light](https://www.realtime.org.au/new-light-on-light/) - Skunk Control, Gertrude Street Projection Festival 2015photo Bernie PhelanSkunk Control, Gertrude Street Projection Festival 2015Google Maps reckons it’s a 10-minute walk, but with close to 40 light-based artworks floating, glowing or nestling along Fitzroy’s edgy and eclectic Gertrude Street, two hours was closer to the mark. And I’m sure I missed some. But playing ‘spot
- [Art, design, What if… and WTF?](https://www.realtime.org.au/art-design-what-if-and-wtf/) - Stelarc Ear on Arm Portraitphoto Nina Sellars, 2008Stelarc Ear on Arm PortraitExperimentation is a rather vague notion in the arts, seen as a ‘what if’ play with form, technique, medium or all of these in a work resulting in recognisable innovation—the outcome being something not conventionally recognisable or at least difficult to label or different
- [The virtues of hopelessness](https://www.realtime.org.au/the-virtues-of-hopelessness/) - Nicola Gunn is a first-person performance artist. Since 2001 she has directed herself, performed herself and revealed herself. Sometimes she even tells the truth. But whether that truth belongs to her lived story or to the story of any number of Nicola Gunns in any number of alternative worlds remains uncertain. I don’t know. I
- [The sound beyond & the light inside](https://www.realtime.org.au/the-sound-beyond-the-light-inside/) - Jason James, Crevasse, envelop(e)courtesy the artist and Dark MOFO festivalJason James, Crevasse, envelop(e)Matt Warren’s show Envelop(e) at Contemporary Art Tasmania is very much a culmination of ideas he’s been investigating for much of his career. His own work has long featured sound, so the move into curation in 2012 with A Silent Way seemed logical
- [Multiplying alter egos](https://www.realtime.org.au/multiplying-alter-egos/) - Alterland, Heath Francophoto courtesy Australian Experimental Arts FoundationAlterland, Heath FrancoVideo became established as an art form in the latter half of the 20th century, but in the 21st, the age of video games, virtual reality, YouTube, social media and phone cameras, video is a universal language. Performance art frequently explores identity and the self in
- [A monumental dance of screens & bodies](https://www.realtime.org.au/a-monumental-dance-of-screens-bodies/) - Rihoko Sato, Broken Lights, Saburo Teshigawara, multimedia installationphoto courtesy CarriageworksRihoko Sato, Broken Lights, Saburo Teshigawara, multimedia installationCarriageworks’ 24 Frames Per Second is immediately immersive. The foyer portal to this monumental exhibition of dance and visual art collaborations places the viewer between two huge screens on which football fans coalesce into swaying masses or lock arms
- [Scientific conception, sonic sensation](https://www.realtime.org.au/scientific-conception-sonic-sensation/) - Common Eclectic, Clocks and Clouds photo Felicity ClarkCommon Eclectic, Clocks and Clouds In one of nine Common Eclectic concerts staged by independent music promoter Places and Spaces in the refurbished Glebe Town Hall, Clocks and Clouds (Kraig Grady and Terumi Narushima) explored the sonic combinations available when an historic and now sound-proofed ballroom, metal bars
- [Beautiful suffering: Baroque & Gothic](https://www.realtime.org.au/beautiful-suffering-baroque-gothic/) - Bajazetphoto Keith SaundersBajazetVivaldi’s Bajazet is an opera you might be lucky to see staged once in your lifetime and there’s only one complete CD recording to date, but in the Pinchgut Opera production director Thomas de Mallet Burgess has radically changed the tenor of its ending to suit our own graceless times. Vivaldi’s ending is
- [The future with an ear to the past](https://www.realtime.org.au/the-future-with-an-ear-to-the-past/) - Johannes S Sistermanns, Decibel Installationphoto Holly JadeJohannes S Sistermanns, Decibel InstallationCoinciding with the soft launch of the Western Australian New Music Archive, the 12th Totally Huge New Music Festival unearthed gems from local, national and international musical milieus. Detailed reviews of these works by myself and mentored writers Alex Turley and Laura Halligan can be
- [Scenographies of the city, weather & politics](https://www.realtime.org.au/scenographies-of-the-city-weather-politics/) - PQ Signphoto Carlos GomesPQ SignKatia Molino and I navigate the flood of tourists in Prague, looking for the ‘blue chair’—the logo for the 13th Prague Quadrennial of Performance Design and Space 2015. PQ is the oldest symposium of its type. In the program, Artistic Director Sodja Lotker states, “PQ explores scenography as a strong and
- [Gay Muslim immigrant pride](https://www.realtime.org.au/gay-muslim-immigrant-pride/) - Once We Were Kingsphoto Mustafa Al MahdiOnce We Were KingsPride shines through in intimate tales of love, loss, rejection and steadfast memory. Once We Were Kings presents a collection of richly evocative vignettes of life as experienced by gay Muslim immigrants to Australia. The fluent beauty of the language is a tribute, a call to
- [Domestic Bliss](https://www.realtime.org.au/domestic-bliss/) - HOME, QTCphoto Bev JensenHOME, QTCIn Queensland Theatre Company’s foyer library, we are offered a choice of green or oolong tea and a home-made biscuit before entering Margi Brown Ash’s HOME, which had premiered in La Boite’s Independent season in 2013. This production is the first to use QTC’s intimate new performance space, the refashioned Diane
- [The shape of things to come?](https://www.realtime.org.au/the-shape-of-things-to-come/) - 100 Reasons for War, Blue Cow Theatrephoto Tony McKendrick100 Reasons for War, Blue Cow TheatreLooking back to late April in Hobart, the summer festivals were over, Dark MOFO lay ahead, yet there was plenty to tempt the cultural connoisseur with a taste for theatre. When I say plenty, I mean three professional shows opening at
- [When blunt design is sharp](https://www.realtime.org.au/when-blunt-design-is-sharp/) - I Am a Miraclephoto Pia JohnsonI Am a MiracleIs Australian set design having its Brutalist moment? Recent work has embraced a visual ugliness that can be surprisingly confronting—not the comfortingly artful messiness of so many post-dramatic works, or the stark but sensible abstraction of minimalism. It’s a blunt, crude, almost amateurish look that’s all the
- [Thrills & serial complications](https://www.realtime.org.au/thrills-serial-complications/) - Dust Covered Butterflyphoto Morgan RobertsDust Covered ButterflyBand? Check. Dynamic and sexy performers? Check. Serial killers? Check. The Sue Benner Theatre configured backwards and the seating bank covered with painters’ plastic made to look like angel clouds? Check. What more could you ask for? Dust Covered Butterfly is a new devised work by Thomas Hutchins and
- [Going for the burn](https://www.realtime.org.au/going-for-the-burn/) - Jana Perkovic: Foreign Affairs, Berlin
- [Asia-Australia: art, conscience, action: 4a Centre For Contemporary Asian Art, 48Hr Incident](https://www.realtime.org.au/asia-australia-art-conscience-action/) - Latai Taumoepeau, Dark Continent (2015), 4A Centre for Contemporary Asian Art, photo Zan Wimberley If, like me, you are tired of continual references to Euro-America in local performance art discourse, then you would have relished 4A Centre for Contemporary Asian Art’s 48Hr Incident. Perhaps one day the notion of an Asian Australian gallery in Sydney’s
- [Conversation, celebration,  compassion](https://www.realtime.org.au/conversation-celebration-compassion/) - Choir of Love, Little Baghdadphoto courtesy Powerhouse Youth TheatreChoir of Love, Little BaghdadThe first of three of Powerhouse Youth Theatre’s The Long Table gatherings was a gloriously celebratory cultural event. Titled Resilience and Rituals, it gathered together immigrant groups from across Iraq, each with their own distinctive culture—language, music, dress, cuisine—and exacting stories of loss
- [A visit with a doppleganger](https://www.realtime.org.au/a-visit-with-a-doppleganger/) - Kay Armstrong, An Hour With Kayphoto courtesy the artistKay Armstrong, An Hour With KayKay Armstrong begins her solo show proper with a departure. We watch on a mobile phone screen held by Kay-who-is-not-Kay as the artist leaves the building in ‘real time,’ apologising that she can’t stay. Her protracted exit, as she negotiates several sets
- [Insatiable: ghosts & humans](https://www.realtime.org.au/insatiable-ghosts-humans/) - from Unappeased, Penang showingphoto Phin Oswaldfrom Unappeased, Penang showingAn imposing shed-like structure cleaves down its middle into two cyclonic market stalls that spin on tiny roller-wheels. These steel-framed marquees skim through space, teasing and nearly engulfing us. The crackle of their gaudy plastic tarps evokes explosive elemental forces, transporting us to a netherworld. As these
- [Deep time, walking Queensland waterways](https://www.realtime.org.au/deep-time-walking-queensland-waterways/) - Igneous performance: James Cunningham and Suzon Fuksphoto Alan WarrenIgneous performance: James Cunningham and Suzon FuksFluidata is the latest project by Brisbane intermedia artists Suzon Fuks and James Cunningham whose long-standing partnership Igneous produced this installation at The Block in the QUT Creative Industries Precinct. It’s the installation component of Igneous’ long-standing exploration of water as
- [Immersive, verbatim & immersively verbatim](https://www.realtime.org.au/immersive-verbatim-immersively-verbatim/) - The Sound and the Fury, Elevator Repair Service, Public Theater, New Yorkphoto Paula CourtThe Sound and the Fury, Elevator Repair Service, Public Theater, New YorkIt’s summer in New York and all the locals are elsewhere, leaving the tourists to ask each other for directions. Pickings are also slimmer than you might expect when it comes
- [East, West, chance, dance & causality](https://www.realtime.org.au/east-west-chance-dance-causality/) - Spectra, Dancenorth and Batik, OzAsia Festival 2015photo Amber HainesSpectra, Dancenorth and Batik, OzAsia Festival 2015Alongside immersive works like The Streets and Japan’s Miss Revolutionary Idol Berserker —“a frenetic spectacle of hyper-real pop music and dance” [program] that will require audience members to don protective raincoats—another key feature of this year’s OzAsia program is an emphasis
- [Dancing & teaching: with & without a ball](https://www.realtime.org.au/dancing-teaching-with-without-a-ball/) - Ahilan Ratnamohanphoto Olympe TitsAhilan RatnamohanThe number of performing arts-associated workshops is burgeoning, especially when associated with touring productions (see for example Nick Power’s hip hop Cypher tour). Partly it’s to do with the desire by artists to connect more expressly with audiences, partly a strategy to develop those audiences and partly the result of pressure
- [Practicality, phenomenology & adaptability](https://www.realtime.org.au/practicality-phenomenology-adaptability/) - Laptop Orchestra, Electronic Music Unit, Elder Conservatorium of Music, Adelaidephoto Dr Sebastian TomczakLaptop Orchestra, Electronic Music Unit, Elder Conservatorium of Music, AdelaideThe 65-member Electronic Noise Orchestra (ENO) is the brainchild of the University of Adelaide’s Electronic Music Unit director, pianist and composer Stephen Whittington together with the students in the Bachelor of Music Sonic Arts
- [Teaching for independence & innovation](https://www.realtime.org.au/teaching-for-independence-innovation/) - Filmmaking Workshop, Warnbro Community High Schoolphoto Poppy van Oorde-GraingerFilmmaking Workshop, Warnbro Community High SchoolIn 2011 Perth Institute of Contemorary Arts’ Spark_Lab became part of a three-year research program, Growing Future Innovators, involving five schools in collaboration with Edith Cowan University’s Education School and with the support of the Fogarty Foundation. RealTime spoke with Melissa McGrath,
- [Life-changing listening for RealTime: 1999-2017](https://www.realtime.org.au/life-changing-listening-for-realtime-1999-2017/) - 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.
- [A time for experimental thinking & doing](https://www.realtime.org.au/a-time-for-experimental-thinking-doing/) - Man from Earth, National Academy of Chinese Theatre Arts (China), 8th Asia Pacific Bureau Theatre Schools Festival and Directors’ Conference, Singapore www.crispi.com.sgphoto Crispian ChanMan from Earth, National Academy of Chinese Theatre Arts (China), 8th Asia Pacific Bureau Theatre Schools Festival and Directors’ Conference, Singapore www.crispi.com.sg“We’re hoping that someday Rosalie will be a major player in
- [Inside the sounding of dance](https://www.realtime.org.au/inside-the-sounding-of-dance/) - Michael Dagostinophoto courtesy Campbelltown Arts CentreMichael DagostinoInteractivity and immersion, live and digital, are the go-to states of the moment. The staging of Carriageworks’ 24 Frames Per Second is spatially immersive, with paths to, between and into recorded film/video works jointly made by visual artists and choreographers. In Sue Healey’s On View at Performance Space (also
- [From Asia, with passion and daring](https://www.realtime.org.au/from-asia-with-passion-and-daring/) - Joseph Mitchell, Artistic Director OzAsia 2015photo Randy LarcombeJoseph Mitchell, Artistic Director OzAsia 2015Adelaide’s OzAsia Festival is soon to burst into new life with a thrilling program of contemporary performance, film and visual art from China, Taiwan, Japan and, above all, Indonesia, in a welcome move that will reveal some of the cultural scale and complexity
- [In Profile: Nick Power, b*boy, choreographer](https://www.realtime.org.au/in-profile-nick-power-bboy-choreographer/) - Cypherphoto Amy HetheringtonCypherVision My vision comes from my background as a b*boy and my long term involvement in hip hop culture. My experience of being a dancer was formed through competing in battles, being in crews and stepping into Cyphers. When I started creating performances I was really going on instinct and using virtuosity to
- [Art & healing on the streets of Ansan](https://www.realtime.org.au/art-healing-on-the-streets-of-ansan/) - Tristan Meecham Fun Runphoto Studio PalFun RunAnsan Street Arts Festival (ASAF) is one of South Korea’s many resplendent arts festivals. Largely dedicated to arts on and of the streets, the vibrant regional city of Ansan blocks off its main streets once a year to fill the epic civic square and precinct with performances and installations
- [Place: Seoul, South Korea](https://www.realtime.org.au/place-seoul-south-korea/) - Seoul viewed to north from the N-Seoul Towerphoto Gail PriestSeoul viewed to north from the N-Seoul TowerReason for travelling I headed off to Seoul (as well as Tokyo and Osaka) in search of the future, in particular what the future might sound like. This research feeds into a speculative audio and writing project which I
- [Art and a 	post-industrial town](https://www.realtime.org.au/art-and-a-post-industrial-town/) - Alan Schacher, Behemoth*, Cementa 15photo Wei Zen HoAlan Schacher, Behemoth*, Cementa 15Cementa is part of an expanding ecology of Australian arts festivals situated in and responding to regional living. Based in Kandos in the picturesque landscape of mid-western NSW, the program of the biennale festival’s sophomore year was largely driven by situating artists in the
- [The mining of image & metaphor](https://www.realtime.org.au/the-mining-of-image-metaphor/) - Eugenia Lim, Yellow Peril, 2015, single channel HD videophoto courtesy Bus ProjectsEugenia Lim, Yellow Peril, 2015, single channel HD videoMelbourne’s infamous public sculpture, Ron Robertson-Swann’s abstract, minimalist Vault (1980), evokes hoards of hidden riches with its official title and bears the racist slur of its nickname garnered when its sun-bright planes were first unveiled: ‘the
- [Site-specific, durational, regional Chekhov](https://www.realtime.org.au/site-specific-durational-regional-chekhov/) - Norie Neumark: La Mama, Uncle Vanya In Avoca
- [Unburdened Australians in an adventurous mix](https://www.realtime.org.au/unburdened-australians-in-an-adventurous-mix/) - Into the World, David Weber-Krebsphoto courtesy the artistInto the World, David Weber-KrebsThere is something bittersweet about seeing excellent performance works in Brussels, only to realise that they are made by Australians. There are not too many Australian performance-makers in Brussels, but, due to the dense network of performance venues in this corner of Europe, and
- [A treasure house of movement-led hybridity](https://www.realtime.org.au/a-treasure-house-of-movement-led-hybridity/) - Francois Chaignaud and César Vayssié, The Sweetest Choice, 24 Frames Per Second, Carriageworks, 2015photo courtesy the artistsFrancois Chaignaud and César Vayssié, The Sweetest Choice, 24 Frames Per Second, Carriageworks, 201524 screen installations by 16 Australian and eight overseas artists—choreographers, filmmakers, video artists, contemporary performance makers—and dancers or other collaborators who inspire them. This is Carriageworks’
- [Framing trauma, fear & love](https://www.realtime.org.au/framing-trauma-fear-love/) - Trent Parke, Ants on Jatz cracker biscuit, Dampier WA, 2011Trent Parke/Magnum PhotosTrent Parke, Ants on Jatz cracker biscuit, Dampier WA, 2011In Trent Parke’s The Black Rose, we first see walls covered in a spectacular black and white museum-style panorama of the sky at dusk onto which cut-out images of birds, bats, insects and even fish
- [Screen-dancing back the layers](https://www.realtime.org.au/screen-dancing-back-the-layers/) - Lizzie Thomson, White Record, 24 Frames Per Second, Carriageworks, 2015image courtesy the artistLizzie Thomson, White Record, 24 Frames Per Second, Carriageworks, 2015In 2012, choreographer and dancer Lizzie Thomson was approached by Carriageworks to join its pitch to procure the $300,000 made available by the Australia Council’s Screen Dance Initiative. The proposed 24 Frames Per Second
- [Venice Biennale: the art of housing art](https://www.realtime.org.au/venice-biennale-the-art-of-housing-art/) - new Australian PavilionAs Australia unveils its new 21st century pavilion this year, many other national pavilions within the Venice Biennale’s Giardini are being ‘veiled.’ The pavilions of Canada, Israel, Austria and Greece are actively disguised or altered by their artists. Others are swamped with liquid, or littered with broken glass, in each case drawing our
- [Art that illuminates the street](https://www.realtime.org.au/art-that-illuminates-the-street/) - Young Blood, Arika Waulu, Gertrude St Projection Festival, 2014photo Bernie PhelanYoung Blood, Arika Waulu, Gertrude St Projection Festival, 2014For its eighth year, the hugely popular and aesthetically innovative Gertrude Street Projection Festival has been curated for the second time by festival co-founder and executive producer Kym Ortenburg and Yandell Walton—one of the featured artists of
- [Trio: flight, death, earth](https://www.realtime.org.au/trio-flight-death-earth/) - Brenton Spiteri, Fly Away Peter, Sydney Chamber Operaphoto Zan WimberleyBrenton Spiteri, Fly Away Peter, Sydney Chamber OperaOn a vast broadly stepped space, its flat white surfaces thickly textured, three people delight in the Australia they love and conjure in song—a particular landscape, its skies and, above all, its birds. The Great War takes two of
- [A meeting of cultures through public art](https://www.realtime.org.au/a-meeting-of-cultures-through-public-art/) - Nomanslandingphoto courtesy Sydney Harbour Foreshore AuthorityNomanslandingWhen I venture to Sydney’s Cockle Bay in Darling Harbour to experience Nomanslanding, one of a number of public art projects around the country commemorating the centenary of the ANZAC campaign at Gallipoli, the weather is fittingly bleak and rainy, effectively buffering the touristic glitz of the area and applying
- [The body 	as ear](https://www.realtime.org.au/the-body-as-ear/) - Lawrence Englishphoto Marc BehrensLawrence EnglishFor those vague on their history (like me), the original Room40 was both the office and the group of cryptologists established at Bletchley Park in England during World War I tasked with deciphering German command codes. By World War II the team, which included Alan Turing, the forefather of modern computing,
- [New music, digital culture & the big questions](https://www.realtime.org.au/new-music-digital-culture-the-big-questions/) - Zubin Kanga plays Transit (2009), video & electronics by Michel van der Aa, Dark Twinphoto Holly SchroederZubin Kanga plays Transit (2009), video & electronics by Michel van der Aa, Dark TwinThe 2015 Metropolis New Music Festival explored original and winding paths around the theme “Music inspired by the moving image.” Where it would have been
- [Power game variations](https://www.realtime.org.au/power-game-variations/) - Tom Budge, Hugo Weaving in Sydney Theatre Company’s Endgamephoto Lisa TomasettiTom Budge, Hugo Weaving in Sydney Theatre Company’s EndgameOn the Sydney Theatre stage is a huge black box framing the curved interior wall of a lighthouse which towers vertiginously, a small high window either side, no stairs, a door centre, a clock and fine spiderweb-like
- [Art bred from destruction](https://www.realtime.org.au/art-bred-from-destruction/) - Brian Lucas, De Profundisphoto Dylan EvansBrian Lucas, De ProfundisDirector David Fenton and dancer-performer Brian Lucas have adapted Oscar Wilde’s literary epistle De Profundis for the stage. It’s remarkable that they are the first to do so, and their theatrical realisation of Wilde’s letter to his former lover (Lord Alfred Douglas, whose father hounded the pair
- [Mingling memories, signs & connotations](https://www.realtime.org.au/mingling-memories-signs-connotations/) - ‘Theatre restaurant’ is a descriptor that brings with it a distinct set of connotations, and they’re of the sort that few outside the actual theatre restaurant industry hope to have bestowed upon them. It was with some rare delight that I saw a recent venture by Melbourne polymorphs Aphids consciously billed as “part theatre restaurant.”
- [Crazy Horse  exposé](https://www.realtime.org.au/crazy-horse-expos/) - Kialea-Nadine Williams, Trevor Stuart, Madame, Torque Show in association with Vitalstatistix & State Theatre Company of SAphoto Ben McGeeKialea-Nadine Williams, Trevor Stuart, Madame, Torque Show in association with Vitalstatistix & State Theatre Company of SAFew visitors to or residents of Adelaide would not profess some passing knowledge of Hindley Street’s Crazy Horse, a fixture of
- [The feminine: monstrous, polite, tenacious](https://www.realtime.org.au/the-feminine-monstrous-polite-tenacious/) - Politely Savage (2005), My Darling Patriciaphoto Heidrun LohrPolitely Savage (2005), My Darling PatriciaIt is over 10 years ago now that My Darling Patricia (Clare Britton, Bridget Dolan, Katrina Gill and Halcyon Macleod) boldly dressed the contemporary performance outdoors in what has since become their signature feminist aesthetic. In Dear Pat (2004), three impeccably dressed wartime
- [Obituary: Maggi Phillips  (1944-2015)](https://www.realtime.org.au/obituary-maggi-phillips-1944-2015/) - Maggi Phillips, 2009photo courtesy Anna PhillipsMaggi Phillips, 2009Maggi Phillips reviewed perceptively, lyrically and idiosyncratically for RealTime for the best part of a decade. She was ever attentive, not easily impressed but fair and never likely to condemn—save in her final review in which she grumpily dismissed Perth Festival works by William Forsythe and Mark Morris
- [Without movement, no time](https://www.realtime.org.au/without-movement-no-time/) - Jennifer Lacey, Gatticaphoto Ian DouglasJennifer Lacey, GatticaWith only passing reference to the 1997 sci-fi movie Gattaca (director Andrew Nicol), Paris-based US choreographer-performer Jennifer Lacey puts the future, the present and the notion of ‘performance’ up for (literal) discussion in her work Gattica (a different spelling). In a piece both funny and philosophical, Lacey playfully jumps
- [An alchemical progression](https://www.realtime.org.au/an-alchemical-progression/) - Raghav Handa, Tukre, FORM Dance Projectsphoto Gregory LorenzuttiRaghav Handa, Tukre, FORM Dance ProjectsA softened hum, chant-like, without the intensity or expectation of a chorus to come. Investment in an activity, a small ritual taking place. Low light, ember glow. Small metal objects. Is it a lamp? Somewhat tarnished, I taste rust in my mouth, a
- [Inimically Wright](https://www.realtime.org.au/inimically-wright/) - Sarah Jayne Howard, The Kiss Insidephoto courtesy of Douglas WrightSarah Jayne Howard, The Kiss InsideThere is a passage towards the close of Douglas Wright’s The Kiss Inside where Sarah-Jayne Howard, dressed in a mildly antique-cut red dress, executes a measured sequence of movements taken from the work and strung together as a comprehensive digest and
- [Not your average primate](https://www.realtime.org.au/not-your-average-primate/) - This Fleeting World, Centre for Australasian Theatrephoto Rosie BrowningThis Fleeting World, Centre for Australasian TheatreLiving in the deep north of Queensland there’s a heightened feeling of transience, of nature, weather and people constantly on the move. It’s a microcosm of the larger urban demographic but with a sense of community amplified by cultural tourism, which
- [A dark dance of choice and chance](https://www.realtime.org.au/a-dark-dance-of-choice-and-chance/) - Stompin’, 6000 to 1photo Jasper De SeymourStompin’, 6000 to 1A dancer lies on the floor surrounded by a mandala of ordinary, yet luminously coloured objects from the life of a young person—tennis rackets, DVD sleeves. A female voiceover describes the aftermath of a suicide attempt, a moment when, against all odds, the body rejected a
- [It’s the nature of play that makes gaming](https://www.realtime.org.au/its-the-nature-of-play-that-makes-gaming/) - The Market SXSWphoto Catherine FargherThe Market SXSWI make my way to the Austin Convention Centre on the day before SXSW Interactive commences to meet Kylee Ingram, an Australian producer with her own company, Elevator Entertainment. Digital entrepreneurs are already hawking their wares and Kylee and I are greeted by Kyle Kemper, a ‘virtual exchange’ guru
- [When buildings sing](https://www.realtime.org.au/when-buildings-sing/) - Jack’s Shed, Acoustic Life of Sheds, Tasmanian International Arts Festivalphoto Lisa GarlandJack’s Shed, Acoustic Life of Sheds, Tasmanian International Arts FestivalCircling the milling crowd on a far flung Tasmanian farm is a series of hand built electronic harps amplifying the sound of wind on the strings and creating an intriguing late-afternoon atmosphere. As we are
- [Missing in action](https://www.realtime.org.au/missing-in-action/) - Marianna Joslin, Unstable Moments, Metro Artsphoto Dane BeesleyMarianna Joslin, Unstable Moments, Metro Arts“‘Delegated performance’ is the act of hiring non-professionals or specialists in other fields to be present and performing…on behalf of the artist, and following his or her instructions.” Claire Bishop, “Delegated performance: outsourcing authenticity,” October, No 140, Spring 2012. Flying or falling, supported
- [Performance art in the experience economy era](https://www.realtime.org.au/performance-art-in-the-experience-economy-era/) - Ray Harris, Glitter Vomit (video still) single-channel HD video, 5.36 minscourtesy of the artistRay Harris, Glitter Vomit (video still) single-channel HD video, 5.36 minsPerformance art’s latest international revitalisation—in part a reaction against years of object-based spectacle in the art museum, and reflecting a surging interest in a dematerialised, experience-orientated art—has been well documented. Amelia Jones
- [Democracy of the lens](https://www.realtime.org.au/democracy-of-the-lens/) - Tracey Moffatt, I made a camera 2003, photolithograph, collection of the artistcourtesy Roslyn Oxley9 Gallery, SydneyTracey Moffatt, I made a camera 2003, photolithograph, collection of the artistIn Max Dupain’s 1937 photograph, Sunbaker, the viewer is drawn into sensations of lying on sand, sun on skin. Through it can be felt the wellbeing, the abundance of
- [The body in the machine: the screen as performer](https://www.realtime.org.au/the-body-in-the-machine-the-screen-as-performer/) - Atlanta Eke, Body of Work, Dance Massive, 2015photo Gregory LorenzuttiAtlanta Eke, Body of Work, Dance Massive, 2015“Jacob? Jacob, is there something wrong?” Atlanta Eke stands front and centre, dressed in silver spandex tights and long-sleeved silver crop-top, squinting through the lights up at the control booth where video production designer Jacob Perkins is mixing the
- [Body Image Screen - Introduction](https://www.realtime.org.au/body-image-screen-introduction/) - Rihoko Sato, Saburo Teshigawara, Broken Lights performanceWonge Bergmann, courtesy Ruhrtriennale, 2014Rihoko Sato, Saburo Teshigawara, Broken Lights performanceThe screen, in its many manifestations and sites (just short now of direct wiring to the brains of the blind), is ever more seamlessly integrated into our lives, in the art that plays us back to ourselves as fact
- [Editorial](https://www.realtime.org.au/editorial-11/) - Hoofer Dance, Free the Arts Rally, Hyde Park Sydney, May 22photo William YangHoofer Dance, Free the Arts Rally, Hyde Park Sydney, May 22Our editorial photograph is by William Yang, one of the speakers at the Sydney #FreeTheArts rally by the Hyde Park fountain, which was also addressed passionately by artsworkers Rachel Healey, Fiona Winning, Fraser
- [Space-making Immersive vocal improvisation](https://www.realtime.org.au/space-making-immersive-vocal-improvisation/) - Caption: Gentle steps with an open mouth, Alice Hui-Sheng Chang, Perth iMprov Collectivephoto Holly JadeCaption: Gentle steps with an open mouth, Alice Hui-Sheng Chang, Perth iMprov CollectiveThe audience is ushered into PICA’s main gallery space to witness Alice Hui-Sheng Chang’s Gentle steps with an open mouth. The upper gallery is dotted with members of the
- [Adventures in timbre and texture](https://www.realtime.org.au/adventures-in-timbre-and-texture/) - Time Alonephoto Holly JadeTime AloneThe Totally Huge New Music Festival in Perth was brought to a stunning conclusion with Time Alone, a program of percussion and clarinet music infused with electronics. Visiting artist Claire Edwardes brought a vibrant enthusiasm to the stage, guiding the audience through a program that she clearly loved. She was joined
- [The piano and its others](https://www.realtime.org.au/the-piano-and-its-others/) - Zubin Kangaphoto Holly JadeZubin KangaIn a recital of fresh new piano works, London-based Australian pianist Zubin Kanga explored the concept of expanding the scope of the piano through electroacoustic manipulation and video projection. Over the course of his career Kanga has firmly established himself as a fierce supporter of contemporary music, commissioning over 50 new
- [Piano adventures](https://www.realtime.org.au/piano-adventures/) - Zubin Kangaphoto Holly JadeZubin KangaNestled in plastic lawn chairs on the ground floor of the Art Gallery of Western Australia, the eighth night of the Totally Huge New Music Festival featured world-renowned Australian contemporary pianist, Zubin Kanga. He treated the audience to a performance of his Dark Twin program, playing Julian Day’s piece of the
- [Motion in stillness](https://www.realtime.org.au/motion-in-stillness/) - Gentle steps with an open mouth, Alice Hui-Sheng Chang, Perth iMprov Collective, with Elena Tory-Henderson’s installation Big Yellowphoto Holly JadeGentle steps with an open mouth, Alice Hui-Sheng Chang, Perth iMprov Collective, with Elena Tory-Henderson’s installation Big YellowThe Totally Huge New Music Festival teamed up with The Perth Institute of Contemporary Arts to host Melbourne-based vocal
- [A fine plenitude](https://www.realtime.org.au/a-fine-plenitude/) - Breaking Out Young Composers’ Nightphoto Holly JadeBreaking Out Young Composers’ NightTotally Huge New Music Festival’s Breaking Out concert showcases work from the state’s most promising young composers. This year’s program included high-quality works ranging from thorny post-serial experiments to loosely structured improvisations and progressive rock epics for saxophone orchestra. The night was made especially enjoyable
- [Young composers let loose](https://www.realtime.org.au/young-composers-let-loose/) - Breaking Out Young Composers’ Nightphoto Holly JadeBreaking Out Young Composers’ NightEleven young composers showcased their work in an immensely varied program, Breaking Out. First was Sally Banyard’s pastoral Out Into Stillness which brought new life to Western Australian poet Kevin Gillam’s text via an alto singer and an ensemble of 10 saxophones and piano. An
- [The many-voiced cello of an Australo-German repertoire](https://www.realtime.org.au/the-many-voiced-cello-of-an-australo-german-repertoire/) - Friedrich Gauwerkyphoto Holly JadeFriedrich GauwerkyWith his Amour–Soundbridge concert, cellist Friedrich Gauwerky ranged widely across the contemporary cello repertoire while exploring the musical ties between Australia and Germany. Gauwerky himself embodies these ties, having lectured in cello, chamber music and New Music at the Elder Conservatorium of Music in Adelaide in 1989–96. He also performed as
- [The sound shapers](https://www.realtime.org.au/the-sound-shapers/) - For its 117th instalment, Tura New Music’s historic Club Zho program returned to the Totally Huge New Music Festival to present new music and sound art in a semi-formal environment, this time invading Jimmy’s Bar in Perth for a concert of escalating volume. Hedkikrphoto Holly JadeHedkikrBass clarinettist Linsday Vickery and percussionist Darren Moore performed as
- [On the line between earth and sky](https://www.realtime.org.au/on-the-line-between-earth-and-sky/) - Loomusica, Castlemaine State Festivalphoto Pen TaylorLoomusica, Castlemaine State FestivalHeld every two years, and celebrating 40 years and 20 festivals in 2015, the Castlemaine State Festival is a vibrant cultural event that takes over the small goldmining-era town in regional Victoria. Many musicians, artists, writers and theatre-makers live in town, and this year almost 200 of
- [Folds: loose, taut & generative](https://www.realtime.org.au/folds-loose-taut-generative/) - Johannes Sistermanns: installation, Space/Pliphoto Brian BalenJohannes Sistermanns: installation, Space/PliIn Johannes Sistermanns’ installation Space/Pli, 2015, hundreds of metres of cling wrap partition the PS Art Space in Fremantle. The translucent film of the site-specific installation forms walls between the building’s pylons. Diagonal strips intersect the walls, striking down from ceiling to floor. Clingfilm has marvellous sonic
- [The epic resonances of diffusion](https://www.realtime.org.au/the-epic-resonances-of-diffusion/) - Akousmatikoi (The Listeners)photo Holly JadeAkousmatikoi (The Listeners)Sound artist Steve Paraskos installed his 32-channel speaker array in the cavernous atrium of the West Australian Museum for an evening of deep listening. The concert’s title, Akousmatikoi (The Listeners), refers to the disciples who listened to Pythagoras lecture from behind a screen in order to better focus on
- [RealTime Writing Workshop](https://www.realtime.org.au/realtime-writing-workshop-2/) - These reviews are the result of a RealTime intensive, first-stage writing workshop for four participants held 1-3 May in Albury-Wodonga in conjunction with Murray Arts and HotHouse Theatre and conducted by RealTime Managing Editors Virginia Baxter and Keith Gallasch. James Smith, This Is Where We Live, a HotHouse Theatre and State Theatre Company of SA
- [RealTime Writing Workshop](https://www.realtime.org.au/realtime-writing-workshop/) - These reviews are the result of a RealTime intensive, first-stage writing workshop for four participants held 1-3 May in Albury-Wodonga in conjunction with Murray Arts and HotHouse Theatre and conducted by RealTime Managing Editors Virginia Baxter and Keith Gallasch. James Smith, This Is Where We Live, a HotHouse Theatre and State Theatre Company of SA
- [Poets at risk](https://www.realtime.org.au/poets-at-risk/) - James Smith, This Is Where We Live, a HotHouse Theatre and State Theatre Company of SA co-productionphoto My Wonderland PhotographyJames Smith, This Is Where We Live, a HotHouse Theatre and State Theatre Company of SA co-productionA gigantic concrete pipe, reinforcing mesh protruding from its smashed edges and two broken chunks scattered at the forestage, is
- [Game to play](https://www.realtime.org.au/game-to-play-2/) - Hans von Vliet, 7bit Herophoto courtesy the artistsHans von Vliet, 7bit HeroOnce again the Seymour Centre is host to the wilder and weirder dimensions of Vivid Sydney’s popular festival of music, sound and light with a concentrated program explorating the bristling nexus between music and computer interactivity with artists and audience at play in Musify+Gamify
- [Plasticity, performance & environment](https://www.realtime.org.au/plasticity-performance-environment/) - Nerve Engine for RealTime 2015 from Bonemap on Vimeo. Bonemap is a creative partnership between Cairns-based artists Russell Milledge and Rebecca Youdell. Since 1998, the pair and their collaborators have crafted creative projects that vividly and immersively integrate contemporary choreographic performance, media, site, visual art and audience interactivity. The video of the one-on-one performance Nerve
- [At one with water](https://www.realtime.org.au/at-one-with-water/) - Fluidata - in progress from suzon fuks on Vimeo. On 13 June, Igneous in Brisbane and Bonemap in Cairns will open Igneous’ FLUIDATA with a live telematically linked performance on the big screen at QUT’s The Block in Brisbane. At 7pm you can see the performance at QUT or witness it via live stream. For
- [Taking a hard look at the self](https://www.realtime.org.au/taking-a-hard-look-at-the-self/) - Tim Grayburn, Bryony Kimmings, Fake it ‘til you Make it, Theatreworksphoto Richard DavenportTim Grayburn, Bryony Kimmings, Fake it ‘til you Make it, TheatreworksMuch ink has been spilled lamenting the rise of the memoir in contemporary publishing, and while it’s debatable whether this turn reflects a culture of narcissism that interprets all experience by turning inwards,
- [To the moon: producing the future](https://www.realtime.org.au/to-the-moon-producing-the-future/) - Harley Stumm (back row 4th from L) with the team from “Hanuman Spaceman” including The Cambodian Space Project, director Carlos Gomes, Master Kong Nay, and staff and students of Kampot Traditional Music School (Khmer Cultural Development Instiphoto David A. RosenbergerHarley Stumm (back row 4th from L) with the team from “Hanuman Spaceman” including The Cambodian
- [Calm and turbulence](https://www.realtime.org.au/calm-and-turbulence/) - Fog Bridge, Fujiko Nakaya, In Between Timephoto Paul BoxFog Bridge, Fujiko Nakaya, In Between TimeFujiko Nakaya, Fog Bridge Nozzles either side of the walkway (Pero’s Bridge, Bristol Harbourside) began their high-pressure hissing, jetting out steam that surged and swelled. Underfoot the walkway quaked. Pedestrians found themselves co-opted into this drama, to make either a rock
- [When music and poetry converse](https://www.realtime.org.au/when-music-and-poetry-converse/) - Promotional image, Windowphoto Emma WoolcockPromotional image, WindowIn the manner of an album that takes its title from one of its tracks, Halcyon chamber ensemble named this concert Stolen. Some of the music fits, but not all of it is tied to a single theme. In fact only one of the compositions performed had an obvious
- [Trans-Tasman drone](https://www.realtime.org.au/trans-tasman-drone/) - Stanier Black Five (Jo Burzynska) performs Oenosthesia, Lines of Flight, Dunedin Public Art Galleryphoto Motoko KikkawaStanier Black Five (Jo Burzynska) performs Oenosthesia, Lines of Flight, Dunedin Public Art GalleryLines of flight (LOF) is a longstanding experimental music festival in South Island New Zealand. It continues to reflect its origins in the musical crossovers following on
- [Keeping track](https://www.realtime.org.au/keeping-track/) - James Andrews, James Welsby, Dreamlogic, Phantom Limbs, Dance Massivephoto Sarah WalkerJames Andrews, James Welsby, Dreamlogic, Phantom Limbs, Dance Massive“I liked the fact that I could not keep track of my dancing whilst talking and vice-versa.” Trisha Brown, talking during Accumulation plus talking plus Watermotor (1979);(recorded New York, September 1986). As I lean forwards in my
- [The body, seen & seeing](https://www.realtime.org.au/the-body-seen-seeing/) - Overworldphoto Sarah WalkerOverworldAt Dance Massive Varia Karipoff encounters works from emerging and established artists that engage with the relationships between the body and its manifestations on screen, in ethnicity and the everyday as well as with ritual and the anxieties of mortality. Rebecca Jensen & Sarah Aiken, Overworld There are two scenes that capture the
- [At play with perception & consciousness](https://www.realtime.org.au/at-play-with-perception-consciousness/) - Rawcus Ensemble, Catalogue, Dance Massive, Arts Housephoto Sarah WalkerRawcus Ensemble, Catalogue, Dance Massive, Arts HouseAccording to Immanuel Kant, we can only experience the world through the lens of space and time. Prue Lang’s Spaceproject puts this idea to work in relation to movement and its perception. A companion piece, Timeproject (shown in France, 2013), took
- [The zero waste cut](https://www.realtime.org.au/the-zero-waste-cut/) - Floordrobe, Cluny McCullaghimage courtesy the artistFloordrobe, Cluny McCullaghIntgrs/integer/whole. Integrity. Disclaimer: it is my opinion that the fashion industry doesn’t seem to have a lot of stock to trade in integrity. I am not, however, conflicted by the fact that I love clothing: design, cut, texture, fabrication. Walking through Southbank in Melbourne, which is a cluster
- [The moment in between](https://www.realtime.org.au/the-moment-in-between/) - Jason Wing, Fossilimage courtesy Anna Pappas GalleryJason Wing, FossilThe annual Project show at Anna Pappas Gallery is always a cornucopia of boundary-skirting, concept-driven, multi-disciplinary works, curated around a sweeping, catch-all theme. Among each year’s group of artists, any visitor will find a handful whose work resonates. This year’s theme, DEATH | LIFE, delivers an especially
- [From lab to creation to festival](https://www.realtime.org.au/from-lab-to-creation-to-festival/) - Cigdem Aydemir, documentation of Plastic Presidents at Vryfees in South Africaphoto courtesy Salamanca Arts CentreCigdem Aydemir, documentation of Plastic Presidents at Vryfees in South AfricaPut out to tender, the Australia Council’s Art in Festivals strategic initiative has been twice secured by Hobart’s Salamanca Arts Centre which created the SITUATE model. Melbourne-based freelance curator Kelli Alred
- [War, nostalgia, utopia](https://www.realtime.org.au/war-nostalgia-utopia/) - Darren Jorgensen, 2015 Perth International Arts Festival
- [Riding the wave](https://www.realtime.org.au/riding-the-wave/) - The Necksphoto Tim WilliamsThe NecksDescribing The Necks as ‘an improvising band’ is plainly accurate, but does not tell the whole story of what this unique trio has developed over their 25-year-plus history. Chris Abrahams (piano), Lloyd Swanton (double bass) and Tony Buck (drums/percussion) have distilled a particular improvisatory practice uniquely their own. The Necks go
- [War, fragility & imagination](https://www.realtime.org.au/war-fragility-imagination/) - Tina Torabi, From the Rubble, Perth Theatre Company and PICAphoto Fleur Elise NobleTina Torabi, From the Rubble, Perth Theatre Company and PICAFrom the Rubble is a multi-disciplinary work that coheres around a confronting theme to produce a considered, touching whole. Inspired by stories of Australian journalist Sophie McNeill, director Melissa Cantwell eschews any traditional theatrical
- [More than meets the ear](https://www.realtime.org.au/more-than-meets-the-ear/) - Zubin Kangaphoto Bridget Elliot and David BoyceZubin KangaThe Melbourne Recital Centre’s Director of Programing, Kirsten Siddle, tells RealTime that the centre had been talking about a music-screen program for Metropolis for some time. While previous festivals might have focused on a theme or a composer, this one, centred on “music written for, and inspired by,
- [Design for the here and now](https://www.realtime.org.au/design-for-the-here-and-now/) - Yawn, Renae Shadler and collaboratorsDesigner Anna Tregloan is curating the Australian component of the 2015 Prague Quadrennial of Space & Design (PQ), the largest scenography event in the world. Attending the event in 2011—while on an Australia Council Fellowship–and PQ symposia in intervening years, Tregloan was inspired, “particularly by designers and artists working with sound
- [Comic descent](https://www.realtime.org.au/comic-descent/) - acrobat, It’s not for everyone, Hothouse Theatrephoto Karen Donnellyacrobat, It’s not for everyone, Hothouse TheatreJo Lancaster carries Simon Yates around the stage on her shoulders while somehow simultaneously dressing him in a suit. She then deposits him atop a podium. Before speaking he looks at her askance then says, equally dismissive and disgusted, “God, you’ve
- [Live art: new home, new terrain](https://www.realtime.org.au/live-art-new-home-new-terrain/) - Kylie Supski, 10CS, Metanoia Festivalphoto Deryk McAlpinKylie Supski, 10CS, Metanoia FestivalLast year, the Mechanics Institute in Melbourne’s Brunswick became a contemporary art space—home to Metanoia Theatre which also manages and programs the venue. Gorkem Acaroglu tells RealTime, “We’re a core team of three artists (Gorkem, Greg Ulfan, Shane Grant) along with associated artists who came
- [Lives in collision](https://www.realtime.org.au/lives-in-collision/) - Broken, Brown’s Martphoto Glenn CampbellBroken, Brown’s MartBroken is poetic storytelling that evokes the innermost experience of falling in and out of love and the attendant hope and despair of three lives in collision. Well-structured, it moves fluidly between individual perspectives with language rich in imagery. Three separately toplit actors on an empty stage, disconnected from
- [The deep roots of revelatory performance](https://www.realtime.org.au/the-deep-roots-of-revelatory-performance/) - Le sorelle Macaluso, Théâtre Nationalphoto Clarissa CapellaniLe sorelle Macaluso, Théâtre NationalOne of the great pleasures of Brussels is being able to see visiting theatre companies from all over Europe. An average week will present a treasure trove of international productions, highly regarded in their homeland, brought in often very modestly, for two- to three-day guest
- [Queering the days](https://www.realtime.org.au/queering-the-days/) - Nell, Labyrinth, Day for Nightphoto Alex DaviesNell, Labyrinth, Day for NightThis year’s Day For Night began at night. It was a better format, the Friday night and weekend ensuring a larger, more diverse audience. I spent many hours in the space, and as with last year, found the days a richer experience. Part of the
- [Perception shifts](https://www.realtime.org.au/perception-shifts/) - Sam O’Sullivan, Nakkiah Lui, Kill the Messengerphoto Brett BoardmanSam O’Sullivan, Nakkiah Lui, Kill the MessengerFrom the 90s on we rejoiced in remarkable solo stage performances by Aboriginal women—Ningali Lawford (Ningali, co-writers Angela Chaplin, Robyn Archer;1994); Leah Purcell (Box the Pony, co-writer Scott Rankin,1997); Deborah Cheetham (White Baptist Abba Fan, 1997); and Tammy Anderson (I Don’t
- [The power of the outsider](https://www.realtime.org.au/the-power-of-the-outsider/) - Tamara Saulwick, Endings (2015)photo Heidrun LöhrTamara Saulwick, Endings (2015)The more I converse with Tamara Saulwick about her work, the more we seem to be exploring sinuous lines of content mapped onto an unchanging axis of form—wavering through a variety of ‘threshold spaces’ that remain firmly fastened to her abiding concern with the mediatised body. From
- [Digital theatre: live and mobile](https://www.realtime.org.au/digital-theatre-live-and-mobile/) - Dan Koerner, Sam Haren, creative directors of Sandpit in rehearsalphoto Jordan MuttonDan Koerner, Sam Haren, creative directors of Sandpit in rehearsalIn recognising the ever-increasing ubiquity of digital technologies in everyday life, the Australia Council for the Arts has offered support from the federal government’s Culture Fund towards two organisations for three-year initiatives to explore what
- [Museums more or less](https://www.realtime.org.au/museums-more-or-less/) - Section from architects’ plans, M+ Museum, Hong Kongimage courtesy Brunswick ArtsSection from architects’ plans, M+ Museum, Hong KongLast year’s National Association for the Visual Arts (NAVA) summit Future/Forward (Carriageworks, 6-7 Nov, 2014) opened with a fine keynote address from Nikos Papastergiadis on the theme of art in a borderless world. In what sense, he asked,
- [The enduring dance](https://www.realtime.org.au/the-enduring-dance/) - Sydney Dance Company, Chloe Leong, David Mack, Quintett, William Forsythephoto Peter GreigSydney Dance Company, Chloe Leong, David Mack, Quintett, William ForsytheMysterious objects: a large, antique projector to the right; a reflector disk facing it on the diagonal in the back corner. From out of silence: the sublime plangency of Gavin Bryars’ “Jesus’ Blood Never Failed
- [Dance Massive](https://www.realtime.org.au/dance-massive/) - Antony Hamilton, Alisdair Macindoe, Meeting, Dance Massivephoto Sarah WalkerAntony Hamilton, Alisdair Macindoe, Meeting, Dance MassiveThe fourth incarnation of Dance Massive felt stronger than ever, with sold-out houses across the city, a highly organised approach to bring international presenters to showcase all of the works and a significant increase in the non-specialised audience. It is still
- [Weather: immersive](https://www.realtime.org.au/weather-immersive/) - Fog Bridge, Fujiko Nakaya, image courtesy of InBetweenTime Festival, Bristol UKphoto Paul BoxFog Bridge, Fujiko Nakaya, image courtesy of InBetweenTime Festival, Bristol UKOutside Arnolfini on Bristol’s harbourside there’s a footbridge over the water to the quay opposite, its span marked halfway across by two large gramophone-like horns turned upwards to the sky. Three times an
- [Ambition and vision](https://www.realtime.org.au/ambition-and-vision/) - Nerida Dickinson: Cut The Sky, The Rabbits
- [A festival rising in the body of one](https://www.realtime.org.au/a-festival-rising-in-the-body-of-one/) - Aakash Odedra, Rising, Perth International Arts Festivalphoto Chris NashAakash Odedra, Rising, Perth International Arts FestivalAll the excitement, audacity and imaginative largesse of the 2015 Perth International Arts Festival seemed to be invested in the two puppet Giants who literally occupied the city for a weekend of this year’s spread of artistic fare. From recordings of
- [Ecstatic, tribal contemporary dance](https://www.realtime.org.au/ecstatic-tribal-contemporary-dance/) - Nickemil Concepcion, Guillaume Quéau, Ten Duets on a Theme of Rescue, Crystal Pite, Cedar Lake Dance Companyphoto Tony LewisNickemil Concepcion, Guillaume Quéau, Ten Duets on a Theme of Rescue, Crystal Pite, Cedar Lake Dance CompanyThe featured dance company at this year’s Adelaide Festival was Cedar Lake Contemporary Ballet, a New York City-based company of exceptional,
- [The composer in full voice](https://www.realtime.org.au/the-composer-in-full-voice/) - Anne Grimm, Richard Morris, Marilyn Forever, Gavin Bryars, Adelaide Festival of Artsphoto Tony LewisAnne Grimm, Richard Morris, Marilyn Forever, Gavin Bryars, Adelaide Festival of ArtsThe voice was the focus of Gavin Bryars’ Adelaide Festival concert series, which encompassed some of the great works in his extensive and diverse oeuvre. Bryars was composer-in-residence at this year’s
- [You can dance if you want to...](https://www.realtime.org.au/you-can-dance-if-you-want-to/) - Elizabeth Bernholz (Gazelle Twin) Unsound, Adelaide Festival of Artsphoto Tash TungElizabeth Bernholz (Gazelle Twin) Unsound, Adelaide Festival of ArtsBut most of us don’t. Not really. There’s the occasional rhythmic knee-bending, weight-shifting and some head-swinging. There’s also enough machine-made smoke and moving LED lighting to make any raver happy, but the throbbing mass of bouncing bodies
- [Through a looking glass](https://www.realtime.org.au/through-a-looking-glass/) - Dark Matter, Kate McIntosh, PuSh Festivalphoto Luc MassinDark Matter, Kate McIntosh, PuSh FestivalThrough a looking glass and via portals, this year’s 2015 PuSh International Performing Arts Festival transports us to states of elsewhere in perception, consciousness and deep introspection. With an emphasis on the acts of looking, the stages for performance become films, become screens,
- [Shoulder to shoulder](https://www.realtime.org.au/shoulder-to-shoulder/) - Moustafa Karame on the dhaf (drum), Origin-Transit-Destination, images by Sean Baconphoto Ali MousawiMoustafa Karame on the dhaf (drum), Origin-Transit-Destination, images by Sean BaconOrigin-transit-destination commences when I receive instructions about how to get to the performance, which starts in Auburn but finishes at Casula Powerhouse near Liverpool. The sites are a 30-minute train ride apart, so
- [The mind performs](https://www.realtime.org.au/the-mind-performs/) - Peter Carroll, Krapp’s Last Tape, Adelaide Festival of Artsphoto Shae ReidPeter Carroll, Krapp’s Last Tape, Adelaide Festival of ArtsWhether through the vagaries of curatorial taste, the spectre of economic austerity or some untraceable shift in the theatrical ether, the actor in brutal isolation—tethered almost solely by text to stages dimly lit and emptied of relieving
- [Double wonder](https://www.realtime.org.au/double-wonder/) - Mikis Vrettakos: Steppenwolf
- [Trouble shared](https://www.realtime.org.au/trouble-shared/) - Baulkham Hills African Ladies Troupephoto Daniel BoudBaulkham Hills African Ladies TroupeBaulkham Hills African Ladies Troupe displays the hallmarks of careful and collaborative development over three years with director Ros Horin in the performances of the four courageous women at its centre—Yarrie Bangura, Aminata Conteh-Biger, Yordanos Haile-Michael and Rosemary Kariuki-Fyfe. The production has just completed its
- [Voicing empathy, rehearsing protest](https://www.realtime.org.au/voicing-empathy-rehearsing-protest/) - Emily Ayoub, Madeleine Baghurst, Bathers on the Sandphoto Robert CattoEmily Ayoub, Madeleine Baghurst, Bathers on the SandCurated and produced by Apocalypse Theatre Company, the Asylum season played for 12 nights over two weeks at the Old 505 Theatre in Sydney’s Surry Hills. There were five programs, each of which included four to six plays, 29
- [Springing from between the cracks](https://www.realtime.org.au/springing-from-between-the-cracks/) - Michael Bevitt, Gabriel Partington, For the Love of an Orange, Crack Festival 2014photo Amy TheodoreMichael Bevitt, Gabriel Partington, For the Love of an Orange, Crack Festival 2014Crack Theatre Festival sprang nine years ago from the National Young Writers’ Festival program of This is Not Art (TINA), a festival held every two years in Newcastle. Crack
- [Sounding eclecticism & juxtaposition](https://www.realtime.org.au/sounding-eclecticism-juxtaposition/) - Ross Bolleterphoto courtesy Totally Huge New Music FestivalRoss BolleterTOS MAHONEY, THE INDEFATIGABLE ARTISTIC DIRECTOR OF WESTERN AUSTRALIA’S TURA NEW MUSIC (“FOR THOSE WITH A SOUND APPETITE,” QUIPS THE WEBSITE BANNER) HAS SPENT 25 YEARS NURTURING WA MUSIC AND HAS PRODUCED 12 TOTALLY HUGE NEW MUSIC FESTIVALS, FEATURING NEW MUSIC AND SOUND ART FROM ACROSS AUSTRALIA
- [Inner lives & collective crises](https://www.realtime.org.au/inner-lives-collective-crises/) - James Welsby, Benjamin Hancock and Chafia Brooks, HEXphoto Gregory LorenzuttiJames Welsby, Benjamin Hancock and Chafia Brooks, HEXBy my reckoning, it’s been over a decade since Brisbane had a dedicated queer performance festival. Now MELT is here, curated queer performance is back and while many of us are sorry to see the wonderful World Theatre Festival
- [Dance & drawing: ways of seeing trace](https://www.realtime.org.au/dance-drawing-ways-of-seeing-trace/) - Flatline Showing SKETCH (Carriageworks, 2013)Anya MckeeFlatline Showing SKETCH (Carriageworks, 2013)Flatline is a Sydney-based interdisciplinary performative collaboration between Australian visual artist Todd Fuller and dancer-choreographer Carl Sciberras. Their work melds drawing and mark making with the choreographed movements and gestures of professional dancers. Fuller discussed with me the idea of ‘trace’ and its application to the
- [We’re on earth, is there a cure for that?](https://www.realtime.org.au/were-on-earth-is-there-a-cure-for-that/) - Tom Budge, Hugo Weaving in rehearsal, Endgamephoto Lisa TomasettiTom Budge, Hugo Weaving in rehearsal, EndgameThe phone connection between LA and Sydney is bad, clipping the ends off Andrew Upton’s words, breaking up sentences and scoring the distant vocal with layers of crackling static, as if a solar flare was about to fry everything from communication
- [Across the great divide](https://www.realtime.org.au/across-the-great-divide/) - Photo courtesy Cementa 2015ACROSS THE BLUE MOUNTAINS ON THE BYLONG VALLEY WAY, 235KM NORTH-WEST OF SYDNEY, IS THE SMALL TOWN OF KANDOS, APPROXIMATELY HALFWAY BETWEEN LITHGOW AND MUDGEE. WITH A POPULATION OF 1,300, UNTIL 2011 THE TOWN WAS A CENTRE FOR CEMENT MANUFACTURE FROM LIMESTONE QUARRYING AND THIS YEAR WILL SEE THE CESSATION OF COAL
- [To market to market!](https://www.realtime.org.au/to-market-to-market/) - Nicola Gunn, Hello, my name is Nicola Gunnphoto Pier CarthewNicola Gunn, Hello, my name is Nicola GunnThe rush is on. Artists and producers are selecting their wares for the 2016 Australian Performing Arts Market at Brisbane’s Powerhouse, submitting applications (deadline July 1) to present complete works or 25-minute excerpts (for productions ready to tour) in
- [The perfection of silliness and stupidity](https://www.realtime.org.au/the-perfection-of-silliness-and-stupidity/) - Jo Lancaster, Simon Yates, acrobatphoto Karen DonnellyJo Lancaster, Simon Yates, acrobatACROBAT HAVE A NEW SHOW, TITLED IT’S NOT FOR EVERYONE. THE COMPANY OCCUPY A SPECIAL IF UNUSUAL PLACE IN THE HISTORY OF CIRCUS IN AUSTRALIA. ON THE ONE HAND, THEY ARE GREATLY ADMIRED WITHIN THE PERFORMING ARTS COMMUNITY FOR THE EXCEPTIONAL RIGOUR OF THEIR PERFORMANCES
- [Up there  for dancing](https://www.realtime.org.au/up-there-for-dancing/) - Long Grass, Vicki Van Houtphoto Heidrun LöhrLong Grass, Vicki Van Hout Vicki Van Hout’s Long Grass in the 2015 Dance Massive, the fourth of these two-week festivals of innovative Australian dance, follows the appearance of Marrugeku’s Gudirr Gudirr (RT114), a cross-cultural collaboration featuring dancer-choreographer Dalisa Pigram in the 2013 program. Together they signal that contemporary
- [Time recharged](https://www.realtime.org.au/time-recharged/) - Multi-channel sound installation by Abel Korinsky, Experimenta: Rechargephoto courtesy Korinsky BrothersMulti-channel sound installation by Abel Korinsky, Experimenta: Recharge The curators of Experimenta Recharge 6th International Biennial of Media Arts ask three questions, only one of which intrigued: “can artists illuminate knowledge for new generations?” From computer-based animation, through DIY electronics to intensely introspective installations, the
- [For and by kids with a little help from friends](https://www.realtime.org.au/for-and-by-kids-with-a-little-help-from-friends/) - The Drawingphoto Katy Green LoughreyThe Drawing Against the backdrop of an eerily projected forest stands a lone tree, its assemblage from everyday leftovers—water bottles, feathers and plastic wrap—elegant, white and wispy. The stage is darkened to red as a shiny-shirted compere (Chris Dunstan) enters to set a fable in motion. We are in the recognisable
- [Broken: the museum grip on bodily performance](https://www.realtime.org.au/broken-the-museum-grip-on-bodily-performance/) - Dumb Type, Memorandum OR Voyagephoto Shizune ShiigiDumb Type, Memorandum OR Voyage The modernist lineage of experimental strands of Contemporary Art has long been magnetised by the volatile category of bodily performance. Performing ‘the body’ has provided a secure base for gender politics (fuelling chauvinist piercing and feminist flaying). It has also consistently queried the fixity
- [The greening of performance](https://www.realtime.org.au/the-greening-of-performance/) - Tanja Beer, Nick Roux, The People’s Weather Reportphoto Ponch HawkesTanja Beer, Nick Roux, The People’s Weather Report Under the leadership of creative producer Angharad Wynne-Jones, Arts House has been at the forefront of a growing engagement by artists and the arts sector with environmental sustainability and the global condition of climate change. Initiatives such as
- [RT125 Editorial](https://www.realtime.org.au/rt125-editorial/) - Gail Priest in front of artwork by Dran, part of the exhibition INSIDE, Palais de Tokyo, Paris, 20 Oct, 2014-10 Jan, 2015photo Sam JamesGail Priest in front of artwork by Dran, part of the exhibition INSIDE, Palais de Tokyo, Paris, 20 Oct, 2014-10 Jan, 2015 After 15 and half years of service, frequently above and
- [Shared creation in safe places](https://www.realtime.org.au/shared-creation-in-safe-places/) - Live Art Camp, Arts Housephoto Ponch HawkesLive Art Camp, Arts House Over a couple of beers with participants after a day of the Live Art Camp at Melbourne’s Arts House discussion turns to the growing prevalence of laboratory workshops in the Australian arts ecology. “It’s because our universities are failing to produce artists,” voices one
- [The many-meaning Murray](https://www.realtime.org.au/the-many-meaning-murray/) - Liz Butler, Lunar flow 2014 (detail)photo James Field Liz Butler, Lunar flow 2014 (detail) There are many users of the waters of the Murray-Darling basin and Adelaide is a major one, having long been dependent on water piped from the Murray River to supplement its meagre rainfall. Two large pipes convey water to Adelaide, one
- [The art of self-incarceration](https://www.realtime.org.au/the-art-of-self-incarceration/) - Keri Glastonbury, Enduring Parallels
- [New audiences for new instruments](https://www.realtime.org.au/new-audiences-for-new-instruments/) - Dale Gorfinkel, Lotek Exercise Machine, 2014 photo courtesy Instrument Builders Project Dale Gorfinkel, Lotek Exercise Machine, 2014 Despite usual appearances, it is not written in stone that new music and associated instruments must always be impenetrable to all but a learned few. The responses of curiosity and delight that the Instrument Builders Project inspired in
- [Persona re-personified](https://www.realtime.org.au/persona-re-personified/) - Erkki Veltheim, Sabina Maselli, Anthony Pateras, Another Otherphoto Nina GilbertErkki Veltheim, Sabina Maselli, Anthony Pateras, Another Other Chamber Made Opera’s Another Other, produced in collaboration with Punctum and New Music Network, is a new work created and performed by Erkki Veltheim, Sabina Maselli, Natasha Anderson and Anthony Pateras, a stunning audiovisual renewal of filmmaker Ingmar
- [Falling into Heaven](https://www.realtime.org.au/falling-into-heaven/) - Kimisis—Falling Asleep, IHOS Operaphoto Peter MathewKimisis—Falling Asleep, IHOS Opera As part of Sydney’s Art Month and the Greek Festival, IHOS Opera will present composer-director Constantine Koukias’ chamber opera Kimisis—Falling Asleep. In the Eastern Orthodox Church Kimisis commemorates the Dormition, the ‘falling asleep,’ or death and assumption into Heaven of Mary, mother of Christ. The company
- [Radical thought as sound](https://www.realtime.org.au/radical-thought-as-sound/) - Marcus Whale, Ivan Lisyak, NOW now festival, 2015photo Ben Westover PhotographyMarcus Whale, Ivan Lisyak, NOW now festival, 2015 This year’s NOW now festival presented radical thought as sound, moreso than radical sound as thought, many artists taking the opportunity to question processes of meaning-making, communication, interpretation and slippage. I focus here on performances with intriguing
- [Art inside out](https://www.realtime.org.au/art-inside-out/) - Malcolm Whittaker, Natalie Randall, TeamMESS, photo Katy Green LoughreyMalcolm Whittaker, Natalie Randall, TeamMESS, Has Sydney’s most engaging art left its galleries? Kaldor Public Art Projects’ 13 Rooms, on the wharf warehouses of Walsh Bay and Underbelly Arts on Cockatoo Island, have both shown recently and to great effect what can be done outside the white
- [The performance lecture:  the dead & the dead-end](https://www.realtime.org.au/the-performance-lecture-the-dead-the-dead-end/) - Erik Bünger, Performance Lecture photo Bruce DavisErik Bünger, Performance Lecture The lecture performance has had something of a renaissance in the era of live art. Once a staple of performance art in the 1960s and 70s, it offered a novel way of reconsidering the interstices of creation and pedagogy, and the power dynamics that define
- [Loving Philip Seymour Hoffman](https://www.realtime.org.au/loving-philip-seymour-hoffman/) - Jackson Davis, Lovelyphoto Heidrun LöhrJackson Davis, Lovely Director Jackson Davis informally introduces us to Lovely, a “ritualistic” performance he initially envisaged as a eulogistic solo (in a fat suit!) in honour of the late Philip Seymour Hoffman—“He’s always been my favourite actor and first celebrity crush”—but which became a large-scale collaboration with fellow members of
- [Underground, actually and seriously](https://www.realtime.org.au/underground-actually-and-seriously/) - Atlanta Ekephoto Salote TwaleAtlanta Eke The recent surge in the popularity of performance on institutional and art market circuits is at odds with its historical status as an alternative, ephemeral (and therefore unsellable) art form. Alaska Projects’ performance series, Restaging Restaging, represents a humble attempt to reconfigure this ideological inconsistency. Over four Sundays in 2014,
- [Stein song](https://www.realtime.org.au/stein-song/) - Vic Theatre Company, Loving Repeating: A Musical of Gertrude Steinphoto James Terry PhotographyVic Theatre Company, Loving Repeating: A Musical of Gertrude Stein A Broadway-style musical addressing the life and work of Gertrude Stein sounds about as likely as a Pixar film about Peter Greenaway. The high modernism of Stein’s writings was closer to Cubist painting
- [Mis-labelled child](https://www.realtime.org.au/mis-labelled-child/) - Margi Brown Ash, Philip Miolin, Joey: the Mechanical Boyphoto Leigh BrennanMargi Brown Ash, Philip Miolin, Joey: the Mechanical Boy The Nest Ensemble returns to The Blue Room Theatre with a new didactic performance, immersing us in 1950s psychotherapy research. Based on Dr Bruno Bettelheim’s career-making case study, Joey: the Mechanical Boy examines the impact of
