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profiler apr 12, 2017

articles/reviews


Most of my encounters with contemporary art and film over recent weeks haven’t happened by visiting a gallery, museum or cinema. Rather, contact's been made via my laptop, smart phone, a giant screen in a public transport space and reflections on the future of film festivals. In RealTime this week I interview the curatorial director of Wynscreen, which delivers moving-image art to travellers passing though Wynyard Station. Ever preoccupied with the horror genre, Katerina Sakkas reviews Olivier Assayas’ technological arthouse ghost story, Personal Shopper, in which a grieving woman (Kristen Stewart) interacts with a mysterious presence via text messaging. Cameron Williams considers the ways that video-on-demand platforms are changing Australian screen culture and challenging film festivals. And in the theatre work Passenger, John Bailey finds himself immersed in a kind of live cinema. The contemporary screen is a radical shape-shifter. Lauren, Acting Assistant Editor

FILM FESTIVALS VS THE BIG STREAMERS
FILM FESTIVALS VS THE BIG STREAMERS

Addressing alarming data and chatting with Melbourne International Film Festival's Michelle Carey, Cameron Williams estimates the power or not of Amazon and Netflix to limit choice in Australian international film festival programming.

IS ANYONE THERE—ONLINE OR OFF?
IS ANYONE THERE—ONLINE OR OFF?

Katerina Sakkas admires Kristen Stewart's performance in Olivier Assayas' not-quite horror film Personal Shopper in which the everyday assumes a haunting uncanniness.

ART AS BIG PUBLIC INFRASTRUCTURE
ART AS BIG PUBLIC INFRASTRUCTURE

Lauren Carroll Harris interviews curator Alessio Cavallaro about screen works programmed for Wynscreen, a media art installation built into Sydney's Wynyard Station, and the expectations held for developing an art-conscious public on the move.

THE AUDIENCE ON THE INSIDE
THE AUDIENCE ON THE INSIDE

Passenger, its audience in a bus, overhearing a conversation as the cityscape sweeps by, is "almost live cinema," and Aeon, in which the audience performs—instinctively—is like "an Orphic passage, an animal transformation," writes an engaged John Bailey.

AN EXPERIMENTAL ART HUB IN MELBOURNE’S WEST
AN EXPERIMENTAL ART HUB IN MELBOURNE’S WEST

The Substation’s director, Brad Spolding, tells John Bailey about successfully meeting the challenges of supporting edgy art-making and welcoming a curious and willing local audience.

SCIENCE + LOVE = EXPLOSIVE DANCE
SCIENCE + LOVE = EXPLOSIVE DANCE

The Farm (Gold Coast) and Co3 (Perth) unite to create Frank Enstein, a dance work for younger audiences based on the series of books for children but upgraded to adolescent longing for love, realised with powerful choreography and a great sense of fun, writes Kathryn Kelly.

VALE JOHN CLARKE
VALE JOHN CLARKE

We mourn the passing of John Clarke, writer and performer, and the loss of the wry eye he cast on the increasingly self-parodying state of Australian politics in Clarke and Dawe and, looking back, on bureaucracy in the brilliantly incisive The Games, a classic.

Previous e-ditions

realtime 138 april-may 2017

Realtime 138 Cover

contents

cover


realtimedance : RealTime's new portal to Australian dance opens our extensive dance archive back to 1994, profiles 12 leading Australian choreographers, features dance on screen and Realtime onsite at dance events.

dance highlights


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

presence, Gary Deirmendjian, Wynscreen installation, photo Gary Deirmendjian