So, in Taipei, I come as a virtually blind person to Wonderland: New Contemporary Art from Australia—in a situation not unlike that apocryphal story a prominent gallerist once told me of a blind Sydney art critic who took his partner to shows; together they would stand in front of the art and the partner would describe the work for the critic who would write accordingly about it.

When Sydney people walk into an unfamiliar room the first thing they do is head for the window.

In order to see the problem and to understand it more deeply, you often have to leave the comfort of your discipline if you want to see the full picture. Through sensory-challenging sound and lighting, it is also a retelling of these snatches of memory through performance. “For instance there’s one woman who told us a beautiful story about her dad,” says Denborough. Locals—apart from the elderly couple who left after five minutes—seemed similarly committed to the rare performance. It is. I was surprised to learn that much of the film was shot in retrospect, with Tucker, then living in Thailand, only meeting the couple as they were splitting up in 2006. I asked one young boy after the show what the ogre’s house was like: “Great,” he said, “I got to help them with their sound effects, banging plates and cups and things.”. Access Space is calling for applications for Artist Residencies which will utilise its Refab Space, a DIY fabrication studio including tools such as 3D printer, laser cutter, CNC router, Arduino and an embroidery machine. [Wynne-Jones is currently the Producer of TippingPoint Australia—an international network of scientists and artists engaging with climate change; RT100]. The machine need not appear, the execution need not be seen—the anxiety and shock can be expressed principally in words and the haunting pulse of Glass’ score. For the drivers who passed the billboards on their daily route along the Princes Highway the back story of the images’ construction would have been irrelevant—what the observant driver encountered was a puzzle, a cryptic story with a network of referents that yielded more clues with each repeat viewing, while refusing any revelation. This puts Arts Centre Melbourne’s annual Carnegie 18 series in a curious position. The drama that unfolds expands upon this prickling haunting: the room onscreen gradually becomes more embellished, the children discovering a bird in a cage, colour on walls, a family. Jill Bennett has written beautifully about the function of memory and forgetfulness in Del Favero’s work: “memory is never simply a matter of recall, as Dennis Del Favero’s work persistently demonstrates. So we’re seeing less horror.” However, Sargeant maintains that it’s the shifting genre landscape that makes programming a festival like Revelation so challenging and rewarding. Yet, this isn’t about relations between the women. Unusually, The Caretaker was one of only a few horror films submitted to the festival. But when it comes to really making choreography and composing the thing, it happens as I’m doing it in the time that I’m doing it—performing the wave and seeing how it talks to me. In the end it was a slightly reductive experience. As dusk came on, the audience, fellow performers and assembled instrumentalists eagerly gathered outside. Obviously, this effect is something I can’t directly control or therefore even re-create. Choe envisions a world where these creatures subsist within the cycles of human life and production as independent and complementary beings. For the whole song, you're only fingerpicking the E, D, and G strings. TRUE TO ITS SUBJECT, THE SHADOWCATCHERS IS A VISUALLY RICH HISTORY OF AUSTRALIAN CINEMATOGRAPHY.

On the page, the play reads as an intriguing screenplay, but on the stage it feels cumbersome, short on words if strong on images, scenes expiring before gaining momentum and performances, whatever their individual merits, lacking ensemble cohesion. Loved it. McMillan also established a deep relationship with local historian, Jill Heather, whose work in recent decades has been to record the history and whereabouts of lonely 19th century graves across three surrounding shires, and it is the photographic documentation of those graves that represent McMillan’s residency in the exhibition. It’s so easy, particularly in Melbourne, to think that the whole world is here because we’re so far away and because we have at least one of everything, of each kind of venue and company. I think that’s where art comes in so strongly because it uses the unconscious to help articulate our feelings. The surface changes throughout with beautifully selected projections by Adam Synott. Löhr’s images of the human body in spaces and in space, on chairs, on the floor, against black or white walls, freefalling, deal with human expression, emotion and spirit.

41. If everything about this project is loud—gold veneer, manifestos, cultural clashes and comical performance—it is still autobiography that has allowed the artists to foreground the issues of nationality, family and borrowed culture. Australia has been so long in need of this kind of event. But this is ‘post-melodramatic’ theatre: the music doesn’t amplify the characters’ emotions; it heightens the performers’ contributions to scenography. The containment and editing of sound through headphones coupled with darkness heightens our visual perception.

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