- [The politics of sacrifice](https://www.realtime.org.au/the-politics-of-sacrifice/) - Kathryn Kelly, Motherboard Productions: Or Forever Hold Your Peace…
- [In-theatre, online, public, private](https://www.realtime.org.au/in-theatre-online-public-private/) - Zero Feet Awayphoto Phil BrownZero Feet Away Since 2007, Adelaide’s ActNow Theatre has been quietly carving out a niche within the city’s capricious independent theatre ecology. Under founder and Artistic Director Edwin Kemp-Attrill, the company’s early, rough-hewn agitprop has given way to a distinctive brand of Boal-ian forum theatre that engages professional and non-professional participants
- [Couple bust taboo](https://www.realtime.org.au/couple-bust-taboo/) - Bryony Kimmings, Tim Grayburn, Fake It ‘til You Make Itphoto Richard DavenportBryony Kimmings, Tim Grayburn, Fake It ‘til You Make It When we talk about taboos there’s usually the frisson of the forbidden. There’s a fascination that seems to draw its energy from the tension between repulsion and freakish curiosity, but in most cases it’s
- [De Keersmaeker’s dance of ever more simple movement](https://www.realtime.org.au/de-keersmaekers-dance-of-ever-more-simple-movement/) - Rosas, Golden Hours (As You Like It)photo Anne Van Aerschot Rosas, Golden Hours (As You Like It) There are many strange things about Belgium—its entirely artificial birth, its role as the seat of the European Union, its dysfunctional regional politics, down to the way in which, on a regular work day, the whole country becomes
- [Humanimal dances](https://www.realtime.org.au/humanimal-dances/) - Juliette Barton, Scrutineer, SDC New Breed photo Jack SaltmirasJuliette Barton, Scrutineer, SDC New Breed Hybrids abound in Sydney Dance Company & Carriageworks’ New Breed, five short works by emerging choreographers, crossing the line between human and animal or elaborating on the uneasy coexistence of inner and outer selves. In Performance Space’s IOU3, a group of
- [Mining the magic of the moment](https://www.realtime.org.au/mining-the-magic-of-the-moment/) - Jacob Lehrer, David Corbet, Entanglementphoto Gregory Lorenzutti Jacob Lehrer, David Corbet, Entanglement The inaugural MoveMe Improvisation Festival celebrates improvisation across dance, music and performance in Perth. Bringing together international, national and local performers and audiences, each performance carries the exciting sensation of spontaneous creativity. All three reviewed works share a key feature of fundamental trust,
- [MoveMe's becoming & arriving](https://www.realtime.org.au/movemes-becoming-arriving/) - Maggi Phillips, MoveMe
- [On the border:  practice & potential](https://www.realtime.org.au/on-the-border-practice-potential/) - Murray Arts Staff (L-R) Jo Bartels, Karen Gardner, Vivien Naimo and Carolyn Martin Doyle (Maggih Coates not pictured)photo Natalie Ord, Manifeasto PhotographyMurray Arts Staff (L-R) Jo Bartels, Karen Gardner, Vivien Naimo and Carolyn Martin Doyle (Maggih Coates not pictured) Karen Gardner is Regional Arts Development Officer and General Manager of Murray Arts, whose contributing councils
- [Film as essay, performance as film](https://www.realtime.org.au/film-as-essay-performance-as-film/) - Guards (2012), Single channel HD video, 00.20.11. © Hito Steyerl, courtesy Wilfried Lentz Rotterdam.Guards (2012), Single channel HD video, 00.20.11. I recently travelled to Brisbane to look at screens: the Too Much World exhibition of the film essays by Hito Steyerl at IMA and the RoseLee Goldberg curated videos of international performance works at the
- [We all can dream](https://www.realtime.org.au/we-all-can-dream/) - Gail Priest, Dalisa Pigram & Edwin Lee Mulligan, Cut the Sky, Marrugeku
- [Lives in & out of sync](https://www.realtime.org.au/lives-in-out-of-sync/) - Théâtre des Bouffes Du Nord, On the Harmful Effects of Tobaccophoto Prudence UptonThéâtre des Bouffes Du Nord, On the Harmful Effects of Tobacco Set with the aging, ramshackle objects of a worn out music school, the stage ticks with the polyrhythmic certainty of a collection of metronomes, each keeping their own meter while pushing the
- [Slippery when whet](https://www.realtime.org.au/slippery-when-whet/) - The Long Pigsphoto Prudence UptonThe Long Pigs A wordless drama exploring the ritual of cooking and a silent slapstick rort about the darker side of clowning are both entertaining; neither entirely tasteful. The Long Pigs aims to upset and does so superbly, while The Kitchen provides a garish divertissement that is formulaic save for its
- [In the neighbourhood](https://www.realtime.org.au/in-the-neighbourhood/) - Mohammed Lelo, Toby Martin, Phu Tran, Alex Hadchiti, Songs from Northam Avenue, Bankstown:Livephoto Heidrun LöhrMohammed Lelo, Toby Martin, Phu Tran, Alex Hadchiti, Songs from Northam Avenue, Bankstown:Live Around dusk we file into the Northam Avenue backyard of local resident David Cranston for the first of our Bankstown:Live experiences. Offered Aerogard to ward off the evening’s
- [Taking it to the limit](https://www.realtime.org.au/taking-it-to-the-limit/) - Keith Gallasch, 2015 Sydney Festival
- [Ritual empty & full, spiritual & political](https://www.realtime.org.au/ritual-empty-full-spiritual-political/) - Sarah-Jane Norman, 2nd Venice International Performance Art Weekphoto Monika SobczakSarah-Jane Norman, 2nd Venice International Performance Art Week Performance Art can be a thorny term, recalling for many a 1960-70s-specific canon and aesthetic that while significantly challenging and innovative, evokes the seemingly obligatory nudity, bodily fluids and discomfort in rupturing forms and norms. The Venice International
- [To do more than talk, more than please](https://www.realtime.org.au/to-do-more-than-talk-more-than-please/) - Rhoda Roberts, Jack Charles, Australian Theatre Forum 2015photo Heidrun Löhr Rhoda Roberts, Jack Charles, Australian Theatre Forum 2015 As part of the 2015 Sydney Festival, the biennial Australian Theatre Forum was a chance for the scattered tribes of theatre communities across the country to gather for 63 events and 140-odd speakers in and around the
- [The post-museum & the uncertainty principle](https://www.realtime.org.au/the-post-museum-the-uncertainty-principle/) - Taxidermied possums© Macleay Museum, 2014, University of SydneyTaxidermied possums In November last year, the annual Communicating the Museum (CTM) conference was hosted in Melbourne, headlining the theme “Optimism and New Opportunities.” An international organisation boasting 300 members from institutions in 40 countries, with a mission to share “innovative success stories,” CTM is part of a
- [Time-space reshape](https://www.realtime.org.au/time-space-reshape/) - Jeff Khancourtesy Performance SpaceJeff Khan The ever gregarious, always welcoming Jeff Khan, Artistic Director of Performance Space, looks fitter than ever. “You have to be fit,” he says, to manage the job he’s in: the meeting and greeting, negotiating of commissions and partnerships and seeking out, nurturing and producing idiosyncratic artists in the territories of
- [Producer at work: a storm of creativity](https://www.realtime.org.au/producer-at-work-a-storm-of-creativity/) - Kathryn Kelly, Producer: David Sleswick
- [Highs & hopes](https://www.realtime.org.au/highs-hopes/) - To kick off 2015 we’ve asked RealTime contributors for a little recap of 2014—what, thrilled, challenged, inspired or knocked their critical socks off. They also let us know what they are hoping to see in the upcoming Year of the Sheep (or Goat) which the ever reputable internet tells us is a symbol for the
- [Place: Bourges, France](https://www.realtime.org.au/place-bourges-france/) - Bourgesphotos Gail PriestBourges Reason for travelling From Oct 2014-Jan 2015 I was in residence in Bourges hosted by the media arts organisation Bandits-Mages in association with La Box, Ecole nationale supérieure d'arts de Bourges (ENSA) as part of the European Media Arts Residency Exchange program.* Ancient alchemies and future fantasies Bourges is situated in central
- [Water play and sensory circuits](https://www.realtime.org.au/water-play-and-sensory-circuits/) - Vic McEwan, Almost an embrace (video still)courtesy the artistVic McEwan, Almost an embrace (video still)Vic McEwan, the artistic director of the Birrego-based CAD Factory, is no stranger to water. His 2013 work Yenda Rain looked at the devastating impact of floodwater on a small, rural community and in the same year, Tipping Point explored the
- [The interrogatory path](https://www.realtime.org.au/the-interrogatory-path/) - Drums pound in ceremonial commencement; a lone throat singer issues a deep incantatory note; a choir of male voices loom in warning, their mordant harmony blending with a metallic wash of strings, the sound rent by a wailing clarinet; a savage muttering appears, half-formed echolalia cut with madness; the texture rises to a peak, a
- [Anthony Pateras, full interview](https://www.realtime.org.au/anthony-pateras-full-interview/) - Anthony Pateras, live in Bruxelles, 2014photo faboonthemoonAnthony Pateras, live in Bruxelles, 2014 Tētēma is the new duo by Australian composer/musician Anthony Pateras (currently based in Berlin) and US rock vocalist Mike Patton (singer for Faith No More, Mr. Bungle, Fantômas). Geocidal is their first release on Patton’s Ipecac label. Following is the full version of
- [Adventures in collaboration](https://www.realtime.org.au/adventures-in-collaboration/) - Inside There Falls photo Prudence UptonInside There Falls BY WAY OF EXPLAINING THE SOUND/UNSOUND COMPONENT OF HIS 2015 SYDNEY FESTIVAL AT CARRIAGEWORKS, ARTISTIC DIRECTOR LIEVEN BERTELS FILLS ME IN ON HIS BACKGROUND IN AND PASSION FOR MUSIC AND SOUND ART, WHICH IS EVIDENT IN OTHER WORKS IN THE PROGRAM: THE KITCHEN, PUNCTURE, ATOMIC BOMB, ON
- [Elma Kris: from a Torres Strait Islander perspective](https://www.realtime.org.au/elma-kris-from-a-torres-strait-islander-perspective/) - Elma Krisphoto Tiffany ParkerElma KrisELMA KRIS WAS RAISED ON THURSDAY ISLAND AND IS A DESCENDENT OF THE PEOPLE OF THE WESTERN AND CENTRAL ISLANDS OF THE TORRES STRAIT. SHE IS ONE OF BANGARRA DANCE THEATRE’S LONGEST SERVING PERFORMERS AND CHOREOGRAPHERS. KRIS’ LEADING ROLE IN MATHINNA (2008, 2010) GAINED HER SIGNIFICANT RECOGNITION AS A PERFORMER, MARKING
- [Dark visions](https://www.realtime.org.au/dark-visions/) - TWO RECENT PERTH PRODUCTIONS HIGHLIGHT CONTRASTING WAYS IN WHICH DANCE CAN CROSS AND PROBLEMATISE THE BORDERS OF COMPREHENSION. AIMEE SMITH AND BEN TAAFE’S FORAY INTO BORDERLINE OUTLINES THE STARK CONTOURS OF COMMUNICATION THROUGH MOVEMENT AND SOUND, WHILE DANIELLE MICICH (DIRECTOR) AND SUZI MILLER’S (WRITER/CO-DEVISOR) CONCEPTION OF OVEREXPOSED, WITH DRAMATURGY BY KATE CHAMPION, SHATTERS THE CERTAINTY
- [2015: the bright maturing of a vision](https://www.realtime.org.au/2015-the-bright-maturing-of-a-vision/) - Saburo Teshigawara, Rihoko Sato, Broken Lightsphoto Wonge BergmannSaburo Teshigawara, Rihoko Sato, Broken Lights CARRIAGEWORKS GROWS AND GROWS, VERY EFFECTIVELY INHABITING THE ADDITIONAL SPACE IT’S BOLDLY TAKEN ON AND ENLARGING ITS PROGRAM ANNUALLY INTO WHAT INCREASINGLY FEELS LIKE A YEAR-ROUND CONTEMPORARY ARTS FESTIVAL. ABOVE ALL, THROUGH ITS OWN INITIATIVES AND THOSE CO-INSTIGATED WITH AN EXPANDING NUMBER
- [Experimentation with added spark](https://www.realtime.org.au/experimentation-with-added-spark/) - Christy Dena, Magister Ludi, 2014, in collaboration with Marigold Barlett, Trevor Dikes, Cameron Owen JONATHAN PARSONS, ARTISTIC DIRECTOR OF THE HIGHLY SUCCESSFUL ISEA2013, WAS SUBSEQUENTLY APPOINTED TO THE SAME ROLE FOR MELBOURNE-BASED EXPERIMENTA. DARREN TOFTS SPOKE WITH PARSONS ABOUT HIS PROGRAM FOR THE ORGANISATION’S 2014-15 BIENNIAL, RECHARGE. Experimenta’s last biennial Speak to Me was topical
- [In others’ words](https://www.realtime.org.au/in-others-words/) - Roslyn Oades Hello, Goodbye and Happy Birthdayphoto Jeff BusbyRoslyn Oades Hello, Goodbye and Happy BirthdayWE BORROW ON NERVOUS TERMS. EVEN BEYOND THE LEGAL AND MORAL IMPLICATIONS OF ARTISTIC QUOTATION, THE VERY UTILITY OR FUTILITY OF PASTICHE, HOMAGE, PARODY AND REVISION HAS BEEN ENDLESSLY DEBATED AND THE POLITICAL AND PHILOSOPHICAL COMPLEXITIES CONTINUE TO ANIMATE BRITTLE AND
- [Climbing Art](https://www.realtime.org.au/climbing-art/) - Kinespherephoto Alessandro Bianchetti Kinesphere OVER THE LAST FEW YEARS, ERIN COATES AND HER TEAM HAVE BEEN CLIMBING THE PUBLIC ART AROUND PERTH AS WELL AS APARTMENT BLOCKS, HIGHWAY RETAINING WALLS AND SUPERMARKET BUILDINGS. HER EXHIBITION KINESPHERE IS THE CULMINATION OF ALL THIS EFFORT, SHOWING OFF BODIES AS THEY LUNGE AND TENSE FROM ONE HOLD TO
- [Remembering not to forget](https://www.realtime.org.au/remembering-not-to-forget/) - Kate McMillan, from Moment of Disappearance installationphoto Heidrun LöhrKate McMillan, from Moment of Disappearance installationPERFORMANCE SPACE’S BURUWAN SEASON, FOCUSED ON CULTURAL FORGETTING AND RECALL, INCLUDES MAJOR WORKS BY LONDON-BASED WEST AUSTRALIAN KATE MCMILLAN AND CAIRNS-BASED TORRES STRAIT ISLANDER KEN THAIDAY. INTERVIEWS WITH THESE ARTISTS AND IMAGES OF THEIR WORKS CAN BE SEEN ONLINE IN REALTIME
- [Exotic vernacular: Chinese Gardens in Avoca](https://www.realtime.org.au/exotic-vernacular-chinese-gardens-in-avoca/) - Chinese Gardensphoto Lyndall JonesChinese GardensABOUT HALF AN HOUR OUT OF AVOCA ON THE ROAD FROM BALLARAT YOU ENCOUNTER A PARTICULAR TREE-LINED STRETCH SUBTLY DIFFERENT FROM THE USUAL AUSTRALIAN COUNTRY ROAD. DIFFICULT TO IDENTIFY AT FIRST. WHAT MAKES IT SEEM UNCANNY IS THE REGULARITY OF THE TREES, PLANTED CAREFULLY TO MOMENTARILY HEIGHTEN THE PERSPECTIVE OF ROAD
- [The concert: surreptitiously re-thought](https://www.realtime.org.au/the-concert-surreptitiously-re-thought/) - Bree van Reyk and Narelle Benjaminphoto Heidrun LöhrBree van Reyk and Narelle BenjaminTHE SECRET NOISE IS COMPOSER AND DEVISOR DAMIEN RICKETSON’S RESPONSE TO THE WAYS HIS CONSCIOUSNESS BECOMES HEIGHTENED WHEN HE PERCEIVES STRANGENESS IN SOUND OR SENSATION. IT’S A POETIC NUDGE AT THE SECRECY STILL ENTRENCHED IN STAGED ART MUSIC—WHERE PERFORMERS USUALLY WEAR BLACK, ACTING
- [Bass clarinet + dome = immersion](https://www.realtime.org.au/bass-clarinet-dome-immersion/) - Aviva Endean in Half Lightphoto Max MilneAviva Endean in Half LightNO INSTRUMENT HAS BEEN WRENCHED FROM OBSCURITY AND THRUST INTO THE SPOTLIGHT BY CONTEMPORARY MUSIC LIKE THE BASS CLARINET. THE INSTRUMENT HAS INSPIRED AN IMMEDIATELY IDENTIFIABLE REPERTOIRE OF EXTENDED TECHNIQUES INCLUDING SHOCKINGLY-PERCUSSIVE TONGUE SLAPS, GUTTURAL GROANS AND FEROCIOUS, MULTIPHONIC ‘DINOSAUR NOISES.’ But the bass clarinet
- [The audible & the invisible](https://www.realtime.org.au/the-audible-the-invisible/) - Members of Decibel perform Michaela Davies' Goldfish Variation, After Julia concertphoto Lucy ParakhinaMembers of Decibel perform Michaela Davies' Goldfish Variation, After Julia concert“THE REACTION TO MY BEING THE FIRST FEMALE PRIME MINISTER DOES NOT EXPLAIN EVERYTHING ABOUT MY PRIME MINISTERSHIP, NOR DOES IT EXPLAIN NOTHING.” JULIA GILLARD Live concert events are theatrical, in that the
- [Sound unbound](https://www.realtime.org.au/sound-unbound/) - Hit Paradephoto Aksana Hugo AnastasHit ParadeOPENING THE LIQUID ARCHITECTURE 2014 FESTIVAL BOOKLET FOR THE FIRST TIME WAS A DISCONCERTING EXPERIENCE, AS LOOSE PAGES FELL TO THE UNSUSPECTING READER’S FEET. THE PAGES FEATURED ARTISTIC STATEMENTS, QUOTES FROM FRENCH THEORY, ROCK LYRICS, BUT NO PAGE NUMBERS. WHERE WERE THE FESTIVAL DATES? WHO WAS PLAYING WHERE? WHAT ORDER
- [Rachael Maza: the power of intuition and collaboration](https://www.realtime.org.au/rachael-maza-the-power-of-intuition-and-collaboration/) - Harry Reuben, Rachael Maza, Beautiful One Day (2012)photo Ponch HawkesHarry Reuben, Rachael Maza, Beautiful One Day (2012)RACHAEL MAZA IS THE ARTISTIC DIRECTOR OF ILBIJERRI, VICTORIA’S ONLY PROFESSIONAL INDIGENOUS THEATRE COMPANY AND, TOGETHER WITH WESTERN AUSTRALIA’S YIRRA YAAKIN, ONE OF ONLY TWO SUCH COMPANIES IN AUSTRALIA. SHE HAS JUST RETURNED FROM DUBLIN WHERE THE COMPANY’S PRODUCTION
- [Quiet faith in loud times](https://www.realtime.org.au/quiet-faith-in-loud-times/) - Ashton Malcolm and David Williams, Quiet Faithphoto Heath BrittonAshton Malcolm and David Williams, Quiet FaithA SELF-CONSCIOUS REJOINDER TO THE NOISINESS OF THE CHRISTIAN RIGHT ON THE ONE HAND AND THE SO-CALLED ‘NEW ATHEISTS’ ON THE OTHER, DAVID WILLIAMS’ QUIET FAITH WEAVES ITS MEEK PRESENCE FROM THE REAL LIFE THREADS OF THE FAITHFUL ORDINARY AND A
- [Lateral travel guide](https://www.realtime.org.au/lateral-travel-guide/) - Lucas Stibbard and Tim Dashwoodphoto Ben EylesLucas Stibbard and Tim DashwoodJUST AS TRAVEL CAN BE ENLIGHTENING AND TRANSFORMATIVE, SO TOO CAN THEATRE. BOTH HAVE POTENTIAL TO CHANGE THE WAY WE SEE THE WORLD, AND OURSELVES IN IT. PACKED, A CO-PRODUCTION STAGED IN ALBURY-WODONGA BETWEEN HOTHOUSE THEATRE, BRISBANE’S METRO ARTS AND THEATRE GROUP THE ESCAPISTS, PUTS
- [Stage fathers](https://www.realtime.org.au/stage-fathers/) - cast of The Dad Showphoto Megan Spencercast of The Dad ShowBRON BATTEN GETS AROUND. TESTING OUT NEW PERFORMANCE (MELBOURNE’S LAST TUESDAY SOCIETY), EMBODYING THE POWER OF HYPNOSIS (USE YOUR ILLUSION, RT123, P37), AND HERE SHE IS IN REGIONAL VICTORIA, WELCOMING US INTO THE BEAUTIFUL BLUESTONE OF ST MARY’S IN KYNETON—HALF WAY BETWEEN THE CULTURAL EPICENTRES
- [Flight from extinction](https://www.realtime.org.au/flight-from-extinction/) - Adriane Daff in Falling Through Cloudsphoto Jarrad SengAdriane Daff in Falling Through CloudsSPECTACULAR PUPPETRY, INNOVATIVE VIDEO AND HAUNTING MUSIC IN THE LAST GREAT HUNT’S FALLING THROUGH CLOUDS CONVEY A TALE OF IMPOSSIBLE DREAMS. ONE HUNDRED YEARS AFTER BIRDS HAVE DISAPPEARED, DR MARY MILLER HAS FOUND A WAY TO BRING THEM BACK AND HAS BEEN GIVEN
- [Cross generational soundings](https://www.realtime.org.au/cross-generational-soundings/) - Uncle Murray Harrisonphoto Liz CrothersUncle Murray HarrisonWITH THE SLASHING OF SENIOR CITIZEN ENTITLEMENTS AS PART OF THE BUDGET RELEASED EARLIER THIS YEAR AND SEVERE CHANGES TO ACCESSING UNEMPLOYMENT BENEFITS FOR YOUNG PEOPLE, REBEL ELDERS, A COMMUNITY-BASED ART PROJECT FOCUSING ON THE PAIRING OF ELDERLY PERFORMERS WITH YOUNG MUSICIANS COULD HAVE BEEN A DARK AND SOMBRE
- [A double life: politics & the family](https://www.realtime.org.au/a-double-life-politics-the-family/) - Nadeena Dixon, Rhonda Dixon-Grovenor, The Fox & The Freedom Fighters, Performance Spacephoto Heidrun LöhrNadeena Dixon, Rhonda Dixon-Grovenor, The Fox & The Freedom Fighters, Performance SpaceI’D LIKE ALL PERFORMANCES TO BEGIN WITH SOMETHING LIKE THE INDIGENOUS SMOKING CEREMONY. THE EFFECT IS CALMING AND PREPARES US TO ENTER ANOTHER REALM. SUCH WAS THE FEELING AS WE WERE
- [Bigger than average performance anxieties](https://www.realtime.org.au/bigger-than-average-performance-anxieties/) - Yalin Ozucelik, Richard Roxburgh in Sydney Theatre Company’s production of Cyrano de Bergeracphoto © Brett Boardman 2014Yalin Ozucelik, Richard Roxburgh in Sydney Theatre Company’s production of Cyrano de BergeracIN ONE WAY OR ANOTHER, THREE PRODUCTIONS IN SYDNEY IN RECENT WEEKS—TWO OF THEM OF NEW AUSTRALIAN PLAYS BY WOMEN ABOUT WOMEN AND ONE A CLASSIC BY
- [Immersed in the art of Richard Schechner](https://www.realtime.org.au/immersed-in-the-art-of-richard-schechner/) - Imagining Ophoto Marina LevitskavaImagining OTHE MEETING POINT FOR REHEARSALS FOR RICHARD SCHECHNER’S PERFORMANCE WORK, IMAGINING O, BASED ON PAULINE RÉAGE’S CHARACTER O FROM HER CONTROVERSIAL 1954 NOVEL, STORY OF O (WHICH SCHECHNER DESCRIBES AS A LOVE POEM) AND HAMLET’S OPHELIA—WITH A FEW ADDITIONS FROM SOME OF SHAKESPEARE’S OTHER FEMALE CHARACTERS—WAS THE DIRECTOR’S OFFICE AT NEW
- [Artists on the road, into the unknown](https://www.realtime.org.au/artists-on-the-road-into-the-unknown/) - TimePlaceSpacephoto courtesy Performance SpaceTimePlaceSpaceFROM 26 SEPTEMBER TO 12 OCTOBER, THE TIME_PLACE_SPACE LABORATORY TRAVELLED FROM SYDNEY TO KANDOS, GANGUDDY/DUNN’S SWAMP, CANBERRA, NARRANDERA AND BACK TO SYDNEY. EVERYONE INVOLVED, AND INDEED EVERYONE WHO CAME INTO CONTACT WITH THIS TRAVELING EXPERIMENTAL ART LABORATORY AROUND REGIONAL NSW WAS UNANIMOUS IN ADVOCATING THE WONDERFUL VALUE OF THE PROJECT. Despite numerous
- [Vale: Margaret Cameron,  1955-2014](https://www.realtime.org.au/vale-margaret-cameron-1955-2014/) - Margaret Cameron, Opera for a Small Mammal, Chamber Made Operaphoto Daisy NoyesMargaret Cameron, Opera for a Small Mammal, Chamber Made OperaUNFORGETTABLE, WHETHER WHEN WE FIRST SAW HER IN 1986 AT PERFORMANCE SPACE IN ULRIKE MEINHOF SINGS, DIRECTED BY NICO LATHOURIS, OR ON THE MAINSTAGE IN JENNY KEMP’S PRODUCTIONS OF CALL OF THE WILD (1989) AND
- [An elusive journey](https://www.realtime.org.au/an-elusive-journey/) - Jesse Rochow and Jianna Georgiouphoto Shane ReidJesse Rochow and Jianna GeorgiouIF THE DANCE FLOOR IS A DEMOCRACY THEN RESTLESS DANCE THEATRE’S IN THE BALANCE REMINDS US THAT ITS BORDERS ARE FRAUGHT WITH, IN THE WORDS DIRECTOR MICHELLE RYAN USED TO INITIATE THIS NEW WORK WITH THE COMPANY’S YOUTH ENSEMBLE, “FLIRTATION, REJECTION, INCLUSION AND EXCLUSION.” WHILE
- [Collision and transcendance](https://www.realtime.org.au/collision-and-transcendance/) - Mother Tonguephoto Shane RozarioMother TongueSIX DANCERS, NATIONS AND CULTURAL STORIES STAND SIDE BY SIDE DOWNSTAGE, LOOKING AT US, US LOOKING AT THEM. WE SEE THEIR WORLDS OF DIFFERENCE. SPACE HELD EQUIDISTANT BETWEEN. THE FRIEZE IS A STRIKING EMBLEM, MARKING CHOREOGRAPHER ANNALOUISE PAUL’S COLLABORATIVE APPROACH TO INTERCULTURAL DANCE, MUSIC AND ART MAKING. Tellingly from this first
- [The soul of sustainability](https://www.realtime.org.au/the-soul-of-sustainability/) - Stalker Theatre projection creaturephoto Heidrun Löhr, courtesy of Bundanon TrustStalker Theatre projection creature“IMAGINE YOUR SOUL, THEN, AS TIMBER; YOUR MIND META-MORPHOSED TO MYRTLE; YOUR LIFE A FOREST OF THESIS AND CHANT. WALKING HERE, AMONG ELDERS, MAKES A GARDEN OF ME; I AM CURATED, TENDED AND CONSERVED.” These words from poet Mark Tredinnick capture the essence
- [Nature, sound, memory & mortality](https://www.realtime.org.au/nature-sound-memory-mortality/) - The Packagephoto Steven PearceThe PackageFOR OVER A DECADE NOW THE ALICE SPRINGS DESERT FESTIVAL HAS GATHERED ARTISTS AND PERFORMERS FROM AUSTRALIA AND ABROAD FOR A FIVE-DAY SHOWCASE IN THE RED CENTRE. IT’S A SMALL AND INTIMATE AFFAIR WITH A LOT OF INTERACTION BETWEEN PERFORMERS AND THEIR AUDIENCES. IT IS ALSO A CHANCE FOR NEW AND
- [Excess, insight and magic](https://www.realtime.org.au/excess-insight-and-magic/) - IT’S BECOME INCREASINGLY COMMON TO CATCH BRAVURA PERFORMANCES DURING MELBOURNE FRINGE THAT ARE AS IMPRESSIVE AS ANYTHING ON OFFER ELSEWHERE DURING THE YEAR. THE REASONS FOR THIS MUST BE MANY, AND MIGHT INCLUDE INCREASING OPPORTUNITIES FOR TRAINING AND PRACTICAL EXPERIENCE FOR PERFORMERS AS WELL AS THE INTEREST SEASONED PROFESSIONALS HAVE IN USING THE FRINGE TO
- [Thinking big, laterally](https://www.realtime.org.au/thinking-big-laterally/) - I TELL DAVID SEFTON THAT I THINK HIS 2015 ADELAIDE FESTIVAL PROGRAM HAS MORE THAN A TOUCH OF THE LATERAL ABOUT IT, INCLUDING OSAKA’S OPERATIC NOISE, STRINGS, PIANOS AND VOCALS BAND VAMPILLIA. HE LAUGHS, “I THINK I’VE GOT ALL POINTS COVERED THIS YEAR.” Chevalvert, 2Roqs, Splank & Polygraphik, Murmur, BLINCphoto courtesy Adelaide FestivalChevalvert, 2Roqs, Splank
- [Ephemerality capture and kin](https://www.realtime.org.au/ephemerality-capture-and-kin/) - Allora & Calzadilla, Stop, Repair, Prepare: Variations on Ode to Joy, No.1 2008, modified Bechstein, installation View: Gladstone Gallery, New YorkDavid Regen © Allora & Calzadilla, courtesy Gladstone Gallery, New York and BrusselsAllora & Calzadilla, Stop, Repair, Prepare: Variations on Ode to Joy, No.1 2008, modified Bechstein, installation View: Gladstone Gallery, New York NO BREEZING
- [Intimate delights and dark disturbances](https://www.realtime.org.au/intimate-delights-and-dark-disturbances/) - Nerida Dickinson: Proximity Festival 2014
- [Body/tech crossings](https://www.realtime.org.au/body-tech-crossings/) - Snow, performer Skye Gellmannphoto Vincent van BerkelSnow, performer Skye GellmannA GLIMPSE OF THREE OF THE MORE CROSS-ARTFORM SHOWS AT THIS YEAR’S MELBOURNE FRINGE REVEALED BOTH CHALLENGES AND SUCCESSES IN MERGING GENRES AND TECHNOLOGIES, IMMERSING AUDIENCES AND ATTAINING COHERENCE AT THE EDGES OF CONVENTIONAL DRAMATURGY. OSTENSIBLY DEALING WITH SNOW, FIRE AND SOMETHING CALLED THE “CHRONO-SYNCLASTIC INFUNDIBULUM,”
- [The unease of digitalised intimacy](https://www.realtime.org.au/the-unease-of-digitalised-intimacy/) - Chunky Move, Complexity Of Belongingphoto Jeff BusbyChunky Move, Complexity Of Belonging VISUAL AND CHOREOGRAPHIC WIT PLAY OFF AGAINST VERBAL EFFUSION IN THE COMPLEXITY OF BELONGING, A VISION OF FRUSTRATED INTIMACY IN A DIGITAL WORLD. THIS IS THE FIFTH COLLABORATION BETWEEN GERMAN PLAYWRIGHT AND DIRECTOR FALK RICHTER AND DUTCH CHOREOGRAPHER ANOUK VAN DIJK, ARTISTIC DIRECTOR OF
- [Trisha Brown, choreographer of the postmodern](https://www.realtime.org.au/trisha-brown-choreographer-of-the-postmodern/) - Trisha Brown Dance Company, Newark (Pure Dance Program)photo Yi Chun WuTrisha Brown Dance Company, Newark (Pure Dance Program) A FIELD OF DANCE, SUCH AS POSTMODERN DANCE, IS AN ECOSYSTEM. IT EXISTS IN THE EVERYDAY LIVES OF ITS DANCERS, IN THE BODY OF THE CHOREOGRAPHER, IN THE STUDIO SPACES IN WHICH IT IS ARTICULATED AND KEPT
- [The primordial present](https://www.realtime.org.au/the-primordial-present/) - Mossoux-Bonte, The Coffee Drinkersphoto Laurent PhilippeMossoux-Bonte, The Coffee DrinkersIN THE LAST MOMENTS OF LINDA LUKE’S STILL POINT TURNING, LUKE, LIKE A PENDULUM FINALLY ARRESTED, HOLDS HERSELF MOTIONLESS BEFORE THE AUDIENCE. FOR WHAT SEEMS LIKES MINUTES SHE WATCHES US, SWEAT TRICKLING DOWN HER CHEEKS WHILE A TERMINALLY SLOWING HEARTBEAT FORESHADOWS THE INEVITABLE LIGHTS-OUT. The closing work
- [Adapto-mania: insights and limits](https://www.realtime.org.au/adapto-mania-insights-and-limits/) - Helen Christinson and Hugh Parker, A Doll’s Housephoto Dylan EvansHelen Christinson and Hugh Parker, A Doll’s House THERE CAN BE LITTLE DEBATING THE ASSERTION THAT AUSTRALIAN THEATRE IS CURRENTLY IN AN ADAPTO-MANIA BOOM CYCLE—ARGUABLY NOW JUST ON THE OTHER SIDE OF THE CREST OF A WAVE THAT PEAKED IN SYDNEY THIS YEAR WITH RALPH MYERS’
- [Stories true and truthy](https://www.realtime.org.au/stories-true-and-truthy/) - Kathryn Kelly: Brisbane Festival 2014
- [Editorial - RT124](https://www.realtime.org.au/editorial-rt124/) - Ryoji Ikeda, Superposition, courtesy Kyoto ExperimentKazuo FukunagaRyoji Ikeda, Superposition, courtesy Kyoto ExperimentGreat to see media art playing centrestage on its own terms and in a host of interdisciplinary manifestations in exhibitions and festivals across Australia. Already underway and showing until 22 Feb is Experimenta’s Recharge, an opportunity to re-estimate your relationship with media art at
- [Partner Art pt 2](https://www.realtime.org.au/partner-art-pt-2/) - Making art is more than a job and it’s more than a life-style choice—for many, it’s an all-encompassing way of being. This can make living with an artist a difficult feat, unless both are of like constitution. So it’s not surprising that in the art world there are many couples who share both their lives
- [In Profile: Julian Day, composer](https://www.realtime.org.au/in-profile-julian-day-composer/) - Julian Day, Chrissie Cotter Gallery, 2012photo by Emily SandrussiJulian Day, Chrissie Cotter Gallery, 2012Julian Day is an artist, composer, writer and broadcaster based in Sydney, though compiling this profile involved chasing him as he presented work around the world. Beside his busy schedule as a visual artist, Day performs as An Infinity Room, co-directs participatory
- [In Profile: André Lawrence, emerging curator](https://www.realtime.org.au/in-profile-andr-lawrence-emerging-curator/) - "135th Meridian-East" installation viewphoto courtesy Australian Experimental Art Foundation"135th Meridian-East" installation viewThe 135th meridian of longitude bisects the Australian continent and can be seen metaphorically as a connecting thread running through the Northern Territory and South Australia. In fact, from 1863 to 1911, the Northern Territory and South Australia formed a single colonial entity. André
- [In Profile: Angus Cerini, writer, performer, director](https://www.realtime.org.au/in-profile-angus-cerini-writer-performer-director/) - Angus Cerini, Resplendencephoto Sebastian BourgesAngus Cerini, Resplendencephoto Sebastian BourgesAngus Cerini, ResplendenceAngus Cerini was supposed to have an audition the day before we spoke recently, but turned down the part after realising who he was being asked to play. “I always get asked to audition for thugs and it's just not me,” he says. “Don't send
- [Contributor Profile: Vicki Van Hout](https://www.realtime.org.au/contributor-profile-vicki-van-hout/) - Vicki Van Hout in Briwyantphoto Garth OrianderVicki Van Hout in BriwyantBiography I am an Indigenous independent choreographer with Wiradjuri, Dutch, Scottish and Afghan heritage. I trained at NAISDA Dance College and the Martha Graham School in New York. It was my extra curricular studies that influenced my approach to performance making, living on the fringes
- [Obituary & Archive: Margaret Cameron](https://www.realtime.org.au/obituary-archive-margaret-cameron/) - Margaret Cameron, Opera for a Small Mammalphoto Daisy Noyes Margaret Cameron, Opera for a Small Mammal Unforgettable—whether when we first saw her in 1986 at Performance Space in Ulrike Meinhof Sings, directed by Nico Lathouris, or on the mainstage in Jenny Kemp's productions of Call of the Wild (1989) and Joanna Murray-Smith's Nightfall at the
- [Dancing in the divide](https://www.realtime.org.au/dancing-in-the-divide/) - Abigail Boyle and Laura Jones in Satellitecourtesy Royal New Zealand BalletAbigail Boyle and Laura Jones in Satellite Daniel Belton’s career is a victory over the tyranny of distance. Based in the regional New Zealand town of Dunedin (closer to Antarctica than Hobart is), Belton has turned to producing dance films for international festivals. His most
- [Cultural syntheses: north-south, east-west](https://www.realtime.org.au/cultural-syntheses-north-south-east-west/) - 100% Darwin, Rimini Protokoll, Darwin FestivalElise Derwin, courtesy Darwin Festival100% Darwin, Rimini Protokoll, Darwin FestivalTwo productions in the 2014 Darwin Festival reviewed here involve distinctive collaborations between Australian and Asian artists, exploring fusions of traditional and contemporary cultural practices. With Asia as northern Australia’s nearest neighbour and being closer to Darwin than other Australian cities,
- [Triangulating the horizon](https://www.realtime.org.au/triangulating-the-horizon/) - Jan Dibbetts, Horizon Sea I-III, 1971photo Peter MorganJan Dibbetts, Horizon Sea I-III, 1971 When RealTime talked with MAAP Director Kim Machan about the Land Sea Sky exhibition at the end of last year its 2014 international touring schedule looked ambitious—Shanghai, Seoul and Brisbane—particularly as the organisation had just been declined further triennial funding by Arts
- [Three minds, six bodies, one wonder](https://www.realtime.org.au/three-minds-six-bodies-one-wonder/) - Timothy Walsh, In, Gavin Webber, Threefold, photo Leigh Turner, Bottlebrush Studio Threefold brings together three choreographers, each with a distinctly different aesthetic, for a triple bill of short, powerful, contrasting works. Bosco Shaw’s clever lighting design paradoxically enhances both the delineation of each work and the coherence of the trio of creations, reinforced by the
- [Art and reclamation](https://www.realtime.org.au/art-and-reclamation/) - Faye Rosas Blanch, It's so Hip to be BLAK, 2014 photo Denys FinneyFaye Rosas Blanch, It's so Hip to be BLAK, 2014 Above Adelaide’s Fontanelle Gallery is a banner saying, “Occupied and Enjoyed.” The gallery is being occupied by a group of artists staging Bound and Unbound: Sovereign Acts—decolonising methodologies of the lived and spoken.
- [Teen fun in dystopic times](https://www.realtime.org.au/teen-fun-in-dystopic-times/) - Uji Handoko Eko Saputro, Past/Present/Future, 2014photo Zan WimberlyUji Handoko Eko Saputro, Past/Present/Future, 2014 Titled somewhat tongue-in-cheek with a reference to A-listers and celebrity culture, The List, at the Campbelltown Arts Centre gallery, is a youth-focused group show that ever so lightly sends itself up while investigating suburban politics and culture. Famously and shamelessly Westie, on
- [The binding chains of social connection](https://www.realtime.org.au/the-binding-chains-of-social-connection/) - Alick Tipoti, Poeypiyam Angayk 2014, videophoto Mick RichardsAlick Tipoti, Poeypiyam Angayk 2014, video Saltwater Country: Aboriginal and Torres Strait Islander art from the coastline, from the islands, from the beach. Places of tidal movement, silt deposition, cyclonic storms and fishing. A shoreline where people meet for the first time—perhaps in the expansion of empire or
- [Compulsively obsessive art & sound](https://www.realtime.org.au/compulsively-obsessive-art-sound/) - Matt Gingold, Filament Orkestra, 2014, What I See When I Look At Soundphoto Alessandro BianchettiMatt Gingold, Filament Orkestra, 2014, What I See When I Look At Sound In Stanley Kubrick’s 1964 film Dr Strangelove a group of mad military men are hunkered down in an underground bunker watching missiles fly around the world. As with
- [Opera redux:  the Glass Trilogy](https://www.realtime.org.au/opera-redux-the-glass-trilogy/) - Philip Glass Trilogy, Akhnatenphoto Darren Williams, courtesy State Opera of SAPhilip Glass Trilogy, Akhnaten Though considered radically experimental when first produced, Philip Glass’s early operas have become standard repertoire because of their enduring musical strength and originality. Glass’s initial three—Einstein on the Beach (co-written with director Robert Wilson and choreographer Lucinda Childs, 1976), Akhnaten (1980)
- [Heaven & Hades, virtually](https://www.realtime.org.au/heaven-hades-virtually/) - L’Orfeophoto Peter HislopL’Orfeo The story of this early (1607) opera is based on the mythic journey of Orpheus to the Underworld to retrieve the love he lost to snakebite on their wedding day. Orpheus’ divine music persuades Pluto to allow Eurydice to return with him to the human world, but Orpheus’ weakness has him look
- [Wake with ceramophone](https://www.realtime.org.au/wake-with-ceramophone/) - Tom Lane, Katherine O’Malley, Wake, Chamber Made Operaphoto Ros KavanaghTom Lane, Katherine O’Malley, Wake, Chamber Made Opera What looks like a coffin but sounds like a musical instrument? Rory Grubb’s original electric ceramophone, as seen in Chamber Made Opera’s Irish-Australian production Wake as part of Limerick City of Culture. What first appears to be a
- [The music of archival track work](https://www.realtime.org.au/the-music-of-archival-track-work/) - Eugene Ughetti, Claire Edwardes, Ghan Tracksphoto Heidrum Löhr Eugene Ughetti, Claire Edwardes, Ghan Tracks The Old Ghan, the train and the 3,000km of track on which it once ran, is almost mythical. It symbolises the Red Centre which Australia’s white colonists thought to harness and control. Its narrow-gauge tracks were first laid in 1878 and
- [The limits of multi-Mayakovsky](https://www.realtime.org.au/the-limits-of-multi-mayakovsky/) - Mayakovsky, Sydney Chamber Operaphoto Zan WimberleyMayakovsky, Sydney Chamber OperaIn an evocation of the life of Vladimir Mayakovsky, composer Michael Smetanin, librettist Alison Croggon and Sydney Chamber Opera splinter the great Russian poet’s psyche into multiple voices (sung and spoken), personae and video images in a multimedia fantasia that belies the simplicity of the poet’s heroic
- [The percussive gesture](https://www.realtime.org.au/the-percussive-gesture/) - Early Warning System, Give us this Day—Five Sonic Adventuresphoto Greg HarmEarly Warning System, Give us this Day—Five Sonic Adventures Increased exposure to Indian, African and Asian music has made the last 100 years or so pretty good for Euro-Western percussion lovers. Enter Early Warning System with a beautifully programmed selection of recent works—by Erik Griswold,
- [Unerring explorations](https://www.realtime.org.au/unerring-explorations/) - Eine Brise, Maurice Kagelphoto Jason TavenerEine Brise, Maurice Kagel The second Bendigo International Festival of Exploratory Music (BIFEM) took place over a gloriously sunny weekend in the gold mining town of Bendigo. For those who have not visited Bendigo before (it was my first time), it is one of the best-preserved gold-rush towns in Australia
- [Gorky validated,  if improved](https://www.realtime.org.au/gorky-validated-if-improved/) - Hamish Michael, Justine Clarke, Jacqueline Mackenzie, Toby Truslove, Chris Ryan, Children of the Sun, Sydney Theatre Companyphoto Brett BoardmanHamish Michael, Justine Clarke, Jacqueline Mackenzie, Toby Truslove, Chris Ryan, Children of the Sun, Sydney Theatre Company In a short period, Sydney Chamber Opera has presented Mayakovsky (p42) and Sydney Theatre Company Maxim Gorky’s Children of the
- [War on the inside, on both sides](https://www.realtime.org.au/war-on-the-inside-on-both-sides/) - Cowra no Honcho Kaigi/Honchos Meeting in Cowraphoto Michihiro FurumotoCowra no Honcho Kaigi/Honchos Meeting in Cowra Written and directed by prominent Japanese playwright Yoji Sakate, Honchos Meeting in Cowra sits within a post-WWII ‘small theatre’ tradition influenced by Chekhov and Ibsen as much as by Japanese Noh and Kyogen. The subject of this play is the
- [The theatre of  induced susceptibility](https://www.realtime.org.au/the-theatre-of-induced-susceptibility/) - Use Your Illusion, Bron Battenphoto Bryony JacksonUse Your Illusion, Bron Batten Co-Curator of Melbourne’s eclectic Last Tuesday Society, Bron Batten, invited audiences into the dingily appropriate Collingwood Masonic Lodge in late August for her esoteric exploration of the art of hypnosis, Use Your Illusion. Supplied with voyeuristic pleasures, audience participation, cheese cubes and sliced kabana,
- [The art of escapology](https://www.realtime.org.au/the-art-of-escapology/) - Escape Room Melbourne.courtesy the artists Escape Room Melbourne. You’re in a bungalow at the back of a garden in suburban Melbourne. The game runner, who met you at the door and explained the experience you were about to have, locks the door behind you and the room is dim. You have torches and an hour
- [In search of a theatre of the mind](https://www.realtime.org.au/in-search-of-a-theatre-of-the-mind/) - Jade Dewi Tyas Tunggal, Mantle, My Darling Patriciaphoto Heidrun LöhrJade Dewi Tyas Tunggal, Mantle, My Darling Patricia “What am I for?” asks the voice that has been speaking since we were first planted into a sustained, unsparing darkness. This voice has transported us from suburban mayhem—a few too many sherries in the car before forgotten
- [Speaking to reality, more or less](https://www.realtime.org.au/speaking-to-reality-more-or-less/) - Eurydice, Red Stitchphoto Jodie Hutchinson Eurydice, Red Stitch When a performance purports to speak to a reality outside of itself, it’s fascinating how often we put absolute faith in that claim. I’m not referring to the more profound ontological questions raised by philosophers and undergrad theatre alike, but the simple way in which we accept
- [The power of listening](https://www.realtime.org.au/the-power-of-listening/) - Billy McPherson, Roslyn Oades, John Shrimpton, I’m Your Man rehearsalsphoto Heidrun LöhrBilly McPherson, Roslyn Oades, John Shrimpton, I’m Your Man rehearsals There is a certain self-consciousness that comes over a writer when faced with interviewing an artist who conducts, edits and restages interviews for a living. I speak, of course, of Roslyn Oades, a Sydney-born,
- [Deep inside the world-as-body](https://www.realtime.org.au/deep-inside-the-world-as-body/) - Nerve Engine, Bonemapphoto Tai InoueNerve Engine, Bonemap Bonemap invites one audience member every 15 minutes to participate in Nerve Engine. Designed to ensure a very personal experience, this interdisciplinary and immersive one-on-one format has been perfected by this Cairns-based company (new media artist Russell Milledge and performer and co-creator Rebecca Youdell) over the past four
- [Forever young](https://www.realtime.org.au/forever-young/) - Sacha Cohen, The Three Minute Bacchae and other Extreme Acts, 2008, PACTphoto Heidrun Löhr 2007Sacha Cohen, The Three Minute Bacchae and other Extreme Acts, 2008, PACT For 50 years Sydney’s PACT has been a seedbed for artists of all kinds, most recently those engaging with contemporary performance and live art. In the late 60s and
- [Was there dancing?](https://www.realtime.org.au/was-there-dancing/) - Keith Gallasch: Keir Choreographic Award; Performance Space, SCORE
- [Starting out](https://www.realtime.org.au/starting-out/) - Miranda Wheen, Matt Cornell, Between Two & Zerocourtesy FORM Dance ProjectsMiranda Wheen, Matt Cornell, Between Two & Zero Miranda Wheen’s first work in this FORM triple bill, Safe Hands, is a short, cartoonish satirical take on demagoguery in which the initially suited dancer plays male-politician-as-celebrity—mutating from the crowd stirrer to a man-of-the-people mover (with excruciatingly
- [Holy Sheet & the collective choreographic consciousness](https://www.realtime.org.au/holy-sheet-the-collective-choreographic-consciousness/) - Luke George, Not About Facecourtesy Campbelltown Arts CentreLuke George, Not About Face The audience is ushered into an empty white gallery and, as with preparations for a kids’ game, we are assisted in putting sheets over our heads. Before long I stand among an assembly of ghosts in hues of pistachio, lilac, blush and fawn.
- [On the precipice of dancing matter](https://www.realtime.org.au/on-the-precipice-of-dancing-matter/) - Niharika Senapati, Tyrone Robinson, Imanuel Dado and Storm Helmore, Precipicephoto Traianos PakioufakisNiharika Senapati, Tyrone Robinson, Imanuel Dado and Storm Helmore, Precipice An axle of light cleaves the silence like a strange attractor in the deep night of space. Bodies balance on this precipice of becoming, staring across infinitude while succumbing to the forces of attraction
- [Listening with my skin, bones, organs, eyes](https://www.realtime.org.au/listening-with-my-skin-bones-organs-eyes/) - Michael Schumacherphoto Yana PaskovaMichael Schumacher Improvisation is an established performance methodology that emerged from the American Postmodern rupture in dance more than 50 years ago. One proponent, choreographer William Forsythe, has activated several generations of dancer-collaborators to produce what could be considered a ‘Forsythe lineage’ of dance artists experimenting with improvisational methodologies. One key artist
- [Art against the clock](https://www.realtime.org.au/art-against-the-clock/) - Angela Goh, Lizzie Thomson, Jane McKernan, One thing follows anotherphoto Lucy Parakhina Angela Goh, Lizzie Thomson, Jane McKernan, One thing follows another It may not be a stretch to regard the performing arts today as gladiatorially pitted against the hyperreal X-Factor, The Voice and their like, contests which blur into one, hell-bent on delivering battle
- [Can we ever be home?](https://www.realtime.org.au/can-we-ever-be-home/) - Sara Black, Kristina Chan, Hiding in Plain Sightphoto Heidrun LöhrSara Black, Kristina Chan, Hiding in Plain Sight Hiding in Plain Sight asks for conceptual engagement. Narelle Benjamin draws upon Mircea Eliade who participates in a philosophical tradition that marches toward a holistic return to a self that is fragmented, alienated, empty and without home. Home
- [Body duress, culture stress](https://www.realtime.org.au/body-duress-culture-stress/) - Kris Verdonck, Gossipphoto Kristof VranckenKris Verdonck, Gossip In the absence of Sydney Spring Dance (abandoned by Sydney Opera House after the 2013 season on the grounds of cost), Performance Space has done Australian dance proud in its SCORE season with works by Antony Hamilton, Natalie Abbott, Narelle Benjamin, Gail Priest and Jane McKernan, plus an
- [Not so innocent](https://www.realtime.org.au/not-so-innocent/) - When the Mountain Changed Its Clothing, Heiner Goebbels, Melbourne International Arts Festivalphoto Wonge Bergmann for the Ruhrtriennale.When the Mountain Changed Its Clothing, Heiner Goebbels, Melbourne International Arts Festival“WHAT DO LITTLE GIRLS DREAM OF?” “KNIVES, AND BLOOD,” INTONES CARMINA SLOVENICA, A SLOVENIAN CHOIR COMPRISING 40 YOUNG WOMEN AGED 10 TO 18, UNDER THE DIRECTION OF HEINER
- [Grand innovators](https://www.realtime.org.au/grand-innovators/) - When the Mountain Changed Its Clothing, Heiner Goebbels, Melbourne International Arts Festivalphoto Wonge Bergmann for the Ruhrtriennale.When the Mountain Changed Its Clothing, Heiner Goebbels, Melbourne International Arts Festival If you’re wondering what choices to make for the 2014 Melbourne International Arts Festival, there are several major productions that might take you out of yourself, or
- [Stepping just out of the frame](https://www.realtime.org.au/stepping-just-out-of-the-frame/) - Cypher, Nick Power, Junction Arts Festivalphoto Melde RuyterCypher, Nick Power, Junction Arts Festival In an early interaction with a local, I ask what he is most looking forward to seeing at Launceston’s Junction Arts Festival in 2014. As we flick through the program guide together he remarks, “This isn’t really an arts festival. It’s more
- [What’s big about being small?](https://www.realtime.org.au/whats-big-about-being-small/) - Proximity Festival 2014promotional photo Tarryn GillProximity Festival 2014 Proximity Festival, Australia’s celebration of one-on-one performance, finds big dreams, plans and talents being brought to bear on the most intimate artistic performance experience. Proximity Festival 2014 has a new home at the Fremantle Arts Centre for its three programs running from 22 October to 2 November.
- [Live art minus jets](https://www.realtime.org.au/live-art-minus-jets/) - Sarah Rodigari, courtesy the artist Going Nowhere is not a festival. That’s the first thing Arts House’s creative producer Angharad Wynne-Jones makes clear. She describes the three-day event as more of a “strategy or proposition,” and that proposition is one that gets more and more compelling the deeper you dig into it. Arts organisations have
- [Radical expectations](https://www.realtime.org.au/radical-expectations/) - Intérieur, Shizuoka Performing Arts Company/Les Ateliers Contemporains photo Koichi Miura, courtesy Avignon FestivalIntérieur, Shizuoka Performing Arts Company/Les Ateliers Contemporains With threatened social welfare cuts, artists and other workers across France went on strike this summer, including on the first day of the 2014 Avignon Festival. With banners across every venue, announcements of solidarity before every
- [From the ashes, renewal](https://www.realtime.org.au/from-the-ashes-renewal/) - If the Grain of Wheat Does Not Die, closing performance Odin Teatret, 50th Anniversaryphoto Tommy BayIf the Grain of Wheat Does Not Die, closing performance Odin Teatret, 50th Anniversary Odin Teatret’s 9th triennial Holstebro Festuge, a large-scale, public performance event, invited groups of international artists from diverse backgrounds to stage community collaborations, performances and cultural
- [Treasures of the lost and found](https://www.realtime.org.au/treasures-of-the-lost-and-found/) - ©Vivian Maier/Maloof Collection Nothing thrills quite like the recovery of lost art works, radical re-assessments, the outing of forgers or, better, discovering the impressive archive of a hitherto unknown artist. American nanny and private photographer Vivian Maier (1926-2009) only ever sent a small selection of her photographs to gallerists or publishers in France and one
- [Culture’s haunted houses](https://www.realtime.org.au/cultures-haunted-houses/) - Ibsen In One Takecourtesy Ibsen International and OzAsia FestivalIbsen In One TakeThe focus of the 8th OzAsia Festival is on China’s Shandong Province, famed birthplace of Confucius and home to around 100 million people. A meeting place of ancient and modern trade routes and the location of culturally significant sites for Taoists, Buddhists and Confucians,
- [Accelerating cultural evolution](https://www.realtime.org.au/accelerating-cultural-evolution/) - Alfredo and Isabel Aquilizan, In-Habit: Project Another Country, 2014, installation detail, Samstag Museum of Art, University of South Australiaphoto Sam NoonanAlfredo and Isabel Aquilizan, In-Habit: Project Another Country, 2014, installation detail, Samstag Museum of Art, University of South Australia Adelaide’s annual OzAsia Festival, which began in 2007 as a cultural bridge to Asia, spotlights the
- [Partner Art](https://www.realtime.org.au/partner-art/) - Making art is more than a job and it’s more than a life-style choice—for many, it’s an all-encompassing way of being. This can make living with an artist a difficult feat, unless both are of like constitution. So it’s not surprising that in the art world there are many couples who share both their lives
- [Imaginings, puppets and saving cranes](https://www.realtime.org.au/imaginings-puppets-and-saving-cranes/) - Tim Wattsphoto Jamie BreenTim Watts With an idiosyncratic take on puppetry melded with animation and shadow play, Perth-based Tim Watts has enjoyed considerable success in Australia and beyond with The Adventures of Alvin Sputnik: Deep Sea Explorer (2009) and It’s Dark Outside (2012 - see RT109 and RT113). Now he’s joined forces with fellow artists
- [In Profile: Matt Warren, mumble(speak),  III - real and imagined scenarios Gail Priest](https://www.realtime.org.au/in-profile-matt-warren-mumblespeak-iii-real-and-imagined-scenarios-gail-priest/) - mumble(speak) live at FELTspace, Adelaide (2010)courtesy FELTspace ARI, Adelaide.mumble(speak) live at FELTspace, Adelaide (2010) Hobart-based artist Matt Warren is a man of many guises. His website reveals 14 different “band names” (past and present) for his various musical projects and collaborations which range in style from shoegaze rock, doom metal, beats and dub to improv
- [In Profile: David Rosetzky, Gaps](https://www.realtime.org.au/in-profile-david-rosetzky-gaps/) - David Rosetzky, Gaps, ACMIcourtesy David Rosetzky and Sutton Gallery MelbourneDavid Rosetzky, Gaps, ACMI Watching David Rosetzky’s new video work, Gaps, is not a passive occupation. One spends the whole time questioning: how much is this ‘performance’ and how much is it ‘real’? On a wall-sized screen, four dancers/performers and their words and gestures permutate and
- [Big science, intimate exchanges, deep humour](https://www.realtime.org.au/big-science-intimate-exchanges-deep-humour/) - Cat Jones, Anatomy's Confectioncourtesy the artist Cat Jones, Anatomy's Confection Multidisciplinary artist Cat Jones is in Adelaide this month as an ANAT Synapse artist-in-residence at the University of South Australia’s Sansom Institute for Health Research. She is attached to the Body in Mind research group who investigate the role of the brain and mind in
- [Audiovision: Illuminated edifices & audiovisual effigies](https://www.realtime.org.au/illuminated-edifices-audiovisual-effigies/) - Philip Brophy: Architectural projections
- [Academy & industry hand in hand](https://www.realtime.org.au/academy-industry-hand-in-hand/) - Jane Montgomery Griffiths, Sappho…in 9 Fragments, Malthousephoto Jeff BusbyJane Montgomery Griffiths, Sappho…in 9 Fragments, Malthouse Jane Montgomery Griffiths is a widely experienced, practising actor, a performer of her own work (Sappho…in 9 fragments) and director of plays who writes on acting and is currently editing a volume on space and time in Greek drama. She’s
- [In the flow](https://www.realtime.org.au/in-the-flow/) - Syzygy Ensemblephoto Matt RynnSyzygy Ensemble Syzygy are up from Melbourne and playing at the largish Blue Sky Coffee cafe courtesy of DeClassifiedMusic, a fairly new organisation promoting concerts into Brisbane’s Newstead (place of bars/restaurants/things to do and buy). Music as one part of the flow of the day’s events rather than as the full stop
- [Points of difference, degrees of engagement](https://www.realtime.org.au/points-of-difference-degrees-of-engagement/) - Twelve Ascensions, 2013, featuring Dance students from Creative Industries Faculty, QUTphoto Fiona CullenTwelve Ascensions, 2013, featuring Dance students from Creative Industries Faculty, QUT In June-July, RealTime approached tertiary teachers of performance, acting, dance, technical production and design diploma and degree courses across Australia. Our thanks go to those who participated. To those who we missed,
- [The dangers within](https://www.realtime.org.au/the-dangers-within/) - Rabbithead, Little y Theatre Co. & whatshesaidphoto Simon PyntRabbithead, Little y Theatre Co. & whatshesaid Presented by Little y Theatre Company in collaboration with emerging company whatshesaid, Rabbithead takes Barbara Baynton’s 1896 Australian Gothic bush story The Chosen Vessel, which as its point of provocation presents a bleak vision of a harshly malevolent landscape populated
- [Dark tales cast light in dark times](https://www.realtime.org.au/dark-tales-cast-light-in-dark-times/) - Ursula Yovich, The Magic Hourphoto Jon GreenUrsula Yovich, The Magic Hour In his “The Lovesong of J. Alfred Prufrock” (1915), TS Eliot named dusk “the violet hour”—when the work-sodden, with charcoaled hearts, come home from thankless jobs to lonely rooms and food laid out in tins. In that terse, 133-line poem, he draws the picture
- [The dead end of addiction](https://www.realtime.org.au/the-dead-end-of-addiction/) - Steve Rogers, Andrea Gibbs, Eight Gigabytes of Hardcore Pornographyphoto Brett BoardmanSteve Rogers, Andrea Gibbs, Eight Gigabytes of Hardcore Pornography This felt like being subjected to eight gigabytes of pathos in a mere 90 minutes, witnessing the rapid descent of a shopaholic and a porn addict—who meet via the net in their desperation for companionship—into sheer
- [Love vs Big Pharma](https://www.realtime.org.au/love-vs-big-pharma/) - Angie Milliken, Mark Leonard Winter, Amy Burkett, Anna McGahan The Effect, STC/QTC co-productionphoto Lisa TomasettiAngie Milliken, Mark Leonard Winter, Amy Burkett, Anna McGahan The Effect, STC/QTC co-production UK playwright Lucy Prebble’s award-winning The Effect is being widely produced (an MTC production is playing in tandem with STC’s). It’s an ‘issue’ play that directly addresses the
- [A bitter conceit](https://www.realtime.org.au/a-bitter-conceit/) - Hedda Gabler, Belvoirphoto Ellis ParrinderHedda Gabler, Belvoir You would think that the conceit of casting a male actor, well known for onstage cross-dressing, might add to the abundant psychological and social complexities of Ibsen’s Hedda Gabler. In this adaptation for Belvoir, directed by Adena Jacobs, the effect is reductive: Hedda, as played by Ash Flanders,
- [The strangeness of communal slumber](https://www.realtime.org.au/the-strangeness-of-communal-slumber/) - Motel Dreamingphoto Simon Cuthbertson, courtesy of Motel Dreaming, DARK MOFO, MONA Museum of Old and New Art Motel Dreaming DARK MOFO took over Hobart this June, a sprawling, ambitious festival that included dozens of concerts, a winter feast and Rafael Lozano-Hemmer’s Articulated Intersect, an installation of 18 audience-operated searchlights placed at locations around the Hobart
- [Mapping the personal](https://www.realtime.org.au/mapping-the-personal/) - Joe Felber, Kontaktraum: Ausländerphoto Jon AvilaJoe Felber, Kontaktraum: Ausländer Four formally experimental and expressively personal exhibitions in Adelaide reveal their artists’ feelings about life and art. They seem to search for languages to communicate their experience and fix their identity in a world dramatically in flux. Kontaktraum: Ausländer Joe Felber’s Kontaktraum: Ausländer (Space of contact:
- [Music un-compressed, non-YouTubed](https://www.realtime.org.au/music-un-compressed-non-youtubed/) - Kupka’s Pianophoto Liam FlenadyKupka’s Piano We’re in a low, boxy room that looks as much generic seminar room as concert venue for Kupka’s Piano, a new Brisbane ensemble performing what turns out to be a beautifully structured program. Begins with Alex Raineri playing Tristan Murail’s solo piano work, La Mandragore. It’s a spooky piece, symbolically
- [Stockhausen, May 68: intuition & liberation](https://www.realtime.org.au/stockhausen-may-68-intuition-liberation/) - Karlheinz Stockhausen—Electronic Musicphoto Sebastian TomczakKarlheinz Stockhausen—Electronic Music The work of legendary composer Karlheinz Stockhausen (1928-2007) is an essential introduction for any student to the field of electronic music that he did so much to establish, and though Stockhausen himself appeared in Adelaide in 1970, his work is rarely heard here. This concert by 47 Bachelor
- [Sounding the boundaries](https://www.realtime.org.au/sounding-the-boundaries/) - Helen Grogan, Geoff Robinson, Three Performative Structures for Slopes (27/4/2014)photo Laura May GroganHelen Grogan, Geoff Robinson, Three Performative Structures for Slopes (27/4/2014)It is no accident that the Melbourne chapter of Liquid Architecture 2014 begins and ends with violence inflicted upon microphones, both conceptually and literally. “Helen Grogan’s Concrete Room is the festival inauguration,” explains Co-artistic
- [The view from the Hills Hoist](https://www.realtime.org.au/the-view-from-the-hills-hoist/) - The Hoistphoto Paz TassoneThe Hoist Darwin has seen a resurgence in high calibre original theatre in recent years, thanks in no small part to Brown’s Mart who have co-presented and supported numerous local theatre makers to develop and produce new work. Sarah Hope’s first full-length play, The Hoist, is the latest new work supported to
- [A nice night out](https://www.realtime.org.au/a-nice-night-out/) - Malcolm Whittaker, Bjorn Stewart, Jumping the Shark Fantasticphoto Lucy Parakhina Malcolm Whittaker, Bjorn Stewart, Jumping the Shark Fantastic Jumping the Shark Fantastic starts at 7pm or at least it is supposed to; in actual fact it starts at ten past. The starting time has been determined by artist Malcolm Whittaker in consultation with the local
- [The empty space as artifice](https://www.realtime.org.au/the-empty-space-as-artifice/) - Melita Jurisic, Hugo Weaving, Macbeth, Sydney Theatre Company photo Brett Boardman Melita Jurisic, Hugo Weaving, Macbeth, Sydney Theatre Company Powerfully performed and provocatively staged, Kip Williams’ Macbeth for the Sydney Theatre Company is bracingly emotional and corruscatingly memorable. It’s almost a perverse pleasure having seen many productions and films of this tragedy, to witness so
- [Braving the limits  of the monologue](https://www.realtime.org.au/braving-the-limits-of-the-monologue/) - Kate Cole, Red Stitch Actors Theatre, Groundedphoto Jodie HutchinsonKate Cole, Red Stitch Actors Theatre, Grounded The monologue is one of theatre’s base elements. With just a little fussing around in the chemistry set, the simplest solo performance can still create sparks, fire, the smell of crackling air. Or it can squat there before you like
- [Disability & its taboos](https://www.realtime.org.au/disability-its-taboos/) - Anton Sagrillo, Brenton Shaw, Eye Music, Tuttiphoto Sam OsterAnton Sagrillo, Brenton Shaw, Eye Music, Tutti “I died when I was nine months old.” The words, spoken by a synthesised voice, come out of the near darkness in which a lone man sits in an electric wheelchair. The choppy, Americanised intonation is eerie in the gloom.
- [Bloody history lessons](https://www.realtime.org.au/bloody-history-lessons/) - Nerida Matthaei, Stephen Quinn, Caligula, The Danger Ensemblephoto Dylan EvansNerida Matthaei, Stephen Quinn, Caligula, The Danger Ensemble Although widely divergent in form and intention, both The Danger Ensemble’s new show Caligula and Linda Hassall’s verbatim piece about Australian war veterans, The Return, grapple with the brutal impacts of the end of empire: cultural spasm and
- [Breakdown and repair](https://www.realtime.org.au/breakdown-and-repair/) - Black Market, pvi collectivephoto Heath BrittonBlack Market, pvi collective A sense of the breakdown of natural and human-made systems was all-pervading at this year’s Adhocracy, Vitalstatistix’ curated hothouse of new art and performance. It seemed fitting that, as the program enters its fifth year and the company its 30th, this year’s talks, showings and open
- [Artistic greatness and human fallibility](https://www.realtime.org.au/artistic-greatness-and-human-fallibility/) - D’Après Une Histoire Vraie, Christian Rizzophoto Marc DomageD’Après Une Histoire Vraie, Christian Rizzo Works in this year’s Festival TransAmériques in Montreal appeared bound by the desire of each creator to express a strong thesis. In the dance program, three works in particular chose to tackle very clear concepts, from the validity of revering an artistic
- [Grimmer childhood aesthetics](https://www.realtime.org.au/grimmer-childhood-aesthetics/) - Drew Fairley, Skye Gellmann, Jack and the Beanstalk photo Heidrun LöhrDrew Fairley, Skye Gellmann, Jack and the Beanstalk A new aesthetics of childhood is emerging with some of the key contemporary performance companies of the last decade. Mammalian Diving Reflex’s ground-breaking Haircuts by Children contemplated the agency of children and the vanity of adults by
- [Life has other ideas](https://www.realtime.org.au/life-has-other-ideas/) - Big Baby, Terrapinphoto Peter MatthewBig Baby, Terrapin A man and woman meet and fall in love. She’s a messy and impulsive scientist and he’s a kindly neat freak who’s prepared for any eventuality. Encountering each other at a bus stop, he takes out a scarf to get warm and has a spare one for her
- [Magic: digits & the digital](https://www.realtime.org.au/magic-digits-the-digital/) - Sam Routledge, I Think I Canphoto Lucy Parakhina Sam Routledge, I Think I Can Under the artistic direction of Sam Routledge, Terrapin Puppet Theatre has continued its focus on puppetry that embraces new technology. The Tasmanian-based company’s new production Big Baby, devised by Routledge and playwright Van Badham, is predominantly a non-verbal work, brought to
- [The global politics of the stage](https://www.realtime.org.au/the-global-politics-of-the-stage/) - Next Day, Philippe Quesne and CAMPOphoto Martin Argylogro Next Day, Philippe Quesne and CAMPO Something kind of awful, but also a little bit funny, happens to one of the performers at the end of the performance of Philippe Quesne’s Next Day. This production is the latest in a series of works for young performers made
- [Micro/macro dances of light & matter](https://www.realtime.org.au/micro-macro-dances-of-light-matter/) - Ben Brooker: ADT, Multiverse
- [Something human lurks](https://www.realtime.org.au/something-human-lurks/) - Amber McCartney, Islandphoto Gregory Lorenzutti for DancehouseAmber McCartney, Island James Batchelor’s Island is as remote an experience as its name suggests. Not only is it a work that reveals spatial relations and manipulates our perceptions, but it also presents a world of singular and slick, futuristic discomfort. In this space there are no seats. One
- [The many faces of death](https://www.realtime.org.au/the-many-faces-of-death/) - A Delicate Situation, Lina Limosaniphoto Chris HerzfeldA Delicate Situation, Lina Limosani In A Delicate Situation, Lina Limosani attempts a considered and rigorously composed drama using dance and visual imagery. She commenced the work on an Asialink residency at Rimbun Dahna, near Kuala Lumpur in 2008. At this time Limosani became intrigued with Malaysian mythology, in
- [Breaking through the fog of myth](https://www.realtime.org.au/breaking-through-the-fog-of-myth/) - Lauren Langlois, Benjamin Hancock, Alisdair Macindoe, Keep Everything, Chunky Movephoto Jeff BusbyLauren Langlois, Benjamin Hancock, Alisdair Macindoe, Keep Everything, Chunky Move Over the years Antony Hamilton has been all too aware of what has accumulated on his cutting room floor. And he is not afraid. His new work with Chunky Move, Keep Everything, is a
- [Invitations to other worlds](https://www.realtime.org.au/invitations-to-other-worlds/) - Stones in her Mouth, MAUphoto Zan WimberleyStones in her Mouth, MAU During Reconciliation Week 2014 in Sydney two dance works by Indigenous creators offered insights into the challenges to their cultures—for Djuki Mala, the suicides of young men; for MAU, the diminished status of Maori women—each produced with the companies’ distinctive magic. MAU, Stones in
- [The intricacies of dance and history](https://www.realtime.org.au/the-intricacies-of-dance-and-history/) - Vicki Van Hout: Bangarra Dance Theatre, Patyegarang
- [Tasmania’s arts engine room](https://www.realtime.org.au/tasmanias-arts-engine-room/) - Rosemary Millerphoto Fiona FraserRosemary Miller When I ask CEO and Creative Director Rosemary Miller to describe the way she visualises the Salamanca Arts Centre (SAC), she refers to work done some years ago by Neil Cameron. After interviewing a wide range of people involved with SAC, Cameron created a delightful physical map from thread and
- [Compassionately adrift](https://www.realtime.org.au/compassionately-adrift/) - Scott Howie, Boat/Person photo Vic McEwanScott Howie, Boat/Person On Wednesday 9 July, Tony Abbott appeared on the Today show where he addressed questions about the reports of mothers on Christmas Island attempting suicide in the belief that their children would then have better success at achieving asylum in Australia. Abbott’s response was that his Government
- [Screening memory](https://www.realtime.org.au/screening-memory/) - Bianca Hester, Sonic Solar Objects, The Cinemas Projectphoto Sam NightingaleBianca Hester, Sonic Solar Objects, The Cinemas Project An old-time country cinema, still standing despite floods, fires and hard times; immersive films that question representation itself, drawing viewers into mysterious depths; the literal ‘moving images’ of historical figures across Port Phillip Bay; spinning hoops that raise
- [Artists as filmmakers](https://www.realtime.org.au/artists-as-filmmakers/) - Tender, Lynette Wallworth What happens when you take three of Australia’s most innovative and dynamic artists—media artist Lynette Wallworth, choreographer Gideon Obarzanek and theatre director Michael Kantor—and provide them with $670,000 in funding to produce arts-based films in multidisciplinary teams? The results were on show over three Sunday nights in June when ABC1 screened these
