profiler sep 21, 2016
THE SUSTAINABILITY OF RENEWABLE ANXIETY
Anxiety is an invaluable coping mechanism, but exploitable. How can we sustainably manage our concerns—crank up the fear voltage, invent new horrors or seek out alternative visions and possible solutions? These are the kinds of questions asked by Lyndon Blue and Francis Russell on seeing exhibitions about art and ecology at PICA in Perth and apocalypse at Success arts space in Fremantle. Hugh Davies reviews Screen Ecologies, an Australian book we’d love to read about the variety of screen-based artist responses to climate change in our Asia-Pacific region—art that’s actually close to home. Often we feel left out of the action—when did our own government last engage us directly in sustainable environmental programs in the everyday? Anxiety is perpetually renewable but only sustainable when rooted in an evolving, nuanced exchange between research, fact and fine imaginings.
DEGREES OF GREEN ART RADICALISM
Lyndon Blue writes that works in PICA’s Radical Ecologies by Pony Express, Peter and Molly, Katie West, Matt Aitken and Rebecca Orchard variously throw into relief the meaning of ‘radical.’
SLOW TRAUMAS OR APOCALYPSES OF CHOICE?
Reflecting on curator Laetitia Wilson’s Inanition: A Speculation on The End of Times, Francis Russell seeks works that go beyond “the conventional moralism of eco-crisis” to the likes of “the more progressive tropes of science fiction.”
Tom Smith wonders if the metaphorical title for this major Liquid Architecture event extends to encompass critical discourse about sound. Featured artists included Johannes Kreidler, Seth Kim-Cohen, Andrew McLellan, Chun Yin Rainbow Chan and Erik Demetriou.
A significant new book by four RMIT academics critically surveys the responses of innovative Asia-Pacific artists to climate change via many manifestations of the screen, writes Hugh Davies.
INQUISITIVE PAIRINGS OF DATA AND FORMS
Moments of creative encounter and collision in new work from De Quincey Co and Chunky Move's Next Move program.
IMPROV IDOL 2016
After its riotous success in 2015, this “one part talent show, one part improvisation laboratory” returns Thursday night this week in Melbourne with an impressive list of contenders and panel of judges.
BIFEM 2016: THE BIG PICTURE
Matthew Lorenzon applauds the Bendigo International Festival of Exploratory Music’s successful amalgam of the micro and the macro in intimate solos, powerful pairings, large ensembles and a community orchestra.
BIFEM 2016: SIMULCAST
Virtuoso percussionist Leah Scholes, writes Alex Taylor, reveals “the uncomfortable interaction, the friction, between sound and meaning, and the slippage and failure of language” with theatrical flair.
BIFEM 2016: MACHINE FOR CONTACTING THE DEAD
Conducted by Carl Rosman, ELISION ensemble and ANAM students combined to produce a superb performance of a Liza Lim master work, writes Zoe Barker.
BIFEM 2016: MARATHON
Bec Scully sees in Peter de Jager’s open responsiveness to Xenakis’ unbelievably demanding scores for piano and harpsichord vindication of the composer’s “deep sense of cultural and social responsibility in his art.”
realtime 134 aug-sept 2016
gideon obarzanek: after glow
keith gallasch, chunky move’s gideon obarzanek, rt81
garry stewart: dance evolution in the age of robotics
erin brannigan, adt's devolution, rt71
lucy guerin: between temperature & temperament
jonathan marshall, rt52
rosalind crisp: a european future
erin brannigan, rt48
helen herbertson: the place where things slip
philipa rothfield, delirium, rt36
tess de quincey & stuart lynch: dancing the city
keith gallasch, compression 100, de quincey lynch, rt11
Cover image (detail): Erin Coates, Driving to the Ends of the Earth (HD video still), Inanition, image courtesy the artist