- [Cover: Considered movement](https://www.realtime.org.au/cover-considered-movement/) - Brenton Alexander Smith, The Bicycle Man, 2013, SCA Bachelor of Visual Arts (Honours); one of a series of photographs and stand-alone sculptures (see page 22) photo Hyun LeeBrenton Alexander Smith, The Bicycle Man, 2013, SCA Bachelor of Visual Arts (Honours); one of a series of photographs and stand-alone sculptures (see page 22) Unlike contemporary technological
- [Intensive, intimate, connected](https://www.realtime.org.au/intensive-intimate-connected/) - David Geddes, Caetlyn Collins, The Threepenny Opera, 2013, director Cameron Goodall, Adelaide College of the Arts (ACarts)photo Sofia CaladoDavid Geddes, Caetlyn Collins, The Threepenny Opera, 2013, director Cameron Goodall, Adelaide College of the Arts (ACarts) After 30 years of acting, directing, teaching (including NIDA, VCA, UWS, The Actor’s Centre and conducting his own acting courses),
- [Strong tradition, new moves](https://www.realtime.org.au/strong-tradition-new-moves/) - VCA Company 2014 (1st, 2nd & 3rd Year Production Students), UN/clean, directed by Noel Jordan, part of ENUF is Enough*photo Giulio TamiVCA Company 2014 (1st, 2nd & 3rd Year Production Students), UN/clean, directed by Noel Jordan, part of ENUF is Enough* The Victorian College of the Arts has a long history of influential teaching in
- [Art school redux: from oldest to newest](https://www.realtime.org.au/art-school-redux-from-oldest-to-newest/) - Segue, 2014, installation view, Neil Brandhorst, a PhD student at UNSW: Art & Design Sydney’s College of Fine Arts, a campus of the University of New South Wales, will take on a new name and new life on September 30 as UNSW Art & Design under the directorship of its Dean, the artist and writer
- [Presence, integration & deregulation](https://www.realtime.org.au/presence-integration-deregulation/) - Zoe Kirkwood, 1) Let Them Eat Cake (detail); 2) The Neo-Baroque Spectacle, installation view. photos Che Chorley. Zoe Kirkwood, a graduate of the University of SA, is the winner of this year’s Dr Harold Schenberg Art Prize presented at HATCHED National Graduate Show, 2014, PICA, Perth.Zoe Kirkwood, 1) Let Them Eat Cake (detail); 2) The
- [Editorial - RT122](https://www.realtime.org.au/editorial-rt122/) - David Brophy, Presence in the absence of presence (detail), from the series Euphoric Recall, 2013. Tarpaulin, brick. Exhibition view HATCHED, Perth Institute of Contemporary Arts, 2014. David Brophy studied at Creative Arts, Central Institute of Technologphoto Alessandro BianchettiDavid Brophy, Presence in the absence of presence (detail), from the series Euphoric Recall, 2013. Tarpaulin, brick. Exhibition
- [On the road & closer to home](https://www.realtime.org.au/on-the-road-closer-to-home/) - Kym Mackenzie, Sons & Mothersphoto Alex FrayneKym Mackenzie, Sons & Mothers Next month No Strings Attached Theatre of Disability’s Sons & Mothers will embark on a national tour that will commence at the Darwin Festival and culminate in October in the company’s home state of South Australia with performances in the regional centres of Renmark
- [Bull leaping and other fearless fun](https://www.realtime.org.au/bull-leaping-and-other-fearless-fun/) - Marvin Gaye Chetwynd, The Snail Race, Galleria Massimo De Carlo, Milan, 06 March 2008 © the artist, courtesy Sadie Coles HQ, LondonMarvin Gaye Chetwynd, The Snail Race, Galleria Massimo De Carlo, Milan, 06 March 2008 Campbelltown Arts Centre’s forthcoming exhibition The List, is possibly their most ambitious project to date with 13 artists working with
- [Fashioning art](https://www.realtime.org.au/fashioning-art/) - In his seminal text, The Fashion System (1967), Roland Barthes breaks fashion into two forms—image-clothing and written clothing. In the 21st century might we not extend this to clothing performed, musical and virtual? For Profiler 5 we’ve asked some impeccably attired artists how they view fashion; how fashion influences their work; and their thoughts on
- [In profile: Natalie Abbott, Maximum](https://www.realtime.org.au/in-profile-natalie-abbott-maximum/) - Donny Henderson-Smith, Natalie Abbott, Maxiumumphoto Gregory LorenzuttiDonny Henderson-Smith, Natalie Abbott, Maxiumum In Dance Massive 2013, one of the most curious and absorbing works was Physical Fractals by emerging choreographer and dancer Natalie Abbott. As a sound artist I found the completely integrated soundscape generated from the dancers’ movement in the space particularly appealing, but I
- [In Profile: Lawrence English, Wilderness of Mirrors](https://www.realtime.org.au/in-profile-lawrence-english-wilderness-of-mirrors/) - Lawrence Englishcourtesy the artistLawrence English Lawrence English is perhaps Australia’s most prolific producer of exploratory electronic music. His untiring work across his suite of labels—Room40 for electronic music, Someone Good for edgy pop and A Guide To Saints for old-fashioned cassettes—has significantly contributed to creating a context, locally and internationally, for experimental and alternative music.
- [Contributor profile: Nicola Fearn](https://www.realtime.org.au/contributor-profile-nicola-fearn/) - Nicola Fearncourtesy the writerNicola Fearn Bio I have worked in professional theatre as a performer, writer, teacher and director since 1980 and am currently Artistic Director of Darwin-based company Business Unusual (BUU). Formed in 1997, BUU has been creating original work which explores the combination of physical theatre, mask, puppetry and text. BUU past productions
- [Epic history, intimately told](https://www.realtime.org.au/epic-history-intimately-told/) - Once My Mother, Helen and Sophia Turkiewicz photo Mayu KanamoriOnce My Mother, Helen and Sophia Turkiewicz One of the consequences of being in large part a refugee nation is that extraordinary stories of survival and terror can be found behind most ordinary Australian suburban front doors. Sophia Turkiewicz’s deeply personal and affecting new documentary Once
- [The 100% festival](https://www.realtime.org.au/the-100-festival/) - Edwina Lunnphoto courtesy Darwin FestivalEdwina Lunn I’ve attended a couple of Darwin Festivals over the years, including 2013 when Virginia Baxter and I conducted a review-writing workshop for the NT Writers’ Centre with five participants, several of whom now regularly write for RealTime. The festival is welcoming, lively and intimate, making great use of the
- [Dreaming Cities](https://www.realtime.org.au/dreaming-cities/) - “Journeys to relive your past?” was the Khan’s question at this point, a question which could also have been formulated: “Journeys to recover your future?” Italo Calvino, Invisible Cities It can sometimes seem that Australian artists are obsessed with travel, their sense of achievement and status intimately linked with international residencies and presentation opportunities. It’s
- [Fearful future dreaming](https://www.realtime.org.au/fearful-future-dreaming/) - Mari Lourey: Marrugeku, Cut the Sky
- [Getting to the heart of Aboriginal art](https://www.realtime.org.au/getting-to-the-heart-of-aboriginal-art/) - Hector Burton, Hetti Perkins, Art+Soul 2image courtesy Hibiscus FilmsHector Burton, Hetti Perkins, Art+Soul 2 There are remarkable things to see in Art+Soul 2: the intriguing creations of fascinating artists, venerable exponents of ancient practices and a younger generation of contemporary artists working in video, film, performance and installation, melding with the traditional forms and concepts
- [In Profile: Lily Hibberd, Twin Cinema: Four Devils and a Woman in Red](https://www.realtime.org.au/in-profile-lily-hibberd-twin-cinema-four-devils-and-a-woman-in-red/) - Twin Cinema: Four Devils and a Woman in Red, 1) Bridget Crone, Lily Hibberd 2-4) Yallourn Theatre demolished, memory screen; Commissioned by NETS Victoria for The Cinemas Project curated by Bridget Cronephoto Din HeagneyTwin Cinema: Four Devils and a Woman in Red, 1) Bridget Crone, Lily Hibberd 2-4) Yallourn Theatre demolished, memory screen; Commissioned by
- [The two voices of Mayakovsky](https://www.realtime.org.au/the-two-voices-of-mayakovsky/) - Michael Smetanincourtesy the artistMichael Smetanin Ever-adventurous Sydney Chamber Opera is about to premiere Sydney-based composer Michael Smetanin’s Mayakovsky to a libretto by poet, novelist and critic Alison Croggon. Their subject offers these artists rich material—a life complex and confounding, revolutionary but, even in the revolution’s terms, rebellious. Pre-revolutionary and Revolutionary Russia were culturally fecund times,
- [Opening dialogues, evolving spaces](https://www.realtime.org.au/opening-dialogues-evolving-spaces/) - Dario Vacircacourtesy the artistDario Vacirca At the back of a gravel car park in suburban Adelaide, sandwiched between a church and high-density housing, sits an unremarkable outbuilding in which one of the city’s most distinctive arts organisations, Kneehigh Puppets, has taken root. Known for its giant puppets and large-scale, spectacle-based public engagement, the nearly 20-year-old
- [Living with the grim reaper](https://www.realtime.org.au/living-with-the-grim-reaper/) - LIVE WITH IT : We all have HIV, project workshopcourtesy the artistsLIVE WITH IT : We all have HIV, project workshop A few years ago a stranger was moved to write to me in praise of a review in which I'd described a work by BalletLab's Phillip Adams as fuelled by “obsessive self-indulgences.” My correspondent
- [Contributor profile: Caroline Wake](https://www.realtime.org.au/contributor-profile-caroline-wake/) - Caroline Wakecourtesy the writerCaroline Wake Bio For some reason I find the bio a faintly embarrassing genre, but mine goes something like this: born in New Zealand, raised in Samoa and Canada, arrived in Australia just in time for high school. More specifically, I left the snowy Rocky Mountains and arrived in sunny Newcastle, which
- [In Profile: Prying Eye, White Porcelain Doll](https://www.realtime.org.au/in-profile-prying-eye-white-porcelain-doll/) - Zaimon and Lizzie Vilmanis, White Porcelain Doll, Prying EyeFenLan PhotographyZaimon and Lizzie Vilmanis, White Porcelain Doll, Prying Eye Prying Eye was founded by Zaimon and Lizzie Vilimanis in 2010 to develop “live contemporary performance” with sumptuous visuals that promise to generate “goose-bumps” (www.pryingeye.org). The company’s monochrome aesthetic, filled with deconstructed silent film tropes, creates an
- [RealTime, celebrating the second decade](https://www.realtime.org.au/realtime-celebrating-the-second-decade/) - We’re exhilarated. We’re dispirited. Here we are celebrating 20 years of RealTime’s support for adventurous Australian art. “Exhilarated” at the thought of artists’ prodigious output, ceaseless inventiveness, resourcefulness and increasing connectedness across the nation. “Dispirited” because the previous Labor Government’s promised increase of mostly new cultural funding, $263m over four years, will not be realised
- [The Whitlam legacy: It’s Time again](https://www.realtime.org.au/the-whitlam-legacy-its-time-again/) - Gary Carsley, D.106 The Annunciation (Whitlam in China), detail, 2014, courtesy the artist and Thatcher Projects, New York and Torch Gallery, Amsterdamphoto Jennifer LeahyGary Carsley, D.106 The Annunciation (Whitlam in China), detail, 2014, courtesy the artist and Thatcher Projects, New York and Torch Gallery, Amsterdam “It’s Time.” With this slogan Gough Whitlam swept to power
- [RT121 Editorial](https://www.realtime.org.au/rt121-editorial/) - The RealTime team, 2014: standing, Virginia Baxter, Gail Priest, Keith Gallasch, seated Katerina Sakkas, Felicity Clark photos Heidrun Löhr The RealTime team, 2014: standing, Virginia Baxter, Gail Priest, Keith Gallasch, seated Katerina Sakkas, Felicity Clark We celebrate our 20th birthday with reports on our first and second decades, messages of support from well-wishers and a
- [Environmentally integrated art-making](https://www.realtime.org.au/environmentally-integrated-art-making/) - Louis Pratt, A Backwards Attitudephoto Katerina SakkasLouis Pratt, A Backwards Attitude It begins with a dive 310 metres down into the lush Jurassic rainforest of the Jamison Valley. From here you disembark onto the Lilli Pilli Link, a winding boardwalk which takes you on a 30-minute stroll through the forest past the 30 sculptures comprising
- [Intoxicating media anxieties](https://www.realtime.org.au/intoxicating-media-anxieties/) - TV Moore, Pig GIF, 2014photo Zan WimberleyTV Moore, Pig GIF, 2014 Typically the task of a survey is to historicise and contextualise an artist’s practice with the aim of revealing how it has unfolded over time and where it is headed. There was a certain novelty then in the idea of one of the boundary
- [The Biennale and the Surreal screen](https://www.realtime.org.au/the-biennale-and-the-surreal-screen/) - Mikhail Karikis, Children of the Unquiet 2013-14 (video still), courtesy the artist The title of the 19th Biennale of Sydney, You Imagine What You Desire, may have been a nod to George Bernard Shaw but with its emphasis on psychological and sensory experiences its curatorial philosophy was unashamedly Surrealist. While the influence of Surrealism on
- [The melancholy poetry of machines](https://www.realtime.org.au/the-melancholy-poetry-of-machines/) - Ian Burns, Blender (2014)photo David LawreyIan Burns, Blender (2014) My favourite work in Dark Heart, the Adelaide Biennial, was by Ian Burns—a fantastically large, ramshackle wooden construction, which through seemingly primitive analogue magic, projects images and texts while playing little ditties to itself. Thus, a few weeks later I was very happy to discover that
- [A world made into tools](https://www.realtime.org.au/a-world-made-into-tools/) - Written on the body, University of Queensland Anthropology Museumphoto Carl WarnerWritten on the body, University of Queensland Anthropology Museum Two exceptional exhibitions at the University of Queensland Anthropology Museum both involve relations between Aboriginal and Torres Strait Islander people and their artefacts and the artefacts associated with European Australia—mobile phones, kitchen tools, hunting tools, potato
- [The all-inclusive choir](https://www.realtime.org.au/the-all-inclusive-choir/) - Aurora Chorealis, Song Companyphoto Felicity ClarkAurora Chorealis, Song Company What’s more courageous: doing something wild where anything is permitted, or doing something vaguely contrary where conventions are still strictly adhered to? If scope and scale matter, then choristers are some of the most dauntless folk out there. As part of this year’s Aurora Festival, participants
- [Saxophone sings the stars](https://www.realtime.org.au/saxophone-sings-the-stars/) - James Nightingale, Voyage Through Radiant Stars, Aurora New Music Festivalcourtesy Aurora New Music FestivalJames Nightingale, Voyage Through Radiant Stars, Aurora New Music Festival The first half of the opening night of the 2014 Aurora New Music Festival in Sydney’s west sparkled with variety and invention while the second half introduced us to a major new
- [Two worlds  of percussion](https://www.realtime.org.au/two-worlds-of-percussion/) - Synergy Percussion, Xenakis v Paterasphoto Michael K ChinSynergy Percussion, Xenakis v Pateras A decade after Greek composer Iannis Xenakis’ death, the rarely performed Pléïades remains uneclipsed in its ability to take audiences on a complex, imaginative journey. In Carriageworks’ Bay 19, Synergy reprised their 2011 performance, pairing it the following evening with Beauty will be
- [Social media demons](https://www.realtime.org.au/social-media-demons/) - Kate Cheel, Jesikahphoto Sia Duff Kate Cheel, Jesikah Depending on which study you read, social media networking may or may not have an improving effect on the mental health of adolescents. Outside of the academy we hear a lot about the web’s risks for young people—cyber bullying, sexual predation, ‘Facebook depression,’ exposure to inappropriate advertising
- [Taking a fine brush to big ideas](https://www.realtime.org.au/taking-a-fine-brush-to-big-ideas/) - Kate Hunter, Memorandumphoto Leo DaleKate Hunter, Memorandum Some themes are so universal that they approach redundancy. When the author of a work states that its intended subject is identity or the body or place or consciousness there’s a very real risk of tautology, because there are so few works that don’t address every one of
- [Identity loss, metaphysics and bad democracy](https://www.realtime.org.au/identity-loss-metaphysics-and-bad-democracy/) - Tim Walter, Andrea Demetriades, Glenn Hazeldine, Rebecca Massey, Perplex, Sydney Theatre Companyphoto Lisa TomasettiTim Walter, Andrea Demetriades, Glenn Hazeldine, Rebecca Massey, Perplex, Sydney Theatre Company Step back from the comedy of German playwright Marius von Mayenburg’s Perplex and you see it for what it is: a nightmare of the age of identity theft. But it’s
- [Inner bodies on the outer](https://www.realtime.org.au/inner-bodies-on-the-outer/) - Julie Vulcan, Drift photo Michael MyersJulie Vulcan, Drift The animal inside us, the wild and the civil, and the sea-shifting currents of journey were each explored by three new performance works in Brisbane: Circa’s Beyond, which premiered in Berlin before landing at the Brisbane Powerhouse; Sally Lewry’s powerful physical theatre work Cimmarón; and Julie Vulcan’s
- [Tiwi Island Dreamtime fantasia](https://www.realtime.org.au/tiwi-island-dreamtime-fantasia/) - Dalara Williams, Wulamanayuwi and the Seven Pamanuiphoto Lucy Parakhina Dalara Williams, Wulamanayuwi and the Seven Pamanui Wulamanayuwi and the Seven Pamanui is a delightfully bonkers theatrical fusion of Tiwi Island Dreamtime stories and characters, pantomime, fairytale, drag, song, puppetry and visual projections. The narrator, Jarparra the Moon Man (Jason De Santis), introduces us to Wulamanayuwi
- [Bastardy and identity](https://www.realtime.org.au/bastardy-and-identity/) - Bastard Territoryphoto Kerrin SchallmeinerBastard Territory Colonialism, sexual politics, the beginnings of Papua New Guinea’s independence and family and identity are all in the mix in Stephen Carleton’s new play Bastard Territory. It is an engaging three-act drama that moves between three time zones and two countries as it explores the life of Russell who is
- [Risk yields new forces](https://www.realtime.org.au/risk-yields-new-forces/) - Winds of Woerr, Ghenoa Gelaphoto Gregory Lorenzutti Winds of Woerr, Ghenoa Gela Next Wave is an ambitious festival—a major, well-funded biennial curatorial project which commissions and develops innovative work by young artists (notably through its Kickstart program). The final works, unveiled only at the festival, are often variable in their execution. This, I have come
- [Healing the pain of loss](https://www.realtime.org.au/healing-the-pain-of-loss/) - Mokuy (Spirit)photo Glenn CampbellMokuy (Spirit) Wailing fills the darkened theatre. These are the lamentations of a woman in grief. As a single spotlight cuts through the dark from left of stage our eyes make out the figure of a woman holding her dead daughter. “Oh my baby girl,” cries the mother, “Oh my baby.” Mokuy
- [A realm of exquisite sensitivity](https://www.realtime.org.au/a-realm-of-exquisite-sensitivity/) - Jessica Sabatini: Russell Dumas, Love is Blind
- [Together, listening to landscape](https://www.realtime.org.au/together-listening-to-landscape/) - A cold front hit NSW on the weekend of the Wired Open Day with torrential rain and temperatures dropping to single figures. Nonetheless a large group of locals and visiting audience members were not deterred. Rugged-up in puffer jackets and gumboots we all piled onto the courtesy bus in Cootamundra for the 40-minute drive, in
- [Deep cultural waters on the banks of the Shoalhaven](https://www.realtime.org.au/deep-cultural-waters-on-the-banks-of-the-shoalhaven/) - Deborah Elyphoto William YangDeborah Ely Individual artists of all kinds, cross-artform collaborators, dance groups, theatre companies and orchestras: all have enjoyed the beneficence of Arthur and Yvonne Boyd’s legacy to the nation, their one-time property—1,100 hectares of bushland two and a half hours south of Sydney—on the Shoalhaven River. Artists can escape everyday pressures to
- [The idiosyncracies of a film festival curator](https://www.realtime.org.au/the-idiosyncracies-of-a-film-festival-curator/) - Jack Sargeantphoto Alex MuntJack Sargeant The opening night of the 17th Revelation Perth International Film Festival is fast approaching. In recent years Rev, as it is affectionately known by its fans and audience, has become for me the most exciting and innovative film festival in the country. Last year’s program was as challenging as ever,
- [Audiovision: Mouthing politics, breathing politics](https://www.realtime.org.au/mouthing-politics-breathing-politics/) - Philip Brophy: Sue Dodd, Significant Others
- [RealTime: the first 10 years](https://www.realtime.org.au/realtime-the-first-10-years/) - The early years of RealTime now seem like a distant dream, a fuzzy recollection of a fury of creation, learning on the job, reaching out across the country to engage writers and distributors, connecting with artists, knocking out grant applications, labelling bundles and loading trucks, covered in ink, wracked with endless financial trepidation, exhilarated every
- [RealTime 121: cover story](https://www.realtime.org.au/realtime-121-cover-story/) - Beatrice Chew at work on the RealTime 121 coverphotos courtesy the artistBeatrice Chew at work on the RealTime 121 cover RealTime designer Graeme Smith took on the challenge to create the perfect cover for the magazine’s celebratory 20th Birthday issue in collaboration with two young artists Beatrice Chew and Su-An Ng. Graeme (peonypress.com.au; goodhabitat.com.au), describes
- [Under the Influence: words, pictures, sounds](https://www.realtime.org.au/under-the-influence-words-pictures-sounds/) - A creative individual’s desire for ideas is unquenchable. Inspiration is drawn not just from other works of art in their chosen field but from the abundance of concepts, narratives and atmospheres found in films, books and music. For Profiler #3 we’ve asked artists to tell us about the words, pictures and sounds that have influenced
- [Abstraction re-engaged](https://www.realtime.org.au/abstraction-re-engaged/) - Sam Songailo, Digital Wasteland, CACSAphotos Emily TaylorSam Songailo, Digital Wasteland, CACSA The gracious old stone house in the leafy inner Adelaide suburb of Parkside—the Contemporary Art Centre of SA’s home for around half a century—has been the subject of several exhibitions intended to address its architecture and its function as an exhibition space. For example,
- [Nostalgia for the Drive-In and ‘Community Arts’](https://www.realtime.org.au/nostalgia-for-the-drive-in-and-community-arts/) - The Drive-In Project, Aphidsphoto Amelia DuckerThe Drive-In Project, Aphids A line of cars stretches over a kilometre as they inch their way slowly into the Dromana Drive-In. Tonight, Aphids the Melbourne-based hybrid artists company is premiering The Drive-In Project—the culmination of 18 months working with a quirky alliance of communities from the Mornington Peninsula including
- [In Profile: Paper Cut Contemporary Performance Collective](https://www.realtime.org.au/in-profile-paper-cut-contemporary-performance-collective/) - Tamara Gazzard, Lucy Shepherd, Sarah Coffee, Spent, Paper Cut Paper Cut Contemporary Performance Collectivephoto Tahnee McWhirteTamara Gazzard, Lucy Shepherd, Sarah Coffee, Spent, Paper Cut Paper Cut Contemporary Performance Collective The cultural ethos of Newcastle has always been distinctly DIY. From This Is Not Art (TINA) to the Renew Newcastle project activating unused commercial properties for
- [In profile: AñA Wojak, 3 Decades](https://www.realtime.org.au/in-profile-aa-wojak-3-decades/) - Aña Wojak with Odalisque with Fascinator (1995); 3 Decadesphoto David Corazza, courtesy the artist and The Channon GalleryAña Wojak with Odalisque with Fascinator (1995); 3 Decades Artist’s Statement How to write 250 words about 30 years of art practice: painting, performance, installation, assemblage and theatre design? This diversity is akin to being multilingual, having different
- [A return to aesthetics](https://www.realtime.org.au/a-return-to-aesthetics/) - Installation view 2014 Adelaide Biennial of Australian Art: Dark Heart featuring Ian Strange, 2014, Art Gallery of South Australia A life-sized suburban house, painted black and embedded in the footpath, greets Art Gallery of South Australia visitors and passing Adelaide commuters. Ian Strange’s Landed is provocatively unavoidable in Adelaide’s North Terrace, confronting the CBD with
- [In Profile: Chris Bennie, Fern Studio Floor: a cosmology](https://www.realtime.org.au/in-profile-chris-bennie-fern-studio-floor-a-cosmology/) - Chris Bennie, Fern Studio Floor: a cosmologycourtesy the artistChris Bennie, Fern Studio Floor: a cosmology Artist Statement In December 2013 I spent three weeks at the Bundanon Trust Artist Residency on the former estate of the artist Arthur Boyd, 40 minutes west of Nowra, NSW. While I was there I spent a lot of the
- [In Profile: Wyatt Moss-Wellington, Sanitary Apocalypse](https://www.realtime.org.au/in-profile-wyatt-moss-wellington-sanitary-apocalypse/) - Sanitary Apocalypse Artist Statement I had the idea for a narrative about a world spray-and-wiped into apocalypse years ago after reading an article about dirt pills given to children in the United States to boost their bacteria. When I was completing my last album, Gen Y Irony Stole My Heart, I was already thinking about
- [Introducing theatre master Lee Breuer](https://www.realtime.org.au/introducing-theatre-master-lee-breuer/) - Lee Breuer with some of the cast of La Divina Caricaturaphoto Beatriz SchillerLee Breuer with some of the cast of La Divina Caricatura Leading American theatre innovator Lee Breuer is to conduct a masterclass in Australia in July. In this article reproduced from The Brooklyn Rail, he is interviewed about his work by Kyoung H
- [A reason to care for strangers](https://www.realtime.org.au/a-reason-to-care-for-strangers/) - Bryony Kimmings, Taylor Houchen, Credible Likeable Superstar Role Modelphoto Richard Davenport Bryony Kimmings, Taylor Houchen, Credible Likeable Superstar Role Model The memory of a critic reserves permanent house seats for those works that provide an introduction to some new form or practice, no matter that it’s old hat to everyone else. Even more treasured are
- [Blak Wave rising](https://www.realtime.org.au/blak-wave-rising/) - Carly Sheppard, White Facephoto Gregory LorenzuttiCarly Sheppard, White Face A collection of new works by emerging Indigenous artists is always cause for celebration. This year’s Next Wave Festival announces a key initiative in Blak Wave, a program comprising seven new art projects, a series of talks and, significantly, a publication edited by Torres Strait Islander
- [The imagination writ large](https://www.realtime.org.au/the-imagination-writ-large/) - Benjamin Brooker: 2014 Adelaide Festival—theatre
- [Tools for fantasy](https://www.realtime.org.au/tools-for-fantasy/) - Lydia Nicholson, Nadia Rossi, You Wanna Talk About It? photo Cynthia GemusLydia Nicholson, Nadia Rossi, You Wanna Talk About It? Local Adelaide company isthisyours decided to stage their Fringe production, You Wanna Talk About It? in the no-nonsense atmosphere of the Carl Linger Hall above the rustic German Club. For a minute I thought I’d
- [In the moment with Deborah Hay](https://www.realtime.org.au/in-the-moment-with-deborah-hay/) - Deborah Hayphoto Rino PizziDeborah Hay I’m a performer as well, and I’ve started writing over the last two years. I’ve done a couple of interviews for RealTime and I was thinking a little bit about how strange it is to be in this format where I ask questions and you answer them…and how kind of
- [Enduringly queer: Day for Night, Performance Space](https://www.realtime.org.au/enduringly-queer/) - Hissy Fit, Day for Nightphoto Lucy Parakhina Hissy Fit, Day for Night, photo Lucy Parakhina Durational work rewards best the viewer who can contribute its essential ingredient: time. I thought of the artists in Performance Space’s Day for Night as they kicked off midday Thursday, but like most was unable to leave my desk. I
- [Another kind of cinema](https://www.realtime.org.au/another-kind-of-cinema/) - Situated Cinema, artists Solomon Nagler and Alexandre Larosephoto Louise M CooperSituated Cinema, artists Solomon Nagler and Alexandre Larose The visibility of the projected image is an issue of physical and cognitive events meeting in space. Situated in the gloom of the gallery are references to cinema, a cultural form until recently regarded purely as a
- [Tacita Dean takes to the stage](https://www.realtime.org.au/tacita-dean-takes-to-the-stage/) - Tacita Deanphoto Jim RaketeTacita Dean In 2013, Melbourne’s ACCA presented the first showing of the celebrated British artist Tacita Dean’s epic kaleidoscopic anamorphic film installation, FILM (2011), since its debut in the voluminous space of the Tate Turbine Hall in London. Less than a year later and Tacita Dean is returning to Australia, again at
- [Obituary: Robert Ashley](https://www.realtime.org.au/obituary-robert-ashley/) - Robert Ashley, 2006photo Joanne Savio, courtesy Lovely MusicRobert Ashley, 2006 In the early 90s I was composing several experimental operas with Douglas Horton and Chamber Made Opera. As I knew Robert Ashley’s work, Douglas showed me the score of Ashley’s Improvement: Don Leaves Linda, to see how a version might be created for a Chamber
- [Clarinet variations](https://www.realtime.org.au/clarinet-variations/) - François Houle, Richard Johnsonphoto Susan ClarkeFrançois Houle, Richard Johnson Despite a recent change in ownership it is good to see that Smith’s Alternative Bookshop in Canberra City continues to present live music events of the kind that distinguishes this venue from others in Canberra. As a flow-on from the annual SoundOut festival of improvised music,
- [Organic performance growth](https://www.realtime.org.au/organic-performance-growth/) - Genevieve Trace, Aurelian, produced by Metro Arts & Brisbane Festivalphoto Sean YoungGenevieve Trace, Aurelian, produced by Metro Arts & Brisbane Festival Brisbane has a secret, one that has been recently discovered by a swathe of performance-makers from interstate: our grand old lady Metro Arts. She is five storeys high, with an imposing stone facade, a
- [We go to places you can’t go / in real life.](https://www.realtime.org.au/we-go-to-places-you-cant-go-in-real-life/) - Here is a true rarity, an Australian book celebrating the long life and distinctive vision of a theatre company—Geelong’s internationally successful Back to Back Theatre ensemble. Rather than its works being playwright-driven, the company is an exemplar of contemporary performance, teaming an intensely collaborative director, designers and composers with performer-devisors with perceived intellectual disabilities to
- [Meta-theatrical magic](https://www.realtime.org.au/meta-theatrical-magic/) - Ganesh Versus the Third Reich, Back to Back Theatrephoto Zan WimnberleyGanesh Versus the Third Reich, Back to Back Theatre Like a sports fan avoiding the final score so as to enjoy watching the game later, I have tried to avoid reviews of Back to Back Theatre’s Ganesh Versus the Third Reich. But it can’t be
- [Nasty noses](https://www.realtime.org.au/nasty-noses/) - Nicci Wilks, Derek Ives, Clare Bartholomew, The Long Pigs photo Ponch Hawkes Nicci Wilks, Derek Ives, Clare Bartholomew, The Long Pigs It’s become a contemporary cliché, thanks to the murderous activities of John Wayne Gacy and subsequent media myth creation, that clowns are evil. Of course clowns have always been naughty, deviant even—the role the
- [Dark mothering](https://www.realtime.org.au/dark-mothering/) - Mary Hellen Sassman, Frankenstein, courtesy Malthouse Entire industries have been built on the anxieties of motherhood, and it seems that when women aren’t being told how they’re doing it wrong they’re being sold something that will do it better. None of this makes it any easier when it comes to seriously examining the existential issues
- [Obituary: James Waites](https://www.realtime.org.au/obituary-james-waites/) - James Waitesphoto Brett Monaghan James Waites Reviewing James Waites’ Whatever happened to the STC Actors Company? (Platform Paper 23, Currency House, April 2010), I began by declaring it “a rarity in Australian writing about the theatre. If more like investigative journalism (was the ensemble killed off?) than formal essaying (if not without considered theses), it’s
- [Epic tribute to more desperate times](https://www.realtime.org.au/epic-tribute-to-more-desperate-times/) - Jackson Davis, Carly Young, Yowza Yowza Yowzaphoto Dara GillJackson Davis, Carly Young, Yowza Yowza Yowza A man and woman are dancing a slow waltz in vaguely 1930s attire. They are re-enacting the dance marathons of the Great Depression that took place mainly in the US. Following the original rules of these events, the couple will
- [The intricacies of conflict](https://www.realtime.org.au/the-intricacies-of-conflict/) - Diana Damian Martin: Theatre Ad Infinitum, Ballad of the Burning Star
- [The power of collaboration](https://www.realtime.org.au/the-power-of-collaboration/) - Wedhus Gembel, Snuff Puppets & Theatre Garasiphoto Jorge de AraujoWedhus Gembel, Snuff Puppets & Theatre Garasi The World Theatre Festival 2014 program was a fold-out brochure rather than the plump booklet of years past. Missing was the Graeme Wood Foundation sponsor logo and the swathe of local creative development showings. While the buzz was still
- [Marketplace intensity](https://www.realtime.org.au/marketplace-intensity/) - I Think I Can, Terrapin Puppet Theatrephoto Matt JelonekI Think I Can, Terrapin Puppet TheatreIt was my first time and I have to say it was a good time. APAM 2014, or the Australian Performing Arts Market (18-22 February) celebrated its 20th anniversary with a series of firsts: Brisbane as first-time host and the first
- [Enter the real world](https://www.realtime.org.au/enter-the-real-world/) - Erin Brannigan: Sydney Dance Company, Interplay
- [Cellular wisdom](https://www.realtime.org.au/cellular-wisdom/) - Deborah Hay, No Time To Flyphoto Rino PizziDeborah Hay, No Time To Fly If only it were possible to capture the colour of Deborah Hay’s language on the page; the long thoughtful pauses, the enviable American diction of each final consonant pronounced, the transparent emotionality of feeling each phrase before moving to the next, sharing
- [See, and hear, history come and go](https://www.realtime.org.au/see-and-hear-history-come-and-go/) - In the Heart of Our Pastphoto Jason RichardsonIn the Heart of Our Past Narrandera’s 20th John O’Brien Festival celebrates the poetry of Father Patrick Hartigan, famous for characterising pessimistic farmers with the lines “We’ll all be rooned,” said Hanrahan, “before the year is out” (Said Hanrahan, 1921). Arriving at the railway station for The CAD
- [Enjoying the heat in the kitchen](https://www.realtime.org.au/enjoying-the-heat-in-the-kitchen/) - Annette Tesoriero & Cathie Travers, Month in the Country creative development residency Olive & Concettina, 2013 with Nigel Kellawayphoto Heidrun LöhrAnnette Tesoriero & Cathie Travers, Month in the Country creative development residency Olive & Concettina, 2013 with Nigel Kellaway Our ongoing focus on arts centres and organisations in Western Sydney and regional NSW—in the Eastern
- [Documentary democratisation](https://www.realtime.org.au/documentary-democratisation/) - Andy Ross, Well Beyond Water“This is now a powerful weapon,” says Sydney-based English musician and record producer Andy Ross, holding up a domestic handycam. It’s the modest camera he used to shoot his award-winning documentary debut Well Beyond Water—a film he says was made “literally without knowing what I was doing.” Back in December, On
- [Immaculate conception](https://www.realtime.org.au/immaculate-conception/) - Mark Wilson, Unsex Mephoto Harmony NicholasMark Wilson, Unsex Me The premise of Unsex Me is that a high profile performer, “the award-winning actress Mark Wilson,” is doing press for an upcoming film project—a collaboration between her father (an esteemed director), her partner (who plays Macbeth) and herself (as Lady Macbeth). Her prima ballerina mother presumably
- [True cause to celebrate](https://www.realtime.org.au/true-cause-to-celebrate/) - Keith Gallasch: John Zorn: Zorn in Oz
- [Five days in other worlds](https://www.realtime.org.au/five-days-in-other-worlds/) - Keith Gallasch: 2014 Perth International Arts Festival
- [You, me, the theatre: is it enough?](https://www.realtime.org.au/you-me-the-theatre-is-it-enough/) - Phil Soltanoff, An Evening With William Shatner Asteriskphoto Shilpa BakrePhil Soltanoff, An Evening With William Shatner Asterisk Leisure, writes philosopher Henri Lefebvre, is inherently alienating. Someone else manufactures an experience; you consume it. Take contemporary performance. Romanian theatre scholar George Banu says that with no gods to perform for we’re left to contemplate one another
- [It’s all about you](https://www.realtime.org.au/its-all-about-you/) - Tristan Meecham and contestants, Game Showphoto Ponch HawkesTristan Meecham and contestants, Game Show Attending a live art event? Make sure you go prepared. You’ll need conversational skills with subjects ranging from the banal to the topical to the personal; comfortable clothing so you’re ready for anything; and a special talent wouldn’t go astray. Can you
- [Told from the inside](https://www.realtime.org.au/told-from-the-inside/) - Tilda Cobham-Hervey, Del Herbert-Jane, 52 Tuesdaysphoto Bryan MasonTilda Cobham-Hervey, Del Herbert-Jane, 52 Tuesdays There’s change in the air in South Australia. With much credit due to the South Australian Film Corporation’s now defunct FilmLab program for emerging filmmakers (a workshop-based program with funding—now ceased—that led to the development and production of several short and long-form
- [The water crisis:  action or wet dreams?](https://www.realtime.org.au/the-water-crisis-action-or-wet-dreams/) - Kim Pörksen & Sven Meyer, Sonic Waterphoto Kim PörksenKim Pörksen & Sven Meyer, Sonic Water A waterwheel can convert the energy of falling or free-flowing water into expedient forms of power. The limitation on its functionality however is its dependence on flow, which effects where it can be located. Igneous, Inkahoots and Suzon Fuks’ ambitious
- [Suffering and the limits of sympathy](https://www.realtime.org.au/suffering-and-the-limits-of-sympathy/) - Kym Vercoe, seven kilometres north-eastphoto Heidrun LöhrKym Vercoe, seven kilometres north-east Physical pain has no voice, but when at last it finds a voice, it begins to tell a story…” Elaine Scarry, The Body in Pain (1985) This observation comes from Scarry’s introduction to her seminal work on pain, its full title—The Body in Pain,
- [For bodies at risk](https://www.realtime.org.au/for-bodies-at-risk/) - Mike Parr, Daydream Islandphoto Zan Wimberley, courtesy & © Mike ParrMike Parr, Daydream Island “It is crucial…in advancing art’s political agency, to identify and make visible—and open to discussion—the forces in play…” Dean Kenning and Margareta Stern, ‘Which side is art on?’ Art Monthly, Sept 2013. A performance by Mike Parr is always an event
- [RT120 Editorial](https://www.realtime.org.au/rt120-editorial/) - Dance Journalism #1 - protest action at the Yongah Hill Immigration Detention Centre, 2013, dancer Sam Fox. photo Alex BainbridgeDance Journalism #1 - protest action at the Yongah Hill Immigration Detention Centre, 2013, dancer Sam Fox. The choice of our featured theme, art, empathy & action, was triggered by what appears to be a failure
- [Place: Split, Croatia](https://www.realtime.org.au/place-split-croatia/) - Split, Riva, criss cross, 2014photo Peter VolichSplit, Riva, criss cross, 2014 We asked ex-pat photomedia artist Peter Volich for a photo essay of the city which he currently calls home. Eds. (Click images to enlarge.) Reason for travelling In 2011-13 I lived and worked in a remote Aboriginal community called Fregon, located in the Anangu
- [In Profile: Alison Bennett, Shifting Skin](https://www.realtime.org.au/in-profile-alison-bennett-shifting-skin/) - Alison Bennett, Shifting Skincourtesy the artistAlison Bennett, Shifting Skin Artist statement Shifting Skin is a series of artworks featuring 3D augmented reality over high quality photographic prints of human skin marked by tattoos. This work was made in the course of my creative practice research as a member of the Deakin Motion.Lab. Development was guided
- [In Profile: Chris Howlett, ARGARMENIA](https://www.realtime.org.au/in-profile-chris-howlett-argarmenia/) - Chris Howlett, ARGARMENIAcourtesy the artistChris Howlett, ARGARMENIA Chris Howlett was recently awarded the 2013 Jeremy Hynes Award (given out every two years through IMA to a Queensland experimental artist), with a particular nod given to ARGARMENIA (ARG). This alternate reality game, taking place in both real and virtual spaces, was the result of a three-month
- [Finding form](https://www.realtime.org.au/finding-form/) - Sam Chester's Safety in Numbersphoto Heidrun LöhrSam Chester's Safety in Numbers Dance has long been popular in Sydney’s west. Once upon a time there was even a tertiary dance course producing professional choreographers and dancers. The demise of dance studies at University of Western Sydney was a significant loss but dance culture in the west
- [The soldier inside](https://www.realtime.org.au/the-soldier-inside/) - Deborah Leiser-Moore, KaBooM photo Lachlan WoodsDeborah Leiser-Moore, KaBooM I recently met with a very happy Deborah Leiser-Moore to discuss her busy career (which includes performing in a new work by Richard Schechner in New York this year), her latest creation, KaBooM, to premiere in April in Melbourne, and the Lee Breuer Masterclass (Breuer, a co-founder
- [The Arteffect](https://www.realtime.org.au/the-arteffect/) - These are troubling times. Every day there seems to be another insidious attack on the principles and infrastructures that sustain democracy, and the decency and the responsibility to treat all humans equally. That’s a broad brushstroke statement, but the attacks are broad ranging, threatening Indigenous rights, asylum seekers’ rights, climate action, marriage equality, corporate accountability,
- [Music's mysterious magic](https://www.realtime.org.au/musics-mysterious-magic/) - Keith Gallasch: Sydney Festival, part 2
- [Telepathic dreaming & the art of mind](https://www.realtime.org.au/telepathic-dreaming-the-art-of-mind/) - Dream Zone, digital compilation from screen, Karen Caseycourtesy the artist and Anna Pappas GalleryDream Zone, digital compilation from screen, Karen Casey “Technology-based art has well and truly cemented itself in the cultural milieu,” writes hybrid artist Karen Casey. Aboriginal artists working with media technologies today create works that present a marriage of tradition and technology,
- [Speculative ecologies](https://www.realtime.org.au/speculative-ecologies/) - Expedition # 25, 2009, archival print from The Glacier Studies series—part of Singaporean artist Robert Zhau’s faux-scientific documentation of his expedition to the North Pole. “Yellow Vest Syndrome” first caught my attention among Jasmin Stephens’ recent curatorial projects. A Western Australian phenomenon, Yellow Vest Syndrome sums up being able to do whatever the f… you
- [Hectic, eclectic, enthralling](https://www.realtime.org.au/hectic-eclectic-enthralling/) - Gail Priest: MONA FOMA 2014, Hobart
- [The consolations of philosophical theatre](https://www.realtime.org.au/the-consolations-of-philosophical-theatre/) - Margaret Cameron, Opera for a Small Mammalphoto Daisy NoyesMargaret Cameron, Opera for a Small Mammal At La Mama Theatre the audience competes for room with the modest set of Margaret Cameron’s one-woman play Opera for a Small Mammal. We crowd around the edge of the oversized tree-trunk cross-section serving as a stage. Extra seats are
- [A life from many angles](https://www.realtime.org.au/a-life-from-many-angles/) - Max Sharam, The Hanging Of Jean Leephoto Ponch HawkesMax Sharam, The Hanging Of Jean Lee It’s hard to decide whether this collaboration between Andrée Greenwell, Jordie Albiston and Abe Pogos is a fantastical chimera or clambering Frankenstein’s monster. It’s certainly a thing of many parts that don’t always hang together, yet are often terrifically powerful
- [Playful, intimate, humane horror](https://www.realtime.org.au/playful-intimate-humane-horror/) - Hilary Cole and company, Carrie the Musicalphoto courtesy SquabbalogicHilary Cole and company, Carrie the Musical Opening last year at Sydney’s Reginald Theatre on a fittingly threatening night, the Australian premiere of Carrie the Musical emphasised humanity over horror spectacle. Adapted from Stephen King’s seminal first novel about a teenage outcast with psychokinetic abilities, the musical
- [Signalling by light and sound](https://www.realtime.org.au/signalling-by-light-and-sound/) - Clinton Green: Bogong ELECTRIC 2013
- [Making meaning as you journey](https://www.realtime.org.au/making-meaning-as-you-journey/) - André de Ridder (conductor) and Liza Lim (composer), Tongue of the Invisible rehearsalphoto Klaus RudolfAndré de Ridder (conductor) and Liza Lim (composer), Tongue of the Invisible rehearsal Today we are likely to hear the word “peregrination” as meaning “a meandering journey.” In 12th century Anglo-Norman and Middle French the word referred to one’s earthly journey
- [Indeterminate realities, comic truths](https://www.realtime.org.au/indeterminate-realities-comic-truths/) - Sarah Gilesphoto James GilesSarah Giles Fresh from her success directing the opera double bill His Music Burns for the Sydney Chamber Opera in the 2014 Sydney Festival (see review), a radiantly cheerful Sarah Giles tells me she started young. At 15, with some fellow students she “directed a ludicrously ambitious production of Kafka’s The Trial,
- [Everyday listening performatively large](https://www.realtime.org.au/everyday-listening-performatively-large/) - Tom Davies, PUBLICvideo still Tamara Saulwick;Tom Davies, PUBLIC I’m sitting, uncertain to begin with, wearing headphones; listening to fragments of conversations with no definite source. It takes a while—quite a while—to figure out who’s where; and often—usually—I can only locate one performer at a time. The other three are elusive, hidden amid the packed food
- [Without the safety net of definition](https://www.realtime.org.au/without-the-safety-net-of-definition/) - Bryony Kimmings and Taylor, Credible Likeable Superstar Role Model, photo courtesy the artist One of the biggest challenges facing the organisers of the upcoming Festival of Live Art (FOLA) in Melbourne is defining the damned thing. Many of the artists in the festival don’t even use the term to describe their work, and those who
- [Catastrophe & mind time](https://www.realtime.org.au/catastrophe-mind-time/) - Stone/Castro, Blackoutimage by RodeoStone/Castro, Blackout Death, paranoia and catastrophe define the 10-year-old body of work of Australian/Portuguese performance duo Stone/Castro. It is no accident the company formed two years after the September 11, 2001 terrorist attacks. Jo Stone, a Flinders University Drama Centre graduate, was in New York the day extremists toppled the great symbol
- [For those game to wait](https://www.realtime.org.au/for-those-game-to-wait/) - Waiting Room, Born in a Taxiphoto Paul DunnWaiting Room, Born in a Taxi Strange things can happen while we’re waiting, beneath the spell of the cosmic joke, as Beckett showed us 60 years ago with Waiting for Godot. In the Waiting Room, Born in a Taxi’s reworking of their 2008 show, we are made to
- [A haunting illumination](https://www.realtime.org.au/a-haunting-illumination/) - Jane Longhurst, The Green Roomphoto Jesse John HunnifordJane Longhurst, The Green Room It’s a rare hot day as I wade through the long grass on Hobart’s Queen’s Domain. The venue I’m ushered towards, the Victoria Gunpowder Magazine, is a place many Tasmanians have never seen, hidden as it is behind various sports grounds. Built in
- [Boy on the edge of obliteration](https://www.realtime.org.au/boy-on-the-edge-of-obliteration/) - Anthony Weir, Michael Cutrupi, The Violent Outburst That Drew Me To Youphoto Heidrun LöhrAnthony Weir, Michael Cutrupi, The Violent Outburst That Drew Me To You “He’s a little shit,” offers a 15-year-old audience member from Mount Druitt, in a succinct evaluation of the protagonist in the premiere production of The Violent Outburst That Drew Me
- [Ominous and off-kilter](https://www.realtime.org.au/ominous-and-off-kilter/) - Tammy Weller, Anna Mowry, The Grandphoto Aaron AshleyTammy Weller, Anna Mowry, The Grand The inaugural year of The Gold Coast Arts Centre’s intrepid Independent Season closed with the debut of Victoria Carless’ The Grand, produced by Gold Coast independent company, White Rabbit, led by director Lisa Smith. Carless grew up in Cairns and won the
- [Troubled transgression](https://www.realtime.org.au/troubled-transgression/) - Bryony Geeves, Sara Pensalfini, She’s Not Performingphoto Carlie DevineBryony Geeves, Sara Pensalfini, She’s Not Performing Supported by the Tasmanian Theatre Company’s Associate Artists’ Program, this is the second incarnation of Alison Mann’s She’s Not Performing. The first was an acclaimed 2010 production at La Mama in Melbourne, directed by Kelly Somes. I understand that production
- [Becoming environment](https://www.realtime.org.au/becoming-environment/) - Linda Luke, Inner Garden, De Quincey Cophoto Wendy KimptonLinda Luke, Inner Garden, De Quincey Co In an open class demonstration, 20 performers walk carefully crossing lines of string stretched across the floor. Their bare toes curl and reach to find the string’s edge, bodies sway and wobble as core muscles try to hold gravity’s centre,
- [Adelaide uncompromisingly](https://www.realtime.org.au/adelaide-uncompromisingly/) - Ben Brooker: Australian Bureau of Worthiness; Caleb Lewis, STCSA
- [Curating, caretaking & growing their own](https://www.realtime.org.au/curating-caretaking-growing-their-own/) - Julian Louisphoto Megan Louis Julian Louis Julian Louis recalls attending a lecture at NIDA delivered by Lyndon Terracini, founder of Northern Rivers Performing Arts (NORPA). “He was talking about creating theatre around the culture of place. I remember writing in my notebook, ‘I should call this guy for a job one day.’” Several years later
- [For the wounded: theatre & reality](https://www.realtime.org.au/for-the-wounded-theatre-reality/) - Bjorn Stewart, Jack Charles, Matthew Cooper, Coranderrk, Belvoir & ILBIJERRI Theatre Companyphoto Patrick BolandBjorn Stewart, Jack Charles, Matthew Cooper, Coranderrk, Belvoir & ILBIJERRI Theatre Company Documentary theatre—commonly a re-imagining of an era or event using documents, verbatim material and images, an unfolding story and an ensemble of performers often playing multiple roles—has long settled into
- [Cornered chaos; soccer un-danced](https://www.realtime.org.au/cornered-chaos-soccer-un-danced/) - Vergephoto Jennie LargeVerge Patrice Smith’s Verge narrows focus to a corner space where three ‘concentrated states’ strike the walls of consciousness, tipping decision towards vertigo or, when read in succession, leading the viewer on a trajectory of disintegrating control through teetering balance, withdrawal and aggressive release. Patrice Smith, in her relatively short career, has exhibited
- [Inside the body, behind the mask](https://www.realtime.org.au/inside-the-body-behind-the-mask/) - Aorta, Chunky Movephoto Jeff BusbyAorta, Chunky Move To turn the body inside out and reveal its systems one by one is the purpose of the science of anatomy. AORTA, the final work of 2013 by choreographer Stephanie Lake, also seeks to show the world beneath our skin, but as kinetic poetry. It is an ambitious
- [Salt & self-worth](https://www.realtime.org.au/salt-self-worth/) - Jianna Georgiou, Salt, Restless Dance Theatrephoto Chris HerzfeldJianna Georgiou, Salt, Restless Dance Theatre There is a moment of great theatrical and human boldness in this performance. After performer Dana Nance (who has shortened arms) tells of the first three years of her life spent in an orphanage, the persecution and exclusion of this situation is
- [The strengths & limits of form](https://www.realtime.org.au/the-strengths-limits-of-form/) - Erin Brannigan: Bangarra Dance Theatre, Clan 3
- [Dance stands up for itself](https://www.realtime.org.au/dance-stands-up-for-itself/) - Gideon Obarzanek and Sydney Dance Company dancers in rehearsalphoto Peter GriegGideon Obarzanek and Sydney Dance Company dancers in rehearsal The Sydney Dance Company’s forthcoming triple bill, Interplay, features new works by artistic director Rafael Bonachela, former Frankfurt Ballet soloist and collaborator with William Forsythe, Jacopo Godani (interview RT101) and ex-Chunky Move artistic director Gideon Obarzanek.
- [Forces resisted & revealed](https://www.realtime.org.au/forces-resisted-revealed/) - Heather Dewey-Hagborg’s Stranger Visions (2012)photo David Lawrey, courtesy the artistHeather Dewey-Hagborg’s Stranger Visions (2012) It is now possible to know almost everything about our existence via information gleaned from the objects we’ve touched, websites visited and purchases we’ve made. Our presence is constantly being recorded via a network of private and governmental security cameras and
- [Sometimes a seam, sometimes a disconnect](https://www.realtime.org.au/sometimes-a-seam-sometimes-a-disconnect/) - Smitha Cariappa, Lying on the floor, floured performance photo Yeehwan YeohSmitha Cariappa, Lying on the floor, floured performance The word ‘seam’ makes me think of a repetitive action, stitching threads by hand crisscrossing a line, or by machine sewing up and down, in and out, most often along a linear trail. At this time of
- [The good earth](https://www.realtime.org.au/the-good-earth/) - CoalFace, Norie Neumark and Maria Mirandacourtesy the artistsCoalFace, Norie Neumark and Maria Miranda “Overburden” is what miners call the stuff that is on top of the coal they want to get at. In Norie Neumark and Maria Miranda’s exhibition CoalFace at the Library Artspace, Overburden is the title of a photograph of a lush Gippsland
- [Audiovision: Pseudo-cinema & deus ex musica](https://www.realtime.org.au/pseudo-cinema-deus-ex-musica/) - Philip Brophy: ACCA, Crescendo
- [Cautionary tales: under the eye of ASIO](https://www.realtime.org.au/cautionary-tales-under-the-eye-of-asio/) - ASIO surveillance photo, Frank Hardy, George St Sydneycourtesy Australian National ArchiveASIO surveillance photo, Frank Hardy, George St Sydney An intelligence agency out of control. Australian artists defending totalitarian regimes. Volunteer spies led on for decades and then left in the cold. Haydn Keenan’s four-part documentary Persons of Interest offers a wealth of cautionary tales whichever
- [The trouble with tragedy](https://www.realtime.org.au/the-trouble-with-tragedy/) - Keith Gallasch
- [A community fights back](https://www.realtime.org.au/a-community-fights-back/) - Virginia Baxter: FUNPARK
- [Thinking bigger in Parramatta](https://www.realtime.org.au/thinking-bigger-in-parramatta/) - Robert Love, courtesy Riverside Theatres Robert Love, director of the endlessly busy Riverside Parramatta, is passionate, argumentative and often very funny about the arts in Western Sydney (he has a great stock of telling anecdotes). Given that the greater part of Sydney lies in the west and a third of the NSW population lives there,
- [Creating our own centre](https://www.realtime.org.au/creating-our-own-centre/) - Michael Dagostino, Made in Australia exhibition by Jamil Yamanicourtesy CACMichael Dagostino, Made in Australia exhibition by Jamil Yamani A very happy Michael Dagostino, Director of Campbelltown Arts Centre, enthuses about the first annual program he feels is really indicative of his vision, constructed, he tells me, with “the new life and energy” brought to the
- [History never repeats](https://www.realtime.org.au/history-never-repeats/) - Caroline Wake, with Keith Gallasch and Virginia Baxter
- [RT119 Editorial](https://www.realtime.org.au/rt119-editorial/) - Sarah Rodigari, Filibuster of Dreams, presented at Arts House, part of the Festival of Live Art (FOLA), 13-30 Marchphoto Jessica OlivieriSarah Rodigari, Filibuster of Dreams, presented at Arts House, part of the Festival of Live Art (FOLA), 13-30 March In “The trouble with tragedy,” 2014 Sydney Festival productions inspire Keith Gallasch to ponder contemporary meanings
- [Sasha Waltz in conversation](https://www.realtime.org.au/sasha-waltz-in-conversation/) - Martin del Amo, Sasha Waltz, Nadia Cusimano in conversation at the Goethe Institutphoto Wesley NelMartin del Amo, Sasha Waltz, Nadia Cusimano in conversation at the Goethe Institut While German choreographer Sasha Waltz was in Sydney presenting her epic ballet/opera Dido & Aeneas she participated in a public conversation with Nadia Cusimano, facilitated by Martin del
- [SCANNER 2014: The Experimenters, Part 2](https://www.realtime.org.au/scanner-2014-the-experimenters-part-2/) - Sam Haren | Simone Hine & Clare Rae | Cat Hope | IETM Satellite | George Poonkhin Khut | Stephanie Lake | Larissa McGowan | Wade Marynowsky | Nancy Mauro-Flude | Tristan Meecham | Roslyn Oades | starrs & cmielewski | Joel Stern | Lara Thoms | Eugene Ughetti | Malcolm Whittaker | David Williams
- [Radical percussions](https://www.realtime.org.au/radical-percussions/) - Eugene Ughetticourtesy the artistEugene Ughetti Over the past decade, percussionist Eugene Ughetti and his ensemble, Speak Percussion, have commissioned a startling catalogue of works by emerging and established Australian composers. As part of an MCA/Freedman Fellowship for Classical Music, Ughetti has brought these works together as a living portrait of Australian solo percussion music. Ughetti’s
- [SCANNER 2014: The Experimenters, Part 1](https://www.realtime.org.au/scanner-2014-the-experimenters-part-1/) - The Chinese Year of the Wooden Horse (so the internet tells me) promises high-energy adventure, off-beat travels and production over procrastination. To get the year galloping I asked emerging and established arts experimenters what they're up to and what we can look forward to in 2014. Their responses reveal an astonishing diversity of ideas, methodologies,
- [Amplified by the power of three](https://www.realtime.org.au/amplified-by-the-power-of-three/) - Lloyd Swanton, Tony Buck, Chris Abrahams, The Necks photo Camille Walsh PhotographyLloyd Swanton, Tony Buck, Chris Abrahams, The Necks Over a 25-year career of music making, The Necks have become renowned for live performances that leave audiences mesmerised and dazed. Although their simple, repetitive aesthetic seems to straddle the minimalism of Steve Reich and the
- [Kim Machan: re-visioning the horizon](https://www.realtime.org.au/kim-machan-re-visioning-the-horizon/) - Derek Kreckler, Untitled videocourtesy the artistDerek Kreckler, Untitled video Kim Machan had to be even more resilient than her usual indefatigable self when she was informed late in 2013 that MAAP-Media Art Asia Pacific, the organisation of which she is director, was not to receive triennial funding from the Queensland Government for 2014-16. I spoke
- [Confronting the canon](https://www.realtime.org.au/confronting-the-canon/) - Mish Grigor, post, rehearsals for Oedipus Schmoedipusphoto Brett BoardmanMish Grigor, post, rehearsals for Oedipus Schmoedipus My contribution to this RealTime series on women and performance establishes a conversation between female performers about processes of working, negotiating the established (funded) industry, gender, feminism, sexuality, the impetus to make work, the support networks or community important to
- [New selves made by dancing](https://www.realtime.org.au/new-selves-made-by-dancing/) - Andrew Mujunen, Daniel Monks, Catalyst Dance Masterclass Series, Second Skin photo Gisella VollmerAndrew Mujunen, Daniel Monks, Catalyst Dance Masterclass Series, Second Skin The Catalyst Dance Masterclass Series, Second Skin, was an impressive studio showing of dancers with varying degrees of ability working closely with professional choreographers to realise three short works with as many as
- [Are you worth your salt?](https://www.realtime.org.au/are-you-worth-your-salt/) - Lorcan Hopper, SALT, Restless Dance Theatrephoto Sam Oster Lorcan Hopper, SALT, Restless Dance Theatre “You are the salt of the earth” and “Are you worth your salt?” are expressions that hark back to ancient times when one’s labour could be paid for in the form of this mineral, most likely as an allowance as part
- [Wish you were here](https://www.realtime.org.au/wish-you-were-here/) - Room 2516, Shangri-la, Isobel (2013), Robyn Stacey, Guest Relationscourtesy the artist and Stills Gallery SydneyRoom 2516, Shangri-la, Isobel (2013), Robyn Stacey, Guest Relations In Christopher Nolan’s 2010 feature film Inception, the city vertiginously bends, buckles and warps, inverting our sense of up, down and other dimensions. Although Nolan’s trickery quickly runs out of puff—opportunities to
- [Bringing Russian art to light](https://www.realtime.org.au/bringing-russian-art-to-light/) - Richard Bell (Australia, 1953), One Day You'll All Be Gone (Bell's Theorem), 2011courtesy of the artist and Milani Gallery, BrisbaneRichard Bell (Australia, 1953), One Day You'll All Be Gone (Bell's Theorem), 2011 Bulgarian artist Samuil Stoyanov’s video 10 min Geozavod (2012) shows the artist whirling a light-bulb on the end of a cable around his
- [Between desire and silence](https://www.realtime.org.au/between-desire-and-silence/) - Bodhasāra, Chronology Arts & New Music NetworkThe absorption of Hindu thought into Western music making is not necessarily about adopting Indian musical forms. Holst’s one-act chamber opera Savitri (1916) is not imitative, nor is it textured with the kind of ‘oriental’ flourishes heard in Delibe’s Lakme (1883); both draw on Hindu mythology. In Chronology Arts’
- [Taking flight in a living room](https://www.realtime.org.au/taking-flight-in-a-living-room/) - Anneli Bjorasen, Turbulencephoto David YoungAnneli Bjorasen, Turbulence Despite being the closest any of us will come to experiencing a miracle, air travel is marked by boredom and sustained physical discomfort. With its staging of the explosive relationship between a mother and daughter in an apartment only wide enough for five seats and an airline trolley,
- [The poetry of catastrophe](https://www.realtime.org.au/the-poetry-of-catastrophe/) - Klare Lanson & Kathrin Ward, #wanderingcloud - Campbells Creekphoto Kathryn BaulchKlare Lanson & Kathrin Ward, #wanderingcloud - Campbells Creek You walk into the Theatre Royal, Castlemaine’s versatile theatre-gig-cinema-performance-space, into a partitioned-off candle-lit bar where projections of pastures, eucalypts and dissolving clouds loop onto large hanging canvas, mingling with the sound of feedback and frogs. You
- [Intimate transformations](https://www.realtime.org.au/intimate-transformations/) - Cat Jones, The Plantarum: Empathic Limb Clinic, Proximity Festival photo Fionn MulhollandCat Jones, The Plantarum: Empathic Limb Clinic, Proximity Festival Partaking in Perth’s Proximity Festival makes one feel a little like Alice in Wonderland, inducing an expansive tumbling sensation of descending into a deeper, hidden consciousness. Held throughout the late Victorian home of the Perth
- [Performative experiments & perspectives](https://www.realtime.org.au/performative-experiments-perspectives/) - Felicity Tchorlian, Ragnarök /or how it ended/, Shopfrontphoto Howard MatthewFelicity Tchorlian, Ragnarök /or how it ended/, Shopfront It’s a busy time for performance and live art, but the curatorial prospect of Civic Life is straightforward: give over the sprawling, boxy property that contains Shopfront Theatre to artists who’ve been hanging out, making work and maybe
- [The schooled audience](https://www.realtime.org.au/the-schooled-audience/) - James Berlyn, Crash Coursephoto Fionn Mulholland, Daxen PhotographyJames Berlyn, Crash Course James Berlyn’s Crash Course is a participatory theatre show that takes the form of an immersive language class. Before entering the classroom, the participants are informed by a terse teacher’s assistant they have endured an unspecified trauma and have subsequently lost the faculty of
- [War and theatre by other means](https://www.realtime.org.au/war-and-theatre-by-other-means/) - Jane Phegan, Olivia Stambouliah, The Vehicle Failed to Stop, Version 1.0photo Heidrun LöhrJane Phegan, Olivia Stambouliah, The Vehicle Failed to Stop, Version 1.0 The legacy of the Iraq War lives on in endless killing generated by an invasion predicated on lies and characterised by mismanagement—including dissolving the police force and army—and the realisation of an
- [A painful proximity to truth](https://www.realtime.org.au/a-painful-proximity-to-truth/) - Jordan Cowan, The Dark Roomphoto Shane ReidJordan Cowan, The Dark Room In The Dark Room, a horror story within a horror story, Angela Betzien reaches deeply into the heart of regional Australia to produce a savage, gothic thesis on socioeconomic disadvantage engendered by decades of institutional neglect and misapprehension. The overt racism of Edmund Barton’s
- [A republic of words, images, bodies](https://www.realtime.org.au/a-republic-of-words-images-bodies/) - Rebecca Youdell with audience, Bonemap, Nerve Enginephoto Tai InoueRebecca Youdell with audience, Bonemap, Nerve Engine Queensland is a river of contradiction. In the lead-up to a federal election that brought Brisbane three tiers of simultaneous conservative government for the first time, the Brisbane Festival launched a new hub for independent theatre, the QUT Theatre Republic,
- [Creative exploitations](https://www.realtime.org.au/creative-exploitations/) - Teenage Riot, Ontroerend Goedphoto Sarah WalkerTeenage Riot, Ontroerend Goed Cinema theory has a wonderful term that doesn’t quite have an equivalent in the discourse around theatre: exploitation. In both industry and critical parlance, the exploitation film has long been that which panders to a particular (often prurient) interest, ‘exploiting’ an exotic or vaguely taboo subject
- [Heat into movement](https://www.realtime.org.au/heat-into-movement/) - Alana Everett, Lauren Langlois, Rennie McDougall, Lily Paskas, Lee Serle, A Small Prometheusphoto Jodie HutchinsonAlana Everett, Lauren Langlois, Rennie McDougall, Lily Paskas, Lee Serle, A Small Prometheus The beginnings of a dance work, or any project for that matter, may be happenstance. A match is struck: the spark of an idea flashes, catches, gently glimmers
- [Re-inscribing nature](https://www.realtime.org.au/re-inscribing-nature/) - Joanne Mott, Grounded, 2013, native grasses, sedges and rushes, Palimpsestphoto John PowerJoanne Mott, Grounded, 2013, native grasses, sedges and rushes, Palimpsest “Palimpsest means a parchment that has been partly erased and re-inscribed. It evokes the marks made by human settlement on the land, the passage of time, presence and absence and the web of inter-dependence
- [Speaking of ghosts](https://www.realtime.org.au/speaking-of-ghosts/) - Deborah Mailman, Marcia Langton, The Darkside photo Tony MottDeborah Mailman, Marcia Langton, The Darkside Drawing upon primal fears of darkness and the mysteries of death, the ghost story is perhaps the most relatable of tales. With this feature-length addition to a venerable ghost anthology tradition which encompasses collections of stories from different cultures, eras and
- [The real thing](https://www.realtime.org.au/the-real-thing/) - Lemi Ponifasio, Stones In Her Mouthphoto MAULemi Ponifasio, Stones In Her Mouth A beaming Lisa Havilah, director of Carriageworks, the contemporary multi-arts centre located in Sydney’s Redfern, proudly guides me through the proof sheets of her 2014 program prior to its launch. It’s abundantly evident that Havilah has, over several labour intensive years, incrementally established
- [Festival-going & making choices](https://www.realtime.org.au/festival-going-making-choices/) - Cadavre Exquis, Kassysphoto Mette van der SijsCadavre Exquis, Kassys “What do you make of the Sydney Festival this year?” “What’s it all about?” “What should I see?” “Have you heard of any of these shows?” “Are they worth the price of a ticket?” These are questions directed at RealTime staff each year by festival-goers increasingly
- [Epics, legacies and continuities](https://www.realtime.org.au/epics-legacies-and-continuities/) - John Zornphoto Lolo VascoJohn Zorn The extensive contemporary music program for David Sefton’s 2014 Adelaide Festival marks the festival out from its Australian peers. Epic concerts will celebrate the art and legacy of John Zorn, leading a huge ensemble of remarkable musicians and Australia’s Elision; the riches of contemporary classical and experimental composition and playing
- [Onstage: liberated into other worlds](https://www.realtime.org.au/onstage-liberated-into-other-worlds/) - The Man Who Dreamt the Stars (development), Merrigong Theatre Company with The Disability Trustphoto Toby KnyvettThe Man Who Dreamt the Stars (development), Merrigong Theatre Company with The Disability Trust Companies like Back to Back, Restless Dance Theatre and Rawcus have shown that mixed ability collaborations can be profoundly productive, democratising the relationship between the able
- [Inter-abilities, networks & re-evolutions](https://www.realtime.org.au/inter-abilities-networks-re-evolutions/) - Shadow Tales: Rawcus and The Amplified Elephants, Melbourne Festivalphoto Tim McNeilageShadow Tales: Rawcus and The Amplified Elephants, Melbourne Festival Some disability arts groups are standalone, others partner with or emerge from existing organisations, for example Merrigong Theatre Company runs drama classes for Disability Arts in Wollongong NSW, out of which has come The Man Who
- [Finding a place  in the art world](https://www.realtime.org.au/finding-a-place-in-the-art-world/) - John Demos at Big Fag Pressphoto Louise AndersonJohn Demos at Big Fag Press How does the work of artists with a disability get framed by the art world? What goes on in the process of distributing, promoting and analysing the work of such artists? What structures of power and knowledge are involved? What criteria for
- [Sons & mothers,  from two angles](https://www.realtime.org.au/sons-mothers-from-two-angles/) - Ben Wishart, Duncan Luke, Ricky Samai and Ryan Rowland, Sons & Mothersphoto Alex FrayneBen Wishart, Duncan Luke, Ricky Samai and Ryan Rowland, Sons & Mothers “What makes someone a mother?” is the not-as-facile-as-it-sounds question deviser and director Alirio Zarvarce puts, over and over again, to the members of the No Strings Attached Men’s Ensemble in
- [Enabling Art: Introduction](https://www.realtime.org.au/enabling-art-introduction/) - Kym Mackenzie, Sons & Mothersphoto Alex FrayneKym Mackenzie, Sons & Mothers Art and disability programs, projects, artists and companies are changing the Australian cultural landscape, not only making us aware of the lives, passions and skills of people and, in particular, artists with disabilities but, more than that, introducing new challenges and possibilities for the
- [RT118 Editorial](https://www.realtime.org.au/rt118-editorial/) - Stella Barton, Accessible Arts NSW, Catalyst Dance Masterclass Series, Second Skinphoto Gisella VollmerStella Barton, Accessible Arts NSW, Catalyst Dance Masterclass Series, Second Skin Enabling Art, our first feature to focus on art and disability reveals a burgeoning field of diverse practices, intensive collaboration, innovation and divergent opinions about aims and terminology. Our coverage reaches from
- [In the loop 20 Nov: quick picks](https://www.realtime.org.au/in-the-loop-20-nov-quick-picks/) - The last in the loop for the year and it’s actionpacked. As it’s so huge we’ve made artform sections for easy browsing. Dive in… PERFORMANCE | DANCE | VISUAL/MEDIA ARTS | MUSIC | FILM PERFORMANCE This is Barbara Cleveland, Brown Councilphoto Lucy ParakhinaThis is Barbara Cleveland, Brown Council You’re History: Performance Space 30th Birthday The
- [In the loop 20 Nov: opportunities](https://www.realtime.org.au/in-the-loop-20-nov-opportunities/) - George Khut, Distillery: Waveforming 2012 (detail), developed with assistance from a 2011 Synapse residencycourtesy the artistGeorge Khut, Distillery: Waveforming 2012 (detail), developed with assistance from a 2011 Synapse residency 2014 Synapse Residencies, ANAT Applications are now open for the Synapse Residency program for projects in any discipline that involve collaboration between artists and scientists. Residencies
- [Sound, speed, rust and re-cycling](https://www.realtime.org.au/sound-speed-rust-and-re-cycling/) - The Canberra Pursuit, Jon Rose and collaborators, Canberra100photos Martin OllmanThe Canberra Pursuit, Jon Rose and collaborators, Canberra100 As part of Canberra’s Centenary celebrations, Jon Rose has presented the largest version to date of his Pursuit project, modifying over 130 bikes to become musical instruments. Below he offers a personal account of this unique art venture
- [A ghostly bonding](https://www.realtime.org.au/a-ghostly-bonding/) - Luke George and collaborators, Not About Face photo Nick Roux Luke George and collaborators, Not About Face I have moved in a flock—a flock of ghosts—led round an empty room by a mystical maverick. This is one memory, at least, that I can take away from Not About Face, a work to be felt and
- [Between meaning & pure physical eloquence](https://www.realtime.org.au/between-meaning-pure-physical-eloquence/) - Xiao Xiong Zhang, Not According to Plan, Leigh Warren & Dancers, OzAsia Festivalphoto Tony LewisXiao Xiong Zhang, Not According to Plan, Leigh Warren & Dancers, OzAsia Festival This latest work from Leigh Warren & Dancers featured in the OzAsia Festival is visually stunning. And yet that expression does not describe my sensual response to what
- [In Profile: Sarah-Mace Dennis](https://www.realtime.org.au/in-profile-sarah-mace-dennis/) - Sarah-Mace Dennis, Do you protest in silence (work in development)courtesy the artistSarah-Mace Dennis, Do you protest in silence (work in development) Histories, ghosts and memory are consistent themes throughout Sarah-Mace Dennis’ interdisciplinary practice, involving text, photomedia, performance and video. I first came across Dennis’ work in 2004 when she was collaborating with Svenja Kratz on
- [In Profile: Rachael Dease](https://www.realtime.org.au/in-profile-rachael-dease/) - Rachael Dease, City of Shadows, Malthouse' Helium programphoto Sarah WalkerRachael Dease, City of Shadows, Malthouse' Helium program The 2008 rock documentary Something in the Water by Aidan O'Bryan suggested something elemental makes such a small city so musically productive. What’s particularly interesting about the Perth music scene is not just the number of high calibre
- [In the loop 13 Nov: quick picks](https://www.realtime.org.au/in-the-loop-13-nov-quick-picks/) - Jasmin Sheppard, Yolande Brown, Tara Gower, Deborah Brownphoto Greg BarrettJasmin Sheppard, Yolande Brown, Tara Gower, Deborah Brown This week we offer just a few of the highlights from a host of Aboriginal and Torres Strait Islander arts activities across the country, ranging from Sydney, to Perth, to Darwin. Plus there are exhibitions from new and
- [Hamlet, Harding & the Living Dead](https://www.realtime.org.au/hamlet-harding-the-living-dead/) - Toby Schmitz and cast of Hamlet, Belvoirphoto Brett BoardmanToby Schmitz and cast of Hamlet, Belvoir Harrowed, again. Having recuperated from The Maids, Persona and Angels in America (RT116), ), I found myself sucked into the vortices of madness that are Shakespeare’s Hamlet and Les Harding in John Romeril’s The Floating World in chillingly intimate productions
- [Regional Profile: Jason Richardson](https://www.realtime.org.au/regional-profile-jason-richardson/) - Jason Richardsonphoto Jo RobertsJason Richardson To honour the centenary of Leeton, musician and composer Jason Richardson (aka Bassling) decided a sonic celebration was in order. Fitting the swings, roundabouts and slippery dips of all the local playgrounds with microphones he made recordings that he then arranged into an EP of ambient dance music. He also
- [Regional Profiles: The Ronalds](https://www.realtime.org.au/regional-profiles-the-ronalds/) - The Ronalds, Habits & Habitats (2010)courtesy the artistsThe Ronalds, Habits & Habitats (2010) In 2010, Performance Space commissioned the artist duo Ronald & McDonnell to make a work for the cavernous Carriageworks foyer (see RT96). Habits & Habitats comprised a series of large 1:1 scale photographs of interior spaces of an average house in rural
- [Intensity over pleasure](https://www.realtime.org.au/intensity-over-pleasure/) - Francisco López, Open Framephoto Lawrence EnglishFrancisco López, Open Frame Noise comes in many flavours—mathematical, aesthetic, seductively transgressive, coolly liberating, unwanted and annoying. For this year’s open frame series from room40 we find “The Future is Noise,” a snappy title that mashes together two classics of the noise-in-music literature: Luigi Russolo’s prophetic The Art of Noises
- [In the loop 6 Nov: Quick picks](https://www.realtime.org.au/in-the-loop-6-nov-quick-picks/) - This is a Door, Pop-Up Playground This is a Door, Pop-Up Playground In two recent articles for RealTime Robert Reid has been preoccupied with play and now we know why (see RT117 & RT115). He is one of the core members of Pop-Up Playground presenting the This is a Door festival in Melbourne, a month-long
- [The past lives in us](https://www.realtime.org.au/the-past-lives-in-us/) - Forced Legacy—The Story of Alyngdabucourtesy the artistsForced Legacy—The Story of Alyngdabu A tall, thin Aboriginal woman wearing a slouch hat and holding a tobacco pipe in one hand and a cloth bag attached to a stick in the other is the striking central image in Forced Legacy—The Story of Alyngdabu. In a painting by Robert
- [Contributor profile: Zsuzsanna (Zsuzsi) Soboslay](https://www.realtime.org.au/contributor-profile-zsuzsanna-zsuzsi-soboslay/) - Zsuzsanna Soboslayphoto Tim MooreZsuzsanna Soboslay Bio I am a performer, writer and artist who has been engaged in creative collaborations across the arts for over 20 years. I teach and research in the tertiary, pre-school and community (including mixed ability) arts sectors, and write and create performances on the themes of environment, ecology, and the
- [Writing the art experience: Itching shaking crying being held - Part I: Of silence and silencing](https://www.realtime.org.au/writing-the-art-experience-itching-shaking-crying-being-held-part-i-of-silence-and-silencing/) - In the first of two intensely felt, lyrical accounts of works she wrote about for RealTime for over two decades, Zsuzsanna Soboslay tracks her physical and emotional responses with concomitant observations about the writing body and the politics of gender and ability.
- [Opera: individual passion, collective tragedy](https://www.realtime.org.au/opera-individual-passion-collective-tragedy/) - David Rogers-Smith, Judith Dodsworth, Rachael Duncan, From a Black Skyphoto Lorna SimDavid Rogers-Smith, Judith Dodsworth, Rachael Duncan, From a Black Sky From A Black Sky is a contemporary opera about inflamed passions coming to crisis during the 2003 Canberra bushfires. Lust (too much heat) versus cowardice and inertia (too little of it) play out against
- [In the loop 30 Oct: Quick Picks](https://www.realtime.org.au/in-the-loop-30-oct-quick-picks/) - 1) 7bit Hero; 2) Sha Sarwari, Asylum Seeker; Vidhi Shah and Jeniffer Heng, Flow[er]; 2high Festivalcourtesy the artists1) 7bit Hero; 2) Sha Sarwari, Asylum Seeker; Vidhi Shah and Jeniffer Heng, Flow[er]; 2high Festival 2high Festival, Brisbane Powerhouse Curated by young and emerging producers under the watchful eye of Backbone Arts the 2high Festival is a
- [Contributor profile: Stephen Carleton](https://www.realtime.org.au/contributor-profile-stephen-carleton/) - Stephen Carletoncourtesy the writerStephen Carleton Bio I began writing (and reviewing) for the theatre during student days at La Trobe University, Melbourne and was part of a queer political theatre collective called Gudrun’s Stockings that did work at La Mama, Midsumma and elsewhere. I formed Knock-em-Down Theatre in Darwin in 1997 with Gail Evans (we
- [The wrath of Plath](https://www.realtime.org.au/the-wrath-of-plath/) - Caroline Lee, A Kind of Fabulous Hatred photo Daisy NoyesCaroline Lee, A Kind of Fabulous Hatred In staging Barry Dickins' fantastical script about Sylvia Plath's suicide, director Laurence Strangio, contracts the expansive 45 Downstairs warehouse space into an intimate pocket; one situated before a foreboding barred window. Imaginatively transposed to London, England, February 11, 1963,
- [Swept up by an emotional storm](https://www.realtime.org.au/swept-up-by-an-emotional-storm/) - Abandon, Opera Queensland & Dancenorth photo Bottlebrush StudiosAbandon, Opera Queensland & Dancenorth The very title, Abandon, suggests the necessity to forsake any expectation of a cohesive narrative in Opera Queensland and Dancenorth's recent collaboration in Townsville. The sensual elements of music, song, movement, lighting, costume and set conspired to take the viewer somewhere ancient and
- [Rice, rituals and relationships](https://www.realtime.org.au/rice-rituals-and-relationships/) - Video footage: Sam James, Editing: Gail Priest * * * Coleambally is just over 600kms south west of Sydney in the Riverina region. It’s a very young town, founded in 1968 and currently has a population of just over 600 residents. One third of them attended A Night of Wonder, at the Coleambally SunRice Mill.
- [In the loop 23 Oct: Opportunities](https://www.realtime.org.au/in-the-loop-23-oct-opportunities/) - B l o o m—S p a c e, (Installation view) 2013. Background Roy Ananda; middle ground Carla Liesch; foreground Will French; curated by Adelé Sliuzasphoto Alex LoftingB l o o m—S p a c e, (Installation view) 2013. Background Roy Ananda; middle ground Carla Liesch; foreground Will French; curated by Adelé Sliuzas AEAF—emerging +
- [In the loop 23 Oct: Quick picks](https://www.realtime.org.au/in-the-loop-23-oct-quick-picks/) - Prick up your ears for this in the loop which offers a burst of sonic happenings across the country, plus some dance and theatre to balance the mix. Joyce Hinterding, Fields and loops: series 4, 2010, ink and graphite on papercourtesy the artist and BreenSpaceJoyce Hinterding, Fields and loops: series 4, 2010, ink and graphite
- [Video art now through the lens of then](https://www.realtime.org.au/video-art-now-through-the-lens-of-then/) - Benjamin Ducroz, cumulo, installation photos Eugenia LimBenjamin Ducroz, cumulo, installation For an ‘inaugural’ artist-led festival based around a relatively young art form, the Channels video art festival was weighty: a packed four-day program including close to 100 artists, curators and speakers; a level of curatorial and critical engagement that significantly amplified the impact of the
- [Desperately seeking Barbara](https://www.realtime.org.au/desperately-seeking-barbara/) - This is Barbara Cleveland, Brown Councilphoto Lucy ParakhinaThis is Barbara Cleveland, Brown Council When there’s heavy lifting to be done in the area of female empowerment, Brown Council are the go-to girls. Their work is multi-dimensional taking in everything from explorations in contemporary performance via video art to joke marathons. As part of Performance Space’s
- [Reconsidering museology](https://www.realtime.org.au/reconsidering-museology/) - Blender, installation view of artworks by Allen Sparrow, Dagny Strand and Lorry Humphreys, Australian Experimental Art Foundation, 2013photo Alex LoftingBlender, installation view of artworks by Allen Sparrow, Dagny Strand and Lorry Humphreys, Australian Experimental Art Foundation, 2013 Since Harald Szeemann reinvented the role of the curator in the 1970s, thematic exhibitions, in which each artwork
- [A lifetime as composition](https://www.realtime.org.au/a-lifetime-as-composition/) - Alvin Curranphoto Marjorie Rose ButlerAlvin Curran Alvin Curran’s music flits about like an overactive, laterally-thinking mind, jumping from one idea to another, taking the listener on a journey of dramatic musical contrasts. Born in the USA in 1937, and composer-in-residence with Soundstream Collective and the Elder Conservatorium, University of Adelaide, in August, Curran’s work spans
- [The artist handles the world](https://www.realtime.org.au/the-artist-handles-the-world/) - 1994 same chair changed light situation, oil on canvas, Tony Woods: Archiveimage courtesy the artist1994 same chair changed light situation, oil on canvas, Tony Woods: Archive “I rely on film and video to handle reality as my paintings become more abstract.” So says Melbourne artist Tony Woods, and as the new publication surveying his prodigious
- [Operas of conscience](https://www.realtime.org.au/operas-of-conscience/) - Owen Wingrave, Sydney Chamber Operaphoto Louis Dillon-SavageOwen Wingrave, Sydney Chamber Opera Sydney Chamber Opera have successfully resuscitated Benjamin Britten’s TV opera Owen Wingrave (1971) by transposing it to the stage for an Australian audience. For an opera with a radical message, the original (endure it if you can on YouTube) was sluggish and conservatively realised.
- [Empowered by and embodied in song](https://www.realtime.org.au/empowered-by-and-embodied-in-song/) - Jo Trumanphoto Alia GrinvaldsJo Truman Jo Truman’s remarkable voice exceeds three octaves, from dark mezzo to high soprano, improvising flights of song, birdcalls and didjeridu cries, resonant with microtonal complexities and haunting overtones. The artist’s express focus is on “the voice and its ultimate potentials,” realised over some 30 years in live performance and an
- [Teen girl brutalism](https://www.realtime.org.au/teen-girl-brutalism/) - (lr) Danielle Baynes, Nicole Dimitriadis, Kate Englefield, Tough Beautyphoto Claudia Chidiac(lr) Danielle Baynes, Nicole Dimitriadis, Kate Englefield, Tough Beauty Projected onto a versatile, mobile stage flat, Karina Gonzalez greets us with with a sophomoric sneer. She is the alluring husky voiced TK, lyrically and graphically inviting us to relive or even abet a violent event
- [Shaken out of the everyday](https://www.realtime.org.au/shaken-out-of-the-everyday/) - DasSHOKU SHAKE! photo Vikk ShayenDasSHOKU SHAKE! If you want to be seized and dropped into a bizarre and cacophonous world of extreme entertainment then see DasShoku SHAKE!—a Japanese Australian butoh cabaret extravaganza. Inspired by the 2011 earthquake and tsunami in Japan this production is an exploration of the shaking of the physical world, the psychological
- [The evils of neo-liberalised warfare](https://www.realtime.org.au/the-evils-of-neo-liberalised-warfare/) - Irving Gregory, The Disappearances Projectphoto Heidrun LöhrIrving Gregory, The Disappearances Project After several years of ‘emergence,’ version 1.0 erupted into prominence at Performance Space in 2001 with The second Last Supper featuring a mix of the not-so ‘old guard’ from the contemporary performance community and the new, along with nightly consumption throughout the season of
- [Art shocks, capitalism quakes!](https://www.realtime.org.au/art-shocks-capitalism-quakes/) - DasSHOKU SHAKE!photo Vikk ShayenDasSHOKU SHAKE! How do you explore mindless capitalism in the face of one of the world’s most horrific natural disasters? Take hyped Japanese businessmen, lascivious Geishas, balloon boobs, one very bent “good Japanese mummy” (and her dancing baby poo heads) and a woman “searching for the Light”, and throw them together in
- [Identity’s loose grip](https://www.realtime.org.au/identitys-loose-grip/) - Rosencrantz and Guildenstern are Dead, STCphoto Heidrun LöhrRosencrantz and Guildenstern are Dead, STC The slipperiness of identity, whether a matter of clinging to or searching for it is a commonplace in fiction and theatre, let alone in real life where it keeps many a being from a sense of wholeness. Three productions in Sydney have
- [Making sense of place & relocation](https://www.realtime.org.au/making-sense-of-place-relocation/) - Ilana Cohn: Campbelltown Arts Centre, Temporary Democracies
- [Making it](https://www.realtime.org.au/making-it/) - AIM Dramatic Arts, Physical Stages, Lock & Key, 2013photo Heidrun Löhr AIM Dramatic Arts, Physical Stages, Lock & Key, 2013 Just across Pitt Street from the RealTime office can be heard sounds of harmony and conflict issuing from the Pilgrim Building (home to the Pilgrim Theatre), where drama students are in training at the Dramatic
- [At play with the one-on-one](https://www.realtime.org.au/at-play-with-the-one-on-one/) - Sarah Elson and audience member, Incendia Lasciviophoto Cameron EtchellsSarah Elson and audience member, Incendia Lascivio One-on-one performances have become a key component of the Live Art phenomenon, greeted enthusiastically by audiences eager not to be performed to but to become part of the making of art. The inaugural Proximity Festival in 2012 at Perth’s Blue
- [Ambiguities of gender](https://www.realtime.org.au/ambiguities-of-gender/) - Emma Valente, Kate Davis, The Rabblephoto David PatersonEmma Valente, Kate Davis, The Rabble Kate Davis and Emma Valente, artistic directors of The Rabble, have been working as self-funded fringe artists, outside of mainstream funded theatre companies, for nearly 15 years. They both attended Swinburne University of Technology. They formed a company after graduating in 1999
- [Performance Space at 30: still weird & wonderful](https://www.realtime.org.au/performance-space-at-30-still-weird-wonderful/) - Box of Birds, De Quincey Cophoto Lucy ParakhinaBox of Birds, De Quincey Co Across 30 years Performance Space has mutated in the hands of visionary artistic directors, each with their own agenda, but each sustaining commitment to the “obdurately ephemeral,” as an early manifesto put it, to providing a home for innovative performance and visual
- [Dress sense](https://www.realtime.org.au/dress-sense/) - Miranda Wheen, Quest from Little Black Dress Suitephoto Heidrun LöhrMiranda Wheen, Quest from Little Black Dress Suite This suite of dances takes the little black dress as its unifying concept and further asks the question “what happens when you remove an iconic piece of clothing widely associated with feminine elegance and cocktail party glamour from
- [Eastern Riverina sites & sounds](https://www.realtime.org.au/eastern-riverina-sites-sounds-2/) - Participants in the field with their bike loop antennas during the Haines & Hinterding Fields of Frequency workshop, Wired Lab, July 2011, photo Sofie Muceniekas, Shoot at Everyone ImagingParticipants in the field with their bike loop antennas during the Haines & Hinterding Fields of Frequency workshop, Wired Lab, July 2011, Situated on a property 30kms
- [In the continuum of flux](https://www.realtime.org.au/in-the-continuum-of-flux/) - Lee Serle, Kirstie McCracken, Double Think, Force Majeurephoto Ponch HawkesLee Serle, Kirstie McCracken, Double Think, Force Majeure There are three star performers in Double Think (the major work in a double bill with the short work Gogglebox): Kirstie McCracken, Lee Serle and Ben Cobham/Bluebottle’s gorgeously golden wooden sculpture that dances as surely as the dancers
- [Eastern Riverina sites & sounds](https://www.realtime.org.au/eastern-riverina-sites-sounds/) - Participants in the field with their bike loop antennas during the Haines & Hinterding Fields of Frequency workshop, Wired Lab, July 2011, photo Sofie Muceniekas, Shoot at Everyone ImagingParticipants in the field with their bike loop antennas during the Haines & Hinterding Fields of Frequency workshop, Wired Lab, July 2011, Situated on a property 30kms
- [User-friendly branding for risk-taking art](https://www.realtime.org.au/user-friendly-branding-for-risk-taking-art/) - Andrew Donovanimage courtesy Australia CouncilAndrew Donovan Andrew Donovan’s benign manner goes hand in hand with his gentle enthusiasm and quiet determination to encourage adventurous Australian artists through his role as Director of the Australia Council’s Emerging and Experimental Arts section, formerly the Inter Arts Office. I met with Donovan at the Council offices to discuss
- [Syria: protest, mobile phones & death](https://www.realtime.org.au/syria-protest-mobile-phones-death/) - Rabih Mroué, The Pixelated Revolutionphoto Judith KaltenböckRabih Mroué, The Pixelated Revolution One of the highlights of the Vienna Festwochen this year was Rabih Mroué’s The Pixelated Revolution, a highly engaging lecture/performance that focuses on how—and with what effects—mobile phones have been employed to document the Syrian revolution. The production (which was also displayed in a
- [Unexpectedly & violently absurd](https://www.realtime.org.au/unexpectedly-violently-absurd/) - Jiang Wu, A Touch of Sin© Xstream Pictures (Beijing)Jiang Wu, A Touch of Sin A Touch of Sin is absurd. Utterly absurd. Almost as absurd as the real-life Chinese events that inspired it. Adolescent prostitutes parade in titillating military uniforms, a middle-aged man shoots rich people to stop feeling bored and Communist cadres sell themselves
- [Art & care: where life and death connect](https://www.realtime.org.au/art-care-where-life-and-death-connect/) - Margaret Cameron, Opera for a Small Mammal premiering at La Mama, Dec 2013photo Daisy NoyesMargaret Cameron, Opera for a Small Mammal premiering at La Mama, Dec 2013 A powerful and idiosyncratic writer and performer, Margaret Cameron is a key figure in Melbourne theatre. She has created riveting solo works—Things Calypso wanted to Say!, 1987; Knowledge
- [Transitions: performance, mortality and ceremony](https://www.realtime.org.au/transitions-performance-mortality-and-ceremony/) - Picnic Among Friends, Victoria Spencephoto Mayu KanamoriPicnic Among Friends, Victoria Spence When I started to make performance, it was in the non-narrative, image-based culture of experimental practice where the emphasis was on the process of making the work as much as the performance itself. As a maker and audience member, I most often watched the
- [Solace in the sensorium](https://www.realtime.org.au/solace-in-the-sensorium/) - George Poonkhin Khutphoto Julia Pendrill-CharlesGeorge Poonkhin Khut I’ve been making body-focused artworks combining biofeedback interaction and audience participation for the past 10 years. I started working in this area, excited by the potential to create work that combined the evocative worlds of electronic art with the visceral, moment-to-moment directness of a participant’s own physiology. I
- [The art of  multi-sensory care](https://www.realtime.org.au/the-art-of-multi-sensory-care/) - disambiguation room, Efterpi Soroposimage courtesy the artistdisambiguation room, Efterpi Soropos Since training at NIDA in the 1980s Efterpi Soropos has created lighting designs for theatre productions around Australia, made her own installations and taught at the Western Australian Academy of Performing Arts (WAAPA). In recent years her focus has been on developing immersive artistic environments
- [Editorial - RT117](https://www.realtime.org.au/editorial-rt117/) - Section of experiential map contributed by participants at UTS Gallery, 2008; The Heart Library Project, George Poonkhin Khut with Caitlin Newton-Broad, David Morris-Oliveros and Greg Turnerphoto Julia CharlesSection of experiential map contributed by participants at UTS Gallery, 2008; The Heart Library Project, George Poonkhin Khut with Caitlin Newton-Broad, David Morris-Oliveros and Greg Turner Our Art,
- [In the loop 25 Sept: Quick picks](https://www.realtime.org.au/in-the-loop-25-sept-quick-picks/) - Nicola Gunn, In Spite of Myself Melbourne Festival, quick picks from local works The Melbourne Festival will kick off just before our next print edition hits the streets so here’s a run down of some of the local works. Particularly impressive are the number of festival co-commissions, nurturing Melbourne artists and the creation of exciting
- [In Profile: Keg de Souza](https://www.realtime.org.au/in-profile-keg-de-souza/) - Impossible Utopia 2011, Keg de Souza Keg de Souza describes herself as an “anarchitect,” an amalgam that comes closest to encapsulating her practice which involves architecture, environmental design and activism with a little bit of drawing, printing and bookbinding included for good measure. While her artworks take varied forms her central focus is on “spatial
- [In Profile: Miranda Wheen](https://www.realtime.org.au/in-profile-miranda-wheen/) - Miranda Wheen, Questphoto Heidrun LöhrMiranda Wheen, Quest Miranda Wheen is one of those dancers with an ineffable quality that makes them utterly compelling, your eyes constantly drawn to them amongst other dancers on stage. Such performers shine in any work, but they positively shimmer when matched with just the right choreographer. All in the detail
- [Improvisers & composers connect!](https://www.realtime.org.au/improvisers-composers-connect/) - Mirabai Peart, Veronique Serret, James Eccles, Ollie Miller, The NOISE photo Andrew WholleyMirabai Peart, Veronique Serret, James Eccles, Ollie Miller, The NOISE After six years honing his viola playing skills in Berlin, James Eccles returned to Australia with an unusual ambition—to pursue a career in improvisational music-making in the contemporary classical music idiom and beyond.
- [Seeing Australia anew](https://www.realtime.org.au/seeing-australia-anew/) - Aakash Risingphoto Chris NashAakash Rising One of Sydney’s most enjoyable festivals is Parramasala, a celebration of the South Asian culture of Western Sydney, featuring local performers and international visiting artists. Most striking, in the crowds at outdoor concerts, the marketplace, food stalls and indoor performances is evidence of cultural diversity that extends far beyond South
- [A life too short, a momentary tragedy](https://www.realtime.org.au/a-life-too-short-a-momentary-tragedy/) - Matt Crook, Lawrence Mau, Danielle Catanzariti, Babyteeth, STCSAphoto Shane ReidMatt Crook, Lawrence Mau, Danielle Catanzariti, Babyteeth, STCSA A protracted gasp somewhere in the auditorium. An incredulous intake of breath? A snore? A derisory snort? No. Something darker. A shout, and the houselights go up, actors frozen on stage, suddenly displaced. The audience files out as
- [In Profile: Michaela Davies](https://www.realtime.org.au/in-profile-michaela-davies/) - Game On, Michaela Daviesphotos Claire Conroy & Geoff AmblerGame On, Michaela Davies Michaela Davies is not a woman to mess with. Not only is she well trained in boxing but she also has a PhD in Psychology. She has combined these skills in her latest work, Game On, which premiered at this year’s Underbelly Arts
- [In Profile: Pia van Gelder](https://www.realtime.org.au/in-profile-pia-van-gelder/) - Tetra Synth, 2013, Pia van Gelder & Stephen Jonescourtesy the artistsTetra Synth, 2013, Pia van Gelder & Stephen Jones Pia van Gelder is the “Overlord”of the Sydney chapter of Dorkbot, a loose international network of “people doing strange things with electricity.” She is also incredibly active as a curator (co-director of the Moduluxx festival and
- [In the loop 18 Sept: Quick picks](https://www.realtime.org.au/in-the-loop-18-sept-quick-picks/) - Leigh Warren Dance, Not According to Plan OzAsia, Adelaide Festival Centre The annual OzAsia festival is already in full swing, but there are plenty of festivities still to come. Leigh Warren Dance presents the premier of Not According to Plan, following the journey of dancer, photographer, choreographer and calligrapher Xiao Xiong Zhang “from a life
- [The common language of tinkering](https://www.realtime.org.au/the-common-language-of-tinkering/) - Lintang Radittya, Ikbal S. Lubys performing with Wukir Suryadi's Akar Mahoni (Mahogany Root)photo Joel SternLintang Radittya, Ikbal S. Lubys performing with Wukir Suryadi's Akar Mahoni (Mahogany Root) Recently the Australian International Cultural Council (AICC) announced funding for a number of Australian/Indonesian cultural projects and the first of these was The Instrument Builders Project. I wanted
- [A universe of everyday desires](https://www.realtime.org.au/a-universe-of-everyday-desires/) - Michaela Gleave, We Are Made of Stardust, 2013courtesy of the artist and Anna Pappas GalleryMichaela Gleave, We Are Made of Stardust, 2013 The expression “We are made of stardust” both positions humankind within a vast, magnificent universe and reduces us, notionally, to the ashes of which everything consists. It’s the central message—at face value, at
- [In the loop 11 Sept: Quick picks](https://www.realtime.org.au/in-the-loop-11-sept-quick-picks/) - Super Discount, Back to Back Theatrephoto Jeff Busby Super Discount, Back to Back Theatre Super Discount, Back to Back, STC Back to Back has continued to impress with a performance vision that is utterly unique, endlessly inventive and thoroughly brave (see RT’s Arts and Disability archive highlight for a collection of Back to Back articles).
- [In the loop 11 Sept: Opportunities](https://www.realtime.org.au/in-the-loop-11-sept-opportunities/) - Weizen Ho, 2011, Blacktown Performing Arts Residencyphoto Mayu KanamoriWeizen Ho, 2011, Blacktown Performing Arts Residency Blacktown Arts Centre Residencies Blacktown Arts Centre is calling for applicants for their residency program which offers both funded (up to $5000) and unfunded opportunities (ie in-kind space only). Applications are open to residents in the Blacktown area or artists
- [A Winning punch](https://www.realtime.org.au/a-winning-punch/) - Mohammed Ahmad, Billy MacPherson, I'm Your Manphoto Heidrun LöhrMohammed Ahmad, Billy MacPherson, I'm Your Man The sound of punches landing, grunts, shouted words of encouragement, background pop music and the smell of liniment hits you the minute you enter the slightly shabby gym (Brown’s Mart theatre transformed) to witness the world of the professional boxer.
- [The not so sweet science](https://www.realtime.org.au/the-not-so-sweet-science/) - Billy MacPherson, Justin Rosniak, John Shrimpton, I'm Your Manphoto Heidrun LöhrBilly MacPherson, Justin Rosniak, John Shrimpton, I'm Your Man When Gus Mercurio, one of the seven boxing personalities represented in I’m Your Man, starts talking about neural synapses and how one fighter’s “brain started givin’ way” I immediately thought of Muhammad Ali. It is hard
- [Hands up, head down!](https://www.realtime.org.au/hands-up-head-down/) - I'm Your Manphoto Heidrun LöhrI'm Your ManNoise, action, gym equipment and boxing paraphernalia clutter the stage. A trainer barks commands and encouragement to his boxer as they spar. The audience has stepped straight into the guts of a boxing gym; all that is missing is the sticky, musky odour of stale sweat. We are not
- [In the loop Sept 4: quick picks](https://www.realtime.org.au/in-the-loop-sept-4-quick-picks/) - DJ Spooky All rights reserved by New Mexico PBSDJ Spooky Curating Cities, NIEA NIEA will be presenting a forum led by Paul Miller (aka DJ Spooky) as part of the ongoing Curating Cities project, researching how “the arts can generate environmentally beneficial behavioural change” (website). He will be discussing his participation in a sustainable art
- [In the loop Sept 4: opportunities](https://www.realtime.org.au/in-the-loop-sept-4-opportunities/) - White Night Melbourne 2013 courtesy of the Victorian Major Events CompanyWhite Night Melbourne 2013 Melbourne White Night The White Night (Nuit Blanche) began in Paris in 2002—for one night, dusk till dawn, major arts institutions open their doors and culture fills the streets. In 2013 Melbourne joined 22 other international cities to present this 12-hour
- [Ruptures & raptures](https://www.realtime.org.au/ruptures-raptures/) - Tangentsphoto Gail PriestTangents The New Music Network soiree in the Sound Lounge starts when Sam Gillies, the electronic half of Cycle ~440, issues from his laptop a dirty sonic remnant. It has just enough timbre intact to be recognisable as something that might emanate from the currently silent piano on the corner of the stage.
- [Place: Linz, Austria – Ars Electronica special](https://www.realtime.org.au/place-linz-austria-ars-electronica-special/) - Ars Electronica Centre on the Danube, Linzphoto Gail PriestArs Electronica Centre on the Danube, Linz It’s that time of year again, the first week of September and you are in Linz for Ars Electronica. Let’s imagine you’ve been lucky enough to win a Golden Nica. You’ve arrived, installed your work at the O.K. (say oh-kah)
- [Other anatomies, other ecosystems](https://www.realtime.org.au/other-anatomies-other-ecosystems/) - Blizzard, Nat Cursio Cophoto Rachel BernhautBlizzard, Nat Cursio Co Nat Cursio has written that Blizzard, her latest work for three dancers, presents “animal/human bodies” as “acute listening devices” proposing “a reminder of the delicacy of an ecosystem…a tribute to the ongoing capacity of animal life to…adapt.” At a glance this is a compelling premise for
- [In the loop August 28: quick picks](https://www.realtime.org.au/in-the-loop-august-28-quick-picks/) - Private Dances, Nat Cursio Co.photo Jorge de AraujoPrivate Dances, Nat Cursio Co. Private Dances, Northcote Town Hall Nat Cursio is on a roll—Blizzard just premiered at Melbourne’s newest art centre, the Substation (see preview—review will appear next week) and now she is reprising Private Dances, a work created for Next Wave 2010 (see RT98 online).
- [In the belly of the past, with added apocalypse](https://www.realtime.org.au/in-the-belly-of-the-past-with-added-apocalypse/) - Stations of the Southern Cross, Applespiel, Underbelly 2013photo Rafaela PandolfiniStations of the Southern Cross, Applespiel, Underbelly 2013 Stations of the Southern Cross, in the 2013 Underbelly Festival, was the latest from self-described “small but likeable theatre group” Applespiel. Taking audiences on a faux-tourist walk through Cockatoo Island’s Dog Leg Tunnel with various stops and stagings
- [Lives surviving disarray](https://www.realtime.org.au/lives-surviving-disarray/) - Jeremy Broom, Catalogue of Dreams, Urban Theatre Projectsphoto Fred HardenJeremy Broom, Catalogue of Dreams, Urban Theatre Projects There is a central visual focus to Urban Theatre Projects’ Catalogue of Dreams: a small boy on a circular carpet, within a larger square. A fostered boy. He plays with a toy, his eyes remaining lowered. A man
- [Sharing country](https://www.realtime.org.au/sharing-country/) - Quantum Leap ensemble, Hit the floor together, QL2 Dance photo Lorna SimQuantum Leap ensemble, Hit the floor together, QL2 Dance “I barely danced before this. It was extremely hard work. You better enjoy it.” Richard Allan, dancer, Hit the Floor Together The value of youth dance development is bifold. Young performers reach into what they
- [Arts Centre spelunking](https://www.realtime.org.au/arts-centre-spelunking/) - Gabriella Mangano & Silvana Mangano, Hidden Spaces, Ready Stages (production still), 2013 courtesy of the artists and Anna Schwartz GalleryGabriella Mangano & Silvana Mangano, Hidden Spaces, Ready Stages (production still), 2013 While the freshly remodelled Hamer Hall glows, mirrors and glints at the darkening streets outside, the old BlackBox space on its Southbank concourse, re-christened
- [Kecak, breakdancing, tension & harmony](https://www.realtime.org.au/kecak-breakdancing-tension-harmony/) - Zombies in the Banyan Tree, Tracks Dance Company photo Jess DevereuxZombies in the Banyan Tree, Tracks Dance Company A balmy Darwin night, the sticky beginnings of the build up, nestled under a rain tree in the Botanical Gardens—you’d almost think you were just hanging out in Festival Park if it weren’t for that wave of
- [Expectations and cultural crossovers](https://www.realtime.org.au/expectations-and-cultural-crossovers/) - Zombies in the Banyan Tree, Tracks Dance Companyphoto Jess DevereuxZombies in the Banyan Tree, Tracks Dance Company In August, RealTime Managing Editors Keith Gallasch and Virginia Baxter were in Darwin mentoring five writers—Fiona Carter, Nicola Fearn, Kaye Hall, Kyle Walmsley and, from Alice Springs, Mike Bodnar—to produce reviews of works in the final week of
- [Pianos wired](https://www.realtime.org.au/pianos-wired/) - Michael Kieran Harvey, works for piano and electronics, THNMF13photo Brad SerlsMichael Kieran Harvey, works for piano and electronics, THNMF13 In the International Computer Music Conference’s second concert’s works for piano with live electronics, pianist Michael Kieran Harvey attacked each work with inimitable energy and precision. Takayuki Rai’s Discrete Transfer extends the piano beyond its usual
- [Acoustic space: explicit object](https://www.realtime.org.au/acoustic-space-explicit-object/) - Decibel performing Alvin Curran's Way Out Backphoto Brad SerlsDecibel performing Alvin Curran's Way Out Back Drawing attention to the relationships that constitute musical phenomena is crucial for Agostino Di Scipio, who opened the International Computer Music Conference with a critical discussion on the cybernetic relationships between musicians and technologies as shaped by the acoustic space.
- [Utopia within, across & beyond the university](https://www.realtime.org.au/utopia-within-across-beyond-the-university/) - Matt Higgins, Master of Philosophy candidate, Photography and Media Arts, ANU School of Art, Untitled, chemigram, 2013, detail The invitation from RealTime to ‘think utopian’ lobbed into our email inboxes with startling precision. We feel as though we’ve been down in the educational trenches for so long, only putting our heads above the parapet occasionally,
- [Bridges and deviations](https://www.realtime.org.au/bridges-and-deviations/) - Decibel performing Alvin Curran, THNMF13photo Brad SerlsDecibel performing Alvin Curran, THNMF13 The world première of Alvin Curran’s Way Out Back by the Decibel ensemble reflects the search for bridges between instrumental and electronic composition during the 2013 International Computer Music Conference. A rhythmic phase on three notes gradually falls apart, making way for a backbeat
- [Performative evolutions](https://www.realtime.org.au/performative-evolutions/) - Justin Shoulder, The River Eats (2013) photo by Heidrun Lohr, courtesy of PerformanceJustin Shoulder, The River Eats (2013) Performance Space’s Show Off season of performance featured a cluster of works including the already acclaimed and touring I’m Your Man (Rosalind Oades) and Opal Vapour (Jade Dewi Tyas Tunggal) alongside Team Mess’ Bingo Unit and Justin
- [Expecting the unexpected](https://www.realtime.org.au/expecting-the-unexpected/) - Sons of Sin, Danger Ensemble, photo Morgan RobertsSons of Sin, Danger Ensemble, Compare your last night of theatre with your first. Like internet dating, the consummation is the same, but the rules of engagement have changed. A decade of ‘independent seasons’ nested within our mainstages has littered the moat-like foyers of our state-funded theatres with
- [Live art life styles](https://www.realtime.org.au/live-art-life-styles/) - Naomi Oliver, exist-ence 5, Sydneyphoto Tija LodinsNaomi Oliver, exist-ence 5, SydneyKathyrn Kelly provides a detailed report on the festival performances in the Brisbane component of Exist-ence. Among a handful of performances in the Sydney iteration at PACT were two particularly memorable works that addressed time and effort in very different ways, Across the evening, in
- [The crime movie, Indigenously](https://www.realtime.org.au/the-crime-movie-indigenously/) - Katerina Sakkas: Ivan Sen, Mystery Road
- [Something happened](https://www.realtime.org.au/something-happened/) - Meredith Penman, Karen Sibbing, Persona, Fraught Outfit & Belvoirphoto Ellis ParrinderMeredith Penman, Karen Sibbing, Persona, Fraught Outfit & Belvoir There are nights when it is impossible to mingle in the foyer after seeing a play, chatting about the experience or avoiding it altogether, casually reconnecting with the everyday as if nothing had happened. With Angels
- [Live art from demolition](https://www.realtime.org.au/live-art-from-demolition/) - Keith Gallasch: Michael Dagostino, Paul Gazzola, Temporary Democracies
- [Realising regional ambitions](https://www.realtime.org.au/realising-regional-ambitions-2/) - Jeff McCann, Wayne Emerson, Scott Lea, 8 Artists, Eastern Riverina Artsphoto Christopher OrchardJeff McCann, Wayne Emerson, Scott Lea, 8 Artists, Eastern Riverina Arts Continuing our series on innovative arts ventures in Wagga Wagga and surrounding regions, here we look into the activities of the peak advocacy and support body in the area, Eastern Riverina Arts
- [Anne-Louise Sarks](https://www.realtime.org.au/anne-louise-sarks/) - Benedict Hardie, Anne-Louise Sarks, By Their Own Hands, Hayloftphoto Pia JohnsonBenedict Hardie, Anne-Louise Sarks, By Their Own Hands, Hayloft This year the Melbourne Theatre Company hosted five seasons of work by independent theatre artists and companies under the umbrella title Neon. Three of the women represented were Anne-Louise Sarks, newly appointed Resident Director at Belvoir,
- [Realising regional ambitions](https://www.realtime.org.au/realising-regional-ambitions/) - Jeff McCann, Wayne Emerson, Scott Lea, 8 Artists, Eastern Riverina Artsphoto Christopher OrchardJeff McCann, Wayne Emerson, Scott Lea, 8 Artists, Eastern Riverina Arts Continuing our series on innovative arts ventures in Wagga Wagga and surrounding regions, here we look into the activities of the peak advocacy and support body in the area, Eastern Riverina Arts
- [Real thinking in an ideal vein](https://www.realtime.org.au/real-thinking-in-an-ideal-vein/) - Andrew Carolane, Annabel Marshall-Roth, Article One devised by Bagryana Popov in collaboration with Acting Company 2012, School of Performing Arts, VCA, University of Melbournephoto Jeff Busby Andrew Carolane, Annabel Marshall-Roth, Article One devised by Bagryana Popov in collaboration with Acting Company 2012, School of Performing Arts, VCA, University of Melbourne The university can be a
- [Fresh Cut & Hatched](https://www.realtime.org.au/fresh-cut-hatched/) - Shan Turner-Carroll, Shan, from the series Primal Crown, 2012, HATCHED National Graduate Show, 2013, PICAimage courtesy the artistShan Turner-Carroll, Shan, from the series Primal Crown, 2012, HATCHED National Graduate Show, 2013, PICA Each year in the Arts Education issue of RealTime, we feature works that catch our eye by recent graduates, often sourced from the
- [You’ll stop seeing me as your dancing monkey](https://www.realtime.org.au/youll-stop-seeing-me-as-your-dancing-monkey/) - Nature Theater of Oklahoma, Life and Times 1-4photo Anna Stocher/Burgtheater WienNature Theater of Oklahoma, Life and Times 1-4 I spoke with Pavol Liska and Kelly Copper, the Artistic Directors of Nature Theater of Oklahoma, ahead of their Melbourne International Arts Festival season of Life and Times: Episodes 1-4. An epic 10-hour performance that narrates the
- [The eye  looks  inward](https://www.realtime.org.au/the-eye-looks-inward/) - Kurt Hentschlager ZEE Beam In Thine Own Eye - Dark Mofo 2013, MONAimage courtesy the artistKurt Hentschlager ZEE Beam In Thine Own Eye - Dark Mofo 2013, MONA Within a minute of entering Zee, I feel panic rising in me like a wave of nausea and, review or no review, I am out. It is
- [Great expectations](https://www.realtime.org.au/great-expectations/) - Australian Theatre Forum 2013photo Angie ToAustralian Theatre Forum 2013 The third Australian Theatre Forum was held in Canberra in May. Over 300 of us gathered on the cavernous stage of the Canberra Theatre Centre to be sung into the mood for discussion and exchange by Robyn Archer, who reminded us, via Brecht, that for this
- [Singing the sound of the world](https://www.realtime.org.au/singing-the-sound-of-the-world/) - Bill Burnsphoto Krys VerrallBill Burns Seriously idiosyncratic Canadian artist Bill Burns is a featured guest of Launceston’s 2013 Junction Festival. His art has humour, bite and an intriguing diversity of means that focus on our relationships with nature, politics and the art market. His work has been shown at London’s ICA and New York’s MoMA
- [To see… or not to see](https://www.realtime.org.au/to-see-or-not-to-see/) - Colour Me Dead—Chapter 5: The Hungry Vagina (animation frame/s), 2013courtesy the artist and Anna Schwartz GalleryColour Me Dead—Chapter 5: The Hungry Vagina (animation frame/s), 2013 The repressed violence inherent in the depiction of the female nude lies at the heart—or maybe the ‘vag’—of Philip Brophy’s substantial exhibition, Colour Me Dead. Traversing art history from the
- [From the archive to a new gay baroque](https://www.realtime.org.au/from-the-archive-to-a-new-gay-baroque/) - Francois Chaignauldphoto Odile Bernard SchröderFrancois Chaignauld Despite some claims for a ‘palimpsest’ approach through a focus on dance history, I couldn’t really think of this year’s Montpellier Danse festival as a whole, but rather as a series of discrete works. That said, director Jean-Paul Montanari is a well-informed guide for his survey of a history
- [Dark arena](https://www.realtime.org.au/dark-arena/) - Michaela Gleave, A Day is Longer Than a Yearphoto Jessica WyldMichaela Gleave, A Day is Longer Than a Year Two theatre spotlights hang just above head height, throwing large red and blue circles onto the walls. The lights revolve incessantly, elongating into ovals as they move away from their sources, making unnatural eclipses as they
- [Deranged Disney](https://www.realtime.org.au/deranged-disney/) - Paul McCarthy, WS, 2013, photo Joshua Whitecourtesy the artist and Hauser & WirthPaul McCarthy, WS, 2013, photo Joshua White It was a Paul McCarthy fest in New York throughout July with three exhibitions including the massive work at Park Avenue Armory, WS, a psychosexual retelling of Snow White. No artist distills the excesses of American
- [Hybrid beats](https://www.realtime.org.au/hybrid-beats/) - Pulse:Heart:Beatphoto Michael K ChinPulse:Heart:Beat Sister ensembles TaikOz and Synergy Percussion combined for two nights at Angel Place City Recital Hall in celebration of kaleidoscopic city love in Pulse:Heart:Beat, a concert series that has run for longer than a decade. With more than 20 artists, four premieres, three films and the promise of “gorilla cinematography and
- [Shadow boxing  with illusions](https://www.realtime.org.au/shadow-boxing-with-illusions/) - David Williams, Open Your Mouth and Let Words Fall OutJennifer Greer Holmes and Heath BrittonDavid Williams, Open Your Mouth and Let Words Fall Out Now in its fourth year, the nationally situated ‘hothouse’ Adhocracy continues to bring together South Australian and interstate interdisciplinary artists to explore untested ideas through workshops, talks and work-in-progress showings. The
- [Apocalyptic anxieties](https://www.realtime.org.au/apocalyptic-anxieties/) - Alexander Baden-Bryce, Lucy Ingham, Phluxus2 Dance Collectivecourtesy the artistsAlexander Baden-Bryce, Lucy Ingham, Phluxus2 Dance Collective With recent global weather events and CO2 in the climate over the 400 parts per million threshold, it’s easy to understand why the paradise-lost motif has inspired choreographer Nerida Matthaei’s de-generator. As she states, it’s a response to the global
- [Mercenary or hero?](https://www.realtime.org.au/mercenary-or-hero/) - David Page, Ursula Yovich, Mother Courage and Her Children, QTCphoto Rob MacCollDavid Page, Ursula Yovich, Mother Courage and Her Children, QTC During a month in which The Australian’s Rosemary Neill instigated a media skirmish centring on the proliferation of adaptations of canonical European texts on the nation’s mainstages, Queensland Theatre Company premiered an all-Indigenous production
- [Come & play](https://www.realtime.org.au/come-play/) - Tahni & Tom, Shotgun Wedding, NO SHOW, Next Wave Festival 2012Photo Sarah WalkerTahni & Tom, Shotgun Wedding, NO SHOW, Next Wave Festival 2012 In “The theatre of rehearsing for life” (RT115) playwright Robert Reid reported on a visit to the UK where he researched ‘New Games’ theatre in which audiences become active agents “within constructed
- [The telling power of masks](https://www.realtime.org.au/the-telling-power-of-masks/) - Contagion’s Kiss, Business Unusualphoto Tim WoodContagion’s Kiss, Business Unusual Delicately combining some of the darkest elements of the nation’s history, Contagion’s Kiss is a haunting and poignant piece of theatre that transports you to a world of isolation and hardship, yet also of love and hope. The first all-mask collaboration of Nicola Fearn and Sarah
- [Re-working & new expectations](https://www.realtime.org.au/re-working-new-expectations/) - Emily Milledge, Pier Carthew, Story of O, The Rabble, Neonphoto Guy LittleEmily Milledge, Pier Carthew, Story of O, The Rabble, Neon Critics lamenting the conservatism of Australia’s mainstages will often end their complaint with a shrug and a dark comment about how their audiences will all be dead soon, anyhow. Ageing subscriber bases can only
- [Celebrating the body: plasticity & mutation](https://www.realtime.org.au/celebrating-the-body-plasticity-mutation/) - Julie Vulcan, Redress #6 Hinc Illae Lacrimae, or Hence Those Tearsphoto Alan WarrenJulie Vulcan, Redress #6 Hinc Illae Lacrimae, or Hence Those Tears Existence equals one white room, one mesmerised spectator and one flame-haired woman in a blood-red dress. Julie Vulcan’s Redress #6 was one of the exquisite durational live artworks showcased at exist-ence 5,
- [Integrated audience & international citizen](https://www.realtime.org.au/integrated-audience-international-citizen/) - Hydra Poesis, PROMPTER, Jule Japhet Chiari, Brendan Ewing (on computer monitor), Allison Wyper (USA), Marcela Fuentes (Argentina), courtesy the artists Keeping abreast of the vanguard of performing arts must be akin to trying to catch some mythical beast that keeps changing form. Arts House in North Melbourne might primarily be a live performance venue but
- [RT116 Editorial](https://www.realtime.org.au/rt116-editorial/) - Caitlin Franzmann, Courtney Coombs, Focus, 2012, Fresh Cut exhibitionimage courtesy the artists and IMACaitlin Franzmann, Courtney Coombs, Focus, 2012, Fresh Cut exhibition Our 2013 Arts Education feature, Utopias & Horrors, reveals the Zombification of tertiary education but salves the pain with utopian antidotes in which intimacy, the studio, laboratory and the transdisciplinary figure strongly. Parts
- [Programming a grotesque order](https://www.realtime.org.au/programming-a-grotesque-order/) - Michael Kieran Harvey, THNMF2013photo Brad SerlsMichael Kieran Harvey, THNMF2013 The musical grotesque can sometimes struggle to find an audience. As the success of contemporary music in film has shown, overblown gestures, dissonance, difficult timbres, the very soft and the very loud can find sympathetic ears when presented alongside other arts. Two new works performed by
- [Madness, hell and transcendence](https://www.realtime.org.au/madness-hell-and-transcendence/) - Michael Kieran Harvey, THNMF2013 photo Brad Serls Michael Kieran Harvey, THNMF2013 Perth’s Government House Ballroom blazed with intensity as Michael Kieran Harvey performed a solo recital for the Totally Huge New Music Festival. Performing his own work for solo piano, Psychosonata (2012), and Melbourne-based composer Elliott Gyger’s Inferno (2013), an epic musical examination of Dante’s
- [Eclectic ecstasies](https://www.realtime.org.au/eclectic-ecstasies/) - Haco, THNMF2013 Openerphoto Brad SerlsHaco, THNMF2013 Opener With walls of bright-red shipping containers, The Bakery looms out of the Perth car park like a post-apocalyptic fortress. Once inside, a crowd mills around under strings of lights covered by colourful strainers and baskets. Metal fans, indie rockers, classical music aficionados and computer musicians rub shoulders on
- [Churches of sound](https://www.realtime.org.au/churches-of-sound/) - Haco, THNMF2013 Openerphoto Brad SerlsHaco, THNMF2013 Opener The Tura Totally Huge New Music Festival kicked off with a culturally diverse concert that showcased artists from the United States, Japan and Australia. If this range of artistic diversity is Tura’s intention throughout the festival, then I am definitely excited. The festival opening was hosted at The
- [Celestial sweet spots](https://www.realtime.org.au/celestial-sweet-spots/) - Haco, THNMF2013 Openerphoto Brad SerlsHaco, THNMF2013 Opener If you couldn't tell from the sound of the crowd, the tables and chairs in front of the stage were a very good indication there was to be no horseplay at The Bakery on this drizzly Friday night. These individuals had other needs to attend to as they
- [Speak Percussion](https://www.realtime.org.au/speak-percussion/) - Mickrophonie I, Transducer, Speak Percussion, THNMF2013photo Brad SerlsMickrophonie I, Transducer, Speak Percussion, THNMF2013 Audiences for New Music cannot be taken for granted in Australia; you have to make them. The success of Speak Percussion can perhaps be explained by their ability to connect with their music, audiences, collaborators and with composers of different generations. Combining
- [New music: celebration & angst](https://www.realtime.org.au/new-music-celebration-angst/) - Transducer, Speak Perecussion, THNMF2013photo Brad SerlsTransducer, Speak Perecussion, THNMF2013 While the title Totally Huge New Music Festival at first sounds like hyperbole, it is in fact classic Australian understatement. The title doesn’t indicate the festival’s ambitious vision for contemporary music in Australia and the exceptional quality of the local and international acts on offer. If
- [Explorers of an alien planet](https://www.realtime.org.au/explorers-of-an-alien-planet/) - Mickrophonie I, Transducer, Speak Percussion, THNMF2013photo Brad SerlsMickrophonie I, Transducer, Speak Percussion, THNMF2013 Featuring the world premiere of Robin Fox and Eugene Ughetti’s Transducer in conjunction with Karlheinz Stockhausen’s seminal work, Mikrophonie I, the West Australian Museum’s Hackett Hall was transformed into an enclave of fantastical sound worlds that shook up even the most stubborn
- [A choreography of oscillation](https://www.realtime.org.au/a-choreography-of-oscillation/) - Matthew Lorenzon: Speak Percussion, Robin Fox, Transducer
- [In the loop July 31: quick picks](https://www.realtime.org.au/in-the-loop-july-31-quick-picks/) - A super loop to tide you over till late August while we’re pumping out the RT116 Arts & Education edition. Darwin Festival DasSHOKU SHAKE!, Yumi Umiumare & Theatre Group GUMBO photo Vikki ShayenDasSHOKU SHAKE!, Yumi Umiumare & Theatre Group GUMBO If Spring is taking too long to come to you head north to Darwin and
- [The right to a rite of passage](https://www.realtime.org.au/the-right-to-a-rite-of-passage/) - Hunter Page Lochard, Leonard Mickelo, Luke Currie Richardson, Daniel Riley McKinley, Blak, Bangarraphoto Greg BarrettHunter Page Lochard, Leonard Mickelo, Luke Currie Richardson, Daniel Riley McKinley, Blak, Bangarra Choreographically and musically Daniel Riley McKinley takes Bangarra into new realms in Scar, a work focused on young urban Indigenous men who, without access to initiation rites, struggle
- [That business with the art…](https://www.realtime.org.au/that-business-with-the-art/) - Davide Quayola, Matter, Sónar 2013 photo Consuelo BautistaDavide Quayola, Matter, Sónar 2013 Sónar forced me, for the sake of integrity, to smuggle Cointreau in my underpants. But I'll get to my rationalisation for that in a moment. First, let me tell you about some genuinely lovely things that were presented in Barcelona as part of
- [In the loop July 24: quick picks](https://www.realtime.org.au/in-the-loop-july-24-quick-picks/) - Lee Bontecou in studio 1963 photo Ugo Mulas, courtesy The Commercial Gallery and MCLEMOI Gallery, SydneyLee Bontecou in studio 1963 Janis II, The Commercial & MCLEMOI Galleries Janis encompasses a range of activities initiated by Kelly Doley (a member of Brown Council) focusing on female artists, writers and thinkers allowing them “to be heard a
- [No blood on the keys?](https://www.realtime.org.au/no-blood-on-the-keys/) - Michael Kieran Harvey, 2013, Carriageworksphoto Zan WimberleyMichael Kieran Harvey, 2013, Carriageworks At the end of Michael Kieran Harvey’s concert of three demanding Australian works for piano, played without an interval, I wandered onto the stage with curious others from the enthusiastic audience to inspect the magnificent Shigeru Hawai grand piano with which the pianist collaborated
- [Big dreams on a small island](https://www.realtime.org.au/big-dreams-on-a-small-island/) - Underbelly 2011, Turbine Hallphoto Prudence UptonUnderbelly 2011, Turbine Hall Underbelly (the arts festival not the television empire) was founded by Imogen Semmler in 2007 with the intention of bringing to the light underground creative activities that were going on in dark warehouses and shady loungerooms around Sydney (see interview RT103). The first event was a
- [Caring for the planet, one step at a time](https://www.realtime.org.au/caring-for-the-planet-one-step-at-a-time/) - Nat Cursiophoto Pete BrundleNat Cursio Natalie Cursio has assumed many roles over the years: dancer, choreographer, international collaborator, teacher, mentor, creator and curator. As well as making her own work, she has inaugurated a number of projects around dance in innovative settings. For example, in 2010, she created Private Dances (Next Wave Festival), where one
- [In the loop July 17: quick picks](https://www.realtime.org.au/in-the-loop-july-17-quick-picks/) - Gabriella Mangano and Silvana Mangano, Hidden Spaces, Ready Stages courtesy of the artistGabriella Mangano and Silvana Mangano, Hidden Spaces, Ready Stages Winter Season, Arts Centre In addition to a very impressive season of major works in the main theatres— Philip Glass and Robert Wilson’s Einstein on the Beach (31 July-4 Aug), ADT’s Proximity (15-18 Aug)
- [Musical multiplicities](https://www.realtime.org.au/musical-multiplicities/) - The NIS, The Amplified Elephants, BOLT Ensemblephoto Tim McNeilageThe NIS, The Amplified Elephants, BOLT Ensemble A recording of the roar of a vast crowd fills the pitch-black auditorium of the Footscray Community Arts Centre for the opening of The NIS, an all-abilities sonic arts show featuring The Amplified Elephants and the BOLT Ensemble. They could
- [Screwball Shakespeare](https://www.realtime.org.au/screwball-shakespeare/) - Much Ado About Nothing, Joss Whedoncourtesy Sharmill FilmsMuch Ado About Nothing, Joss Whedon Look, I’ll admit it. I loved literature but I initially found Shakespeare hard work. We studied one play every year at high school. Romeo and Juliet. Macbeth. The Merchant of Venice. They are the ones that spring to mind. I remember the
- [Otherworlds of empathy and irony](https://www.realtime.org.au/otherworlds-of-empathy-and-irony/) - Robert Jago, Natalie Holmwood, ALIENATION, Perth Theatre Companyphoto Richard JeffersonRobert Jago, Natalie Holmwood, ALIENATION, Perth Theatre Company Three individuals contacted by an otherworldly power are thrown into an existential quandary; beliefs are interrogated, relationships torn and internal isolation grows. Drawing on interviews with alien abductees in Australia, Perth Theatre Company’s ALIENATION seeks to tell the
- [In the loop July 10: quick picks](https://www.realtime.org.au/in-the-loop-july-10-quick-picks/) - Boomtown, Queensland Festival of Music Queensland Music Festival The Queensland Music Festival has always done things big but this year’s director, jazz trumpeter James Morrison, has gone really big. Continuing the festival’s state-wide focus there’s a large-scale community event coming up in Gladstone (18-21 July) and a huge performance in Tambo has already taken place
- [In the loop July 10: opportunities](https://www.realtime.org.au/in-the-loop-july-10-opportunities/) - Bundanon Trustphotos Keith SaundersBundanon Trust Bundanon Artist Residencies Bundanon Trust, 45 minutes out of Nowra in regional NSW, offers a year-long program of residencies in a range of cottages and studios across the homestead and Riversdale sites. Allowing time for research and collaboration, residencies are open to all artists and groups working in all artforms.
- [Spectator sports](https://www.realtime.org.au/spectator-sports/) - Dana Michel, Yellow Towelphoto Maxyme G DelisleDana Michel, Yellow Towel Recent scholarship in performance and neuroscience reveals that spectatorship is a skill. Perception—visual, aural, olfactory and tactile—is something we learn and get good at. As spectators, we look for a challenge. Too much and we disconnect. Too little and we’re bored. Theatre scholar Bruce McConachie
- [Cracking the technology case](https://www.realtime.org.au/cracking-the-technology-case/) - Selena de Carvalho, (un)popular culturephoto Nancy Mauro-FludeSelena de Carvalho, (un)popular culture There is a low hum of voice and technology as the artist kneels within a circle of television monitors. She wears a collage of ritualistic gear, a little Hungarian folk, a little found material. On her head an adapted bike helmet, sprouting antlers, balances
- [Data noise & the limits of dance](https://www.realtime.org.au/data-noise-the-limits-of-dance/) - Myriam Gourfink, Breathing Monster photo Nicolas ChaussyMyriam Gourfink, Breathing Monster After the discussion, debate and some rancour (see crikey.com) aroused by Myriam Gourfink and Kaspar Toeplitz’s Breathing Monster in ISEA2013 as part of Performance Space’s Switched On program, I thought it best to write plainly about the performance in order to make clear what it

## Pages

- [Footer](https://www.realtime.org.au/footer/)
- [Archives](https://www.realtime.org.au/archives/) - The remarkable RealTime archive is a unique record of responses to innovative and experimental artists reaching back to 1994 and the founding of the bi-monthly print magazine. RealTime editions 1994-2000 are in PDF format. You can visit the original 2001-2015 website for access in particular to Features, RT Profiler and RealTime Dance while they are being incorporated into this site.
- [12 Australian Choreographers](https://www.realtime.org.au/12-australian-choreographers/)
- [Information](https://www.realtime.org.au/information/) - Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher. Copyright arrangements for images appearing in advertisements are solely the responsibility of the advertiser. Articles and images can only be reproduced from print and online editions of RealTime with the express permission in writing of the writer and the publisher.
- [Team](https://www.realtime.org.au/team/) - This new section features a joint biography for Managing Editors Keith and Virginia, seen here with RealTime staff in 2014. More entries will be added as we complete the archive.
- [Introduction](https://www.realtime.org.au/realtime-dance-introduction/) - erin brannigan, 2014 For many years now, there has one major resource for researching contemporary Australian dance, and that has been RealTime online. In terms of the breadth of artists covered–whether east or west coast, emerging or established, company or project-based, locally-oriented or internationally networked—there is no other resource that offers the big picture of
- [Dance on screen](https://www.realtime.org.au/dance-on-screen/) - Rapt, Dance on Camera Festival 2007© the artists Rapt, Dance on Camera Festival 2007 © the artists RealTime is a leader in developing critical writing around dance screen in all its various manifestations. Dance Screen is a relatively new term that has replaced others such as videodance, describing a much broader field of practice than
- [Donate](https://www.realtime.org.au/donate/) - RealTime is no longer soliciting donations. Any queries should be directed to keith@realtimearts.net.
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- [Special Editions](https://www.realtime.org.au/special-editions/)
- [About](https://www.realtime.org.au/about/) - About RealTime: a brief history Virginia Baxter, Keith Gallasch This is a factual history; a personal one will emerge once we’ve had time to reflect on the experience that has been RealTime, taking us across Australia and overseas, producing associated publications and enjoying the pleasure of being part of a far flung network of writers
- [About-old](https://www.realtime.org.au/about-old/) - RealTime is Australia's critical guide to national and international contemporary arts. Our focus is on experimentation in performance—live art, contemporary performance, adventurous theatre, dance, music, sound—photomedia, film, video, interactive media and hybrid arts. Founded in 1994 by Managing Editors Virginia Baxter and Keith Gallasch, for 21 years RealTime was a highly successful bi-monthly print magazine,
- [RealTime Media Art Introduction](https://www.realtime.org.au/realtime-media-art-introduction/) - I’ve grown accustomed to your interface Darren Tofts Media art has been well represented as a contemporary art phenomenon in publications such as Artlink, Mesh, Photofile, 21C and World Art. The sub-titles of some of these magazines even changed to reflect and accommodate the digital post-age we lived in, but thankfully avoided way-cool U.S. monikers
- [RealTime Dance](https://www.realtime.org.au/realtime-dance/) - RealTime’s portal to Australian dance opens our extensive dance archive back to 1994, profiles 12 leading Australian choreographers, featured in our new book Bodies of Thought: Twelve Australian Choreographers and includes dance on screen and RealTime onsite at dance events.
- [RealTime Traveller – blurb](https://www.realtime.org.au/realtime-traveller-blurb/) - In RealTime Traveller artists and artworkers offer pithy, idiosyncratic travel tips providing perspectives you're not likely to find in regular travel guides. Along with introductions to innovative venues, festivals and events both large and small, above and underground, RealTime Traveller also recommends great bars and restaurants as well as activities and experiences to occupy the
- [Writers read RealTime](https://www.realtime.org.au/audio-gallery-blurb/) - As part of our celebration of the RealTime Archive, we thought you might like to hear the actual voices of our contributors, so we've invited them to record readings of reviews of favourite works in Writers read RealTime.
- [RealTime Audio](https://www.realtime.org.au/realtime-audio-blurb/) - Welcome to RealTime Audio which features artist interviews, responses to music and sound art and our gallery of commissioned works.
- [Contributors](https://www.realtime.org.au/contributor/) - If you are interested in contributing to our magazine contact Keith at keith@realtimearts.net
- [Dance on site](https://www.realtime.org.au/dance-on-site/)
- [RealTime Media Art](https://www.realtime.org.au/realtime-media-art/) - RealTime's Media Art Archive provides access to reviews, articles and commentaries on an innovative and challenging field of practice from 1994 to the present.Explore this unique resource covering the work of Australian and international artists via our search facility or a range of non-exclusive categories. In a field where practices interconnect and hybridise, you might
- [Dance File](https://www.realtime.org.au/dance-file/)
- [Privacy Policy](https://www.realtime.org.au/privacy-policy/) - Who we are RealTime is published by Open City, an Incorporated Association in New South Wales, Australia. We are a critical guide to national and international contemporary arts, with a focus on experimentation in performance—live art, contemporary performance, adventurous theatre, dance, music, sound—photomedia, film, video, interactive media and hybrid arts. Publishing regularly first in print
- [Site credits](https://www.realtime.org.au/site-credits/) - RealTime site design by Lee Wong (The Mighty Wonton) and Graeme Smith (Peony Press). The Mighty Wonton is a Melbourne based studio specialising in all things digital, for clients and co-designers in Australia, Singapore and London. Graeme Smith is an art director/writer for the communications industry and works from the Sydney/Canberra region of Australia. Peony
- [RealTime Video](https://www.realtime.org.au/realtime-video-blurb/) - Welcome to RealTime TV artist interviews, critical responses to leading video art and our gallery of RealTime commissioned works.
- [Submissions](https://www.realtime.org.au/submissions/) - RealTime online content is currently being updated on a weekly basis. We provide a diverse range of coverage including previews of upcoming events, reviews of current exhibitions and shows, and longform critical analysis. Consequently the submission timelines vary depending on the type of content. RealTime’s editorial focus is on innovation in contemporary performance (including live
- [Contacts](https://www.realtime.org.au/contacts/) - Managing Editor & Finance Keith Gallasch Email keith@realtimearts.net Mobile 0410 664 549 Managing Editor & Sales Virginia Baxter Email virginia@realtimearts.net Mobile 0421 773 855 Telephone 02 9332 4549 Online Producer Lucy Parakhina Email onlineproducer@realtimearts.net Advertising Sales Katerina Sakkas Email advertising@realtimearts.net Mobile 0406 352 681 Virginia Baxter Email virginia@realtimearts.net Telephone 02 9332 4549 RealTime Office realtime@realtimearts.net
- [Critical Audio](https://www.realtime.org.au/critical-audio-blurb/) - Listen to and read about fascinating sound and music works.
- [RealTime Talk](https://www.realtime.org.au/realtime-talk-blurb/) - Innovative artists discuss their creations.
- [Video Gallery](https://www.realtime.org.au/video-gallery-blurb/) - Our online exhibition space of original, commissioned artworks.
- [Realtime TV](https://www.realtime.org.au/realtime-tv-blurb/) - Innovative artists discuss their creations.
- [Deep Archive](https://www.realtime.org.au/deep-archive/) - We highlight the weirdest, smartest, most luminescent pieces from unexpected and illustrious writers and their artist subjects, largely from undigitised editions of RealTime in the 1990s.
- [Critical Video](https://www.realtime.org.au/realtime-video-blurb/critical-video-blurb/)
- [Find](https://www.realtime.org.au/find/) - Search form goes here

## Contributors

- [Jodie McNeilly](https://www.realtime.org.au/contributor/jodie-mcneilly/) - In First Grade my mother was called to the school to see a report I had written on Indigenous Australians and the so-called White Settlement. The expected three lines had expanded into three foolscap pages—a lengthy amount for a six year old who barely spoke and now, on this topic, seemed to have a lot
- [Cleo Mees](https://www.realtime.org.au/contributor/cleo-mees/) - I write non-fiction that is part scholarship, part creative writing. This writing aims to be both outward-focused and personal, both in love with concepts and rooted in the everyday. Last year it was a highlight to finish two essays in this vein, Letters to Sheila (2020) and Feeling Good (forthcoming in 2021). I also write
- [Erin Brannigan](https://www.realtime.org.au/contributor/erin-brannigan/) - I started dancing very early, as many kids do, and have managed to keep my working life close to this special interest. My teaching in a university context, research, and other interests all involve dance, whether it's a special spot in a performance course on social dance forms, an emphasis on description in a reviewing
- [Richard Murphet](https://www.realtime.org.au/contributor/richard-murphet/) - I have been working in theatre now for over four decades: as actor, director, playwright and teacher. Theatre in its infinite diversity has provided an ongoing structure to my life, not the only one but a significant one. Doing, viewing and thinking about theatre has deepened my understanding of myself, of others and of the
- [Darren Jorgensen](https://www.realtime.org.au/contributor/darren-jorgensen/) - I am a failed novelist who was always too distracted to complete a full draft. My unfinished and unpublished novels include Brian and the War of Stillness, The Captain: An LSD Story, and Travels of a Tasmanian Tiger in an Age of Extinction. Eventually, it became too difficult to be a failed novelist and still receive unemployment benefits, so I went
- [Fiona McGregor](https://www.realtime.org.au/contributor/fiona-mcgregor/) - Fiona McGregor is a Sydney writer and performance artist. She has published five books, including Strange Museums, a travel memoir of a performance art tour through Poland. Her most recent novel Indelible Ink (2010) won Age Book of the Year. McGregor writes essays, articles and reviews for many publications including RealTime, Overland, The Monthly, The
- [Andrew Fuhrmann](https://www.realtime.org.au/contributor/andrew-fuhrmann/) - A critic sits reflected in the eye of the artist. Each review is a fragment of autobiography, if it is honest. "My face in thine eye, thine in mine appears and true plain hearts do in the faces rest," wrote John Donne in The Good-Morrow. The more one writes, the more complete the self-portrait. What can I say about myself that can't already be deduced from the criticism? What else do I need to say?
- [Lauren Carroll Harris](https://www.realtime.org.au/contributor/lauren-carroll-harris/) - An award-winning writer, researcher and artist, Lauren has a PhD from UNSW theorising film distribution and has recently contributed to such outlets as The Monthly online and ABC RN’s The Final Cut. Lauren was RealTime’s Acting Assistant Editor in 2017, and she writes the Stream Lover column for Guardian Australia and the Wake in Light series on new Australian cinema for Kill Your Darlings.
- [Elyssia Bugg](https://www.realtime.org.au/contributor/elyssia-bugg/) - Elyssia studies history and writes about dance, contemporary performance and video for RealTime and revels in criticism's "translation from physical actuality to textual realisation."
- [Laetitia Wilson](https://www.realtime.org.au/contributor/laetitia-wilson-2/) - My research is in the field of media art history and I have completed a doctorate in interactive art and ludic interfaces. Currently my interests launch more broadly toward contemporary and hybrid arts, however I still have a keen interest in developments of the media arts sphere. On the practical artistic front I have collaborated
- [Jana Perkovic](https://www.realtime.org.au/contributor/jana-perkovic/) - Biographies are hard. I moved to Australia from Croatia, via Italy, in 2005. As any emigrant, my life is full of inexplicable fractures of logic. I have studied languages, philosophy, literature, theatre, have half a degree in Japanese (language and culture) and I’m a trained classical pianist. By profession: urban designer and geographer. I teach
- [Caroline Wake](https://www.realtime.org.au/contributor/caroline-wake/) - I am an Australian Research Council DECRA Fellow and Lecturer in Theatre and Performance at UNSW Sydney. In broad terms, I research politics and performance and within that, I have several interests. Firstly, in theatre and migration, including the participation and representation of refugees and asylum seekers in contemporary performance. Secondly, in theatres of the
- [Briony Kidd](https://www.realtime.org.au/contributor/briony-kidd/) - As a teenager I decided "to be a film director like Jane Campion," so I went to study film at VCA. Truthfully, I had an inkling, even at that age, it wasn't going to be a straightforward career path, but does anyone truly understand what they're getting into when they sign up for a creative
- [John Bailey](https://www.realtime.org.au/contributor/john-bailey/) - My earliest extant piece of writing was an illustrated book that went by the title The Haunted Skeleton and while five-year-old me never finished the thing he did go to the trouble to write a back cover blurb for it. The young critic’s summation simply ran thus: “Is it good? Yes it is.” I largely
- [Jonathan W Marshall](https://www.realtime.org.au/contributor/jonathan-w-marshall/) - From 1989, I studied combined Arts/Science at the University of Melbourne, finally graduating with a PhD in History in 2003. During this time, I became involved with university and fringe performances, on and off campus, working with numerous small companies. I have at one point done everything you can do on or off stage, even
- [Katerina Sakkas](https://www.realtime.org.au/contributor/katerina-sakkas/) - My background is in visual art, a field I’ve worked in continuously since completing a Bachelor of Fine Arts degree at Sydney's COFA [College of Fine Arts] straight after high school. During this time I’ve supported my painting and exhibiting through an eclectic range of jobs including proofreading, teaching belly dance and working as an
- [Philipa Rothfield](https://www.realtime.org.au/contributor/philipa-rothfield/) - I like the range of things that I do. This includes writing philosophy, dancing, walking the dogs, learning Japanese, public speaking, editing, reviewing, cooking, eating and going to see shows. What I don’t like so much is the amount of things that I do, measured across time. Since I have so-called retired from my longstanding
- [Urszula Dawkins](https://www.realtime.org.au/contributor/urszula-dawkins/) - I work mostly across the arts and academia as a journalist, writer/editor and mentor, as well as maintaining my own creative practice as a writer, collaborator and sometimes-musician. In the past 20 years I’ve also been an arts producer, an arts marketer, a web and multimedia producer, a choir manager and a book producer, among
- [Zsuzsanna Soboslay](https://www.realtime.org.au/contributor/zsuzsanna-soboslay/) - I’ve always thought language pushes, sculpts and shapes us. I knew that as a child. I was the obedient daughter of post-WWII refugees with a subversive sense of humor, which I think came from another country. The elderly nuns laughed while the other school kids didn’t know what was going on. The day I realised that
- [Ben Brooker](https://www.realtime.org.au/contributor/ben-brooker/) - In 2005, having abandoned plans to train as an actor, I attained a Bachelor of Arts from Flinders University, majoring in drama. I returned in 2010 to complete my honours; my thesis explored online theatre criticism. The following year, convinced that the immediate way forward was marked by the page rather than the stage, I
- [Gail Priest](https://www.realtime.org.au/contributor/gail-priest/) - I’ve worked in the arts in various capacities for over 20 years. For over 15 of these I worked for RealTime as Advertising Sales Manager, Associate Editor, Online Producer and Layout Artist of the beloved print magazine. Somewhere in there, I was encouraged to write articles covering sound and media art in particular. A few
- [Oliver Downes](https://www.realtime.org.au/contributor/oliver-downes/) - A little while ago composer, arranger and piano teacher Elissa Milne blogged that it takes two generations to grow a musician: “the first generation learns how to learn, and then the second generation has parents who know what it [really] takes.” My parents were research scientists, both of whom held a deep love of music,
- [Chris Reid](https://www.realtime.org.au/contributor/chris-reid/) - As an undergraduate in South Australia, I studied Political Science and History and have made a 30-year career in educational administration — “herding cats”. More recently I completed a masters degree in art history and had a brief taste of teaching in that field. After 5.00pm, I’ve always been an arts addict. I write about
- [Matthew Lorenzon](https://www.realtime.org.au/contributor/matthew-lorenzon/) - I see journalism and academic writing as intertwined practices that use different methods to critique, document and argue the value of the arts. I started writing for RealTime during my Masters studies in Literature at the University of Melbourne in 2011 and continued throughout my doctoral studies in Musicology at the Australian National University. Regretting
- [Dan Edwards](https://www.realtime.org.au/contributor/dan-edwards/) - I grew up in the Blue Mountains, but ran away to Sydney as soon as possible. With a view to becoming a rock star I ran away to London, but quickly realised it was full of rain and misery, so I came back. After 15 years and a stint in the public service I ran

## Statement

- [Gallery: Almost Doco](https://www.realtime.org.au/statements/gallery-almost-doco-24-may-2017/) - For over 20 years, RealTime has provided a space for thoughtful and constructive critical discussion of innovative and experimental contemporary art in Australia and around the world. Now we’re a creative space too: an online habitat for new video, sound, music and media art. With support for art spaces and art-making in Australia dwindling, we

## Team

- [Virginia Baxter & Keith Gallasch](https://www.realtime.org.au/team/virginia-baxter-keith-gallasch/) - This is a biographical sketch which we’ll flesh out once we’ve had time to sit back and reflect on our 25-year RealTime adventure. We are Directors on the Board of Management of Open City Inc and Managing Editors of RealTime. Open City Inc was founded by us on the principle of openness: free access, collaboration,

## Choreographers

- [rosalind crisp](https://www.realtime.org.au/choreographer/rosalind-crisp/) - Rosalind Crisp grew up on a sheep farm in East Gippsland, Victoria. She trained in classical and contemporary dance at the Victorian Ballet School, Melbourne, and in Contact Improvisation, release work and Body-mind centering® at the European Dance Development Centre, the Netherlands. In 1992 and 1993 she worked with different choreographers in Antwerp, Belgium (R.
- [tess de quincey](https://www.realtime.org.au/choreographer/tess-de-quincey/) - Tess De Quincey is a choreographer and dancer who has worked extensively in Europe, Japan and Australia as a performer, teacher and director. Trained in dance, graphics and sculpture in London and Copenhagen, she was formerly a dancer with butoh artist Min Tanaka and his Mai-Juku performance group for six years [1985-91] which has provided
- [kate champion](https://www.realtime.org.au/choreographer/kate-champion/) - Kate Champion is the Artistic Director of Force Majeure, a dance theatre company based in Sydney that she established in 2002. Champion’s first professional engagement as a dancer was with the Munich-based Iwanson Dance Company at the age of 16. In 1985 she became a founding member of Dance North before moving to Adelaide to
- [lucy guerin](https://www.realtime.org.au/choreographer/lucy-guerin/) - Lucy Guerin’s choreography has grown from an interest in dance as a source of unique creativity and communication. Although her works incorporate diverse art forms, their genesis is always the physicality of the human body. Her choreographic methods juxtapose complex structures and ideas with an instinctive studio investigation into the possibilities of movement. It is
- [sue healey](https://www.realtime.org.au/choreographer/sue-healey/) - Sue Healey is a choreographer, educator and dance-film maker based in Sydney. With 25 years of experience she creates dance in many contexts as both a commissioned choreographer for Australian and international companies, and as an independent artist. A founding member of Nanette Hassall’s Dance Works, she performed and choreographed with the company from 1983
- [helen herbertson](https://www.realtime.org.au/choreographer/helen-herbertson/) - 2007 recipient of the Kenneth Myer Medallion for Outstanding and Distinguished Contribution to the Performing Arts, Helen Herbertson has been crafting performance for over three decades in intimate non-theatre venues, traditional theatrical settings, large-scale outdoor sites, and for theatre and opera performances, educational projects and touring programs. "My work has focused on the dynamic flow
- [stephen page](https://www.realtime.org.au/choreographer/stephen-page/) - Born in Brisbane, Stephen Page is a descendant of the Nunukul people and the Munaldjali clan of the Yugambeh tribe from southeast Queensland. He was appointed Artistic Director of Bangarra Dance Theatre in 1991 and has created 12 new dance theatre works for the company. Page has developed Bangarra’s distinctive performance style drawing on over
- [gideon obarzanek](https://www.realtime.org.au/choreographer/gideon-obarzanek/) - Gideon Obarzanek became interested in dance towards the end of high school and after graduating deferred science at university to study at the Australian Ballet School. He later danced with the Queensland Ballet and the Sydney Dance Company before working as an independent performer and choreographer with various dance companies and independent projects within Australia
- [russell dumas](https://www.realtime.org.au/choreographer/russell-dumas/) - Brisbane-born Russell Dumas trained in a number of dance styles in Australia and overseas including classical ballet, and the Graham and Cunningham techniques. He began his performing career in musical comedy with the J.C Williamson organisation and later danced with a wide variety of English and European companies including the London Festival Ballet, Ballet Rambert,
- [garry stewart](https://www.realtime.org.au/choreographer/garry-stewart/) - Garry Stewart began his professional dance career at the age of 20. Following his work as a dancer in many notable Australian companies, including Australian Dance Theatre, he began his career as a freelance choreographer in 1990. For the next eight years he was based in Sydney, creating works for some of Australia’s most notable
- [meryl tankard](https://www.realtime.org.au/choreographer/meryl-tankard/) - Having leapt to fame in Europe with Pina Bausch, Meryl Tankard returned in 1984 to create a dance theatre aesthetic all her own. From 1989 -1993 she directed her own company in Canberra, then went on to lead The Australian Dance Theatre in Adelaide for the next six years. She created a dynamic versatile company
- [ros warby](https://www.realtime.org.au/choreographer/ros-warby/) - Ros Warby is one of Australia's leading dancer/choreographers, creating and performing solo dance work since 1990. Born in Sydney in 1967, Warby finished her classical ballet training in Europe with Marika Besobrasova, Monte Carlo, Central School of Ballet, London and the Royal Danish Ballet School. She is also a certified teacher of the Alexander Technique.

## Issues

- [65](https://www.realtime.org.au/issue_cover/65/) - Cover image: Craig Walsh, Contested space, 2004, Anne Landa Award + Exhibition, Art Gallery of New South Wales, Dec 2, 2004-Feb 13, 2005
- [60](https://www.realtime.org.au/issue_cover/60/) - Cover image: From Jeff Busby, Amplification, 3 Deep Publications, 2004
- [56](https://www.realtime.org.au/issue_cover/56/) - Cover image: Carnivale: The Museum of Fetishised Identities, Performance Space, 2001. Top: Valerie Berry; bottom left: Guillermo Gomez-Peña; bottom right: Rolando Ramos. Photographs by Heidrun Löhr.
- [47](https://www.realtime.org.au/issue_cover/47/) - Cover image: Composer, performer and instrument maker Graeme Leak, featured artist in REV, a 3-day festival of new sounds and instruments, Brisbane Powerhouse, April 5-7. Photos by Ross Bird.
- [48](https://www.realtime.org.au/issue_cover/48/) - Cover image: From Show Me the Way to Go Home, a screen-based exhibition, artist Christian Thompson, curator Kate Rhodes, George Adams Gallery, Victorian Arts Centre; Next Wave, May 17 - July 14.
- [49](https://www.realtime.org.au/issue_cover/49/) - Cover image: Christina Chan, Lina Limosani and Roland Cox in The Age of Unbeauty, Australian Dance Theatre's work to be performed The Studio, Sydney Opera House, June 25-July 6 as part of The Action Pack. Photo by Alex Makayev.
- [42](https://www.realtime.org.au/issue_cover/42/) - Cover image: Guo Jian, Trigger Happy II, Private collection, USA, courtesy of Ray Hughes Gallery; bottom left - Stevie Wishart, Tracking, image by Joe Glaysher & Ludo Engels; bottom right - Kate Champion, image by Heidrun Löhr
- [41](https://www.realtime.org.au/issue_cover/41/) - Cover image: Brisbane Powerhouse Centre for the Live Arts, photo Jon Linkins.
- [43](https://www.realtime.org.au/issue_cover/43/) - Cover image: Patricia Piccinini, Social Studies 2000, digital print.
- [44](https://www.realtime.org.au/issue_cover/44/) - Cover image: Cazerine Barry, Sprung, photo Ross Bird. Sprung will be part of the l’attitude 27.5° dance, performance and technology event produced by the Brisbane Powerhouse Centre for the Live Arts.
- [45](https://www.realtime.org.au/issue_cover/45/) - Cover image: Melissa Madden Gray and Orren Tanabe in ELISION ensemble’s Moon Spirit Feasting, Theatreworks, Melbourne Festival, October 22-25. Photo: Matt Nettheim.
- [46](https://www.realtime.org.au/issue_cover/46/) - Cover image: Excelsior 3000—Bowel Technology Project (2001) by Ian Haig, exhibited in Waste, produced by Experimenta. Photo by Andrew Curtis.
- [50](https://www.realtime.org.au/issue_cover/50/) - Cover image: Michael Mayhew, open road, photo Stacey Potter. Image from 3 3 3, created at Theatre Arsenic, Lausanne & L'Usine, Genneve, 2002.
- [51](https://www.realtime.org.au/issue_cover/51/) - Cover image: Centre: Blast Theory, Desert Rain, performer Ju Row Farr, photographer Fiona Freud; Artspace Sydney, Nov 12-23, 2002. Top & Bottom Row: Chunky Move, Closer, dancer Nicole Johnston; Antistatic, Performance Space, Sydney, September 2002, Australian Centre for the Moving Image, Melbourne, December 2002.
- [52](https://www.realtime.org.au/issue_cover/52/) - Cover image: Missing (Deer in Scotland), 2002, Lithograph on paper, 38cm x 28cm. Reproduced with the kind permission of the artist. See Editorial
- [53](https://www.realtime.org.au/issue_cover/53/) - Cover image: A scene from IHOS Music Theatre's Tesla, Lightning in His Hands, an opera spectacle about the early 20th Century polific inventor whose reputation is currently being restored. Photographer: Bruce Miller.
- [54](https://www.realtime.org.au/issue_cover/54/) - Cover image: Nicholas Jones, Book in Flight, folded book, 2002, photographer Paul Batt, exhibited in Open Bench, Craft Victoria, May 2002
- [55](https://www.realtime.org.au/issue_cover/55/) - Cover image: The photograph Indian Brave by Polixeni Papapetrou is from the series Phantomwise that showed at Stills Gallery, April 23-May 24 2003, and which featured her masked daughter Olympia
- [57](https://www.realtime.org.au/issue_cover/57/) - Image credit: Lily Hiberd, Blinded by the Light, 2002, Oil and phosphorescent paint on canvas, 91 x 153cm. Reproduced courtesy of the artist.
- [58](https://www.realtime.org.au/issue_cover/58/) - Cover image: Justine Cooper, image from TULP: the Body Public
- [59](https://www.realtime.org.au/issue_cover/59/) - Cover image: Images to accompany Olivia Khoo's feature article on the depiction of Asian people in Australia feature films. They are from The Year of Living Dangerously, director Peter Weir, Chapel Distribution P/L, reproduced coutesy of Chapel Distribution P/L; The Goddess of 1967, director Clara Law, Palace Films, reproduced courtesy of Palace Films; The Finished People,
- [61](https://www.realtime.org.au/issue_cover/61/) - Cover image: RealTime covers 1994-2004 (RT1-RT61)
- [62](https://www.realtime.org.au/issue_cover/62/) - Cover image: Linsey Gosper, Lux Occulta - self portrait from body of work titled Bad Taste. The image was selected for the Hatched National Graduate Show 2004 at PICA and will be showing in a mini-version of the exhibition at the Australia Council in Sydney, October 22-December 16. Lux Occulta is reproduced courtesy of the
- [63](https://www.realtime.org.au/issue_cover/63/) - Cover image: Danwen Ching, from the disCONNEXION series (2002-2003). Danwen Ching is one of the participating artists in MAAP 2004 in Singapore in October.
- [64](https://www.realtime.org.au/issue_cover/64/) - Cover image: Photographs by Heidrun Löhr form Performance Space 21st birthday celebrations. Clockwise from left: The Sydney Front, Martin del Amo, Frumpus, Brian Fuata, Christine Johnston, Azaria Universe
- [66](https://www.realtime.org.au/issue_cover/66/) - Cover image: Garry Stewart & David Evans, Transcriptions, Greenaway Art Gallery, Adelaide, Feb 22-March 1. Video image reproduced with permission.
- [67](https://www.realtime.org.au/issue_cover/67/) - Cover image: Cherine Fahd, Looking Glass, Rotorua, Lamda print on metallic paper, 90 x 118cm, Looking Glass exhibition, Gitte Weise Gallery May 18-July 2. Courtesy of the artist and Gitte Weise Gallery.
- [68](https://www.realtime.org.au/issue_cover/68/) - Cover image: Kate James, The World is a Dangerous Place from her body of work titled Anxiety Survival Kit, selected from the School of Art, RMIT for HATCHED 05, National Graduate Show, Perth Institute of Contemporary Arts, Perth May 20-July 3.
- [69](https://www.realtime.org.au/issue_cover/69/) - Cover image: Photograph by Jeff Busby; actors Simon Laherty, Sonia Teuben; Back to Back Theatre, Small Metal Objects, Melbourne International Arts Festival, Oct 7-22.
- [70](https://www.realtime.org.au/issue_cover/70/) - Cover image: Deborah Kelly, Beware of the God, projection, Circular Quay, Sydney, Sept-Nov, as part of the MCA Interesting Times Australian art show. Photo Alex Kershaw. Reproduction courtesy of the artist and Gallery Barry Keldoulis.
- [71](https://www.realtime.org.au/issue_cover/71/) - Cover image: From Devolution, dancer Tim Ohl, robotics Louis-Philippe Demers, photographer Chris Herzfeld
- [72](https://www.realtime.org.au/issue_cover/72/) - Cover image: Nina Wyllie, Matthew Austin, in This Much I Know (Part Two), The Special Guests; Inbetween Time Festival, Arnolfini, Bristol, UK, Feb 1-5. Photographer: Adam Faraday
- [73](https://www.realtime.org.au/issue_cover/73/) - Cover image: Craig Walsh, Cross-Reference, 2004. Courtesy the artist.
- [74](https://www.realtime.org.au/issue_cover/74/) - Cover image: Force Majeure, Already Elsewhere, photographer Branco Gaica. Sydney’s Force Majeure have been been invited to take Already Elsewhere to the prestigious Biennale de la Danse de Lyon.
- [75](https://www.realtime.org.au/issue_cover/75/) - Cover image: YOUNG-HAE CHANG HEAVY INDUSTRIES, Out of the internet. The text image is from a new web-based work commissioned from the South Korean artist by MAAP for its 2006 internet-focused festival of media art.
- [76](https://www.realtime.org.au/issue_cover/76/) - Cover image: Seemanslieder is part of the 2007 Sydney Festival program. See Benedict Andrews’ account of the career and vision of its director, Christoph Marthaler on page 8. Photographer Phile Deprez.
- [77](https://www.realtime.org.au/issue_cover/77/) - Cover image: Brendan Lee in Northern Void, video directed by Philip Brophy and Philip Samartzis, live multi-channel score by P2 (Brophy, Samartzis), ACMI, Feb 17,18; image courtesy of the artists
- [78](https://www.realtime.org.au/issue_cover/78/) - Cover image: Left to right - Moira Finucane, Caroline Lee, James Wardlaw in Anna Tregloan’s Black at Malthouse, photo Jeff Busby
- [79](https://www.realtime.org.au/issue_cover/79/) - Cover image: Merilyn Fairskye, Aqua, video installation 2007, courtesy of the artist
- [80](https://www.realtime.org.au/issue_cover/80/) - Cover image: Kel Glaister, Immovable Object 2007
- [81](https://www.realtime.org.au/issue_cover/81/) - Cover image: Paul White in Tanja Liedtke’s construct. Photo Chris Herzfeld.
- [82](https://www.realtime.org.au/issue_cover/82/) - Cover image: Transformation Guitar, Ian Haig, part of the Zoso exhibition, photo Andrew Barcham, Screaming Pixel
- [83](https://www.realtime.org.au/issue_cover/83/) - Cover image: James Long in Clark and I Somewhere in Connecticut, Theatre Replacement, PuSh International Festival of Performing Arts, Vancouver; photo photo Shannon Mendes.
- [84](https://www.realtime.org.au/issue_cover/84/) - Cover image: Rita Kalnejais, Matthew Whittet, Alison Bell in the Malthouse world premiere production of Marius von Mayenburg’s Moving Target, directed by Benedict Andrews, photo Tania Kelley.
- [85](https://www.realtime.org.au/issue_cover/85/) - Cover image: Mourning Cloak. Inspirational and promotional image for The Navigator, a new opera by Liza Lim premiering at Brisbane Festival in July. Image by Robert & Shana Parke Harrison.
- [86](https://www.realtime.org.au/issue_cover/86/) - Cover image: Jane Nicholes, Spent, 2007, mixed media, video. Reproduced courtesy of the artist. Photographs by Fredrick Magallanes. From Hatched 08 National Graduate Show, PICA, Perth, April 11-May 25, 2008
- [87](https://www.realtime.org.au/issue_cover/87/) - Cover image: Crowd Theory, Port of Melbourne 2008, artist Simon Terrill, producer Footscray Community Arts Centre; reproduced with permission
- [88](https://www.realtime.org.au/issue_cover/88/) - Cover image: Peter Alwast, Everything, 2008, 3D digital animation, 1080p QuickTime file, 3-channel projection, exhibited from hard-drive, 16:9, colour, stereo, 5 minutes, audio production in collaboration with David Johnston; courtesy: the artist, Gallery Barry Keldoulis, Sydney
- [89](https://www.realtime.org.au/issue_cover/89/) - Cover image: Ross Coulter and Simon Obarzanek, Untrained, Lucy Guerin Inc, photo by Untrained Artists
- [90](https://www.realtime.org.au/issue_cover/90/) - Cover image: Rowan McNamara, Marissa Gibson, Samson & Delilah, photo Mark Rogers
- [91](https://www.realtime.org.au/issue_cover/91/) - Cover image: Composition from original works from The Summer of Us, 2009, Narelle Autio, courtesy the artist and Stills Gallery
- [92](https://www.realtime.org.au/issue_cover/92/) - Cover image: Len Lye, film still from Rainbow Dance, 1936. Courtesy of the Len Lye Foundation, the Govett-Brewster Art Gallery, the New Zealand Film Archive and the British Post Office. From the ACMI exhibition, Len Lye, ACMI, Melbourne, July 16-Oct 11.
- [93](https://www.realtime.org.au/issue_cover/93/) - Cover image: Shrink, 01995—an installation by Lawrence Malstaf. Performers: Elisa and Amel Andessner, courtesy Galerie Fortlaan 17 - Gent (B), Brussels, Belgium. Reproduced with the permission of the gallery and the artist.
- [94](https://www.realtime.org.au/issue_cover/94/) - Cover image: Fiona Foley, Bliss (video still) 2008, DVD 11 minutes; videography: Troy Melville, Move Media; Museum of Contemporary Art; purchased with funds provided by the Coe and Mordant families, 2009; image courtesy and © the artist
- [95](https://www.realtime.org.au/issue_cover/95/) - Cover image: Le 104 Cent Quatre, Paris, photo © Stéphane Couturier
- [96](https://www.realtime.org.au/issue_cover/96/) - Cover image: Wang Jianwei, Hostage, 2008 single channel video 32 mins, screen width 700cms.
- [97](https://www.realtime.org.au/issue_cover/97/) - Cover image: Scattered Tacks. Artists: Terri Cat Silvertree, Skye and Alex Gellmann. Image courtesy of the photographer Alicia Ardern.
- [98](https://www.realtime.org.au/issue_cover/98/) - Cover image: Egres Ludob, I Goghbot [2010], Egres Ludob’s I Goghbot was shortlisted for the National Youth Self-Portrait Prize hosted by the National Portrait Gallery in Canberra.
- [99](https://www.realtime.org.au/issue_cover/99/) - Cover image: Dancers Daniel Riley McKinley and Travis De Vries, “Museum” from Artefact (of earth and sky), choreographer Francis Rings, image supplied courtesy of Bangarra Dance Theatre, photo Andy Solo
- [100](https://www.realtime.org.au/issue_cover/100/) - Cover image: Gob Squad, Super Night Shot, video still courtesy Gob Squad; presented by Sydney Festival, Performance Space, Sydney Opera House, The Studio, Jan 25-30; ACMI, Melbourne, Feb 3-5; World Theatre Festival, Brisbane Powerhouse, Feb 10-12
- [103](https://www.realtime.org.au/issue_cover/103/) - Cover image: Mould City Condition 2010–2050, Colony Collective, Melbourne School of Design (University of Melbourne), team members Madeleine Beech, Jono Brener, Nicola Dovey, Peter Raisbeck, Simon Wollan, photo FloodSlicer
- [101](https://www.realtime.org.au/issue_cover/101/) - Cover image: RealTime on the Press. Cover design: Graeme Smith, photo: Sam James
- [102](https://www.realtime.org.au/issue_cover/102/) - Cover image: Matthew Day, Thousands, Dance Massive 2011, photo Jac Price
- [104](https://www.realtime.org.au/issue_cover/104/) - Cover image: Simon Laherty, Brian Tilley, Ganesh Versus the Third Reich, 2011, Back to Back Theatre, image Jeff Busby
- [105](https://www.realtime.org.au/issue_cover/105/) - Cover image: Pilar Mata Dupont, Tarryn Gill, Blood Sport, 2010 (detail). Courtesy of the artists and Goddard de Fiddes Gallery, Perth, photo Kim Tran
- [106](https://www.realtime.org.au/issue_cover/106/) - Cover image: Radical Son, I Am Eora, Sydney Festival 2012, photo Lisa Tomasetti
- [114](https://www.realtime.org.au/issue_cover/114/) - Cover image: Ryoji Ikeda, data.tron [8k enhanced version], audiovisual installation, 2008-09 © Ryoji Ikeda, photo by Liz Hingley; part of ISEA2013
- [107](https://www.realtime.org.au/issue_cover/107/) - Cover image: Thomas Demand, Daily #12, (2009), Dye Transfer Print; 79.9 x 80.2cm /31.4 x 31.5in (framed); © Thomas Demand, VG Bild-Kunst, Bonn/Viscopy, Sydney; Courtesy Matthew Marks Gallery New York, Esther Schipper, Gallery Berlin and Sprueth Magers Berlin London
- [108](https://www.realtime.org.au/issue_cover/108/) - Cover image: Nathan Beard, Casey Ayres, Abdul Abdullah, Greater Asia Co-Prosperity Sphere, photo Tada Hengsapkul assisted by Lee Anantwat
- [109](https://www.realtime.org.au/issue_cover/109/) - Cover image: Robbie Curtis, Sophia Ndaba, SuperModern Dance of Distraction, choreographer Anton, FORM Dance Projects & Riverside Theatres, Dance Bites 2012, photo Maylei Hunt
- [110](https://www.realtime.org.au/issue_cover/110/) - Cover image: John Gabriel Borkman, Vegard Vinge, Ida Müller and Trond Reinholdtsen, photo William Minke
- [111](https://www.realtime.org.au/issue_cover/111/) - Cover image: Sarah-Jane Norman, Corpus Nullius/Blood Country (2011), part of the Unsettling Suite, photo Penelope Benton
- [112](https://www.realtime.org.au/issue_cover/112/) - Cover image: Laurie Anderson. Computer drawings of elements from Anderson’s installation in the Hugo Boss Awards Exhibition, Guggenheim Museum, New York, 1996
- [113](https://www.realtime.org.au/issue_cover/113/) - Cover image: Tobiah Booth-Remmers, Lewis Rankin, Lisa Griffiths, Skeleton, choreographer Larissa McGowan, Adelaide Festival 2013, Dance Massive, 2013, photo Chris Herzfeld, Camlight Productions
- [115](https://www.realtime.org.au/issue_cover/115/) - Cover image: Company Casus, Knee Deep, photo courtesy the artists
- [116](https://www.realtime.org.au/issue_cover/116/) - Cover image: Shan Turner-Carroll, Shan, from the series Primal Crown, 2012, HATCHED National Graduate Show, 2013, PICA, image courtesy the artist
- [117](https://www.realtime.org.au/issue_cover/117/) - Cover image: Brown Council, This is Barbara Cleveland, part of You’re History, Performance Space 30th Birthday celebrations, photo Lucy Parakhina
- [118](https://www.realtime.org.au/issue_cover/118/) - Cover image: Lorcan Hopper, SALT, Restless Dance Theatre, photo Sam Oster
- [119](https://www.realtime.org.au/issue_cover/119/) - Cover image: Mish Grigor, Oedipus Schmoedipus, post & Belvoir, photo Ellis Parrinder
- [120](https://www.realtime.org.au/issue_cover/120/) - Cover image: Taylor Houchen, Bryony Kimmings, Credible Likeable Superstar Role Model, photo Christa Holka & David Curtis Ring, part of Festival of Live Art (FOLA)
- [121](https://www.realtime.org.au/issue_cover/121/) - Cover image: Keith Gallasch, Virginia Baxter, masks Beatrice Chew, photo Su-An Ng, art direction and cover design Graeme Smith
- [122](https://www.realtime.org.au/issue_cover/122/) - Cover image: Brenton Alexander Smith, The Bicycle Man, 2013, SCA Bachelor of Visual Arts (Honours); one of a series of photographs and stand-alone sculptures (see page 22); photo Hyun Lee
- [123](https://www.realtime.org.au/issue_cover/123/) - Cover image: Heiner Goebbels’ When the Mountain Changed Its Clothing, Melbourne International Arts Festival, photo Wonge Bergmann for the Ruhrtriennale
- [124](https://www.realtime.org.au/issue_cover/124/) - Over image: To the Moon, scanography portrait, Maitha Demithan, 2009, courtesy of the artist and Tashkeel
- [125](https://www.realtime.org.au/issue_cover/125/) - Cover image: Long Grass, Sydney Festival, photo Heidrun Löhr
- [126](https://www.realtime.org.au/issue_cover/126/) - Cover image: National Icon, Sha Sarwari
- [127](https://www.realtime.org.au/issue_cover/127/) - Cover image: (detail) Rihoko Sato, Saburo Teshigawara, Broken Lights performance © Wonge Bergmann, courtesy Ruhrtriennale, 2014. See interview with Beatrice Gralton, co-curator of 24 Fames Per Second.
- [128](https://www.realtime.org.au/issue_cover/128/) - Cover image: Athanasia, 2014 (detail), Broc Webster, University of NSW Art & Design, Bachelor of Fine Arts, Honours Oil on canvas, large format film photography, digital painting, ink, acrylic, wood, audio and found materials. 3 mins, 29 seconds
- [129](https://www.realtime.org.au/issue_cover/129/) - Cover image: Hissy Fit, Episode, Day for Night, Performance Space, 2014, photo Lucy Parakhina
- [138](https://www.realtime.org.au/issue_cover/138/) - Cover: Video still, Relay League, 2017, Angelica Mesiti, Artspace, Sydney, image courtesy the artist
- [136](https://www.realtime.org.au/issue_cover/136/) - Cover: Opus No. 7, Dmitry Krymov Laboratory, photo Natalia Cheban (detail)
- [130](https://www.realtime.org.au/issue_cover/130/) - Cover image: Go Down, Moses, Romeo Castellucci, Societas Raffaello Sanzio, photo Guido Mencari, Adelaide Festival of the Arts
- [137](https://www.realtime.org.au/issue_cover/137/)
- [134](https://www.realtime.org.au/issue_cover/134/)
- [131](https://www.realtime.org.au/issue_cover/131/)
- [132](https://www.realtime.org.au/issue_cover/132/)
- [133](https://www.realtime.org.au/issue_cover/133/)
- [135](https://www.realtime.org.au/issue_cover/135/)

## Categories

- [Uncategorised](https://www.realtime.org.au/uncategorised/)
- [Artforms](https://www.realtime.org.au/artforms/)
- [Theatre](https://www.realtime.org.au/artforms/theatre/)
- [Contemporary Performance & Live Art](https://www.realtime.org.au/artforms/contemporary-performance-live-art/)
- [Dance](https://www.realtime.org.au/artforms/dance/)
- [Film](https://www.realtime.org.au/artforms/film/)
- [Media Arts](https://www.realtime.org.au/artforms/media-arts/)
- [Aboriginal & Torres Strait Islander Art](https://www.realtime.org.au/artforms/aboriginal-torres-strait-islander-art/)
- [Visual Art](https://www.realtime.org.au/artforms/visual-art/)
- [Sound Art](https://www.realtime.org.au/artforms/sound-art/)
- [Contemporary Classical & Experimental Music](https://www.realtime.org.au/artforms/contemporary-classical-experimental-music/)
- [Festivals](https://www.realtime.org.au/artforms/festivals/)
- [Art Politics](https://www.realtime.org.au/artforms/art-politics/)
- [Editorials](https://www.realtime.org.au/artforms/editorials/)
- [Features](https://www.realtime.org.au/features/)
- [RealTime Audio](https://www.realtime.org.au/features/realtime-audio/)
- [Critical Audio](https://www.realtime.org.au/features/realtime-audio/critical-audio/)
- [Writers read RealTime](https://www.realtime.org.au/features/realtime-audio/writers-read-realtime/) - As part of our celebration of the RealTime Archive, we thought you might like to hear the actual voices of our contributors, so we’ve invited them to record readings of reviews of favourite works in Writers read RealTime.
- [RealTime Video](https://www.realtime.org.au/features/realtime-video/)
- [Critical Video](https://www.realtime.org.au/features/realtime-video/critical-video/)
- [RealTime Video Gallery](https://www.realtime.org.au/features/realtime-video/video-gallery/)
- [RealTime TV](https://www.realtime.org.au/features/realtime-video/realtime-tv/)
- [RealTime Traveller](https://www.realtime.org.au/features/realtime-traveller/)
- [RealTime Talk](https://www.realtime.org.au/features/realtime-audio/realtime-talk/)
- [Deep Archive](https://www.realtime.org.au/features/deep-archive/)
- [Special Features](https://www.realtime.org.au/special-features/)
- [Imported Posts](https://www.realtime.org.au/imported-posts/)
- [Contributors](https://www.realtime.org.au/contributors/)

## Tags

- [Seoul](https://www.realtime.org.au/tag/seoul/)
- [Gail Priest](https://www.realtime.org.au/tag/gail-priest/)
- [Traveller](https://www.realtime.org.au/tag/traveller/)
- [South Korea](https://www.realtime.org.au/tag/south-korea/)
- [Jana Perkovic](https://www.realtime.org.au/tag/jana-perkovic/)
- [Croatia](https://www.realtime.org.au/tag/croatia/)
- [Zagreb](https://www.realtime.org.au/tag/zagreb/)
- [Tokyo](https://www.realtime.org.au/tag/tokyo/)
- [Japan](https://www.realtime.org.au/tag/japan/)
- [Thailand](https://www.realtime.org.au/tag/thailand/)
- [Chiang Mai](https://www.realtime.org.au/tag/chiang-mai/)
- [Jason Phu](https://www.realtime.org.au/tag/jason-phu/)
- [Drill Hall Project](https://www.realtime.org.au/tag/drill-hall-project/)
- [Jude Walton](https://www.realtime.org.au/tag/jude-walton/)
- [Melbourne Fringe](https://www.realtime.org.au/tag/melbourne-fringe/)
- [Upswing Arts](https://www.realtime.org.au/tag/upswing-arts/)
- [Emptying the Bucket](https://www.realtime.org.au/tag/emptying-the-bucket/)
- [HardQueer DeathPony](https://www.realtime.org.au/tag/hardqueer-deathpony/)
- [Nebahat Erpolat](https://www.realtime.org.au/tag/nebahat-erpolat/)
- [Chad McLachlan](https://www.realtime.org.au/tag/chad-mclachlan/)
- [Zac Jones](https://www.realtime.org.au/tag/zac-jones/)
- [Sydney](https://www.realtime.org.au/tag/sydney/)
- [Nola Farman](https://www.realtime.org.au/tag/nola-farman/)
- [Flight](https://www.realtime.org.au/tag/flight/)
- [Gallery East](https://www.realtime.org.au/tag/gallery-east/)
- [painting](https://www.realtime.org.au/tag/painting/)
- [Fremantle Arts Centre](https://www.realtime.org.au/tag/fremantle-arts-centre/)
- [Experimental moving images](https://www.realtime.org.au/tag/experimental-moving-images/)
- [Artspace](https://www.realtime.org.au/tag/artspace/)
- [Relay League](https://www.realtime.org.au/tag/relay-league/)
- [Angelica Mesiti](https://www.realtime.org.au/tag/angelica-mesiti/)
- [Townsville Civic Theatre](https://www.realtime.org.au/tag/townsville-civic-theatre/)
- [Queensland](https://www.realtime.org.au/tag/queensland/)
- [Jenni Large](https://www.realtime.org.au/tag/jenni-large/)
- [Ashley McLellan](https://www.realtime.org.au/tag/ashley-mclellan/)
- [Mason Kelly](https://www.realtime.org.au/tag/mason-kelly/)
- [Georgia Rudd](https://www.realtime.org.au/tag/georgia-rudd/)
- [Harrison Hall](https://www.realtime.org.au/tag/harrison-hall/)
- [Paea Leach](https://www.realtime.org.au/tag/paea-leach/)
- [Dancenorth](https://www.realtime.org.au/tag/dancenorth/)
- [Tomorrow Makers](https://www.realtime.org.au/tag/tomorrow-makers/)
- [Jack Ferver](https://www.realtime.org.au/tag/jack-ferver/)
- [BalletLab](https://www.realtime.org.au/tag/balletlab/)
- [Tura New Music](https://www.realtime.org.au/tag/tura-new-music/)
- [PICA](https://www.realtime.org.au/tag/pica/)
- [Kate Neal](https://www.realtime.org.au/tag/kate-neal/)
- [Never Tilt Your Chair](https://www.realtime.org.au/tag/never-tilt-your-chair/)
- [State Theatre Company](https://www.realtime.org.au/tag/state-theatre-company/)
- [Perth](https://www.realtime.org.au/tag/perth/)
- [cinémathèque](https://www.realtime.org.au/tag/cinematheque/)
- [Australian cinema](https://www.realtime.org.au/tag/australian-cinema/)
- [NSW](https://www.realtime.org.au/tag/nsw/)
- [Alexander Boynes](https://www.realtime.org.au/tag/alexander-boynes/)
- [Roly Skender](https://www.realtime.org.au/tag/roly-skender/)
- [Imogene Spencer](https://www.realtime.org.au/tag/imogene-spencer/)
- [Chris Donnelly](https://www.realtime.org.au/tag/chris-donnelly/)
- [Tristen Parr](https://www.realtime.org.au/tag/tristen-parr/)
- [Laura Boynes](https://www.realtime.org.au/tag/laura-boynes/)
- [Mark Howett](https://www.realtime.org.au/tag/mark-howett/)
- [Eden Mulholland](https://www.realtime.org.au/tag/eden-mulholland/)
- [Raewyn Hill](https://www.realtime.org.au/tag/raewyn-hill/)
- [Avi Yona Bueno](https://www.realtime.org.au/tag/avi-yona-bueno/)
- [Ohad Naharin](https://www.realtime.org.au/tag/ohad-naharin/)
- [State Theatre Centre of Western Australia](https://www.realtime.org.au/tag/state-theatre-centre-of-western-australia/)
- [Performing Lines WA](https://www.realtime.org.au/tag/performing-lines-wa/)
- [Praxis](https://www.realtime.org.au/tag/praxis/)
- [Dark Matter](https://www.realtime.org.au/tag/dark-matter/)
- [Co3 Dance Company](https://www.realtime.org.au/tag/co3-dance-company/)
- [The Cry](https://www.realtime.org.au/tag/the-cry/)
- [Strut Dance](https://www.realtime.org.au/tag/strut-dance/)
- [Decadance Perth](https://www.realtime.org.au/tag/decadance-perth/)
- [Ausdance WA](https://www.realtime.org.au/tag/ausdance-wa/)
- [MoveMe 2016](https://www.realtime.org.au/tag/moveme-2016/)
- [Palace Cinemas](https://www.realtime.org.au/tag/palace-cinemas/)
- [American Essentials Film Festival 2017](https://www.realtime.org.au/tag/american-essentials-film-festival-2017/)
- [Richard Sowada](https://www.realtime.org.au/tag/richard-sowada/)
- [Women in film](https://www.realtime.org.au/tag/women-in-film/)
- [OzAsia Festival](https://www.realtime.org.au/tag/ozasia-festival/)
- [600 Highwaymen](https://www.realtime.org.au/tag/600-highwaymen/)
- [The Record](https://www.realtime.org.au/tag/the-record/)
- [Abigail Browde](https://www.realtime.org.au/tag/abigail-browde/)
- [Michael Silverstone](https://www.realtime.org.au/tag/michael-silverstone/)
- [Emil Abramyan](https://www.realtime.org.au/tag/emil-abramyan/)
- [Brandon Wolcott](https://www.realtime.org.au/tag/brandon-wolcott/)
- [Space Theatre](https://www.realtime.org.au/tag/space-theatre/)
- [City Contemporary Dance Company](https://www.realtime.org.au/tag/city-contemporary-dance-company/)
- [As If To Nothing](https://www.realtime.org.au/tag/as-if-to-nothing/)
- [Sang Jijia](https://www.realtime.org.au/tag/sang-jijia/)
- [Adrian Yeung](https://www.realtime.org.au/tag/adrian-yeung/)
- [Dickson Dee](https://www.realtime.org.au/tag/dickson-dee/)
- [Dunstan Playhouse](https://www.realtime.org.au/tag/dunstan-playhouse/)
- [Adelaide Festival Centre](https://www.realtime.org.au/tag/adelaide-festival-centre/)
- [Shopfront Arts Co-op](https://www.realtime.org.au/tag/shopfront-arts-co-op/)
- [Treats](https://www.realtime.org.au/tag/treats/)
- [Unit](https://www.realtime.org.au/tag/unit/)
- [Kirby Medway](https://www.realtime.org.au/tag/kirby-medway/)
- [Miles Merill](https://www.realtime.org.au/tag/miles-merill/)
- [James Brown](https://www.realtime.org.au/tag/james-brown/)
- [Matt Abotomey](https://www.realtime.org.au/tag/matt-abotomey/)
- [Steve Wilson-Alexander](https://www.realtime.org.au/tag/steve-wilson-alexander/)
- [Sarah Meachan](https://www.realtime.org.au/tag/sarah-meachan/)
- [Dave Molloy](https://www.realtime.org.au/tag/dave-molloy/)
- [Mara Davis](https://www.realtime.org.au/tag/mara-davis/)
- [The Carousel](https://www.realtime.org.au/tag/the-carousel/)
- [Pippa Ellams](https://www.realtime.org.au/tag/pippa-ellams/)
- [director](https://www.realtime.org.au/tag/director/)
- [Hannah Goodwin](https://www.realtime.org.au/tag/hannah-goodwin/)
- [Tasha O'Brien](https://www.realtime.org.au/tag/tasha-obrien/)
- [Alex Francis](https://www.realtime.org.au/tag/alex-francis/)
- [Christine Woodhouse](https://www.realtime.org.au/tag/christine-woodhouse/)
- [Anne-Louise Sarks](https://www.realtime.org.au/tag/anne-louise-sarks/)
- [Belvoir Downstairs](https://www.realtime.org.au/tag/belvoir-downstairs/)
- [London](https://www.realtime.org.au/tag/london/)
- [UK](https://www.realtime.org.au/tag/uk/)
- [Jamila Johnson-Small](https://www.realtime.org.au/tag/jamila-johnson-small/)
- [Alexandrina Hemsley](https://www.realtime.org.au/tag/alexandrina-hemsley/)
- [Project O](https://www.realtime.org.au/tag/project-o/)
- [race](https://www.realtime.org.au/tag/race/)
- [InBetween Time Festival](https://www.realtime.org.au/tag/inbetween-time-festival/)
- [Ambulante film festival](https://www.realtime.org.au/tag/ambulante-film-festival/)
- [Mexico City](https://www.realtime.org.au/tag/mexico-city/)
- [Sydney College of Art](https://www.realtime.org.au/tag/sydney-college-of-art/)
- [SCA](https://www.realtime.org.au/tag/sca/)
- [JonBenét Ramsey](https://www.realtime.org.au/tag/jonbenet-ramsey/)
- [Kitty Green](https://www.realtime.org.au/tag/kitty-green/)
- [Casting JonBenét](https://www.realtime.org.au/tag/casting-jonbenet/)
- [Scott Macaulay](https://www.realtime.org.au/tag/scott-macaulay/)
- [James Schamus](https://www.realtime.org.au/tag/james-schamus/)
- [Nathan Larson](https://www.realtime.org.au/tag/nathan-larson/)
- [Michael Latham](https://www.realtime.org.au/tag/michael-latham/)
- [Davis Coombe](https://www.realtime.org.au/tag/davis-coombe/)
- [Netflix](https://www.realtime.org.au/tag/netflix/)
- [Metro Arts](https://www.realtime.org.au/tag/metro-arts/)
- [Brisbane](https://www.realtime.org.au/tag/brisbane/)
- [Unworldly Encounters](https://www.realtime.org.au/tag/unworldly-encounters/)
- [Australian Experimental Art Foundation](https://www.realtime.org.au/tag/australian-experimental-art-foundation/)
- [Divine Interventions](https://www.realtime.org.au/tag/divine-interventions/)
- [Nexus Arts](https://www.realtime.org.au/tag/nexus-arts/)
- [Record Light](https://www.realtime.org.au/tag/record-light/)
- [Contemporary Art Centre of SA](https://www.realtime.org.au/tag/contemporary-art-centre-of-sa/)
- [Campbelltown Arts Centre](https://www.realtime.org.au/tag/campbelltown-arts-centre/)
- [Video oediV](https://www.realtime.org.au/tag/video-oediv/)
- [Megan Monte](https://www.realtime.org.au/tag/megan-monte/)
- [Kawita Vatanajyankur](https://www.realtime.org.au/tag/kawita-vatanajyankur/)
- [Head On Photo Festival](https://www.realtime.org.au/tag/head-on-photo-festival/)
- [Lili Almog](https://www.realtime.org.au/tag/lili-almog/)
- [The Space Within](https://www.realtime.org.au/tag/the-space-within/)
- [Martin Browne Contemporary](https://www.realtime.org.au/tag/martin-browne-contemporary/)
- [Arthere](https://www.realtime.org.au/tag/arthere/)
- [teamLab](https://www.realtime.org.au/tag/teamlab/)
- [Impermanent Life](https://www.realtime.org.au/tag/impermanent-life/)
- [Video art](https://www.realtime.org.au/tag/video-art/)
- [Liam O’Brien](https://www.realtime.org.au/tag/liam-obrien/)
- [Early April](https://www.realtime.org.au/tag/early-april/)
- [Almost Doco](https://www.realtime.org.au/tag/almost-doco/)
- [Gaylene Preston](https://www.realtime.org.au/tag/gaylene-preston/)
- [Stranger With My Face International Film Festival](https://www.realtime.org.au/tag/stranger-with-my-face-international-film-festival/)
- [Briony Kidd](https://www.realtime.org.au/tag/briony-kidd/)
- [Salamanca Arts Theatre](https://www.realtime.org.au/tag/salamanca-arts-theatre/)
- [Hobart](https://www.realtime.org.au/tag/hobart/)
- [TAS](https://www.realtime.org.au/tag/tas/)
- [Salamanca Arts Centre](https://www.realtime.org.au/tag/salamanca-arts-centre/)
- [The Long Paddock](https://www.realtime.org.au/tag/the-long-paddock/)
- [Joni Taylor](https://www.realtime.org.au/tag/joni-taylor/)
- [New Landscapes Institute](https://www.realtime.org.au/tag/new-landscapes-institute/)
- [Zanny Begg](https://www.realtime.org.au/tag/zanny-begg/)
- [Megan Cope](https://www.realtime.org.au/tag/megan-cope/)
- [Bill Buckley](https://www.realtime.org.au/tag/bill-buckley/)
- [Hayden Fowler](https://www.realtime.org.au/tag/hayden-fowler/)
- [Future Method Studio](https://www.realtime.org.au/tag/future-method-studio/)
- [Grandeza](https://www.realtime.org.au/tag/grandeza/)
- [Josephine Starrs](https://www.realtime.org.au/tag/josephine-starrs/)
- [Leon Cmielewski](https://www.realtime.org.au/tag/leon-cmielewski/)
- [The Wired Lab](https://www.realtime.org.au/tag/the-wired-lab/)
- [Wagga Wagga Art Gallery](https://www.realtime.org.au/tag/wagga-wagga-art-gallery/)
- [regional](https://www.realtime.org.au/tag/regional/)
- [environment](https://www.realtime.org.au/tag/environment/)
- [The loop](https://www.realtime.org.au/tag/the-loop/)
- [Internet art](https://www.realtime.org.au/tag/internet-art/)
- [Art politics](https://www.realtime.org.au/tag/art-politics/)
- [George W Bush](https://www.realtime.org.au/tag/george-w-bush/)
- [Blade Runner](https://www.realtime.org.au/tag/blade-runner/)
- [Art criticism](https://www.realtime.org.au/tag/art-criticism/)
- [Art writing](https://www.realtime.org.au/tag/art-writing/)
- [Louise Zhang](https://www.realtime.org.au/tag/louise-zhang/)
- [Instagram](https://www.realtime.org.au/tag/instagram/)
- [Julian Day](https://www.realtime.org.au/tag/julian-day/)
- [Poles](https://www.realtime.org.au/tag/poles/)
- [Kip Williams](https://www.realtime.org.au/tag/kip-williams/)
- [Chimerica](https://www.realtime.org.au/tag/chimerica/)
- [Sydney Theatre Company](https://www.realtime.org.au/tag/sydney-theatre-company/)
- [Australian Dance Theatre](https://www.realtime.org.au/tag/australian-dance-theatre/)
- [Be Your Self](https://www.realtime.org.au/tag/be-your-self/)
- [Isaac Julien](https://www.realtime.org.au/tag/isaac-julien/)
- [PLAYTIME](https://www.realtime.org.au/tag/playtime/)
- [Roslyn Oxley9 Gallery](https://www.realtime.org.au/tag/roslyn-oxley9-gallery/)
- [Carriageworks](https://www.realtime.org.au/tag/carriageworks/)
- [Lara Thoms](https://www.realtime.org.au/tag/lara-thoms/)
- [The Experts Project](https://www.realtime.org.au/tag/the-experts-project/)
- [Local Position Systems](https://www.realtime.org.au/tag/local-position-systems/)
- [Museum of Contemporary Art](https://www.realtime.org.au/tag/museum-of-contemporary-art/)
- [Performance Space](https://www.realtime.org.au/tag/performance-space/)
- [Speak Percussion](https://www.realtime.org.au/tag/speak-percussion/)
- [Scale Variable](https://www.realtime.org.au/tag/scale-variable/)
- [Intermodulations](https://www.realtime.org.au/tag/intermodulations/)
- [Decibel New Music Ensemble](https://www.realtime.org.au/tag/decibel-new-music-ensemble/)
- [State Theatre](https://www.realtime.org.au/tag/state-theatre/)
- [Centre Studio Underground](https://www.realtime.org.au/tag/centre-studio-underground/)
- [WA](https://www.realtime.org.au/tag/wa/)
- [Frazer Bull-Clark](https://www.realtime.org.au/tag/frazer-bull-clark/)
- [The Palm Trees of Beverly Hills](https://www.realtime.org.au/tag/the-palm-trees-of-beverly-hills/)
- [City Recital Hall](https://www.realtime.org.au/tag/city-recital-hall/)
- [Ensemble Offspring](https://www.realtime.org.au/tag/ensemble-offspring/)
- [Creative Music Fund](https://www.realtime.org.au/tag/creative-music-fund/)
- [Seven Stories](https://www.realtime.org.au/tag/seven-stories/)
- [Amanda Brown](https://www.realtime.org.au/tag/amanda-brown/)
- [Kyls Burtland](https://www.realtime.org.au/tag/kyls-burtland/)
- [Jodi Phillis](https://www.realtime.org.au/tag/jodi-phillis/)
- [Bree van Reyk](https://www.realtime.org.au/tag/bree-van-reyk/)
- [Jane Sheldon](https://www.realtime.org.au/tag/jane-sheldon/)
- [Sally Whitwell](https://www.realtime.org.au/tag/sally-whitwell/)
- [Caitlin Yeo](https://www.realtime.org.au/tag/caitlin-yeo/)
- [Sarah-Jane Woulahan](https://www.realtime.org.au/tag/sarah-jane-woulahan/)
- [Hilary Bell](https://www.realtime.org.au/tag/hilary-bell/)
- [What happened to her?](https://www.realtime.org.au/tag/what-happened-to-her/)
- [Mr Wrong](https://www.realtime.org.au/tag/mr-wrong/)
- [Slapper](https://www.realtime.org.au/tag/slapper/)
- [The Book of Birdie](https://www.realtime.org.au/tag/the-book-of-birdie/)
- [Jacobus Capone](https://www.realtime.org.au/tag/jacobus-capone/)
- [Arctic Field Notes (Act 3)](https://www.realtime.org.au/tag/arctic-field-notes-act-3/)
- [Tiyan Baker](https://www.realtime.org.au/tag/tiyan-baker/)
- [The Witness: Portrait of r/WatchPeopleDie](https://www.realtime.org.au/tag/the-witness-portrait-of-rwatchpeopledie/)
- [Corridor](https://www.realtime.org.au/tag/corridor/)
- [Simone Hine](https://www.realtime.org.au/tag/simone-hine/)
- [ARTLANDS Conference and Festival](https://www.realtime.org.au/tag/artlands-conference-and-festival/)
- [Dubbo](https://www.realtime.org.au/tag/dubbo/)
- [Sydney Festival](https://www.realtime.org.au/tag/sydney-festival/)
- [Wesley Enoch](https://www.realtime.org.au/tag/wesley-enoch/)
- [France](https://www.realtime.org.au/tag/france/)
- [Bourges](https://www.realtime.org.au/tag/bourges/)
- [Soundcapsule](https://www.realtime.org.au/tag/soundcapsule/)
- [Thembi Soddell](https://www.realtime.org.au/tag/thembi-soddell/)
- [Lawrence English](https://www.realtime.org.au/tag/lawrence-english/)
- [Eugene Carchesio](https://www.realtime.org.au/tag/eugene-carchesio/)
- [Arcadia](https://www.realtime.org.au/tag/arcadia/)
- [The Leaps](https://www.realtime.org.au/tag/the-leaps/)
- [Perch](https://www.realtime.org.au/tag/perch/)
- [Eugenie Lee](https://www.realtime.org.au/tag/eugenie-lee/)
- [Seeing is Believing](https://www.realtime.org.au/tag/seeing-is-believing/)
- [VR](https://www.realtime.org.au/tag/vr/)
- [Perfect Strangers](https://www.realtime.org.au/tag/perfect-strangers/)
- [inSPACE](https://www.realtime.org.au/tag/inspace/)
- [Gabrielle Nankivell](https://www.realtime.org.au/tag/gabrielle-nankivell/)
- [Rabbits](https://www.realtime.org.au/tag/rabbits/)
- [Emily Steel](https://www.realtime.org.au/tag/emily-steel/)
- [Daisy Brown](https://www.realtime.org.au/tag/daisy-brown/)
- [Wendy Todd](https://www.realtime.org.au/tag/wendy-todd/)
- [Plant 1](https://www.realtime.org.au/tag/plant-1/)
- [Bowden](https://www.realtime.org.au/tag/bowden/)
- [isthisyours?](https://www.realtime.org.au/tag/isthisyours/)
- [Angelique](https://www.realtime.org.au/tag/angelique/)
- [Tessa Leong](https://www.realtime.org.au/tag/tessa-leong/)
- [Duncan Graham](https://www.realtime.org.au/tag/duncan-graham/)
- [Jude Henshall](https://www.realtime.org.au/tag/jude-henshall/)
- [Louisa Mignone](https://www.realtime.org.au/tag/louisa-mignone/)
- [Nadia Rossi](https://www.realtime.org.au/tag/nadia-rossi/)
- [Ellen Steele](https://www.realtime.org.au/tag/ellen-steele/)
- [Her Majesty’s Theatre](https://www.realtime.org.au/tag/her-majestys-theatre/)
- [Asia TOPA Festival](https://www.realtime.org.au/tag/asia-topa-festival/)
- [chelfitsch](https://www.realtime.org.au/tag/chelfitsch/)
- [Time's Journey Through a Room](https://www.realtime.org.au/tag/times-journey-through-a-room/)
- [Toshiki Okada](https://www.realtime.org.au/tag/toshiki-okada/)
- [Izumi Aoyagi](https://www.realtime.org.au/tag/izumi-aoyagi/)
- [Mari Ando](https://www.realtime.org.au/tag/mari-ando/)
- [Yo Yoshida](https://www.realtime.org.au/tag/yo-yoshida/)
- [Arts House](https://www.realtime.org.au/tag/arts-house/)
- [Melbourne](https://www.realtime.org.au/tag/melbourne/)
- [Yirramboi Festival](https://www.realtime.org.au/tag/yirramboi-festival/)
- [Divercity](https://www.realtime.org.au/tag/divercity/)
- [Mariaa Randall](https://www.realtime.org.au/tag/mariaa-randall/)
- [Henrietta Baird](https://www.realtime.org.au/tag/henrietta-baird/)
- [Ngioka Bunda-Heath](https://www.realtime.org.au/tag/ngioka-bunda-heath/)
- [Weelam Ngalut](https://www.realtime.org.au/tag/weelam-ngalut/)
- [Art House Meat Market](https://www.realtime.org.au/tag/art-house-meat-market/)
- [Kooemba Jdarra](https://www.realtime.org.au/tag/kooemba-jdarra/)
- [Emily Johnson](https://www.realtime.org.au/tag/emily-johnson/)
- [SHORE in NARRM](https://www.realtime.org.au/tag/shore-in-narrm/)
- [Ain Gordon](https://www.realtime.org.au/tag/ain-gordon/)
- [Jacqueline Aylward](https://www.realtime.org.au/tag/jacqueline-aylward/)
- [Margot Bassett Silver](https://www.realtime.org.au/tag/margot-bassett-silver/)
- [Ben Hurly](https://www.realtime.org.au/tag/ben-hurly/)
- [Maylene Slater-Burns](https://www.realtime.org.au/tag/maylene-slater-burns/)
- [the Narrm SHORE Choir](https://www.realtime.org.au/tag/the-narrm-shore-choir/)
- [Heidi Eckwall](https://www.realtime.org.au/tag/heidi-eckwall/)
- [Angie Vo](https://www.realtime.org.au/tag/angie-vo/)
- [James Everest](https://www.realtime.org.au/tag/james-everest/)
- [North Melbourne Town Hall](https://www.realtime.org.au/tag/north-melbourne-town-hall/)
- [Yirra Yaakin Theatre](https://www.realtime.org.au/tag/yirra-yaakin-theatre/)
- [Conversations With the Dead](https://www.realtime.org.au/tag/conversations-with-the-dead/)
- [Richard Frankland](https://www.realtime.org.au/tag/richard-frankland/)
- [James Taylor](https://www.realtime.org.au/tag/james-taylor/)
- [Maitland Schnaars](https://www.realtime.org.au/tag/maitland-schnaars/)
- [Alan Little](https://www.realtime.org.au/tag/alan-little/)
- [Simone Detourbet](https://www.realtime.org.au/tag/simone-detourbet/)
- [Peter Docker](https://www.realtime.org.au/tag/peter-docker/)
- [Calen Tassone](https://www.realtime.org.au/tag/calen-tassone/)
- [Tornina Torres](https://www.realtime.org.au/tag/tornina-torres/)
- [Chris Brain](https://www.realtime.org.au/tag/chris-brain/)
- [Zac James](https://www.realtime.org.au/tag/zac-james/)
- [Subiaco Arts Centre](https://www.realtime.org.au/tag/subiaco-arts-centre/)
- [Three Teams](https://www.realtime.org.au/tag/three-teams/)
- [Community projects](https://www.realtime.org.au/tag/community-projects/)
- [Zach's Ceremony](https://www.realtime.org.au/tag/zachs-ceremony/)
- [Gabrielle de Vietri](https://www.realtime.org.au/tag/gabrielle-de-vietri/)
- [Hollis Taylor](https://www.realtime.org.au/tag/hollis-taylor/)
- [Absolute Bird](https://www.realtime.org.au/tag/absolute-bird/)
- [Philip Samartzis](https://www.realtime.org.au/tag/philip-samartzis/)
- [Antarctica: An Absent Presence](https://www.realtime.org.au/tag/antarctica-an-absent-presence/)
- [Zoömusicology](https://www.realtime.org.au/tag/zoomusicology/)
- [Is Birdsong Music? Outback Encounters with an Australian Songbird](https://www.realtime.org.au/tag/is-birdsong-music-outback-encounters-with-an-australian-songbird/)
- [Antarctica](https://www.realtime.org.au/tag/antarctica/)
- [film criticism](https://www.realtime.org.au/tag/film-criticism/)
- [Triple J](https://www.realtime.org.au/tag/triple-j/)
- [Marc Fennell](https://www.realtime.org.au/tag/marc-fennell/)
- [Liquid Architecture](https://www.realtime.org.au/tag/liquid-architecture/)
- [Polyphonic Social](https://www.realtime.org.au/tag/polyphonic-social/)
- [Abbotsford Convent](https://www.realtime.org.au/tag/abbotsford-convent/)
- [Christian Thompson](https://www.realtime.org.au/tag/christian-thompson/)
- [Ritual Intimacy](https://www.realtime.org.au/tag/ritual-intimacy/)
- [Charlotte Day](https://www.realtime.org.au/tag/charlotte-day/)
- [Hetti Perkins](https://www.realtime.org.au/tag/hetti-perkins/)
- [MUMA](https://www.realtime.org.au/tag/muma/)
- [Monash University](https://www.realtime.org.au/tag/monash-university/)
- [Kunstenfestivaldesarts](https://www.realtime.org.au/tag/kunstenfestivaldesarts/)
- [Lili Reynaud-Dewar](https://www.realtime.org.au/tag/lili-reynaud-dewar/)
- [Small Tragic Opera of Images and Bodies in the Museum](https://www.realtime.org.au/tag/small-tragic-opera-of-images-and-bodies-in-the-museum/)
- [BRASS](https://www.realtime.org.au/tag/brass/)
- [Marlene Monteiro Freitas](https://www.realtime.org.au/tag/marlene-monteiro-freitas/)
- [Bacantes — Prelúdio para uma purga](https://www.realtime.org.au/tag/bacantes-preludio-para-uma-purga/)
- [Halles de Schaerbeek](https://www.realtime.org.au/tag/halles-de-schaerbeek/)
- [Carsten Höller](https://www.realtime.org.au/tag/carsten-holler/)
- [The Baudouin / Boudewijn Experiment](https://www.realtime.org.au/tag/the-baudouin-boudewijn-experiment/)
- [Palais de la Dynastie](https://www.realtime.org.au/tag/palais-de-la-dynastie/)
- [Mårten Spångberg](https://www.realtime.org.au/tag/marten-spangberg/)
- [Gerhard Richter](https://www.realtime.org.au/tag/gerhard-richter/)
- [une pièce pour le théâtre](https://www.realtime.org.au/tag/une-piece-pour-le-theatre/)
- [KVS_BOL](https://www.realtime.org.au/tag/kvs_bol/)
- [WIELS](https://www.realtime.org.au/tag/wiels/)
- [The Absent Museum](https://www.realtime.org.au/tag/the-absent-museum/)
- [Brussels](https://www.realtime.org.au/tag/brussels/)
- [Judith Wright Centre of Contemporary Arts](https://www.realtime.org.au/tag/judith-wright-centre-of-contemporary-arts/)
- [Paul Charlier](https://www.realtime.org.au/tag/paul-charlier/)
- [Wireless](https://www.realtime.org.au/tag/wireless/)
- [Lisa Wilson](https://www.realtime.org.au/tag/lisa-wilson/)
- [Craig Bary](https://www.realtime.org.au/tag/craig-bary/)
- [Joshua Thomson](https://www.realtime.org.au/tag/joshua-thomson/)
- [Gabriel Comerford](https://www.realtime.org.au/tag/gabriel-comerford/)
- [Storm Helmore](https://www.realtime.org.au/tag/storm-helmore/)
- [Jennifer Flowers](https://www.realtime.org.au/tag/jennifer-flowers/)
- [Bruce McKinvin](https://www.realtime.org.au/tag/bruce-mckinvin/)
- [Jason Sibthorpe](https://www.realtime.org.au/tag/jason-sibthorpe/)
- [Ben (Bosco) Shaw](https://www.realtime.org.au/tag/ben-bosco-shaw/)
- [Jo Thomas](https://www.realtime.org.au/tag/jo-thomas/)
- [Negative Volumes Sydney](https://www.realtime.org.au/tag/negative-volumes-sydney/)
- [Danger Magic](https://www.realtime.org.au/tag/danger-magic/)
- [Andrew Harper](https://www.realtime.org.au/tag/andrew-harper/)
- [Geoffrey Gartner](https://www.realtime.org.au/tag/geoffrey-gartner/)
- [Sarah Byrne](https://www.realtime.org.au/tag/sarah-byrne/)
- [Emma Ramsay](https://www.realtime.org.au/tag/emma-ramsay/)
- [Matthew P Hopkins](https://www.realtime.org.au/tag/matthew-p-hopkins/)
- [Mariam Arcilla](https://www.realtime.org.au/tag/mariam-arcilla/)
- [Firstdraft](https://www.realtime.org.au/tag/firstdraft/)
- [The Mill Community Theatre](https://www.realtime.org.au/tag/the-mill-community-theatre/)
- [Meredith Rogers](https://www.realtime.org.au/tag/meredith-rogers/)
- [Vitalstatistix](https://www.realtime.org.au/tag/vitalstatistix/)
- [Nicola Gunn](https://www.realtime.org.au/tag/nicola-gunn/)
- [Tamara Saulwick](https://www.realtime.org.au/tag/tamara-saulwick/)
- [Super Imposition](https://www.realtime.org.au/tag/super-imposition/)
- [Waterside](https://www.realtime.org.au/tag/waterside/)
- [Port Adelaide](https://www.realtime.org.au/tag/port-adelaide/)
- [Cat Hope](https://www.realtime.org.au/tag/cat-hope/)
- [Speechless](https://www.realtime.org.au/tag/speechless/)
- [Adhocracy](https://www.realtime.org.au/tag/adhocracy/)
- [PADA](https://www.realtime.org.au/tag/pada/)
- [Daniel Jenatsch](https://www.realtime.org.au/tag/daniel-jenatsch/)
- [Enheduanna](https://www.realtime.org.au/tag/enheduanna/)
- [Adelaide](https://www.realtime.org.au/tag/adelaide/)
- [Rebecca Conroy](https://www.realtime.org.au/tag/rebecca-conroy/)
- [Iron Lady](https://www.realtime.org.au/tag/iron-lady/)
- [Tarnanthi](https://www.realtime.org.au/tag/tarnanthi/)
- [Brad Harkin](https://www.realtime.org.au/tag/brad-harkin/)
- [LOSS. GAIN. REVERB. DELAY.](https://www.realtime.org.au/tag/loss-gain-reverb-delay/)
- [Revelation Perth International Film Festival 2017](https://www.realtime.org.au/tag/revelation-perth-international-film-festival-2017/)
- [Jack Sargeant](https://www.realtime.org.au/tag/jack-sargeant/)
- [Luna Palace](https://www.realtime.org.au/tag/luna-palace/)
- [Houston We Have a Problem](https://www.realtime.org.au/tag/houston-we-have-a-problem/)
- [Stephen Jones](https://www.realtime.org.au/tag/stephen-jones/)
- [Machine for Making Sense](https://www.realtime.org.au/tag/machine-for-making-sense/)
- [Siren Theatre Co](https://www.realtime.org.au/tag/siren-theatre-co/)
- [Griffin Independent](https://www.realtime.org.au/tag/griffin-independent/)
- [The Ham Funeral](https://www.realtime.org.au/tag/the-ham-funeral/)
- [Patrick White](https://www.realtime.org.au/tag/patrick-white/)
- [Kate Gaul](https://www.realtime.org.au/tag/kate-gaul/)
- [Andy Dexterity](https://www.realtime.org.au/tag/andy-dexterity/)
- [Eliza Logan](https://www.realtime.org.au/tag/eliza-logan/)
- [Carmen Lysiak](https://www.realtime.org.au/tag/carmen-lysiak/)
- [Johnny Nasser](https://www.realtime.org.au/tag/johnny-nasser/)
- [Jane Phegan](https://www.realtime.org.au/tag/jane-phegan/)
- [Sebastian Robinson](https://www.realtime.org.au/tag/sebastian-robinson/)
- [Jenny Wu](https://www.realtime.org.au/tag/jenny-wu/)
- [Jasmine Christie](https://www.realtime.org.au/tag/jasmine-christie/)
- [Hartley T A Kemp](https://www.realtime.org.au/tag/hartley-t-a-kemp/)
- [Nate Edmondson](https://www.realtime.org.au/tag/nate-edmondson/)
- [SBW Stables](https://www.realtime.org.au/tag/sbw-stables/)
- [Rik Rue](https://www.realtime.org.au/tag/rik-rue/)
- [Claire Edwardes](https://www.realtime.org.au/tag/claire-edwardes/)
- [Jason Noble](https://www.realtime.org.au/tag/jason-noble/)
- [Veronique Serret](https://www.realtime.org.au/tag/veronique-serret/)
- [Freya Schack-Arnott](https://www.realtime.org.au/tag/freya-schack-arnott/)
- [Black is the New White](https://www.realtime.org.au/tag/black-is-the-new-white/)
- [Nakkiah Lui](https://www.realtime.org.au/tag/nakkiah-lui/)
- [Paige Rattray](https://www.realtime.org.au/tag/paige-rattray/)
- [James Bell](https://www.realtime.org.au/tag/james-bell/)
- [Kylie Bracknell [Kaarljilba Kaardn]](https://www.realtime.org.au/tag/kylie-bracknell-kaarljilba-kaardn/)
- [Tony Briggs](https://www.realtime.org.au/tag/tony-briggs/)
- [Luke Carroll](https://www.realtime.org.au/tag/luke-carroll/)
- [Vanessa Downing](https://www.realtime.org.au/tag/vanessa-downing/)
- [Geoff Morrell](https://www.realtime.org.au/tag/geoff-morrell/)
- [Melodie Reynolds-Diarra](https://www.realtime.org.au/tag/melodie-reynolds-diarra/)
- [Shari Sebbens](https://www.realtime.org.au/tag/shari-sebbens/)
- [Anthony Taufa](https://www.realtime.org.au/tag/anthony-taufa/)
- [Renée Mulder](https://www.realtime.org.au/tag/renee-mulder/)
- [Ben Hughes](https://www.realtime.org.au/tag/ben-hughes/)
- [Steve Toulmin](https://www.realtime.org.au/tag/steve-toulmin/)
- [Wharf 1](https://www.realtime.org.au/tag/wharf-1/)
- [OSCA](https://www.realtime.org.au/tag/osca/)
- [Creek Lore](https://www.realtime.org.au/tag/creek-lore/)
- [Marryatville](https://www.realtime.org.au/tag/marryatville/)
- [SA](https://www.realtime.org.au/tag/sa/)
- [Giveaway](https://www.realtime.org.au/tag/giveaway/)
- [David Lynch](https://www.realtime.org.au/tag/david-lynch/)
- [The Art Life](https://www.realtime.org.au/tag/the-art-life/)
- [Dark Mofo](https://www.realtime.org.au/tag/dark-mofo/)
- [Radio Gothic](https://www.realtime.org.au/tag/radio-gothic/)
- [The Hanniford Tapes](https://www.realtime.org.au/tag/the-hanniford-tapes/)
- [Carrie McLean](https://www.realtime.org.au/tag/carrie-mclean/)
- [Katie Robinson](https://www.realtime.org.au/tag/katie-robinson/)
- [Craig Irons](https://www.realtime.org.au/tag/craig-irons/)
- [Heath Brown](https://www.realtime.org.au/tag/heath-brown/)
- [Jason James](https://www.realtime.org.au/tag/jason-james/)
- [Peacock Theatre](https://www.realtime.org.au/tag/peacock-theatre/)
- [The Blue Room Theatre](https://www.realtime.org.au/tag/the-blue-room-theatre/)
- [Jessica Russell](https://www.realtime.org.au/tag/jessica-russell/)
- [Phoebe Sullivan](https://www.realtime.org.au/tag/phoebe-sullivan/)
- [Blueprint](https://www.realtime.org.au/tag/blueprint/)
- [Sean Crofton](https://www.realtime.org.au/tag/sean-crofton/)
- [Liz Newell](https://www.realtime.org.au/tag/liz-newell/)
- [Phoebe Pilcher](https://www.realtime.org.au/tag/phoebe-pilcher/)
- [Rebecca Riggs-Bennett](https://www.realtime.org.au/tag/rebecca-riggs-bennett/)
- [Drama](https://www.realtime.org.au/tag/drama/)
- [Sophie Mathisen](https://www.realtime.org.au/tag/sophie-mathisen/)
- [Dominique Mathisen](https://www.realtime.org.au/tag/dominique-mathisen/)
- [Cameron Ford](https://www.realtime.org.au/tag/cameron-ford/)
- [Julie-Anne De Ruvo](https://www.realtime.org.au/tag/julie-anne-de-ruvo/)
- [Katie Flaxman](https://www.realtime.org.au/tag/katie-flaxman/)
- [Jonathan Dreyfus](https://www.realtime.org.au/tag/jonathan-dreyfus/)
- [Louis Gill](https://www.realtime.org.au/tag/louis-gill/)
- [Kyle Grenell](https://www.realtime.org.au/tag/kyle-grenell/)
- [Trent Grenell](https://www.realtime.org.au/tag/trent-grenell/)
- [Little Sure Shots](https://www.realtime.org.au/tag/little-sure-shots/)
- [Adrian Martin](https://www.realtime.org.au/tag/adrian-martin/)
- [Phantasms](https://www.realtime.org.au/tag/phantasms/)
- [Action Hero](https://www.realtime.org.au/tag/action-hero/)
- [Hoke's Bluff](https://www.realtime.org.au/tag/hokes-bluff/)
- [Gemma Paintin](https://www.realtime.org.au/tag/gemma-paintin/)
- [James Stenhouse](https://www.realtime.org.au/tag/james-stenhouse/)
- [Laura Dannequin](https://www.realtime.org.au/tag/laura-dannequin/)
- [Jo Palmer](https://www.realtime.org.au/tag/jo-palmer/)
- [Deborah Pearson](https://www.realtime.org.au/tag/deborah-pearson/)
- [Nick Walker](https://www.realtime.org.au/tag/nick-walker/)
- [Wrecking Ball](https://www.realtime.org.au/tag/wrecking-ball/)
- [Night Parrot Stories](https://www.realtime.org.au/tag/night-parrot-stories/)
- [Robert Nugent](https://www.realtime.org.au/tag/robert-nugent/)
- [Mitzi Goldman](https://www.realtime.org.au/tag/mitzi-goldman/)
- [Hilary Balmond](https://www.realtime.org.au/tag/hilary-balmond/)
- [Sam Petty](https://www.realtime.org.au/tag/sam-petty/)
- [Ronin Films](https://www.realtime.org.au/tag/ronin-films/)
- [Moving Nations](https://www.realtime.org.au/tag/moving-nations/)
- [Antidote](https://www.realtime.org.au/tag/antidote/)
- [Artistic Director Grace Partridge](https://www.realtime.org.au/tag/artistic-director-grace-partridge/)
- [Abdul Abdullah](https://www.realtime.org.au/tag/abdul-abdullah/)
- [Olga Cironis](https://www.realtime.org.au/tag/olga-cironis/)
- [Dean Cross](https://www.realtime.org.au/tag/dean-cross/)
- [Peter Drew](https://www.realtime.org.au/tag/peter-drew/)
- [Eugenia Lim](https://www.realtime.org.au/tag/eugenia-lim/)
- [Penny Ryan](https://www.realtime.org.au/tag/penny-ryan/)
- [Justine Youssef](https://www.realtime.org.au/tag/justine-youssef/)
- [Collab Gallery](https://www.realtime.org.au/tag/collab-gallery/)
- [Chippendale](https://www.realtime.org.au/tag/chippendale/)
- [La Boite Theatre Company](https://www.realtime.org.au/tag/la-boite-theatre-company/)
- [Black Honey Company](https://www.realtime.org.au/tag/black-honey-company/)
- [One The Bear](https://www.realtime.org.au/tag/one-the-bear/)
- [Candy Bowers](https://www.realtime.org.au/tag/candy-bowers/)
- [Nancy Denis](https://www.realtime.org.au/tag/nancy-denis/)
- [Kim Busty Beats Bowers](https://www.realtime.org.au/tag/kim-busty-beats-bowers/)
- [SIsta Zai Zanda](https://www.realtime.org.au/tag/sista-zai-zanda/)
- [Susie Dee](https://www.realtime.org.au/tag/susie-dee/)
- [optical bloc](https://www.realtime.org.au/tag/optical-bloc/)
- [Jason Wing](https://www.realtime.org.au/tag/jason-wing/)
- [Sarah Seahorse](https://www.realtime.org.au/tag/sarah-seahorse/)
- [Daniel Anderson](https://www.realtime.org.au/tag/daniel-anderson/)
- [A Quiet Passion](https://www.realtime.org.au/tag/a-quiet-passion/)
- [Terence Davies](https://www.realtime.org.au/tag/terence-davies/)
- [Florian Hoffmeister](https://www.realtime.org.au/tag/florian-hoffmeister/)
- [Pia Di Ciaula](https://www.realtime.org.au/tag/pia-di-ciaula/)
- [Palace Films](https://www.realtime.org.au/tag/palace-films/)
- [Call////Response (C.2)](https://www.realtime.org.au/tag/callresponse-c-2/)
- [James Nguyen](https://www.realtime.org.au/tag/james-nguyen/)
- [Yin Lan Soon](https://www.realtime.org.au/tag/yin-lan-soon/)
- [Claire Christian](https://www.realtime.org.au/tag/claire-christian/)
- [Decibel](https://www.realtime.org.au/tag/decibel/)
- [Julia Gillard](https://www.realtime.org.au/tag/julia-gillard/)
- [Amy Marjoram](https://www.realtime.org.au/tag/amy-marjoram/)
- [Tom Blake](https://www.realtime.org.au/tag/tom-blake/)
- [Ellen Broadhurst](https://www.realtime.org.au/tag/ellen-broadhurst/)
- [Dale Buckley](https://www.realtime.org.au/tag/dale-buckley/)
- [Lou Hubbard](https://www.realtime.org.au/tag/lou-hubbard/)
- [Georgie Mattingley](https://www.realtime.org.au/tag/georgie-mattingley/)
- [Michael Meneghetti](https://www.realtime.org.au/tag/michael-meneghetti/)
- [Georgie Roxby Smith](https://www.realtime.org.au/tag/georgie-roxby-smith/)
- [Andrew Varano](https://www.realtime.org.au/tag/andrew-varano/)
- [Contemporary Art Tasmania](https://www.realtime.org.au/tag/contemporary-art-tasmania/)
- [Isabel Lewis](https://www.realtime.org.au/tag/isabel-lewis/)
- [Scot Cotterell](https://www.realtime.org.au/tag/scot-cotterell/)
- [Juan Chacón](https://www.realtime.org.au/tag/juan-chacon/)
- [Bruce McKinven](https://www.realtime.org.au/tag/bruce-mckinven/)
- [Nathan Sibthorpe](https://www.realtime.org.au/tag/nathan-sibthorpe/)
- [The Second Woman](https://www.realtime.org.au/tag/the-second-woman/)
- [Nat Randall](https://www.realtime.org.au/tag/nat-randall/)
- [Anna Breckon](https://www.realtime.org.au/tag/anna-breckon/)
- [EO Gill](https://www.realtime.org.au/tag/eo-gill/)
- [Amber Silk](https://www.realtime.org.au/tag/amber-silk/)
- [Nina Buchanan](https://www.realtime.org.au/tag/nina-buchanan/)
- [Lewa Pertl](https://www.realtime.org.au/tag/lewa-pertl/)
- [Ella Richmond](https://www.realtime.org.au/tag/ella-richmond/)
- [Amy Brown](https://www.realtime.org.au/tag/amy-brown/)
- [Sophie Roberts](https://www.realtime.org.au/tag/sophie-roberts/)
- [Ochre Contemporary Dance Company](https://www.realtime.org.au/tag/ochre-contemporary-dance-company/)
- [The Farm](https://www.realtime.org.au/tag/the-farm/)
- [Grayson Millwood](https://www.realtime.org.au/tag/grayson-millwood/)
- [Gavin Webber](https://www.realtime.org.au/tag/gavin-webber/)
- [Otto Kosok](https://www.realtime.org.au/tag/otto-kosok/)
- [Ian Wilkes](https://www.realtime.org.au/tag/ian-wilkes/)
- [Phil Thomson](https://www.realtime.org.au/tag/phil-thomson/)
- [Bryan Woltjen](https://www.realtime.org.au/tag/bryan-woltjen/)
- [Dale Couper](https://www.realtime.org.au/tag/dale-couper/)
- [Matthew de la Hunty](https://www.realtime.org.au/tag/matthew-de-la-hunty/)
- [Laurie Sinagra](https://www.realtime.org.au/tag/laurie-sinagra/)
- [Cleverman](https://www.realtime.org.au/tag/cleverman/)
- [Wayne Blair](https://www.realtime.org.au/tag/wayne-blair/)
- [Leah Purcell](https://www.realtime.org.au/tag/leah-purcell/)
- [Jane Allen](https://www.realtime.org.au/tag/jane-allen/)
- [Stuart Page](https://www.realtime.org.au/tag/stuart-page/)
- [Justine Juel Gillmer](https://www.realtime.org.au/tag/justine-juel-gillmer/)
- [Ryan Griffen](https://www.realtime.org.au/tag/ryan-griffen/)
- [Hunter Lochard-Page](https://www.realtime.org.au/tag/hunter-lochard-page/)
- [Iain Glen](https://www.realtime.org.au/tag/iain-glen/)
- [Tasma Walton](https://www.realtime.org.au/tag/tasma-walton/)
- [Frances O’Connor](https://www.realtime.org.au/tag/frances-oconnor/)
- [Deborah Mailman](https://www.realtime.org.au/tag/deborah-mailman/)
- [ABC TV](https://www.realtime.org.au/tag/abc-tv/)
- [The Last Goldfish](https://www.realtime.org.au/tag/the-last-goldfish/)
- [Su Goldfish](https://www.realtime.org.au/tag/su-goldfish/)
- [Carolyn Johnson](https://www.realtime.org.au/tag/carolyn-johnson/)
- [Martin Fox](https://www.realtime.org.au/tag/martin-fox/)
- [Umbrella Entertainment](https://www.realtime.org.au/tag/umbrella-entertainment/)
- [Sydney Film Festival](https://www.realtime.org.au/tag/sydney-film-festival/)
- [Feminism and Film: Sydney Women Filmmakers 1970s & 1980s](https://www.realtime.org.au/tag/feminism-and-film-sydney-women-filmmakers-1970s-1980s/)
- [Susan Charlton](https://www.realtime.org.au/tag/susan-charlton/)
- [The City of Ladies](https://www.realtime.org.au/tag/the-city-of-ladies/)
- [Elise McLeod](https://www.realtime.org.au/tag/elise-mcleod/)
- [Laurent Chalet](https://www.realtime.org.au/tag/laurent-chalet/)
- [Mere Women](https://www.realtime.org.au/tag/mere-women/)
- [La Catastrophe](https://www.realtime.org.au/tag/la-catastrophe/)
- [La Parisienne Libérée](https://www.realtime.org.au/tag/la-parisienne-liberee/)
- [The National](https://www.realtime.org.au/tag/the-national/)
- [Blair French](https://www.realtime.org.au/tag/blair-french/)
- [MCA](https://www.realtime.org.au/tag/mca/)
- [Bad Boy Bubby](https://www.realtime.org.au/tag/bad-boy-bubby/)
- [Sound design](https://www.realtime.org.au/tag/sound-design/)
- [Holmes à Court Gallery](https://www.realtime.org.au/tag/holmes-a-court-gallery/)
- [Documentary](https://www.realtime.org.au/tag/documentary/)
- [Environmentalism](https://www.realtime.org.au/tag/environmentalism/)
- [Babadook](https://www.realtime.org.au/tag/babadook/)
- [Australian Graffiti](https://www.realtime.org.au/tag/australian-graffiti/)
- [Disapol Savetsila](https://www.realtime.org.au/tag/disapol-savetsila/)
- [Wharf 2](https://www.realtime.org.au/tag/wharf-2/)
- [Force of Circumstance](https://www.realtime.org.au/tag/force-of-circumstance/)
- [Nest Ensemble](https://www.realtime.org.au/tag/nest-ensemble/)
- [Brisbane Powerhouse](https://www.realtime.org.au/tag/brisbane-powerhouse/)
- [He Dreamed a Train](https://www.realtime.org.au/tag/he-dreamed-a-train/)
- [Margi Brown Ash](https://www.realtime.org.au/tag/margi-brown-ash/)
- [Eve](https://www.realtime.org.au/tag/eve/)
- [Travis Ash](https://www.realtime.org.au/tag/travis-ash/)
- [Always Something There to Remind Me](https://www.realtime.org.au/tag/always-something-there-to-remind-me/)
- [Canyon Cinema](https://www.realtime.org.au/tag/canyon-cinema/)
- [Denah Johnston](https://www.realtime.org.au/tag/denah-johnston/)
- [ACMI](https://www.realtime.org.au/tag/acmi/)
- [Revelation Film Festival](https://www.realtime.org.au/tag/revelation-film-festival/)
- [Good Little Soldier](https://www.realtime.org.au/tag/good-little-soldier/)
- [(re)PURPOSE: the MVMNT](https://www.realtime.org.au/tag/repurpose-the-mvmnt/)
- [Natalie Abbott](https://www.realtime.org.au/tag/natalie-abbott/)
- [Dancehouse](https://www.realtime.org.au/tag/dancehouse/)
- [Akram Khan Company](https://www.realtime.org.au/tag/akram-khan-company/)
- [Until the Lions](https://www.realtime.org.au/tag/until-the-lions/)
- [Recalling Mother](https://www.realtime.org.au/tag/recalling-mother/)
- [Keiichiro Shibuya + Hatsune Miku](https://www.realtime.org.au/tag/keiichiro-shibuya-hatsune-miku/)
- [Vocaloid Opera: The End](https://www.realtime.org.au/tag/vocaloid-opera-the-end/)
- [Australian Art Orchestra](https://www.realtime.org.au/tag/australian-art-orchestra/)
- [Keiichiro Shibuya](https://www.realtime.org.au/tag/keiichiro-shibuya/)
- [Scary Beauty](https://www.realtime.org.au/tag/scary-beauty/)
- [Eisa Jocson](https://www.realtime.org.au/tag/eisa-jocson/)
- [Macho Dancer](https://www.realtime.org.au/tag/macho-dancer/)
- [Aakash Odedra Company](https://www.realtime.org.au/tag/aakash-odedra-company/)
- [Rising](https://www.realtime.org.au/tag/rising/)
- [Specific Places Need Specific Dances](https://www.realtime.org.au/tag/specific-places-need-specific-dances/)
- [W!LD RICE](https://www.realtime.org.au/tag/wld-rice/)
- [Hotel](https://www.realtime.org.au/tag/hotel/)
- [Niwa Gekidan Penino](https://www.realtime.org.au/tag/niwa-gekidan-penino/)
- [The Dark Inn](https://www.realtime.org.au/tag/the-dark-inn/)
- [The Babadook](https://www.realtime.org.au/tag/the-babadook/)
- [Split Second Heroes](https://www.realtime.org.au/tag/split-second-heroes/)
- [Luke Smiles](https://www.realtime.org.au/tag/luke-smiles/)
- [Broken Highway](https://www.realtime.org.au/tag/broken-highway/)
- [MIFF](https://www.realtime.org.au/tag/miff/)
- [On Guard](https://www.realtime.org.au/tag/on-guard/)
- [Celia](https://www.realtime.org.au/tag/celia/)
- [Bedevil](https://www.realtime.org.au/tag/bedevil/)
- [Gender Matters](https://www.realtime.org.au/tag/gender-matters/)
- [Pioneering Women](https://www.realtime.org.au/tag/pioneering-women/)
- [Dan Thorpe](https://www.realtime.org.au/tag/dan-thorpe/)
- [OzAsia](https://www.realtime.org.au/tag/ozasia/)
- [In Between Two](https://www.realtime.org.au/tag/in-between-two/)
- [Hot Brown Honey](https://www.realtime.org.au/tag/hot-brown-honey/)
- [Fairweather](https://www.realtime.org.au/tag/fairweather/)
- [Macau Days](https://www.realtime.org.au/tag/macau-days/)
- [WAAPA](https://www.realtime.org.au/tag/waapa/)
- [Main Music Auditorium](https://www.realtime.org.au/tag/main-music-auditorium/)
- [Emily Dash](https://www.realtime.org.au/tag/emily-dash/)
- [PACT](https://www.realtime.org.au/tag/pact/)
- [Gwan Tung Dorothy Lau](https://www.realtime.org.au/tag/gwan-tung-dorothy-lau/)
- [Ivory Street Window Gallery](https://www.realtime.org.au/tag/ivory-street-window-gallery/)
- [Artisan Gallery](https://www.realtime.org.au/tag/artisan-gallery/)
- [Sydney Fringe Festival](https://www.realtime.org.au/tag/sydney-fringe-festival/)
- [Cache in Point](https://www.realtime.org.au/tag/cache-in-point/)
- [Three Voices](https://www.realtime.org.au/tag/three-voices/)
- [HPG Festival Hub Stage One](https://www.realtime.org.au/tag/hpg-festival-hub-stage-one/)
- [Meshuggah](https://www.realtime.org.au/tag/meshuggah/)
- [Vince Gilligan](https://www.realtime.org.au/tag/vince-gilligan/)
- [Better Call Saul](https://www.realtime.org.au/tag/better-call-saul/)
- [Knock-em-Down Theatre](https://www.realtime.org.au/tag/knock-em-down-theatre/)
- [Brown’s Mart Productions](https://www.realtime.org.au/tag/browns-mart-productions/)
- [Mary Anne Butler](https://www.realtime.org.au/tag/mary-anne-butler/)
- [Gail Evans](https://www.realtime.org.au/tag/gail-evans/)
- [Brown’s Mart Theatre](https://www.realtime.org.au/tag/browns-mart-theatre/)
- [Darwin](https://www.realtime.org.au/tag/darwin/)
- [refugees](https://www.realtime.org.au/tag/refugees/)
- [Black Hole Theatre](https://www.realtime.org.au/tag/black-hole-theatre/)
- [Alison Richards](https://www.realtime.org.au/tag/alison-richards/)
- [Nancy Black](https://www.realtime.org.au/tag/nancy-black/)
- [fortyfivedownstairs](https://www.realtime.org.au/tag/fortyfivedownstairs/)
- [Wakefield Press](https://www.realtime.org.au/tag/wakefield-press/)
- [Afghanistan](https://www.realtime.org.au/tag/afghanistan/)
- [Climate](https://www.realtime.org.au/tag/climate/)
- [Shakespeare](https://www.realtime.org.au/tag/shakespeare/)
- [Hamlet](https://www.realtime.org.au/tag/hamlet/)
- [Melbourne International Film Festival](https://www.realtime.org.au/tag/melbourne-international-film-festival/)
- [virtual reality](https://www.realtime.org.au/tag/virtual-reality/)
- [transgender](https://www.realtime.org.au/tag/transgender/)
- [opera](https://www.realtime.org.au/tag/opera/)
- [architecture](https://www.realtime.org.au/tag/architecture/)
- [queer](https://www.realtime.org.au/tag/queer/)
- [performance](https://www.realtime.org.au/tag/performance/)
- [BIFEM](https://www.realtime.org.au/tag/bifem/)
- [Australian Indigenous film](https://www.realtime.org.au/tag/australian-indigenous-film/)
- [Singapore](https://www.realtime.org.au/tag/singapore/)
- [International](https://www.realtime.org.au/tag/international/)
- [Edinburgh International Festival](https://www.realtime.org.au/tag/edinburgh-international-festival/)
- [Horror](https://www.realtime.org.au/tag/horror/)
- [Junction Arts Festival](https://www.realtime.org.au/tag/junction-arts-festival/)
- [Tasmania](https://www.realtime.org.au/tag/tasmania/)
- [Antenna Documentary Film Festival](https://www.realtime.org.au/tag/antenna-documentary-film-festival/)
- [Liveworks](https://www.realtime.org.au/tag/liveworks/)
- [Sydney Chamber Opera](https://www.realtime.org.au/tag/sydney-chamber-opera/)
- [Hugo Weaving](https://www.realtime.org.au/tag/hugo-weaving/)
- [Brecht](https://www.realtime.org.au/tag/brecht/)
- [The Resistable Rise of Arturo Ui](https://www.realtime.org.au/tag/the-resistable-rise-of-arturo-ui/)
- [Readymade Works](https://www.realtime.org.au/tag/readymade-works/)
- [Martin del Amo](https://www.realtime.org.au/tag/martin-del-amo/)
- [Nikki Heywood](https://www.realtime.org.au/tag/nikki-heywood/)
- [Tony Osborne](https://www.realtime.org.au/tag/tony-osborne/)
- [Kathy Cogill](https://www.realtime.org.au/tag/kathy-cogill/)
- [Julie-Anne Long](https://www.realtime.org.au/tag/julie-anne-long/)
- [Anton](https://www.realtime.org.au/tag/anton/)
- [Katia Molino](https://www.realtime.org.au/tag/katia-molino/)
- [Obscene Madame D](https://www.realtime.org.au/tag/obscene-madame-d/)
- [Theatre Kantanka](https://www.realtime.org.au/tag/theatre-kantanka/)
- [Tom E Lewis](https://www.realtime.org.au/tag/tom-e-lewis/)
- [Sydney Opera House](https://www.realtime.org.au/tag/sydney-opera-house/)
- [Unwrapped](https://www.realtime.org.au/tag/unwrapped/)
- [Personal](https://www.realtime.org.au/tag/personal/)
- [Jodee Mundy](https://www.realtime.org.au/tag/jodee-mundy/)
- [Two Jews Walk Into a Theatre](https://www.realtime.org.au/tag/two-jews-walk-into-a-theatre/)
- [Brian Lipson](https://www.realtime.org.au/tag/brian-lipson/)
- [Gideon Obarzanek](https://www.realtime.org.au/tag/gideon-obarzanek/)
- [Playhouse](https://www.realtime.org.au/tag/playhouse/)
- [St Joan](https://www.realtime.org.au/tag/st-joan/)
- [Castalucci](https://www.realtime.org.au/tag/castalucci/)
- [Audiovision](https://www.realtime.org.au/tag/audiovision/)
- [sport](https://www.realtime.org.au/tag/sport/)
- [Jack Rufus](https://www.realtime.org.au/tag/jack-rufus/)
- [Tooth and Claw](https://www.realtime.org.au/tag/tooth-and-claw/)
- [vivienne inch](https://www.realtime.org.au/tag/vivienne-inch/)
- [Sandpit](https://www.realtime.org.au/tag/sandpit/)
- [Climate Century](https://www.realtime.org.au/tag/climate-century/)
- [James Batchelor](https://www.realtime.org.au/tag/james-batchelor/)
- [Pony Express](https://www.realtime.org.au/tag/pony-express/)
- [DAU](https://www.realtime.org.au/tag/dau/)
- [Ilya Khrzhanovsky](https://www.realtime.org.au/tag/ilya-khrzhanovsky/)
- [Lev Landau](https://www.realtime.org.au/tag/lev-landau/)
- [Paris](https://www.realtime.org.au/tag/paris/)
- [books](https://www.realtime.org.au/tag/books/)
- [Indigenous](https://www.realtime.org.au/tag/indigenous/)
- [Richard Bell](https://www.realtime.org.au/tag/richard-bell/)
- [community art](https://www.realtime.org.au/tag/community-art/)
- [refugee art](https://www.realtime.org.au/tag/refugee-art/)
- [Stan Grant](https://www.realtime.org.au/tag/stan-grant/)
- [Emily Kame Kngwarreye](https://www.realtime.org.au/tag/emily-kame-kngwarreye/)
- [Tracey Moffatt](https://www.realtime.org.au/tag/tracey-moffatt/)
- [Banduk Marika](https://www.realtime.org.au/tag/banduk-marika/)
- [Boomalli Artists’ Cooperative](https://www.realtime.org.au/tag/boomalli-artists-cooperative/)
- [Editorial](https://www.realtime.org.au/tag/editorial/)
- [OnScreen](https://www.realtime.org.au/tag/onscreen/)
- [Ningali Lawford](https://www.realtime.org.au/tag/ningali-lawford/)
- [Warlpiri Ceremonial Dancers of Lajamanu](https://www.realtime.org.au/tag/warlpiri-ceremonial-dancers-of-lajamanu/)
- [Rakini Devi](https://www.realtime.org.au/tag/rakini-devi/)
- [Karl Ockelford](https://www.realtime.org.au/tag/karl-ockelford/)
- [Urban Kali](https://www.realtime.org.au/tag/urban-kali/)
- [Articulate gallery](https://www.realtime.org.au/tag/articulate-gallery/)
- [Riverside Theatres](https://www.realtime.org.au/tag/riverside-theatres/)

## Types

- [Videos](https://www.realtime.org.au/types/videos/)

## Issues

- [88](https://www.realtime.org.au/issue/88/)
- [11](https://www.realtime.org.au/issue/11/)
- [20](https://www.realtime.org.au/issue/20/)
- [19](https://www.realtime.org.au/issue/19/)
- [18](https://www.realtime.org.au/issue/18/)
- [17](https://www.realtime.org.au/issue/17/)
- [16](https://www.realtime.org.au/issue/16/)
- [15](https://www.realtime.org.au/issue/15/)
- [14](https://www.realtime.org.au/issue/14/)
- [13](https://www.realtime.org.au/issue/13/)
- [12](https://www.realtime.org.au/issue/12/)
- [10](https://www.realtime.org.au/issue/10/)
- [9](https://www.realtime.org.au/issue/9/)
- [1](https://www.realtime.org.au/issue/1/)
- [2](https://www.realtime.org.au/issue/2/)
- [3](https://www.realtime.org.au/issue/3/)
- [4](https://www.realtime.org.au/issue/4/)
- [5](https://www.realtime.org.au/issue/5/)
- [6](https://www.realtime.org.au/issue/6/)
- [7](https://www.realtime.org.au/issue/7/)
- [8](https://www.realtime.org.au/issue/8/)
- [24](https://www.realtime.org.au/issue/24/)
- [23](https://www.realtime.org.au/issue/23/)
- [22](https://www.realtime.org.au/issue/22/)
- [25](https://www.realtime.org.au/issue/25/)
- [26](https://www.realtime.org.au/issue/26/)
- [21](https://www.realtime.org.au/issue/21/)
- [27](https://www.realtime.org.au/issue/27/)
- [28](https://www.realtime.org.au/issue/28/)
- [29](https://www.realtime.org.au/issue/29/)
- [30](https://www.realtime.org.au/issue/30/)
- [31](https://www.realtime.org.au/issue/31/)
- [32](https://www.realtime.org.au/issue/32/)
- [33](https://www.realtime.org.au/issue/33/)
- [35](https://www.realtime.org.au/issue/35/)
- [34](https://www.realtime.org.au/issue/34/)
- [38](https://www.realtime.org.au/issue/38/)
- [37](https://www.realtime.org.au/issue/37/)
- [36](https://www.realtime.org.au/issue/36/)
- [40](https://www.realtime.org.au/issue/40/)
- [39](https://www.realtime.org.au/issue/39/)
- [41](https://www.realtime.org.au/issue/41/)
- [42](https://www.realtime.org.au/issue/42/)
- [43](https://www.realtime.org.au/issue/43/)
- [44](https://www.realtime.org.au/issue/44/)
- [45](https://www.realtime.org.au/issue/45/)
- [46](https://www.realtime.org.au/issue/46/)
- [47](https://www.realtime.org.au/issue/47/)
- [48](https://www.realtime.org.au/issue/48/)
- [49](https://www.realtime.org.au/issue/49/)
- [50](https://www.realtime.org.au/issue/50/)
- [51](https://www.realtime.org.au/issue/51/)
- [52](https://www.realtime.org.au/issue/52/)
- [53](https://www.realtime.org.au/issue/53/)
- [54](https://www.realtime.org.au/issue/54/)
- [55](https://www.realtime.org.au/issue/55/)
- [56](https://www.realtime.org.au/issue/56/)
- [57](https://www.realtime.org.au/issue/57/)
- [58](https://www.realtime.org.au/issue/58/)
- [59](https://www.realtime.org.au/issue/59/)
- [60](https://www.realtime.org.au/issue/60/)
- [61](https://www.realtime.org.au/issue/61/)
- [62](https://www.realtime.org.au/issue/62/)
- [63](https://www.realtime.org.au/issue/63/)
- [64](https://www.realtime.org.au/issue/64/)
- [65](https://www.realtime.org.au/issue/65/)
- [66](https://www.realtime.org.au/issue/66/)
- [69](https://www.realtime.org.au/issue/69/)
- [67](https://www.realtime.org.au/issue/67/)
- [68](https://www.realtime.org.au/issue/68/)
- [70](https://www.realtime.org.au/issue/70/)
- [71](https://www.realtime.org.au/issue/71/)
- [72](https://www.realtime.org.au/issue/72/)
- [73](https://www.realtime.org.au/issue/73/)
- [74](https://www.realtime.org.au/issue/74/)
- [75](https://www.realtime.org.au/issue/75/)
- [76](https://www.realtime.org.au/issue/76/)
- [77](https://www.realtime.org.au/issue/77/)
- [78](https://www.realtime.org.au/issue/78/)
- [80](https://www.realtime.org.au/issue/80/)
- [79](https://www.realtime.org.au/issue/79/)
- [81](https://www.realtime.org.au/issue/81/)
- [82](https://www.realtime.org.au/issue/82/)
- [83](https://www.realtime.org.au/issue/83/)
- [84](https://www.realtime.org.au/issue/84/)
- [85](https://www.realtime.org.au/issue/85/)
- [86](https://www.realtime.org.au/issue/86/)
- [87](https://www.realtime.org.au/issue/87/)
- [89](https://www.realtime.org.au/issue/89/)
- [90](https://www.realtime.org.au/issue/90/)
- [93](https://www.realtime.org.au/issue/93/)
- [95](https://www.realtime.org.au/issue/95/)
- [91](https://www.realtime.org.au/issue/91/)
- [92](https://www.realtime.org.au/issue/92/)
- [94](https://www.realtime.org.au/issue/94/)
- [98](https://www.realtime.org.au/issue/98/)
- [97](https://www.realtime.org.au/issue/97/)
- [96](https://www.realtime.org.au/issue/96/)
- [99](https://www.realtime.org.au/issue/99/)
- [100](https://www.realtime.org.au/issue/100/)
- [103](https://www.realtime.org.au/issue/103/)
- [101](https://www.realtime.org.au/issue/101/)
- [102](https://www.realtime.org.au/issue/102/)
- [104](https://www.realtime.org.au/issue/104/)
- [105](https://www.realtime.org.au/issue/105/)
- [106](https://www.realtime.org.au/issue/106/)
- [107](https://www.realtime.org.au/issue/107/)
- [108](https://www.realtime.org.au/issue/108/)
- [109](https://www.realtime.org.au/issue/109/)
- [110](https://www.realtime.org.au/issue/110/)
- [111](https://www.realtime.org.au/issue/111/)
- [115](https://www.realtime.org.au/issue/115/)
- [112](https://www.realtime.org.au/issue/112/)
- [113](https://www.realtime.org.au/issue/113/)
- [114](https://www.realtime.org.au/issue/114/)
- [116](https://www.realtime.org.au/issue/116/)
- [117](https://www.realtime.org.au/issue/117/)
- [118](https://www.realtime.org.au/issue/118/)
- [119](https://www.realtime.org.au/issue/119/)
- [120](https://www.realtime.org.au/issue/120/)
- [125](https://www.realtime.org.au/issue/125/)
- [121](https://www.realtime.org.au/issue/121/)
- [122](https://www.realtime.org.au/issue/122/)
- [123](https://www.realtime.org.au/issue/123/)
- [124](https://www.realtime.org.au/issue/124/)
- [130](https://www.realtime.org.au/issue/130/)
- [127](https://www.realtime.org.au/issue/127/)
- [126](https://www.realtime.org.au/issue/126/)
- [128](https://www.realtime.org.au/issue/128/)
- [129](https://www.realtime.org.au/issue/129/)
- [131](https://www.realtime.org.au/issue/131/)
- [132](https://www.realtime.org.au/issue/132/)
- [133](https://www.realtime.org.au/issue/133/)
- [134](https://www.realtime.org.au/issue/134/)
- [135](https://www.realtime.org.au/issue/135/)
- [136](https://www.realtime.org.au/issue/136/)
- [137](https://www.realtime.org.au/issue/137/)
- [138](https://www.realtime.org.au/issue/138/)
- [0](https://www.realtime.org.au/issue/0/)

## Issue Year

- [2008](https://www.realtime.org.au/issue-year/2008/)
- [1996](https://www.realtime.org.au/issue-year/1996/)
- [1997](https://www.realtime.org.au/issue-year/1997/)
- [1995](https://www.realtime.org.au/issue-year/1995/)
- [1994](https://www.realtime.org.au/issue-year/1994/)
- [1998](https://www.realtime.org.au/issue-year/1998/)
- [1999](https://www.realtime.org.au/issue-year/1999/)
- [2000](https://www.realtime.org.au/issue-year/2000/)
- [2001](https://www.realtime.org.au/issue-year/2001/)
- [2002](https://www.realtime.org.au/issue-year/2002/)
- [2003](https://www.realtime.org.au/issue-year/2003/)
- [2004](https://www.realtime.org.au/issue-year/2004/)
- [2005](https://www.realtime.org.au/issue-year/2005/)
- [2006](https://www.realtime.org.au/issue-year/2006/)
- [2007](https://www.realtime.org.au/issue-year/2007/)
- [2009](https://www.realtime.org.au/issue-year/2009/)
- [2010](https://www.realtime.org.au/issue-year/2010/)
- [2011](https://www.realtime.org.au/issue-year/2011/)
- [2012](https://www.realtime.org.au/issue-year/2012/)
- [2013](https://www.realtime.org.au/issue-year/2013/)
- [2014](https://www.realtime.org.au/issue-year/2014/)
- [2015](https://www.realtime.org.au/issue-year/2015/)
- [2016](https://www.realtime.org.au/issue-year/2016/)
- [2017](https://www.realtime.org.au/issue-year/2017/)

## Media Art Archive

- [Exhibitions & Awards](https://www.realtime.org.au/media-art-archive/exhibitions-awards/)
- [Máquinas & Almas (Souls & Machines), Reina Sofia](https://www.realtime.org.au/media-art-archive/mquinas-almas-souls-machines-reina-sofia/)
- [International Artists](https://www.realtime.org.au/media-art-archive/international-artists/)
- [Kodoma, Saciko](https://www.realtime.org.au/media-art-archive/kodoma-saciko/)
- [Rozin, Daniel](https://www.realtime.org.au/media-art-archive/rozin-daniel/)
- [Rubin, Ben and Hansen, Mark](https://www.realtime.org.au/media-art-archive/rubin-ben-and-hansen-mark/)
- [Friedlander, Paul](https://www.realtime.org.au/media-art-archive/friedlander-paul/)
- [Jansen, Theo](https://www.realtime.org.au/media-art-archive/jansen-theo/)
- [Hanson, David](https://www.realtime.org.au/media-art-archive/hanson-david/)
- [Premier of Queensland’s National New Media Art Award, QAG](https://www.realtime.org.au/media-art-archive/premier-of-queenslands-national-new-media-art-award-qag/)
- [Australian Artists](https://www.realtime.org.au/media-art-archive/australian-artists/)
- [Alwast, Peter](https://www.realtime.org.au/media-art-archive/alwast-peter/)
- [Fontaine (Johnson), Anita](https://www.realtime.org.au/media-art-archive/fontaine-johnson-anita/)
- [Smith, Sam](https://www.realtime.org.au/media-art-archive/smith-sam/)
- [Nash, Adam](https://www.realtime.org.au/media-art-archive/nash-adam/)
- [Tonkin, John](https://www.realtime.org.au/media-art-archive/tonkin-john/)
- [Dowling, Julie](https://www.realtime.org.au/media-art-archive/dowling-julie/)
- [Velonaki, Mari](https://www.realtime.org.au/media-art-archive/velonaki-mari/)
- [Jeremijenko, Natalie](https://www.realtime.org.au/media-art-archive/jeremijenko-natalie/)
- [Haines, David](https://www.realtime.org.au/media-art-archive/haines-david/)
- [Hinterding, Joyce](https://www.realtime.org.au/media-art-archive/hinterding-joyce/)
- [Festivals, Conferences & Organisations](https://www.realtime.org.au/media-art-archive/festivals-conferences-organisations/)
- [Electrofringe (TINA)](https://www.realtime.org.au/media-art-archive/electrofringe-tina/)
- [White, Alex](https://www.realtime.org.au/media-art-archive/white-alex/)
- [Langley, Somaya](https://www.realtime.org.au/media-art-archive/langley-somaya/)
- [Shea, Pip](https://www.realtime.org.au/media-art-archive/shea-pip/)
- [League of Imaginary Scientists](https://www.realtime.org.au/media-art-archive/league-of-imaginary-scientists/)
- [Sengewald](https://www.realtime.org.au/media-art-archive/sengewald/)
- [Weiland, Willoh S](https://www.realtime.org.au/media-art-archive/weiland-willoh-s/)
- [ISEA](https://www.realtime.org.au/media-art-archive/isea/)
- [Andres, Kelly Jaclynn](https://www.realtime.org.au/media-art-archive/andres-kelly-jaclynn/)
- [Ermitaño, Tad](https://www.realtime.org.au/media-art-archive/ermitao-tad/)
- [Books](https://www.realtime.org.au/media-art-archive/books/)
- [McQuire, Scott](https://www.realtime.org.au/media-art-archive/mcquire-scott/)
- [deepblue Heine R Avdal](https://www.realtime.org.au/media-art-archive/deepblue-heine-r-avdal/)
- [Interactives](https://www.realtime.org.au/media-art-archive/interactives/)
- [Adelaide International Film Festival](https://www.realtime.org.au/media-art-archive/adelaide-international-film-festival/)
- [Pierce, Julianne](https://www.realtime.org.au/media-art-archive/pierce-julianne/)
- [Lozano-Hemmer, Rafeal](https://www.realtime.org.au/media-art-archive/lozano-hemmer-rafeal/)
- [Australian Network for Art & Technology (ANAT)](https://www.realtime.org.au/media-art-archive/australian-network-for-art-technology-anat/)
- [Wallworth, Lynette](https://www.realtime.org.au/media-art-archive/wallworth-lynette/)
- [Stahl, Alex](https://www.realtime.org.au/media-art-archive/stahl-alex/)
- [Fox, Robin](https://www.realtime.org.au/media-art-archive/fox-robin/)
- [SIAL](https://www.realtime.org.au/media-art-archive/sial/)
- [Sound](https://www.realtime.org.au/media-art-archive/sound/)
- [Issues](https://www.realtime.org.au/media-art-archive/issues/)
- [QANTM](https://www.realtime.org.au/media-art-archive/qantm/)
- [Imago](https://www.realtime.org.au/media-art-archive/imago/)
- [Metro Screen (formerly Metro TV)](https://www.realtime.org.au/media-art-archive/metro-screen-formerly-metro-tv/)
- [Ngapartji Multimedia Centre](https://www.realtime.org.au/media-art-archive/ngapartji-multimedia-centre/)
- [Ars Electronica](https://www.realtime.org.au/media-art-archive/ars-electronica/)
- [CD-Rom](https://www.realtime.org.au/media-art-archive/cd-rom/)
- [Coupe, Bronwyn](https://www.realtime.org.au/media-art-archive/coupe-bronwyn/)
- [eMedia](https://www.realtime.org.au/media-art-archive/emedia/)
- [FACT](https://www.realtime.org.au/media-art-archive/fact/)
- [Screen-based](https://www.realtime.org.au/media-art-archive/screen-based/)
- [de Jonge, Jaap](https://www.realtime.org.au/media-art-archive/de-jonge-jaap/)
- [Jones, Lyndal](https://www.realtime.org.au/media-art-archive/jones-lyndal/)
- [Wallace, Linda](https://www.realtime.org.au/media-art-archive/wallace-linda/)
- [McCormack, Jon](https://www.realtime.org.au/media-art-archive/mccormack-jon/)
- [Viola, Bill](https://www.realtime.org.au/media-art-archive/viola-bill/)
- [Schiphorst, Thecla](https://www.realtime.org.au/media-art-archive/schiphorst-thecla/)
- [Corompt, Martine](https://www.realtime.org.au/media-art-archive/corompt-martine/)
- [Miller, Brad](https://www.realtime.org.au/media-art-archive/miller-brad/)
- [Sharp, Lloyd](https://www.realtime.org.au/media-art-archive/sharp-lloyd/)
- [Piccinini, Patricia](https://www.realtime.org.au/media-art-archive/piccinini-patricia/)
- [Starrs, Josephine](https://www.realtime.org.au/media-art-archive/starrs-josephine/)
- [Cmielewski, Leon](https://www.realtime.org.au/media-art-archive/cmielewski-leon/)
- [Net Art](https://www.realtime.org.au/media-art-archive/net-art/)
- [Haig, Ian](https://www.realtime.org.au/media-art-archive/haig-ian/)
- [Neumark, Norie](https://www.realtime.org.au/media-art-archive/neumark-norie/)
- [Miranda, Maria](https://www.realtime.org.au/media-art-archive/miranda-maria/)
- [da Rimini, Francesca](https://www.realtime.org.au/media-art-archive/da-rimini-francesca/)
- [Walker, Linda Marie](https://www.realtime.org.au/media-art-archive/walker-linda-marie/)
- [Electronic Writing Research Ensemble](https://www.realtime.org.au/media-art-archive/electronic-writing-research-ensemble/)
- [Cyber Cultures](https://www.realtime.org.au/media-art-archive/cyber-cultures/)
- [Glaser, Michelle](https://www.realtime.org.au/media-art-archive/glaser-michelle/)
- [Mason, Rick](https://www.realtime.org.au/media-art-archive/mason-rick/)
- [Cleland, Kathy](https://www.realtime.org.au/media-art-archive/cleland-kathy/)
- [Cranswick, David](https://www.realtime.org.au/media-art-archive/cranswick-david/)
- [Innocent, Troy](https://www.realtime.org.au/media-art-archive/innocent-troy/)
- [Stelarc](https://www.realtime.org.au/media-art-archive/stelarc/)
- [VNS Matrix](https://www.realtime.org.au/media-art-archive/vns-matrix/)
- [Delmotte, Isabelle](https://www.realtime.org.au/media-art-archive/delmotte-isabelle/)
- [Australian Film Commission (AFC)](https://www.realtime.org.au/media-art-archive/australian-film-commission-afc/)
- [Sydney Intermedia Network (SIN)](https://www.realtime.org.au/media-art-archive/sydney-intermedia-network-sin/)
- [Matinaze, SIN](https://www.realtime.org.au/media-art-archive/matinaze-sin/)
- [Pryor, Sally](https://www.realtime.org.au/media-art-archive/pryor-sally/)
- [Heyward, Megan](https://www.realtime.org.au/media-art-archive/heyward-megan/)
- [Merewether, Janet](https://www.realtime.org.au/media-art-archive/merewether-janet/)
- [Callas, Peter](https://www.realtime.org.au/media-art-archive/callas-peter/)
- [Cavallaro, Alessio](https://www.realtime.org.au/media-art-archive/cavallaro-alessio/)
- [Experimenta](https://www.realtime.org.au/media-art-archive/experimenta/)
- [short, sharp and very current, Experimenta](https://www.realtime.org.au/media-art-archive/short-sharp-and-very-current-experimenta/)
- [Burning the Interface](https://www.realtime.org.au/media-art-archive/burning-the-interface/)
- [The Body Remembers, Experimenta](https://www.realtime.org.au/media-art-archive/the-body-remembers-experimenta/)
- [Domestic Disturbances, Experimenta](https://www.realtime.org.au/media-art-archive/domestic-disturbances-experimenta/)
- [Leggett, Mike](https://www.realtime.org.au/media-art-archive/leggett-mike/)
- [Scott, Jill](https://www.realtime.org.au/media-art-archive/scott-jill/)
- [Waterson, Sarah](https://www.realtime.org.au/media-art-archive/waterson-sarah/)
- [Scanner (Robin Rimbaud)](https://www.realtime.org.au/media-art-archive/scanner-robin-rimbaud/)
- [DeMarinis, Paul](https://www.realtime.org.au/media-art-archive/demarinis-paul/)
- [Critical Art Ensemble](https://www.realtime.org.au/media-art-archive/critical-art-ensemble/)
- [European Media Art Festival (EMAF)](https://www.realtime.org.au/media-art-archive/european-media-art-festival-emaf/)
- [Rhizome](https://www.realtime.org.au/media-art-archive/rhizome/)
- [Cheang, Shu-Lea](https://www.realtime.org.au/media-art-archive/cheang-shu-lea/)
- [Dutch Electronic Arts Festival (DEAF)](https://www.realtime.org.au/media-art-archive/dutch-electronic-arts-festival-deaf/)
- [Plewe, Daniela Alia](https://www.realtime.org.au/media-art-archive/plewe-daniela-alia/)
- [Knowbotic Research](https://www.realtime.org.au/media-art-archive/knowbotic-research/)
- [Cubitt, Sean](https://www.realtime.org.au/media-art-archive/cubitt-sean/)
- [Bosch and Simons](https://www.realtime.org.au/media-art-archive/bosch-and-simons/)
- [Kimura, Mari](https://www.realtime.org.au/media-art-archive/kimura-mari/)
- [Modern Image Makers Association (MIMA)](https://www.realtime.org.au/media-art-archive/modern-image-makers-association-mima/)
- [Saul, Shiralee](https://www.realtime.org.au/media-art-archive/saul-shiralee/)
- [Handsaker, Peter](https://www.realtime.org.au/media-art-archive/handsaker-peter/)
- [Cynema, An Interactive Playground](https://www.realtime.org.au/media-art-archive/cynema-an-interactive-playground/)
- [Game Art](https://www.realtime.org.au/media-art-archive/game-art/)
- [Anderson, Laurie](https://www.realtime.org.au/media-art-archive/anderson-laurie/)
- [Harwood, Graham](https://www.realtime.org.au/media-art-archive/harwood-graham/)
- [Legrady, George](https://www.realtime.org.au/media-art-archive/legrady-george/)
- [Dery, Mark](https://www.realtime.org.au/media-art-archive/dery-mark/)
- [Next Wave](https://www.realtime.org.au/media-art-archive/next-wave/)
- [Verdon, James](https://www.realtime.org.au/media-art-archive/verdon-james/)
- [Piper, Keith](https://www.realtime.org.au/media-art-archive/piper-keith/)
- [Mutley Media](https://www.realtime.org.au/media-art-archive/mutley-media/)
- [Schiemer, Greg](https://www.realtime.org.au/media-art-archive/schiemer-greg/)
- [Wicks, Arthur](https://www.realtime.org.au/media-art-archive/wicks-arthur/)
- [Urban Exile](https://www.realtime.org.au/media-art-archive/urban-exile/)
- [Wishart, Stevie](https://www.realtime.org.au/media-art-archive/wishart-stevie/)
- [Bird, Kathryn](https://www.realtime.org.au/media-art-archive/bird-kathryn/)
- [Virogenesis, ANAT](https://www.realtime.org.au/media-art-archive/virogenesis-anat/)
- [Fuller, Matthew](https://www.realtime.org.au/media-art-archive/fuller-matthew/)
- [Hales, Chris](https://www.realtime.org.au/media-art-archive/hales-chris/)
- [Gruchy, Tim](https://www.realtime.org.au/media-art-archive/gruchy-tim/)
- [Courchesne, Luc](https://www.realtime.org.au/media-art-archive/courchesne-luc/)
- [Lanz, Erik](https://www.realtime.org.au/media-art-archive/lanz-erik/)
- [Seaman, Bill](https://www.realtime.org.au/media-art-archive/seaman-bill/)
- [Buckley, Michael](https://www.realtime.org.au/media-art-archive/buckley-michael/)
- [Michael, Linda](https://www.realtime.org.au/media-art-archive/michael-linda/)
- [Dement, Linda](https://www.realtime.org.au/media-art-archive/dement-linda/)
- [Collette, John](https://www.realtime.org.au/media-art-archive/collette-john/)
- [Campbell, Barbara](https://www.realtime.org.au/media-art-archive/campbell-barbara/)
- [Digital Performance](https://www.realtime.org.au/media-art-archive/digital-performance/)
- [Kreckler, Derek](https://www.realtime.org.au/media-art-archive/kreckler-derek/)
- [Wilcox, Dennis](https://www.realtime.org.au/media-art-archive/wilcox-dennis/)
- [McDonald Crowley, Amanda](https://www.realtime.org.au/media-art-archive/mcdonald-crowley-amanda/)
- [Blair, David](https://www.realtime.org.au/media-art-archive/blair-david/)
- [de Kerckhove, Derrick](https://www.realtime.org.au/media-art-archive/de-kerckhove-derrick/)
- [Wishart, Nick](https://www.realtime.org.au/media-art-archive/wishart-nick/)
- [Rogers, David (DV)](https://www.realtime.org.au/media-art-archive/rogers-david-dv/)
- [Zentrum für Kunst und Medientechnologie, ZKM](https://www.realtime.org.au/media-art-archive/zentrum-fr-kunst-und-medientechnologie-zkm/)
- [Davies, Char](https://www.realtime.org.au/media-art-archive/davies-char/)
- [Helyer, Nigel](https://www.realtime.org.au/media-art-archive/helyer-nigel/)
- [Wark, McKenzie](https://www.realtime.org.au/media-art-archive/wark-mckenzie/)
- [Cardoso, Maria Fernanda](https://www.realtime.org.au/media-art-archive/cardoso-maria-fernanda/)
- [Barratt, Virginia](https://www.realtime.org.au/media-art-archive/barratt-virginia/)
- [Contemporary Music Events Company](https://www.realtime.org.au/media-art-archive/contemporary-music-events-company/)
- [Dwyer, Natasha](https://www.realtime.org.au/media-art-archive/dwyer-natasha/)
- [Harley, Ross](https://www.realtime.org.au/media-art-archive/harley-ross/)
- [Leber, Sonia](https://www.realtime.org.au/media-art-archive/leber-sonia/)
- [Sabiel, Anna](https://www.realtime.org.au/media-art-archive/sabiel-anna/)
- [Sound Studio, Performance Space](https://www.realtime.org.au/media-art-archive/sound-studio-performance-space/)
- [Bradbury, Garry](https://www.realtime.org.au/media-art-archive/bradbury-garry/)
- [Lerner, Sophea](https://www.realtime.org.au/media-art-archive/lerner-sophea/)
- [DeLys, Sherre](https://www.realtime.org.au/media-art-archive/delys-sherre/)
- [Cummins, Rebecca](https://www.realtime.org.au/media-art-archive/cummins-rebecca/)
- [Lovink, Geert](https://www.realtime.org.au/media-art-archive/lovink-geert/)
- [SIGGRAPH](https://www.realtime.org.au/media-art-archive/siggraph/)
- [Cook, Jeffrey](https://www.realtime.org.au/media-art-archive/cook-jeffrey/)
- [Creative Nation Multimedia Forums](https://www.realtime.org.au/media-art-archive/creative-nation-multimedia-forums/)
- [Ellard, Tom](https://www.realtime.org.au/media-art-archive/ellard-tom/)
- [Gibson, Ross](https://www.realtime.org.au/media-art-archive/gibson-ross/)
- [Munster, Anna](https://www.realtime.org.au/media-art-archive/munster-anna/)
- [Barker, Michele](https://www.realtime.org.au/media-art-archive/barker-michele/)
- [Tofts, Darren](https://www.realtime.org.au/media-art-archive/tofts-darren/)
- [Education](https://www.realtime.org.au/media-art-archive/education/)
- [James, Sam](https://www.realtime.org.au/media-art-archive/james-sam/)
- [Bacon, Sean](https://www.realtime.org.au/media-art-archive/bacon-sean/)
- [Warren, Matt](https://www.realtime.org.au/media-art-archive/warren-matt/)
- [Empire State](https://www.realtime.org.au/media-art-archive/empire-state/)
- [Petterd, Robin](https://www.realtime.org.au/media-art-archive/petterd-robin/)
- [Videotage](https://www.realtime.org.au/media-art-archive/videotage/)
- [Khut, George Poonkhin](https://www.realtime.org.au/media-art-archive/khut-george-poonkhin/)
- [Mott, Iain](https://www.realtime.org.au/media-art-archive/mott-iain/)
- [ICAD](https://www.realtime.org.au/media-art-archive/icad/)
- [Osborne, Ed](https://www.realtime.org.au/media-art-archive/osborne-ed/)
- [Oliveros, Pauline](https://www.realtime.org.au/media-art-archive/oliveros-pauline/)
- [Code Red, Performance Space](https://www.realtime.org.au/media-art-archive/code-red-performance-space/)
- [Peljhan, Marko](https://www.realtime.org.au/media-art-archive/peljhan-marko/)
- [Kaye, Zina](https://www.realtime.org.au/media-art-archive/kaye-zina/)
- [Morrison, Ann](https://www.realtime.org.au/media-art-archive/morrison-ann/)
- [Wilson, Vikki](https://www.realtime.org.au/media-art-archive/wilson-vikki/)
- [Interact Asia Pacific Multimedia Festival](https://www.realtime.org.au/media-art-archive/interact-asia-pacific-multimedia-festival/)
- [Law, Jo](https://www.realtime.org.au/media-art-archive/law-jo/)
- [Hayes, Soha Ariel](https://www.realtime.org.au/media-art-archive/hayes-soha-ariel/)
- [Documenta](https://www.realtime.org.au/media-art-archive/documenta/)
- [Gye, Lisa](https://www.realtime.org.au/media-art-archive/gye-lisa/)
- [Ball, Steve](https://www.realtime.org.au/media-art-archive/ball-steve/)
- [Rodgers, Paul](https://www.realtime.org.au/media-art-archive/rodgers-paul/)
- [Amerika, Mark](https://www.realtime.org.au/media-art-archive/amerika-mark/)
- [Hoskins, Teri](https://www.realtime.org.au/media-art-archive/hoskins-teri/)
- [Komninos](https://www.realtime.org.au/media-art-archive/komninos/)
- [Hypermedia Research Centre](https://www.realtime.org.au/media-art-archive/hypermedia-research-centre/)
- [FOLDBACK](https://www.realtime.org.au/media-art-archive/foldback/)
- [Hypertext & Online writing](https://www.realtime.org.au/media-art-archive/hypertext-online-writing/)
- [Crawford, Ashley](https://www.realtime.org.au/media-art-archive/crawford-ashley/)
- [Edgar, Ray](https://www.realtime.org.au/media-art-archive/edgar-ray/)
- [Shaw, Jeffrey](https://www.realtime.org.au/media-art-archive/shaw-jeffrey/)
- [Grimm, Michael](https://www.realtime.org.au/media-art-archive/grimm-michael/)
- [Rackham, Melinda](https://www.realtime.org.au/media-art-archive/rackham-melinda/)
- [Company in Space](https://www.realtime.org.au/media-art-archive/company-in-space/)
- [Paine, Garth](https://www.realtime.org.au/media-art-archive/paine-garth/)
- [Sky, Hellen](https://www.realtime.org.au/media-art-archive/sky-hellen/)
- [Wilson, Josephine](https://www.realtime.org.au/media-art-archive/wilson-josephine/)
- [Lycette, John](https://www.realtime.org.au/media-art-archive/lycette-john/)
- [Cooper, Justine](https://www.realtime.org.au/media-art-archive/cooper-justine/)
- [dLux media arts](https://www.realtime.org.au/media-art-archive/dlux-media-arts/)
- [d.art](https://www.realtime.org.au/media-art-archive/d-art/)
- [Warner, Gary](https://www.realtime.org.au/media-art-archive/warner-gary/)
- [Media Art Asia Pacific (MAAP)](https://www.realtime.org.au/media-art-archive/media-art-asia-pacific-maap/)
- [Jones, Stephen](https://www.realtime.org.au/media-art-archive/jones-stephen/)
- [Gillies, John](https://www.realtime.org.au/media-art-archive/gillies-john/)
- [Samartzis, Philip](https://www.realtime.org.au/media-art-archive/samartzis-philip/)
- [Zebington, Gary](https://www.realtime.org.au/media-art-archive/zebington-gary/)
- [de Silva, Sam](https://www.realtime.org.au/media-art-archive/de-silva-sam/)
- [Consciousness Reframed](https://www.realtime.org.au/media-art-archive/consciousness-reframed/)
- [Mez (Mary-Anne Breeze)](https://www.realtime.org.au/media-art-archive/mez-mary-anne-breeze/)
- [Davies, Alex](https://www.realtime.org.au/media-art-archive/davies-alex/)
- [Smith, Hazel](https://www.realtime.org.au/media-art-archive/smith-hazel/)
- [Dean, Roger](https://www.realtime.org.au/media-art-archive/dean-roger/)
- [Czarnecki, Gina](https://www.realtime.org.au/media-art-archive/czarnecki-gina/)
- [Macarow, Keely](https://www.realtime.org.au/media-art-archive/macarow-keely/)
- [Catts, Oron](https://www.realtime.org.au/media-art-archive/catts-oron/)
- [Zurr, Ionat](https://www.realtime.org.au/media-art-archive/zurr-ionat/)
- [Bio Art](https://www.realtime.org.au/media-art-archive/bio-art/)
- [Cinemedia](https://www.realtime.org.au/media-art-archive/cinemedia/)
- [Machan, Kim](https://www.realtime.org.au/media-art-archive/machan-kim/)
- [McKeich, Murray](https://www.realtime.org.au/media-art-archive/mckeich-murray/)
- [Muu, Finland](https://www.realtime.org.au/media-art-archive/muu-finland/)
- [trAce Online Writing Centre](https://www.realtime.org.au/media-art-archive/trace-online-writing-centre/)
- [futureScreen, dlux media arts](https://www.realtime.org.au/media-art-archive/futurescreen-dlux-media-arts/)
- [Retarded Eye collective](https://www.realtime.org.au/media-art-archive/retarded-eye-collective/)
- [Merton, Cam](https://www.realtime.org.au/media-art-archive/merton-cam/)
- [Ulmer, Gregory](https://www.realtime.org.au/media-art-archive/ulmer-gregory/)
- [r a d i o q u a l i a](https://www.realtime.org.au/media-art-archive/r-a-d-i-o-q-u-a-l-i-a/)
- [Rettberg, Scott](https://www.realtime.org.au/media-art-archive/rettberg-scott/)
- [Miekal And](https://www.realtime.org.au/media-art-archive/miekal-and/)
- [Marynowsky, Wade](https://www.realtime.org.au/media-art-archive/marynowsky-wade/)
- [Gonsalves, Tina](https://www.realtime.org.au/media-art-archive/gonsalves-tina/)
- [Henschke, Chris](https://www.realtime.org.au/media-art-archive/henschke-chris/)
- [Couros, Panos](https://www.realtime.org.au/media-art-archive/couros-panos/)
- [Armstrong, Keith](https://www.realtime.org.au/media-art-archive/armstrong-keith/)
- [Weight, Jenny (geniwate)](https://www.realtime.org.au/media-art-archive/weight-jenny-geniwate/)
- [Carroli, Linda](https://www.realtime.org.au/media-art-archive/carroli-linda/)
- [Mew, Kat](https://www.realtime.org.au/media-art-archive/mew-kat/)
- [Petrovich, Debra](https://www.realtime.org.au/media-art-archive/petrovich-debra/)
- [Hutchinson, Alex](https://www.realtime.org.au/media-art-archive/hutchinson-alex/)
- [Xavier, Marie-Louise](https://www.realtime.org.au/media-art-archive/xavier-marie-louise/)
- [Kocsis, Anita](https://www.realtime.org.au/media-art-archive/kocsis-anita/)
- [Richards, Kate](https://www.realtime.org.au/media-art-archive/richards-kate/)
- [Rothwell, Alyssa](https://www.realtime.org.au/media-art-archive/rothwell-alyssa/)
- [Seevinck, Jennifer](https://www.realtime.org.au/media-art-archive/seevinck-jennifer/)
- [Sweeney, Jason](https://www.realtime.org.au/media-art-archive/sweeney-jason/)
- [Thomas, Paul](https://www.realtime.org.au/media-art-archive/thomas-paul/)
- [Doppio-Parallelo](https://www.realtime.org.au/media-art-archive/doppio-parallelo/)
- [Priest, Gail](https://www.realtime.org.au/media-art-archive/priest-gail/)
- [McCormick, John](https://www.realtime.org.au/media-art-archive/mccormick-john/)
- [Barry, Cazerine](https://www.realtime.org.au/media-art-archive/barry-cazerine/)
- [Backen, Robyn](https://www.realtime.org.au/media-art-archive/backen-robyn/)
- [Chang, Young-Hae](https://www.realtime.org.au/media-art-archive/chang-young-hae/)
- [Mengbo, Feng](https://www.realtime.org.au/media-art-archive/mengbo-feng/)
- [Beaubois, Denis](https://www.realtime.org.au/media-art-archive/beaubois-denis/)
- [Redfern, Dominic](https://www.realtime.org.au/media-art-archive/redfern-dominic/)
- [Sommerer, Christa](https://www.realtime.org.au/media-art-archive/sommerer-christa/)
- [Mignonneau, Laurent](https://www.realtime.org.au/media-art-archive/mignonneau-laurent/)
- [Hegedus, Agnes](https://www.realtime.org.au/media-art-archive/hegedus-agnes/)
- [Akitsugu, Maebayashi](https://www.realtime.org.au/media-art-archive/akitsugu-maebayashi/)
- [Dumbtype](https://www.realtime.org.au/media-art-archive/dumbtype/)
- [Seiko, Mikami](https://www.realtime.org.au/media-art-archive/seiko-mikami/)
- [Prophet, Jane](https://www.realtime.org.au/media-art-archive/prophet-jane/)
- [Treister, Suzanne](https://www.realtime.org.au/media-art-archive/treister-suzanne/)
- [Hennessey, Peter](https://www.realtime.org.au/media-art-archive/hennessey-peter/)
- [NxT Mutimedia Symposium](https://www.realtime.org.au/media-art-archive/nxt-mutimedia-symposium/)
- [Brown, Paul](https://www.realtime.org.au/media-art-archive/brown-paul/)
- [Fusion, St Kilda Film Festival](https://www.realtime.org.au/media-art-archive/fusion-st-kilda-film-festival/)
- [Roberts, Lisa](https://www.realtime.org.au/media-art-archive/roberts-lisa/)
- [Del Favero, Dennis](https://www.realtime.org.au/media-art-archive/del-favero-dennis/)
- [Kazumichi Grime, Toby](https://www.realtime.org.au/media-art-archive/kazumichi-grime-toby/)
- [Grech, John](https://www.realtime.org.au/media-art-archive/grech-john/)
- [Leonard, Matthew](https://www.realtime.org.au/media-art-archive/leonard-matthew/)
- [Caney, Diane](https://www.realtime.org.au/media-art-archive/caney-diane/)
- [Spectrascope, Sydney Biennale](https://www.realtime.org.au/media-art-archive/spectrascope-sydney-biennale/)
- [Benson, Tracey](https://www.realtime.org.au/media-art-archive/benson-tracey/)
- [Bai, Paul](https://www.realtime.org.au/media-art-archive/bai-paul/)
- [Crooks, Daniel](https://www.realtime.org.au/media-art-archive/crooks-daniel/)
- [Thomas, Kristian](https://www.realtime.org.au/media-art-archive/thomas-kristian/)
- [Thompson, Christian](https://www.realtime.org.au/media-art-archive/thompson-christian/)
- [Fraser, Jenny](https://www.realtime.org.au/media-art-archive/fraser-jenny/)
- [Croft, Brenda L](https://www.realtime.org.au/media-art-archive/croft-brenda-l/)
- [Rea](https://www.realtime.org.au/media-art-archive/rea/)
- [Sengupta, Shuddhabrata](https://www.realtime.org.au/media-art-archive/sengupta-shuddhabrata/)
- [Blast Theory](https://www.realtime.org.au/media-art-archive/blast-theory/)
- [Stubbs, Mike](https://www.realtime.org.au/media-art-archive/stubbs-mike/)
- [Andrew, Brook](https://www.realtime.org.au/media-art-archive/andrew-brook/)
- [Ben-Ary, Guy](https://www.realtime.org.au/media-art-archive/ben-ary-guy/)
- [Levin, Golan](https://www.realtime.org.au/media-art-archive/levin-golan/)
- [Electronic Literature Organization (ELO)](https://www.realtime.org.au/media-art-archive/electronic-literature-organization-elo/)
- [Kac, Eduardo](https://www.realtime.org.au/media-art-archive/kac-eduardo/)
- [Medlin, Margie](https://www.realtime.org.au/media-art-archive/medlin-margie/)
- [Whitelaw, Mitchell](https://www.realtime.org.au/media-art-archive/whitelaw-mitchell/)
- [Alderson, Amanda](https://www.realtime.org.au/media-art-archive/alderson-amanda/)
- [Jackson, Shelley](https://www.realtime.org.au/media-art-archive/jackson-shelley/)
- [Ivanova, Antoanetta](https://www.realtime.org.au/media-art-archive/ivanova-antoanetta/)
- [AltX](https://www.realtime.org.au/media-art-archive/altx/)
- [Chunky Move](https://www.realtime.org.au/media-art-archive/chunky-move/)
- [Kurz, Steve](https://www.realtime.org.au/media-art-archive/kurz-steve/)
- [Brophy, Philip](https://www.realtime.org.au/media-art-archive/brophy-philip/)
- [Bandt, Ros](https://www.realtime.org.au/media-art-archive/bandt-ros/)
- [Sarai New Media Initiative, Delhi](https://www.realtime.org.au/media-art-archive/sarai-new-media-initiative-delhi/)
- [Hornblow, Michael](https://www.realtime.org.au/media-art-archive/hornblow-michael/)
- [Gadow, Andrew](https://www.realtime.org.au/media-art-archive/gadow-andrew/)
- [Andrews, Ian](https://www.realtime.org.au/media-art-archive/andrews-ian/)
- [Arterial](https://www.realtime.org.au/media-art-archive/arterial/)
- [Metraform](https://www.realtime.org.au/media-art-archive/metraform/)
- [Duckworth, Jonathan](https://www.realtime.org.au/media-art-archive/duckworth-jonathan/)
- [Harvey, Lawrence](https://www.realtime.org.au/media-art-archive/harvey-lawrence/)
- [Gupta, Shilpa](https://www.realtime.org.au/media-art-archive/gupta-shilpa/)
- [Gunderson, Mark](https://www.realtime.org.au/media-art-archive/gunderson-mark/)
- [Kelly, Deborah](https://www.realtime.org.au/media-art-archive/kelly-deborah/)
- [Vickery, Lindsay](https://www.realtime.org.au/media-art-archive/vickery-lindsay/)
- [Chesworth, David](https://www.realtime.org.au/media-art-archive/chesworth-david/)
- [Beilharz, Kirsty](https://www.realtime.org.au/media-art-archive/beilharz-kirsty/)
- [iCinema Centre for Interactive Cinema Research](https://www.realtime.org.au/media-art-archive/icinema-centre-for-interactive-cinema-research/)
- [fibreculture](https://www.realtime.org.au/media-art-archive/fibreculture/)
- [Teh, David](https://www.realtime.org.au/media-art-archive/teh-david/)
- [SymbioticA](https://www.realtime.org.au/media-art-archive/symbiotica/)
- [Hunt, Anthony](https://www.realtime.org.au/media-art-archive/hunt-anthony/)
- [Honegger, Stephen](https://www.realtime.org.au/media-art-archive/honegger-stephen/)
- [Kelly, Caleb](https://www.realtime.org.au/media-art-archive/kelly-caleb/)
- [Browne, Vicky](https://www.realtime.org.au/media-art-archive/browne-vicky/)
- [Matthews, Kaffe](https://www.realtime.org.au/media-art-archive/matthews-kaffe/)
- [Biennale of Electronic Arts Perth (BEAP)](https://www.realtime.org.au/media-art-archive/biennale-of-electronic-arts-perth-beap/)
- [Mowson, Bruce](https://www.realtime.org.au/media-art-archive/mowson-bruce/)
- [Liquid Architecture](https://www.realtime.org.au/media-art-archive/liquid-architecture/)
- [tesseract research laboratories](https://www.realtime.org.au/media-art-archive/tesseract-research-laboratories/)
- [Jolly, Martyn](https://www.realtime.org.au/media-art-archive/jolly-martyn/)
- [Knowles, Julian](https://www.realtime.org.au/media-art-archive/knowles-julian/)
- [Youngs, Amy](https://www.realtime.org.au/media-art-archive/youngs-amy/)
- [Rinaldo, Ken](https://www.realtime.org.au/media-art-archive/rinaldo-ken/)
- [Sowerwine, Vanessa](https://www.realtime.org.au/media-art-archive/sowerwine-vanessa/)
- [Australian Centre for the Moving Image (ACMI)](https://www.realtime.org.au/media-art-archive/australian-centre-for-the-moving-image-acmi/)
- [Jones, Jonathan (aka Bottrell-Jones)](https://www.realtime.org.au/media-art-archive/jones-jonathan-aka-bottrell-jones/)
- [Goldberg, Michael](https://www.realtime.org.au/media-art-archive/goldberg-michael/)
- [Vesna, Victoria](https://www.realtime.org.au/media-art-archive/vesna-victoria/)
- [Sanderson, Lynne](https://www.realtime.org.au/media-art-archive/sanderson-lynne/)
- [Bunt, Stuart](https://www.realtime.org.au/media-art-archive/bunt-stuart/)
- [Barrass, Stephen](https://www.realtime.org.au/media-art-archive/barrass-stephen/)
- [Knowles, Isobel](https://www.realtime.org.au/media-art-archive/knowles-isobel/)
- [O’Neill, Shannon](https://www.realtime.org.au/media-art-archive/oneill-shannon/)
- [Ritar, Nick](https://www.realtime.org.au/media-art-archive/ritar-nick/)
- [Dekron, John](https://www.realtime.org.au/media-art-archive/dekron-john/)
- [South Australian Living Artists (SALA)](https://www.realtime.org.au/media-art-archive/south-australian-living-artists-sala/)
- [Pisareck, Wojciech](https://www.realtime.org.au/media-art-archive/pisareck-wojciech/)
- [Cicada](https://www.realtime.org.au/media-art-archive/cicada/)
- [Bradley, Kirsten](https://www.realtime.org.au/media-art-archive/bradley-kirsten/)
- [Gee, Jason](https://www.realtime.org.au/media-art-archive/gee-jason/)
- [Walsh, Craig](https://www.realtime.org.au/media-art-archive/walsh-craig/)
- [Stern, Eddo](https://www.realtime.org.au/media-art-archive/stern-eddo/)
- [C-Level](https://www.realtime.org.au/media-art-archive/c-level/)
- [mr snow](https://www.realtime.org.au/media-art-archive/mr-snow/)
- [Motomiya, Kaoru](https://www.realtime.org.au/media-art-archive/motomiya-kaoru/)
- [Campbell, Jim](https://www.realtime.org.au/media-art-archive/campbell-jim/)
- [Potts, John](https://www.realtime.org.au/media-art-archive/potts-john/)
- [onedotzero](https://www.realtime.org.au/media-art-archive/onedotzero/)
- [Lincoln, Paul](https://www.realtime.org.au/media-art-archive/lincoln-paul/)
- [Kozel, Susan](https://www.realtime.org.au/media-art-archive/kozel-susan/)
- [Ball, Di](https://www.realtime.org.au/media-art-archive/ball-di/)
- [Wang, Gongxin](https://www.realtime.org.au/media-art-archive/wang-gongxin/)
- [Brucker-Cohen, Jonah](https://www.realtime.org.au/media-art-archive/brucker-cohen-jonah/)
- [English, Lawrence](https://www.realtime.org.au/media-art-archive/english-lawrence/)
- [Bates, Nat](https://www.realtime.org.au/media-art-archive/bates-nat/)
- [Soddell, Thembi](https://www.realtime.org.au/media-art-archive/soddell-thembi/)
- [Clemen, Hannah](https://www.realtime.org.au/media-art-archive/clemen-hannah/)
- [Erceg, Linda](https://www.realtime.org.au/media-art-archive/erceg-linda/)
- [Gladwell, Shaun](https://www.realtime.org.au/media-art-archive/gladwell-shaun/)
- [Kingpins, The](https://www.realtime.org.au/media-art-archive/kingpins-the/)
- [Primavera, MCA](https://www.realtime.org.au/media-art-archive/primavera-mca/)
- [Adams, Trish](https://www.realtime.org.au/media-art-archive/adams-trish/)
- [Bookchin, Natalie](https://www.realtime.org.au/media-art-archive/bookchin-natalie/)
- [Oliver, Julian](https://www.realtime.org.au/media-art-archive/oliver-julian/)
- [Clare, Vicky](https://www.realtime.org.au/media-art-archive/clare-vicky/)
- [Time Place Space](https://www.realtime.org.au/media-art-archive/time-place-space/)
- [Donat, Mel](https://www.realtime.org.au/media-art-archive/donat-mel/)
- [Williams, Phil](https://www.realtime.org.au/media-art-archive/williams-phil/)
- [Ryan, Tim](https://www.realtime.org.au/media-art-archive/ryan-tim/)
- [Plaisted, Tim](https://www.realtime.org.au/media-art-archive/plaisted-tim/)
- [Weng, Tan Teck](https://www.realtime.org.au/media-art-archive/weng-tan-teck/)
- [Hughes, Liz](https://www.realtime.org.au/media-art-archive/hughes-liz/)
- [Baumann, Thea](https://www.realtime.org.au/media-art-archive/baumann-thea/)
- [Transmute Collective](https://www.realtime.org.au/media-art-archive/transmute-collective/)
- [Straight Out of Brisbane (SOOB )](https://www.realtime.org.au/media-art-archive/straight-out-of-brisbane-soob/)
- [Transmediale](https://www.realtime.org.au/media-art-archive/transmediale/)
- [Kubisch, Christina](https://www.realtime.org.au/media-art-archive/kubisch-christina/)
- [Synapse](https://www.realtime.org.au/media-art-archive/synapse/)
- [SelectParks](https://www.realtime.org.au/media-art-archive/selectparks/)
- [Cannon, Rebecca](https://www.realtime.org.au/media-art-archive/cannon-rebecca/)
- [Murphy, Kate](https://www.realtime.org.au/media-art-archive/murphy-kate/)
- [McCluskey, Kelli](https://www.realtime.org.au/media-art-archive/mccluskey-kelli/)
- [Bull, Steve](https://www.realtime.org.au/media-art-archive/bull-steve/)
- [pvi collective](https://www.realtime.org.au/media-art-archive/pvi-collective/)
- [Clauss, Nicolas](https://www.realtime.org.au/media-art-archive/clauss-nicolas/)
- [Malcolm, Chris](https://www.realtime.org.au/media-art-archive/malcolm-chris/)
- [Gardiner, Matt](https://www.realtime.org.au/media-art-archive/gardiner-matt/)
- [Mobile & Locative Media](https://www.realtime.org.au/media-art-archive/mobile-locative-media/)
- [2004 Australian Culture Now, ACMI](https://www.realtime.org.au/media-art-archive/2004-australian-culture-now-acmi/)
- [Tichacek, Monika](https://www.realtime.org.au/media-art-archive/tichacek-monika/)
- [Glass, Alexie](https://www.realtime.org.au/media-art-archive/glass-alexie/)
- [UnSound](https://www.realtime.org.au/media-art-archive/unsound/)
- [Last, Sarah](https://www.realtime.org.au/media-art-archive/last-sarah/)
- [reactivate](https://www.realtime.org.au/media-art-archive/reactivate/)
- [Boyle, Kirsty](https://www.realtime.org.au/media-art-archive/boyle-kirsty/)
- [Anne Landa Award for Video & Media Art, AGNSW](https://www.realtime.org.au/media-art-archive/anne-landa-award-for-video-media-art-agnsw/)
- [Lasay, Fatima](https://www.realtime.org.au/media-art-archive/lasay-fatima/)
- [Gaweewong, Gridthiya](https://www.realtime.org.au/media-art-archive/gaweewong-gridthiya/)
- [Kichul, Kim](https://www.realtime.org.au/media-art-archive/kichul-kim/)
- [Stevens, Grant](https://www.realtime.org.au/media-art-archive/stevens-grant/)
- [Byun, Ji-Hoon](https://www.realtime.org.au/media-art-archive/byun-ji-hoon/)
- [Danwen, Xing](https://www.realtime.org.au/media-art-archive/danwen-xing/)
- [Ga, Zhang](https://www.realtime.org.au/media-art-archive/ga-zhang/)
- [Mesiti, Angelica](https://www.realtime.org.au/media-art-archive/mesiti-angelica/)
- [Stewart, Garry](https://www.realtime.org.au/media-art-archive/stewart-garry/)
- [Sivanesan, Sumugan](https://www.realtime.org.au/media-art-archive/sivanesan-sumugan/)
- [Leong, Owen](https://www.realtime.org.au/media-art-archive/leong-owen/)
- [Pandilovski, Melentie](https://www.realtime.org.au/media-art-archive/pandilovski-melentie/)
- [White Noise, ACMI](https://www.realtime.org.au/media-art-archive/white-noise-acmi/)
- [Caines, Chris](https://www.realtime.org.au/media-art-archive/caines-chris/)
- [Vanishing Point](https://www.realtime.org.au/media-art-archive/vanishing-point/)
- [Ikeda, Ryoji](https://www.realtime.org.au/media-art-archive/ikeda-ryoji/)
- [Langheinrich, Ulf](https://www.realtime.org.au/media-art-archive/langheinrich-ulf/)
- [Davis, Anna](https://www.realtime.org.au/media-art-archive/davis-anna/)
- [Frost, Ben](https://www.realtime.org.au/media-art-archive/frost-ben/)
- [Yuen, Michael](https://www.realtime.org.au/media-art-archive/yuen-michael/)
- [Drummond, Jon](https://www.realtime.org.au/media-art-archive/drummond-jon/)
- [Nicolai, Carsten](https://www.realtime.org.au/media-art-archive/nicolai-carsten/)
- [Spat n Loogie](https://www.realtime.org.au/media-art-archive/spat-n-loogie/)
- [Thoms, Lara](https://www.realtime.org.au/media-art-archive/thoms-lara/)
- [Barron, Kat](https://www.realtime.org.au/media-art-archive/barron-kat/)
- [Grbich, Sasha](https://www.realtime.org.au/media-art-archive/grbich-sasha/)
- [Cypher, Mark](https://www.realtime.org.au/media-art-archive/cypher-mark/)
- [Beta space, CCS](https://www.realtime.org.au/media-art-archive/beta-space-ccs/)
- [Hjorth, Larissa](https://www.realtime.org.au/media-art-archive/hjorth-larissa/)
- [Fargher, Catherine](https://www.realtime.org.au/media-art-archive/fargher-catherine/)
- [ZeroOne San Jose](https://www.realtime.org.au/media-art-archive/zeroone-san-jose/)
- [Thomson and Craighead](https://www.realtime.org.au/media-art-archive/thomson-and-craighead/)
- [Gunther, Ingo](https://www.realtime.org.au/media-art-archive/gunther-ingo/)
- [Kusahara, Machiko](https://www.realtime.org.au/media-art-archive/kusahara-machiko/)
- [da Costa, Beatriz](https://www.realtime.org.au/media-art-archive/da-costa-beatriz/)
- [Loke, Lian](https://www.realtime.org.au/media-art-archive/loke-lian/)
- [Connell, Matthew](https://www.realtime.org.au/media-art-archive/connell-matthew/)
- [Robertson, Toni](https://www.realtime.org.au/media-art-archive/robertson-toni/)
- [Jones, Cat](https://www.realtime.org.au/media-art-archive/jones-cat/)
- [Byrne, Ben](https://www.realtime.org.au/media-art-archive/byrne-ben/)
- [Unreasonable Adults](https://www.realtime.org.au/media-art-archive/unreasonable-adults/)
- [Sendai](https://www.realtime.org.au/media-art-archive/sendai/)
- [Teknikunst](https://www.realtime.org.au/media-art-archive/teknikunst/)
- [X, Rosie](https://www.realtime.org.au/media-art-archive/x-rosie/)
- [Berstrup, Tobias](https://www.realtime.org.au/media-art-archive/berstrup-tobias/)
- [Casado, Jose Carlos](https://www.realtime.org.au/media-art-archive/casado-jose-carlos/)
- [Hart, Claudia](https://www.realtime.org.au/media-art-archive/hart-claudia/)
- [GenderTopia, Teknikunst](https://www.realtime.org.au/media-art-archive/gendertopia-teknikunst/)
- [CyberGames](https://www.realtime.org.au/media-art-archive/cybergames/)
- [Scheer, Edward](https://www.realtime.org.au/media-art-archive/scheer-edward/)
- [Engage](https://www.realtime.org.au/media-art-archive/engage/)
- [Interaction, Art & Audience Experience](https://www.realtime.org.au/media-art-archive/interaction-art-audience-experience/)
- [Time’s Up](https://www.realtime.org.au/media-art-archive/times-up/)
- [Mariette, Nick](https://www.realtime.org.au/media-art-archive/mariette-nick/)
- [McCoy, Jennifer & Kevin](https://www.realtime.org.au/media-art-archive/mccoy-jennifer-kevin/)
- [Japan Media Arts Festival (JMAF)](https://www.realtime.org.au/media-art-archive/japan-media-arts-festival-jmaf/)
- [WearNow](https://www.realtime.org.au/media-art-archive/wearnow/)
- [Videodromo 1.5, 24HR Art](https://www.realtime.org.au/media-art-archive/videodromo-1-5-24hr-art/)
- [Oliver, Grau](https://www.realtime.org.au/media-art-archive/oliver-grau/)
- [Coutts, Martyn](https://www.realtime.org.au/media-art-archive/coutts-martyn/)
- [International Pocket Film Festival](https://www.realtime.org.au/media-art-archive/international-pocket-film-festival/)
- [Walton, Jude](https://www.realtime.org.au/media-art-archive/walton-jude/)
- [Brown, Andrew](https://www.realtime.org.au/media-art-archive/brown-andrew/)
- [Bosscher, Jacqueline](https://www.realtime.org.au/media-art-archive/bosscher-jacqueline/)
- [Randerson, Janine](https://www.realtime.org.au/media-art-archive/randerson-janine/)
- [The Trouble with the Weather, UTS Gallery](https://www.realtime.org.au/media-art-archive/the-trouble-with-the-weather-uts-gallery/)
- [Nelson, Jason](https://www.realtime.org.au/media-art-archive/nelson-jason/)
- [Morrison, Scott](https://www.realtime.org.au/media-art-archive/morrison-scott/)
- [Newman, Peter](https://www.realtime.org.au/media-art-archive/newman-peter/)
- [AES+F](https://www.realtime.org.au/media-art-archive/aesf/)
- [Kendrigan, Donna](https://www.realtime.org.au/media-art-archive/kendrigan-donna/)
- [Obarzaneck, Gideon](https://www.realtime.org.au/media-art-archive/obarzaneck-gideon/)
- [Weiss, Frieder](https://www.realtime.org.au/media-art-archive/weiss-frieder/)
- [Anderson, Natasha](https://www.realtime.org.au/media-art-archive/anderson-natasha/)
- [Tyrrell, Jessica](https://www.realtime.org.au/media-art-archive/tyrrell-jessica/)
- [Hullick, James](https://www.realtime.org.au/media-art-archive/hullick-james/)
- [Mayer Chm Christoph](https://www.realtime.org.au/media-art-archive/mayer-chm-christoph/)
- [Franklin, Donna](https://www.realtime.org.au/media-art-archive/franklin-donna/)
- [Chapple, Boo](https://www.realtime.org.au/media-art-archive/chapple-boo/)
- [Hentschläger, Kurt](https://www.realtime.org.au/media-art-archive/hentschlger-kurt/)
- [Cass, Gary](https://www.realtime.org.au/media-art-archive/cass-gary/)
- [van Gelder, Pia](https://www.realtime.org.au/media-art-archive/van-gelder-pia/)
- [Dorkbot-Syd](https://www.realtime.org.au/media-art-archive/dorkbot-syd/)
- [Gemeinboeck, Petra](https://www.realtime.org.au/media-art-archive/gemeinboeck-petra/)
- [Istanbul Biennale](https://www.realtime.org.au/media-art-archive/istanbul-biennale/)
- [PLUMP](https://www.realtime.org.au/media-art-archive/plump/)
- [Chesher, Chris](https://www.realtime.org.au/media-art-archive/chesher-chris/)
- [Seccombe, Erica](https://www.realtime.org.au/media-art-archive/seccombe-erica/)
- [Parr, Mike](https://www.realtime.org.au/media-art-archive/parr-mike/)
- [Biennale of Sydney](https://www.realtime.org.au/media-art-archive/biennale-of-sydney/)
- [Rokeby, David](https://www.realtime.org.au/media-art-archive/rokeby-david/)
- [Netzhammer, Yves](https://www.realtime.org.au/media-art-archive/netzhammer-yves/)
- [Maisie, Jordana](https://www.realtime.org.au/media-art-archive/maisie-jordana/)
- [Muller, Lizzie](https://www.realtime.org.au/media-art-archive/muller-lizzie/)
- [Gillespie, Alexandra](https://www.realtime.org.au/media-art-archive/gillespie-alexandra/)
- [Post Me_New ID Forum CYNETart_08](https://www.realtime.org.au/media-art-archive/post-me_new-id-forum-cynetart_08/)
- [Rose, Jon](https://www.realtime.org.au/media-art-archive/rose-jon/)
- [Fei, Cao](https://www.realtime.org.au/media-art-archive/fei-cao/)
- [Burrell, Andrew](https://www.realtime.org.au/media-art-archive/burrell-andrew/)
- [Brodyk, Andre](https://www.realtime.org.au/media-art-archive/brodyk-andre/)
- [Raxworthy, Kevin](https://www.realtime.org.au/media-art-archive/raxworthy-kevin/)
- [Koener, Thomas](https://www.realtime.org.au/media-art-archive/koener-thomas/)
- [Tietchens, Asmus](https://www.realtime.org.au/media-art-archive/tietchens-asmus/)
- [Ishiguro, Hiroshi](https://www.realtime.org.au/media-art-archive/ishiguro-hiroshi/)
- [Superhuman](https://www.realtime.org.au/media-art-archive/superhuman/)
- [re_live](https://www.realtime.org.au/media-art-archive/re_live/)
- [Manning, Ross](https://www.realtime.org.au/media-art-archive/manning-ross/)
- [Gleave, Michaela](https://www.realtime.org.au/media-art-archive/gleave-michaela/)
- [Abela, Lucas](https://www.realtime.org.au/media-art-archive/abela-lucas/)
- [Rodrigues, Fred](https://www.realtime.org.au/media-art-archive/rodrigues-fred/)
- [Jenkins, Neil](https://www.realtime.org.au/media-art-archive/jenkins-neil/)
- [Splendid Arts Lab](https://www.realtime.org.au/media-art-archive/splendid-arts-lab/)
- [Karluk, Lukasz](https://www.realtime.org.au/media-art-archive/karluk-lukasz/)
- [Brain, Tega](https://www.realtime.org.au/media-art-archive/brain-tega/)
- [Gimzewski, James](https://www.realtime.org.au/media-art-archive/gimzewski-james/)
- [Scenocosme](https://www.realtime.org.au/media-art-archive/scenocosme/)
- [Hope, Cat](https://www.realtime.org.au/media-art-archive/hope-cat/)
- [Decibel](https://www.realtime.org.au/media-art-archive/decibel/)
- [Flynn, Madeleine, Humphries, Tim](https://www.realtime.org.au/media-art-archive/flynn-madeleine-humphries-tim/)
- [Beresford, Cordelia](https://www.realtime.org.au/media-art-archive/beresford-cordelia/)
- [Dean, Bec](https://www.realtime.org.au/media-art-archive/dean-bec/)
- [Mauro-Flude, Nancy](https://www.realtime.org.au/media-art-archive/mauro-flude-nancy/)
- [Wada, Ei](https://www.realtime.org.au/media-art-archive/wada-ei/)
- [Wired Lab](https://www.realtime.org.au/media-art-archive/wired-lab/)
- [Burraston (Noyze), David](https://www.realtime.org.au/media-art-archive/burraston-noyze-david/)
- [Watson, Chris](https://www.realtime.org.au/media-art-archive/watson-chris/)
- [Stop(the)Gap](https://www.realtime.org.au/media-art-archive/stopthegap/)
- [International Indigenous arts in motion, Anne and Gordon Samstag Art Museum](https://www.realtime.org.au/media-art-archive/international-indigenous-arts-in-motion-anne-and-gordon-samstag-art-museum/)
- [Thornton, Warwick](https://www.realtime.org.au/media-art-archive/thornton-warwick/)
- [Burns, Ian](https://www.realtime.org.au/media-art-archive/burns-ian/)
- [Blamey, Peter](https://www.realtime.org.au/media-art-archive/blamey-peter/)
- [Ramus, Bruce](https://www.realtime.org.au/media-art-archive/ramus-bruce/)
- [Bunt, Brogan](https://www.realtime.org.au/media-art-archive/bunt-brogan/)
- [McGilchrist, Jimmy](https://www.realtime.org.au/media-art-archive/mcgilchrist-jimmy/)
- [Tan, Kynan](https://www.realtime.org.au/media-art-archive/tan-kynan/)
- [Carbon Arts](https://www.realtime.org.au/media-art-archive/carbon-arts/)
- [Pynor, Helen](https://www.realtime.org.au/media-art-archive/pynor-helen/)
- [Clancy, Peta](https://www.realtime.org.au/media-art-archive/clancy-peta/)
- [Greedy, Paul](https://www.realtime.org.au/media-art-archive/greedy-paul/)
- [Davies, Michaela](https://www.realtime.org.au/media-art-archive/davies-michaela/)
- [Scoglio, Zoe](https://www.realtime.org.au/media-art-archive/scoglio-zoe/)
- [Candy, Michael](https://www.realtime.org.au/media-art-archive/candy-michael/)
- [Otherfilm](https://www.realtime.org.au/media-art-archive/otherfilm/)
- [Sade, Gavin](https://www.realtime.org.au/media-art-archive/sade-gavin/)
- [Speak to Me, Experimenta](https://www.realtime.org.au/media-art-archive/speak-to-me-experimenta/)
- [Turnbull, Katie](https://www.realtime.org.au/media-art-archive/turnbull-katie/)
- [Bruniges, Tim](https://www.realtime.org.au/media-art-archive/bruniges-tim/)
- [Stalker](https://www.realtime.org.au/media-art-archive/stalker/)
- [Ludovico, Alessandro](https://www.realtime.org.au/media-art-archive/ludovico-alessandro/)
- [Cirio, Paul](https://www.realtime.org.au/media-art-archive/cirio-paul/)
- [Bell, Genevieve](https://www.realtime.org.au/media-art-archive/bell-genevieve/)
- [Hosler, Mark (Negativland)](https://www.realtime.org.au/media-art-archive/hosler-mark-negativland/)
- [Ingram, Simon](https://www.realtime.org.au/media-art-archive/ingram-simon/)
- [Nguyen-Hatsushiba, Jun](https://www.realtime.org.au/media-art-archive/nguyen-hatsushiba-jun/)
- [Baumann, Rebecca](https://www.realtime.org.au/media-art-archive/baumann-rebecca/)
- [Recharge, Experimenta](https://www.realtime.org.au/media-art-archive/recharge-experimenta/)
- [Monks, Nicole](https://www.realtime.org.au/media-art-archive/monks-nicole/)
- [Siu, Eric](https://www.realtime.org.au/media-art-archive/siu-eric/)
- [Saunders, Rob](https://www.realtime.org.au/media-art-archive/saunders-rob/)
- [Kolaitis, Benjamin](https://www.realtime.org.au/media-art-archive/kolaitis-benjamin/)
- [Doley, Kelly](https://www.realtime.org.au/media-art-archive/doley-kelly/)
- [Friedrich, Verena](https://www.realtime.org.au/media-art-archive/friedrich-verena/)
- [Kratz, Svenja](https://www.realtime.org.au/media-art-archive/kratz-svenja/)
- [Brown, Mark](https://www.realtime.org.au/media-art-archive/brown-mark/)
- [Sato, Minoru](https://www.realtime.org.au/media-art-archive/sato-minoru/)
- [de Nijs, Marnix](https://www.realtime.org.au/media-art-archive/de-nijs-marnix/)
- [Harle, Josh](https://www.realtime.org.au/media-art-archive/harle-josh/)
- [Peach, Ricardo](https://www.realtime.org.au/media-art-archive/peach-ricardo/)
- [Ferns, Ben](https://www.realtime.org.au/media-art-archive/ferns-ben/)
- [Clemens, Justin](https://www.realtime.org.au/media-art-archive/clemens-justin/)
- [Dodds, Christopher](https://www.realtime.org.au/media-art-archive/dodds-christopher/)
- [Ditton, Matt](https://www.realtime.org.au/media-art-archive/ditton-matt/)
- [Smithies, Nick](https://www.realtime.org.au/media-art-archive/smithies-nick/)
- [Rodley, Chris](https://www.realtime.org.au/media-art-archive/rodley-chris/)
- [Thomas, Crystal](https://www.realtime.org.au/media-art-archive/thomas-crystal/)

## RealTime Dance

- [australian companies](https://www.realtime.org.au/realtime-dance/australian-companies/)
- [chunky move](https://www.realtime.org.au/realtime-dance/chunky-move/)
- [australian choreographers](https://www.realtime.org.au/realtime-dance/australian-choreographers/)
- [guerin, lucy](https://www.realtime.org.au/realtime-dance/guerin-lucy/)
- [lucy guerin inc](https://www.realtime.org.au/realtime-dance/lucy-guerin-inc/)
- [obarzanek, gideon](https://www.realtime.org.au/realtime-dance/obarzanek-gideon/)
- [international choreographers](https://www.realtime.org.au/realtime-dance/international-choreographers/)
- [houstoun, wendy](https://www.realtime.org.au/realtime-dance/houstoun-wendy/)
- [herbertson, helen](https://www.realtime.org.au/realtime-dance/herbertson-helen/)
- [hay, deborah](https://www.realtime.org.au/realtime-dance/hay-deborah/)
- [international companies](https://www.realtime.org.au/realtime-dance/international-companies/)
- [deborah hay dance company](https://www.realtime.org.au/realtime-dance/deborah-hay-dance-company/)
- [strut national choreographic centre](https://www.realtime.org.au/realtime-dance/strut-national-choreographic-centre/)
- [martin, bianca](https://www.realtime.org.au/realtime-dance/martin-bianca/)
- [tele, sete](https://www.realtime.org.au/realtime-dance/tele-sete/)
- [ogle, rachel](https://www.realtime.org.au/realtime-dance/ogle-rachel/)
- [selenographica](https://www.realtime.org.au/realtime-dance/selenographica/)
- [festivals](https://www.realtime.org.au/realtime-dance/festivals/)
- [nottdance](https://www.realtime.org.au/realtime-dance/nottdance/)
- [lehmen, thomas](https://www.realtime.org.au/realtime-dance/lehmen-thomas/)
- [reuter, gabriele](https://www.realtime.org.au/realtime-dance/reuter-gabriele/)
- [domínguez, juan](https://www.realtime.org.au/realtime-dance/domnguez-juan/)
- [quantum leap ql2](https://www.realtime.org.au/realtime-dance/quantum-leap-ql2/)
- [stompin](https://www.realtime.org.au/realtime-dance/stompin/)
- [wheeler, adam](https://www.realtime.org.au/realtime-dance/wheeler-adam/)
- [tas dance](https://www.realtime.org.au/realtime-dance/tas-dance/)
- [cursio, natalie](https://www.realtime.org.au/realtime-dance/cursio-natalie/)
- [hill, raewyn](https://www.realtime.org.au/realtime-dance/hill-raewyn/)
- [smith, anna](https://www.realtime.org.au/realtime-dance/smith-anna/)
- [mcmillan, malcolm](https://www.realtime.org.au/realtime-dance/mcmillan-malcolm/)
- [trisha dunn](https://www.realtime.org.au/realtime-dance/trisha-dunn/)
- [tankard, meryl](https://www.realtime.org.au/realtime-dance/tankard-meryl/)
- [meryl tankard company](https://www.realtime.org.au/realtime-dance/meryl-tankard-company/)
- [the australian ballet](https://www.realtime.org.au/realtime-dance/the-australian-ballet/)
- [leigh warren & dancers](https://www.realtime.org.au/realtime-dance/leigh-warren-dancers/)
- [warren, leigh](https://www.realtime.org.au/realtime-dance/warren-leigh/)
- [green mill](https://www.realtime.org.au/realtime-dance/green-mill/)
- [healey, sue](https://www.realtime.org.au/realtime-dance/healey-sue/)
- [patrick, trevor](https://www.realtime.org.au/realtime-dance/patrick-trevor/)
- [one extra](https://www.realtime.org.au/realtime-dance/one-extra/)
- [marrugeku](https://www.realtime.org.au/realtime-dance/marrugeku/)
- [blanco, raymond](https://www.realtime.org.au/realtime-dance/blanco-raymond/)
- [bangarra dance theatre](https://www.realtime.org.au/realtime-dance/bangarra-dance-theatre/)
- [page, stephen](https://www.realtime.org.au/realtime-dance/page-stephen/)
- [expressions dance company](https://www.realtime.org.au/realtime-dance/expressions-dance-company/)
- [restless dance company - restless dance theatre](https://www.realtime.org.au/realtime-dance/restless-dance-company-restless-dance-theatre/)
- [antistatic](https://www.realtime.org.au/realtime-dance/antistatic/)
- [rowe, gary](https://www.realtime.org.au/realtime-dance/rowe-gary/)
- [monson, jennifer](https://www.realtime.org.au/realtime-dance/monson-jennifer/)
- [dumas, russell](https://www.realtime.org.au/realtime-dance/dumas-russell/)
- [de quincey lynch](https://www.realtime.org.au/realtime-dance/de-quincey-lynch/)
- [de quincey, tess](https://www.realtime.org.au/realtime-dance/de-quincey-tess/)
- [lynch, stuart](https://www.realtime.org.au/realtime-dance/lynch-stuart/)
- [clarke-lapin, helen](https://www.realtime.org.au/realtime-dance/clarke-lapin-helen/)
- [osborne, tony](https://www.realtime.org.au/realtime-dance/osborne-tony/)
- [warby, ros](https://www.realtime.org.au/realtime-dance/warby-ros/)
- [crisp, rosalind](https://www.realtime.org.au/realtime-dance/crisp-rosalind/)
- [burrt, john](https://www.realtime.org.au/realtime-dance/burrt-john/)
- [schacher, alan](https://www.realtime.org.au/realtime-dance/schacher-alan/)
- [fieldworks performance group](https://www.realtime.org.au/realtime-dance/fieldworks-performance-group/)
- [dance exchange](https://www.realtime.org.au/realtime-dance/dance-exchange/)
- [id339](https://www.realtime.org.au/realtime-dance/id339/)
- [karlsson, stefan](https://www.realtime.org.au/realtime-dance/karlsson-stefan/)
- [gordon, paige](https://www.realtime.org.au/realtime-dance/gordon-paige/)
- [handley, bill](https://www.realtime.org.au/realtime-dance/handley-bill/)
- [gazzola, paul](https://www.realtime.org.au/realtime-dance/gazzola-paul/)
- [richardson, sally](https://www.realtime.org.au/realtime-dance/richardson-sally/)
- [lucas, brian](https://www.realtime.org.au/realtime-dance/lucas-brian/)
- [utans, john](https://www.realtime.org.au/realtime-dance/utans-john/)
- [boughen, shaaron](https://www.realtime.org.au/realtime-dance/boughen-shaaron/)
- [company in space](https://www.realtime.org.au/realtime-dance/company-in-space/)
- [sky, hellen](https://www.realtime.org.au/realtime-dance/sky-hellen/)
- [cummins, alice](https://www.realtime.org.au/realtime-dance/cummins-alice/)
- [fenley, molissa](https://www.realtime.org.au/realtime-dance/fenley-molissa/)
- [robertson, janet](https://www.realtime.org.au/realtime-dance/robertson-janet/)
- [nederlands dans theater](https://www.realtime.org.au/realtime-dance/nederlands-dans-theater/)
- [kylian, jiri](https://www.realtime.org.au/realtime-dance/kylian-jiri/)
- [bausch, pina](https://www.realtime.org.au/realtime-dance/bausch-pina/)
- [champion, kate](https://www.realtime.org.au/realtime-dance/champion-kate/)
- [walsh, dean](https://www.realtime.org.au/realtime-dance/walsh-dean/)
- [shelley lasica](https://www.realtime.org.au/realtime-dance/shelley-lasica/)
- [barry, cazerine](https://www.realtime.org.au/realtime-dance/barry-cazerine/)
- [walong, bernadette](https://www.realtime.org.au/realtime-dance/walong-bernadette/)
- [dance works](https://www.realtime.org.au/realtime-dance/dance-works/)
- [wright, douglas](https://www.realtime.org.au/realtime-dance/wright-douglas/)
- [o'sullivan, paul](https://www.realtime.org.au/realtime-dance/osullivan-paul/)
- [carmichael, rochelle](https://www.realtime.org.au/realtime-dance/carmichael-rochelle/)
- [heywood, nikki](https://www.realtime.org.au/realtime-dance/heywood-nikki/)
- [sydney dance company](https://www.realtime.org.au/realtime-dance/sydney-dance-company/)
- [dancehouse](https://www.realtime.org.au/realtime-dance/dancehouse/)
- [reid, dianne](https://www.realtime.org.au/realtime-dance/reid-dianne/)
- [yap, tony](https://www.realtime.org.au/realtime-dance/yap-tony/)
- [o'neill, lisa](https://www.realtime.org.au/realtime-dance/oneill-lisa/)
- [mcphee, wendy](https://www.realtime.org.au/realtime-dance/mcphee-wendy/)
- [walton, jude](https://www.realtime.org.au/realtime-dance/walton-jude/)
- [stuart, meg](https://www.realtime.org.au/realtime-dance/stuart-meg/)
- [dv8](https://www.realtime.org.au/realtime-dance/dv8/)
- [newson, lloyd](https://www.realtime.org.au/realtime-dance/newson-lloyd/)
- [batsheva dance company](https://www.realtime.org.au/realtime-dance/batsheva-dance-company/)
- [damaged goods](https://www.realtime.org.au/realtime-dance/damaged-goods/)
- [betontanc](https://www.realtime.org.au/realtime-dance/betontanc/)
- [watson, graeme](https://www.realtime.org.au/realtime-dance/watson-graeme/)
- [dancers are space eaters](https://www.realtime.org.au/realtime-dance/dancers-are-space-eaters/)
- [peacock, sue](https://www.realtime.org.au/realtime-dance/peacock-sue/)
- [murphy, graeme](https://www.realtime.org.au/realtime-dance/murphy-graeme/)
- [allen, richard james](https://www.realtime.org.au/realtime-dance/allen-richard-james/)
- [pearlman, karen](https://www.realtime.org.au/realtime-dance/pearlman-karen/)
- [forsythe, william](https://www.realtime.org.au/realtime-dance/forsythe-william/)
- [long, julie-anne](https://www.realtime.org.au/realtime-dance/long-julie-anne/)
- [gallotta, jean-claude](https://www.realtime.org.au/realtime-dance/gallotta-jean-claude/)
- [petronio, stephen](https://www.realtime.org.au/realtime-dance/petronio-stephen/)
- [jones, bill t](https://www.realtime.org.au/realtime-dance/jones-bill-t/)
- [miller, bebe](https://www.realtime.org.au/realtime-dance/miller-bebe/)
- [parker, sandra](https://www.realtime.org.au/realtime-dance/parker-sandra/)
- [parrott, chrissie](https://www.realtime.org.au/realtime-dance/parrott-chrissie/)
- [chrissie parrott dance company](https://www.realtime.org.au/realtime-dance/chrissie-parrott-dance-company/)
- [tally, jean](https://www.realtime.org.au/realtime-dance/tally-jean/)
- [dyson, clare](https://www.realtime.org.au/realtime-dance/dyson-clare/)
- [sietsma, maggie](https://www.realtime.org.au/realtime-dance/sietsma-maggie/)
- [weir, natalie](https://www.realtime.org.au/realtime-dance/weir-natalie/)
- [shelton, leisa](https://www.realtime.org.au/realtime-dance/shelton-leisa/)
- [tracks dance company](https://www.realtime.org.au/realtime-dance/tracks-dance-company/)
- [mcmicken, david](https://www.realtime.org.au/realtime-dance/mcmicken-david/)
- [newth, tim](https://www.realtime.org.au/realtime-dance/newth-tim/)
- [de la guarda](https://www.realtime.org.au/realtime-dance/de-la-guarda/)
- [chouinard, marie](https://www.realtime.org.au/realtime-dance/chouinard-marie/)
- [stein, jeff](https://www.realtime.org.au/realtime-dance/stein-jeff/)
- [koch, christina](https://www.realtime.org.au/realtime-dance/koch-christina/)
- [stock, cheryl](https://www.realtime.org.au/realtime-dance/stock-cheryl/)
- [les ballets c de la b](https://www.realtime.org.au/realtime-dance/les-ballets-c-de-la-b/)
- [platel, alain](https://www.realtime.org.au/realtime-dance/platel-alain/)
- [stewart, garry](https://www.realtime.org.au/realtime-dance/stewart-garry/)
- [dance on screen](https://www.realtime.org.au/realtime-dance/dance-on-screen/)
- [adams, phillip](https://www.realtime.org.au/realtime-dance/adams-phillip/)
- [hilton, rebecca](https://www.realtime.org.au/realtime-dance/hilton-rebecca/)
- [tharp, twyla](https://www.realtime.org.au/realtime-dance/tharp-twyla/)
- [the paige gordon company](https://www.realtime.org.au/realtime-dance/the-paige-gordon-company/)
- [roppola, tuula](https://www.realtime.org.au/realtime-dance/roppola-tuula/)
- [kohler, sue-ellen](https://www.realtime.org.au/realtime-dance/kohler-sue-ellen/)
- [carbee, brian](https://www.realtime.org.au/realtime-dance/carbee-brian/)
- [australian dance theatre (adt)](https://www.realtime.org.au/realtime-dance/australian-dance-theatre-adt/)
- [gravity feed](https://www.realtime.org.au/realtime-dance/gravity-feed/)
- [ffrench, lisa](https://www.realtime.org.au/realtime-dance/ffrench-lisa/)
- [miller, marilyn](https://www.realtime.org.au/realtime-dance/miller-marilyn/)
- [trotman, peter](https://www.realtime.org.au/realtime-dance/trotman-peter/)
- [trotman & morrish](https://www.realtime.org.au/realtime-dance/trotman-morrish/)
- [morrish, andrew](https://www.realtime.org.au/realtime-dance/morrish-andrew/)
- [buzz dance theatre](https://www.realtime.org.au/realtime-dance/buzz-dance-theatre/)
- [map](https://www.realtime.org.au/realtime-dance/map/)
- [kage](https://www.realtime.org.au/realtime-dance/kage/)
- [denborough, kate](https://www.realtime.org.au/realtime-dance/denborough-kate/)
- [van dyck, gerard](https://www.realtime.org.au/realtime-dance/van-dyck-gerard/)
- [selwyn norton, paul](https://www.realtime.org.au/realtime-dance/selwyn-norton-paul/)
- [burrows, jonathan](https://www.realtime.org.au/realtime-dance/burrows-jonathan/)
- [dunphy, caroline](https://www.realtime.org.au/realtime-dance/dunphy-caroline/)
- [candoco dance company](https://www.realtime.org.au/realtime-dance/candoco-dance-company/)
- [bergan, matthew](https://www.realtime.org.au/realtime-dance/bergan-matthew/)
- [neville, sarah](https://www.realtime.org.au/realtime-dance/neville-sarah/)
- [taylor, gretel](https://www.realtime.org.au/realtime-dance/taylor-gretel/)
- [linou, christos](https://www.realtime.org.au/realtime-dance/linou-christos/)
- [rothfield, philipa](https://www.realtime.org.au/realtime-dance/rothfield-philipa/)
- [benjamin, narelle](https://www.realtime.org.au/realtime-dance/benjamin-narelle/)
- [newman-preston, jennifer](https://www.realtime.org.au/realtime-dance/newman-preston-jennifer/)
- [umiumare, yumi](https://www.realtime.org.au/realtime-dance/umiumare-yumi/)
- [skadada](https://www.realtime.org.au/realtime-dance/skadada/)
- [micich, danielle](https://www.realtime.org.au/realtime-dance/micich-danielle/)
- [koltai, chrissie](https://www.realtime.org.au/realtime-dance/koltai-chrissie/)
- [kwasner, martin](https://www.realtime.org.au/realtime-dance/kwasner-martin/)
- [ellis, simon](https://www.realtime.org.au/realtime-dance/ellis-simon/)
- [ballet preljocaj](https://www.realtime.org.au/realtime-dance/ballet-preljocaj/)
- [pollitt, jo](https://www.realtime.org.au/realtime-dance/pollitt-jo/)
- [odonoghue, michael](https://www.realtime.org.au/realtime-dance/odonoghue-michael/)
- [nelson, lisa](https://www.realtime.org.au/realtime-dance/nelson-lisa/)
- [butterworth, deanne](https://www.realtime.org.au/realtime-dance/butterworth-deanne/)
- [mcleod, shaun](https://www.realtime.org.au/realtime-dance/mcleod-shaun/)
- [santos, lynne](https://www.realtime.org.au/realtime-dance/santos-lynne/)
- [corbet, david](https://www.realtime.org.au/realtime-dance/corbet-david/)
- [davey, tim](https://www.realtime.org.au/realtime-dance/davey-tim/)
- [de quincey co](https://www.realtime.org.au/realtime-dance/de-quincey-co/)
- [houston-jones, ishmael](https://www.realtime.org.au/realtime-dance/houston-jones-ishmael/)
- [mitchell, tracie](https://www.realtime.org.au/realtime-dance/mitchell-tracie/)
- [igneous](https://www.realtime.org.au/realtime-dance/igneous/)
- [cunningham, james](https://www.realtime.org.au/realtime-dance/cunningham-james/)
- [fuks, suzon](https://www.realtime.org.au/realtime-dance/fuks-suzon/)
- [vandekeybus, wim](https://www.realtime.org.au/realtime-dance/vandekeybus-wim/)
- [philiip adams' balletlab](https://www.realtime.org.au/realtime-dance/philiip-adams-balletlab/)
- [rosas](https://www.realtime.org.au/realtime-dance/rosas/)
- [de keersmaeker, anne teresa](https://www.realtime.org.au/realtime-dance/de-keersmaeker-anne-teresa/)
- [dance education](https://www.realtime.org.au/realtime-dance/dance-education/)
- [stella b](https://www.realtime.org.au/realtime-dance/stella-b/)
- [perry, byron](https://www.realtime.org.au/realtime-dance/perry-byron/)
- [d'ath, frances](https://www.realtime.org.au/realtime-dance/dath-frances/)
- [daffy, brett](https://www.realtime.org.au/realtime-dance/daffy-brett/)
- [mcgregor, wayne](https://www.realtime.org.au/realtime-dance/mcgregor-wayne/)
- [reeldance](https://www.realtime.org.au/realtime-dance/reeldance/)
- [random dance](https://www.realtime.org.au/realtime-dance/random-dance/)
- [brickhill, eleanor](https://www.realtime.org.au/realtime-dance/brickhill-eleanor/)
- [bonemap](https://www.realtime.org.au/realtime-dance/bonemap/)
- [youdell, rebecca](https://www.realtime.org.au/realtime-dance/youdell-rebecca/)
- [milledge, russell](https://www.realtime.org.au/realtime-dance/milledge-russell/)
- [la ribot](https://www.realtime.org.au/realtime-dance/la-ribot/)
- [fraser, susie](https://www.realtime.org.au/realtime-dance/fraser-susie/)
- [l’attitude](https://www.realtime.org.au/realtime-dance/lattitude/)
- [cloud gate](https://www.realtime.org.au/realtime-dance/cloud-gate/)
- [teshigawara, saburo](https://www.realtime.org.au/realtime-dance/teshigawara-saburo/)
- [voorendt, ingrid](https://www.realtime.org.au/realtime-dance/voorendt-ingrid/)
- [lazaroff, katrina](https://www.realtime.org.au/realtime-dance/lazaroff-katrina/)
- [transmute collective](https://www.realtime.org.au/realtime-dance/transmute-collective/)
- [armstrong, kay](https://www.realtime.org.au/realtime-dance/armstrong-kay/)
- [whaites, michael](https://www.realtime.org.au/realtime-dance/whaites-michael/)
- [mckernan, jane](https://www.realtime.org.au/realtime-dance/mckernan-jane/)
- [the fondue set](https://www.realtime.org.au/realtime-dance/the-fondue-set/)
- [bott, shannon](https://www.realtime.org.au/realtime-dance/bott-shannon/)
- [lake, stephanie](https://www.realtime.org.au/realtime-dance/lake-stephanie/)
- [zen zen zo](https://www.realtime.org.au/realtime-dance/zen-zen-zo/)
- [cameron, fiona](https://www.realtime.org.au/realtime-dance/cameron-fiona/)
- [omand, helen](https://www.realtime.org.au/realtime-dance/omand-helen/)
- [sinatra, jonathan](https://www.realtime.org.au/realtime-dance/sinatra-jonathan/)
- [ballett frankfurt](https://www.realtime.org.au/realtime-dance/ballett-frankfurt/)
- [saunders, emma](https://www.realtime.org.au/realtime-dance/saunders-emma/)
- [david, albert](https://www.realtime.org.au/realtime-dance/david-albert/)
- [pitt, jason](https://www.realtime.org.au/realtime-dance/pitt-jason/)
- [mccracken, kirstie](https://www.realtime.org.au/realtime-dance/mccracken-kirstie/)
- [griffiths, lisa](https://www.realtime.org.au/realtime-dance/griffiths-lisa/)
- [force majeure](https://www.realtime.org.au/realtime-dance/force-majeure/)
- [entr cte](https://www.realtime.org.au/realtime-dance/entr-cte/)
- [wilson, lee](https://www.realtime.org.au/realtime-dance/wilson-lee/)
- [wouter, mirabelle](https://www.realtime.org.au/realtime-dance/wouter-mirabelle/)
- [devi, rakini](https://www.realtime.org.au/realtime-dance/devi-rakini/)
- [ryan, elizabeth](https://www.realtime.org.au/realtime-dance/ryan-elizabeth/)
- [branch nebula](https://www.realtime.org.au/realtime-dance/branch-nebula/)
- [morrow, wendy](https://www.realtime.org.au/realtime-dance/morrow-wendy/)
- [khan, akram](https://www.realtime.org.au/realtime-dance/khan-akram/)
- [fabre, jan](https://www.realtime.org.au/realtime-dance/fabre-jan/)
- [parker, shaun](https://www.realtime.org.au/realtime-dance/parker-shaun/)
- [wait, nalina](https://www.realtime.org.au/realtime-dance/wait-nalina/)
- [vachananda, naree](https://www.realtime.org.au/realtime-dance/vachananda-naree/)
- [hunt, victoria](https://www.realtime.org.au/realtime-dance/hunt-victoria/)
- [gleeson, phillip](https://www.realtime.org.au/realtime-dance/gleeson-phillip/)
- [mellow, carlee](https://www.realtime.org.au/realtime-dance/mellow-carlee/)
- [naisda](https://www.realtime.org.au/realtime-dance/naisda/)
- [lloyd, jo](https://www.realtime.org.au/realtime-dance/lloyd-jo/)
- [robinson, phoebe](https://www.realtime.org.au/realtime-dance/robinson-phoebe/)
- [polytoxic](https://www.realtime.org.au/realtime-dance/polytoxic/)
- [malone, fiona](https://www.realtime.org.au/realtime-dance/malone-fiona/)
- [rings, frances](https://www.realtime.org.au/realtime-dance/rings-frances/)
- [romano, paul](https://www.realtime.org.au/realtime-dance/romano-paul/)
- [fox, sam](https://www.realtime.org.au/realtime-dance/fox-sam/)
- [hoghe, raimund](https://www.realtime.org.au/realtime-dance/hoghe-raimund/)
- [dumb type](https://www.realtime.org.au/realtime-dance/dumb-type/)
- [smith, aimee](https://www.realtime.org.au/realtime-dance/smith-aimee/)
- [pegum, michaela](https://www.realtime.org.au/realtime-dance/pegum-michaela/)
- [liedtke, tanja](https://www.realtime.org.au/realtime-dance/liedtke-tanja/)
- [george, luke](https://www.realtime.org.au/realtime-dance/george-luke/)
- [farrugia, jodie](https://www.realtime.org.au/realtime-dance/farrugia-jodie/)
- [hockley, luke](https://www.realtime.org.au/realtime-dance/hockley-luke/)
- [dennis, rosie](https://www.realtime.org.au/realtime-dance/dennis-rosie/)
- [del amo, martin](https://www.realtime.org.au/realtime-dance/del-amo-martin/)
- [lang, gary](https://www.realtime.org.au/realtime-dance/lang-gary/)
- [popov, bagryana](https://www.realtime.org.au/realtime-dance/popov-bagryana/)
- [splintergroup](https://www.realtime.org.au/realtime-dance/splintergroup/)
- [webber, gavin](https://www.realtime.org.au/realtime-dance/webber-gavin/)
- [millwood, grayson](https://www.realtime.org.au/realtime-dance/millwood-grayson/)
- [mcgowan, larissa](https://www.realtime.org.au/realtime-dance/mcgowan-larissa/)
- [limosani, lina](https://www.realtime.org.au/realtime-dance/limosani-lina/)
- [phillips, amanda](https://www.realtime.org.au/realtime-dance/phillips-amanda/)
- [mccormack, ross](https://www.realtime.org.au/realtime-dance/mccormack-ross/)
- [anton](https://www.realtime.org.au/realtime-dance/anton/)
- [pfundtner, antje](https://www.realtime.org.au/realtime-dance/pfundtner-antje/)
- [robertson, deborah](https://www.realtime.org.au/realtime-dance/robertson-deborah/)
- [alessi, claudia](https://www.realtime.org.au/realtime-dance/alessi-claudia/)
- [luke, linda](https://www.realtime.org.au/realtime-dance/luke-linda/)
- [fraser, peter](https://www.realtime.org.au/realtime-dance/fraser-peter/)
- [kota, yamazaki](https://www.realtime.org.au/realtime-dance/kota-yamazaki/)
- [hamilton, antony](https://www.realtime.org.au/realtime-dance/hamilton-antony/)
- [the forsythe company](https://www.realtime.org.au/realtime-dance/the-forsythe-company/)
- [millard, olivia](https://www.realtime.org.au/realtime-dance/millard-olivia/)
- [leach, paea](https://www.realtime.org.au/realtime-dance/leach-paea/)
- [lyon dance biennale](https://www.realtime.org.au/realtime-dance/lyon-dance-biennale/)
- [heaven, michelle](https://www.realtime.org.au/realtime-dance/heaven-michelle/)
- [lehrer, jacob](https://www.realtime.org.au/realtime-dance/lehrer-jacob/)
- [compagnie marie chouinard](https://www.realtime.org.au/realtime-dance/compagnie-marie-chouinard/)
- [ohl, timothy](https://www.realtime.org.au/realtime-dance/ohl-timothy/)
- [dancetank](https://www.realtime.org.au/realtime-dance/dancetank/)
- [cie l’explose](https://www.realtime.org.au/realtime-dance/cie-lexplose/)
- [atelia de coreografia](https://www.realtime.org.au/realtime-dance/atelia-de-coreografia/)
- [ballet national de marseille](https://www.realtime.org.au/realtime-dance/ballet-national-de-marseille/)
- [needcompany](https://www.realtime.org.au/realtime-dance/needcompany/)
- [cherkaoui, sidi larbi](https://www.realtime.org.au/realtime-dance/cherkaoui-sidi-larbi/)
- [the holy body tattoo](https://www.realtime.org.au/realtime-dance/the-holy-body-tattoo/)
- [gagnon, noam & gringas, dana](https://www.realtime.org.au/realtime-dance/gagnon-noam-gringas-dana/)
- [emio greco](https://www.realtime.org.au/realtime-dance/emio-greco/)
- [hwai-min, lin](https://www.realtime.org.au/realtime-dance/hwai-min-lin/)
- [gutierrez, miguel](https://www.realtime.org.au/realtime-dance/gutierrez-miguel/)
- [clark, phillippa](https://www.realtime.org.au/realtime-dance/clark-phillippa/)
- [strapps, emma](https://www.realtime.org.au/realtime-dance/strapps-emma/)
- [misako, terada](https://www.realtime.org.au/realtime-dance/misako-terada/)
- [osamu, jareo](https://www.realtime.org.au/realtime-dance/osamu-jareo/)
- [physical tv](https://www.realtime.org.au/realtime-dance/physical-tv/)
- [theron, didier](https://www.realtime.org.au/realtime-dance/theron-didier/)
- [morris, matthew](https://www.realtime.org.au/realtime-dance/morris-matthew/)
- [cunningham, merce](https://www.realtime.org.au/realtime-dance/cunningham-merce/)
- [mefri, ery](https://www.realtime.org.au/realtime-dance/mefri-ery/)
- [rigal, pierre](https://www.realtime.org.au/realtime-dance/rigal-pierre/)
- [bel, jerome](https://www.realtime.org.au/realtime-dance/bel-jerome/)
- [phluxus dance collective](https://www.realtime.org.au/realtime-dance/phluxus-dance-collective/)
- [link dance company](https://www.realtime.org.au/realtime-dance/link-dance-company/)
- [duato, nacho](https://www.realtime.org.au/realtime-dance/duato-nacho/)
- [snow, peter](https://www.realtime.org.au/realtime-dance/snow-peter/)
- [pilobolus](https://www.realtime.org.au/realtime-dance/pilobolus/)
- [currie, alison](https://www.realtime.org.au/realtime-dance/currie-alison/)
- [macindoe, alisdair](https://www.realtime.org.au/realtime-dance/macindoe-alisdair/)
- [rogue](https://www.realtime.org.au/realtime-dance/rogue/)
- [dancenorth](https://www.realtime.org.au/realtime-dance/dancenorth/)
- [holland, alice lee](https://www.realtime.org.au/realtime-dance/holland-alice-lee/)
- [monnier, mathilde](https://www.realtime.org.au/realtime-dance/monnier-mathilde/)
- [orlin, robyn](https://www.realtime.org.au/realtime-dance/orlin-robyn/)
- [dance massive](https://www.realtime.org.au/realtime-dance/dance-massive/)
- [dance massive 2009](https://www.realtime.org.au/realtime-dance/dance-massive-2009/)
- [umeda, hiroaki](https://www.realtime.org.au/realtime-dance/umeda-hiroaki/)
- [waltz, sasha](https://www.realtime.org.au/realtime-dance/waltz-sasha/)
- [bonachela, rafael](https://www.realtime.org.au/realtime-dance/bonachela-rafael/)
- [belton, daniel](https://www.realtime.org.au/realtime-dance/belton-daniel/)
- [jalet, damien](https://www.realtime.org.au/realtime-dance/jalet-damien/)
- [omarsdottir, erna](https://www.realtime.org.au/realtime-dance/omarsdottir-erna/)
- [shechter, hofesh](https://www.realtime.org.au/realtime-dance/shechter-hofesh/)
- [hofesh shechter company](https://www.realtime.org.au/realtime-dance/hofesh-shechter-company/)
- [stamp, brooke](https://www.realtime.org.au/realtime-dance/stamp-brooke/)
- [pite, crystal](https://www.realtime.org.au/realtime-dance/pite-crystal/)
- [keegan-dolan, michael](https://www.realtime.org.au/realtime-dance/keegan-dolan-michael/)
- [ponifasio, lemi](https://www.realtime.org.au/realtime-dance/ponifasio-lemi/)
- [pigram,dalisa](https://www.realtime.org.au/realtime-dance/pigramdalisa/)
- [coulibaly, serge aimé](https://www.realtime.org.au/realtime-dance/coulibaly-serge-aim/)
- [leeder, brooke](https://www.realtime.org.au/realtime-dance/leeder-brooke/)
- [stalker](https://www.realtime.org.au/realtime-dance/stalker/)
- [van hout, vicki](https://www.realtime.org.au/realtime-dance/van-hout-vicki/)
- [spring dance](https://www.realtime.org.au/realtime-dance/spring-dance/)
- [adam, linder](https://www.realtime.org.au/realtime-dance/adam-linder/)
- [butcher, rosemary](https://www.realtime.org.au/realtime-dance/butcher-rosemary/)
- [harrison, alexandra](https://www.realtime.org.au/realtime-dance/harrison-alexandra/)
- [worth, kat](https://www.realtime.org.au/realtime-dance/worth-kat/)
- [welsby, james](https://www.realtime.org.au/realtime-dance/welsby-james/)
- [synnott, adam](https://www.realtime.org.au/realtime-dance/synnott-adam/)
- [riley mckinley, daniel](https://www.realtime.org.au/realtime-dance/riley-mckinley-daniel/)
- [montpellier danse](https://www.realtime.org.au/realtime-dance/montpellier-danse/)
- [day, matthew](https://www.realtime.org.au/realtime-dance/day-matthew/)
- [rizzo, christian](https://www.realtime.org.au/realtime-dance/rizzo-christian/)
- [dance massive 2011](https://www.realtime.org.au/realtime-dance/dance-massive-2011/)
- [roller, jochen](https://www.realtime.org.au/realtime-dance/roller-jochen/)
- [o'connor, brendan](https://www.realtime.org.au/realtime-dance/oconnor-brendan/)
- [godani, jacopo](https://www.realtime.org.au/realtime-dance/godani-jacopo/)
- [jasperse, john](https://www.realtime.org.au/realtime-dance/jasperse-john/)
- [galván, israel](https://www.realtime.org.au/realtime-dance/galvn-israel/)
- [bary, craig](https://www.realtime.org.au/realtime-dance/bary-craig/)
- [thomson, lizzie](https://www.realtime.org.au/realtime-dance/thomson-lizzie/)
- [klunchun, pichet](https://www.realtime.org.au/realtime-dance/klunchun-pichet/)
- [youmove company](https://www.realtime.org.au/realtime-dance/youmove-company/)
- [childs, lucinda](https://www.realtime.org.au/realtime-dance/childs-lucinda/)
- [taumoepeau, latai](https://www.realtime.org.au/realtime-dance/taumoepeau-latai/)
- [eke, atlanta](https://www.realtime.org.au/realtime-dance/eke-atlanta/)
- [cusimano, nadia](https://www.realtime.org.au/realtime-dance/cusimano-nadia/)
- [lane, melanie](https://www.realtime.org.au/realtime-dance/lane-melanie/)
- [darbyshire, tim](https://www.realtime.org.au/realtime-dance/darbyshire-tim/)
- [zink, liesel](https://www.realtime.org.au/realtime-dance/zink-liesel/)
- [ye, tao](https://www.realtime.org.au/realtime-dance/ye-tao/)
- [tao dance theatre](https://www.realtime.org.au/realtime-dance/tao-dance-theatre/)
- [aditi mangaldas dance company](https://www.realtime.org.au/realtime-dance/aditi-mangaldas-dance-company/)
- [van dijk, anouk](https://www.realtime.org.au/realtime-dance/van-dijk-anouk/)
- [anandavalli](https://www.realtime.org.au/realtime-dance/anandavalli/)
- [wilson, lisa](https://www.realtime.org.au/realtime-dance/wilson-lisa/)
- [mortimer-eipper, cass](https://www.realtime.org.au/realtime-dance/mortimer-eipper-cass/)
- [chan, kristina](https://www.realtime.org.au/realtime-dance/chan-kristina/)
- [hart, gareth](https://www.realtime.org.au/realtime-dance/hart-gareth/)
- [ochre contemporary dance company](https://www.realtime.org.au/realtime-dance/ochre-contemporary-dance-company/)
- [abbott, natalie](https://www.realtime.org.au/realtime-dance/abbott-natalie/)
- [dance massive 2013](https://www.realtime.org.au/realtime-dance/dance-massive-2013/)
- [dyer, ashley](https://www.realtime.org.au/realtime-dance/dyer-ashley/)
- [serle, lee](https://www.realtime.org.au/realtime-dance/serle-lee/)
- [augustijnen, koen](https://www.realtime.org.au/realtime-dance/augustijnen-koen/)
- [steps youth dance company](https://www.realtime.org.au/realtime-dance/steps-youth-dance-company/)
- [mau](https://www.realtime.org.au/realtime-dance/mau/)
- [michel, dana](https://www.realtime.org.au/realtime-dance/michel-dana/)
- [brown, trisha](https://www.realtime.org.au/realtime-dance/brown-trisha/)
- [wales, nick](https://www.realtime.org.au/realtime-dance/wales-nick/)
- [devereux, jessica](https://www.realtime.org.au/realtime-dance/devereux-jessica/)
- [warti, desak putu](https://www.realtime.org.au/realtime-dance/warti-desak-putu/)
- [Critical Path](https://www.realtime.org.au/realtime-dance/critical-path/)
- [FORM Dance Projects (formerly Western Sydney Dance Action)](https://www.realtime.org.au/realtime-dance/form-dance-projects-formerly-western-sydney-dance-action/)
- [wheen, miranda](https://www.realtime.org.au/realtime-dance/wheen-miranda/)
- [chester, sam](https://www.realtime.org.au/realtime-dance/chester-sam/)
- [gela, ghenoa](https://www.realtime.org.au/realtime-dance/gela-ghenoa/)
- [sheppard, carly](https://www.realtime.org.au/realtime-dance/sheppard-carly/)
- [moveme improvisation festival](https://www.realtime.org.au/realtime-dance/moveme-improvisation-festival/)
- [schumacher, michael](https://www.realtime.org.au/realtime-dance/schumacher-michael/)
- [aiken, sarah](https://www.realtime.org.au/realtime-dance/aiken-sarah/)
- [jensen, rebecca](https://www.realtime.org.au/realtime-dance/jensen-rebecca/)
- [batchelor, james](https://www.realtime.org.au/realtime-dance/batchelor-james/)
- [kok, daniel](https://www.realtime.org.au/realtime-dance/kok-daniel/)
- [cornell, matt](https://www.realtime.org.au/realtime-dance/cornell-matt/)
- [sciberras, carl](https://www.realtime.org.au/realtime-dance/sciberras-carl/)
- [le roy, xavier](https://www.realtime.org.au/realtime-dance/le-roy-xavier/)
- [puie, kathryn](https://www.realtime.org.au/realtime-dance/puie-kathryn/)
- [handa, raghav](https://www.realtime.org.au/realtime-dance/handa-raghav/)
- [jocson, eisa](https://www.realtime.org.au/realtime-dance/jocson-eisa/)
- [gunn, nicola](https://www.realtime.org.au/realtime-dance/gunn-nicola/)
- [kelly, thomas](https://www.realtime.org.au/realtime-dance/kelly-thomas/)
- [cunningham, claire](https://www.realtime.org.au/realtime-dance/cunningham-claire/)
- [tanztheater wuppertal pina bausch](https://www.realtime.org.au/realtime-dance/tanztheater-wuppertal-pina-bausch/)
- [charmatz, boris](https://www.realtime.org.au/realtime-dance/charmatz-boris/)
- [thompson, josh](https://www.realtime.org.au/realtime-dance/thompson-josh/)
- [palomares, marnie](https://www.realtime.org.au/realtime-dance/palomares-marnie/)
- [goh, angela](https://www.realtime.org.au/realtime-dance/goh-angela/)
- [chignell, chloe](https://www.realtime.org.au/realtime-dance/chignell-chloe/)
- [hansen, martin](https://www.realtime.org.au/realtime-dance/hansen-martin/)
- [heyward, alice](https://www.realtime.org.au/realtime-dance/heyward-alice/)
- [page, kyle](https://www.realtime.org.au/realtime-dance/page-kyle/)
- [steiner, lilian](https://www.realtime.org.au/realtime-dance/steiner-lilian/)
- [hepi, amrita](https://www.realtime.org.au/realtime-dance/hepi-amrita/)
- [olsen](https://www.realtime.org.au/realtime-dance/olsen/)
- [katina](https://www.realtime.org.au/realtime-dance/katina/)
- [march dance](https://www.realtime.org.au/realtime-dance/march-dance/)