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e-dition - october 25


in the loop – october 25

realtime news and advance word


Next of Kin, Restless Dance Theatre Next of Kin, Restless Dance Theatre
photo Chris Herzfeld
restless relatives

Restless Dance Theatre is typically described as a youth dance company that works with dancers of mixed abilities (see our reviews of Bedroom Dancing and Safe From Harm). However, in their latest show Next of Kin, they will be working with dancers of mixed ages as well. Next of Kin has an intergenerational cast of six to 60 year olds (some of whom are related in real life) and, according to the press release, “focuses on the family unit and its complex effect on kin relationships, personal decisions and individual responsibilities.” The show features a set designed by award-wining designer Gaelle Mellis and music by Zephyr Quartet’s Hilary Kleinig. The show also marks the directorial debut for Philip Channells, the company’s new artistic director. Restless Dance Theatre, Next of Kin, The Opera Studio, State Opera of South Australia, 216 Marion Road, Netley SA 5037, Nov 12-20; http://restlessdance.org/

physical music

Ensemble Offspring, who describe themselves as “champions of innovative new music” (previously reviewed in RT99 and RT92), are collaborating with one of Sydney’s most engaging performers, Katia Molino, and director Carlos Gomes of Theatre Kantaka, in a one-off event that is “as much physical as it is musical” (press release). The show, called Sounds Absurd promises to investigate “the visual spectacle surrounding the live performance of music” and will include “dancing hands, body slaps and musical instruments in nooses and upside-down cellos in drag” (press release). The evening will feature the music of Mauricio Kagel, a world premiere from Australian composer Moya Henderson, along with works by Thierry de Mey, Vinko Globokar, Matthew Shlomowitz, Stephen Stanfield and Jude Weirmeir. Ensemble Offspring, Sounds Absurd, CarriageWorks, Nov 30; www.carriageworks.com.au

musing and commuting

If you’re in Melbourne this month and, more specifically, passing through Southern Cross Station, keep an eye out for a studio, tea station and lounge. Set up by the artist collective one step at a time like this (formerly bettybooke), this installation is part of a project called Southern Crossings. Commuters will be invited to visit the group of artists at the station and contribute their stories about who they are, what they are doing and where they are going. Drawing on elements of their previous project en route (praised by Jana Perkovic in RT94), these stories will then be integrated into Southern Crossings, an audio journey on iPod which guides audience members through the station. “[I]ndividuals have an opportunity to see and experience the railway station beyond its everyday use—to think about people and places—and to engage with an iconic landmark from a different and more personal perspective” (press release). one step at a time like this, Southern Crossings, Southern Cross Station, stories collected Oct 25-Nov 16, showings Nov 18-Nov 28; www.onestepatatimelikethis.com/

Suspended Motion Suspended Motion
photo Pilar Mata Dupont
skaters in suspense

Over in Perth a similarly interdisciplinary project is underway at the Breadbox Gallery. Suspended Motion, features five artists—Ben Baretto, Cameron Campbell, Jason Hansma, James Hensby, and Tom Muller. Working with a team of builders and “skateboarding creatives,” including professional skateboarder Morgan Campbell, the artists will take over the Bakery to create sculptural installations, video and images where skateboarding will be used as a creative medium. You can see the video trailer here and read Darren Jorgenson’s review in our November 22 online edition. Suspended Motion, curator James Hensby, the Bakery, Breadbox Gallery, Oct 23-Nov 4; www.nowbaking.com.au

Dawn Albinger, No Door On Her Mouth - A Lyrical Amputation Dawn Albinger, No Door On Her Mouth - A Lyrical Amputation
photo Lisa Businovski
shut your trap

Perth is also the place where writer/performer Dawn Albinger will be premiering her intimate new solo No Door On Her Mouth – A Lyrical Amputation. Using her signature tragic-comic style, she deploys fragmented narrative, poetic text and subtle humour to dislodge dominant readings of ‘romance,’ ‘femininity’ and ‘desire.’ Invoking choking divas, handless maidens and flightless women, the performance (with dramaturgy by Margaret Cameron and video art by Samuel James) offers “a philosophical answer, and performative response, to Irigaray’s question of how to say ‘I love you’ without it meaning ‘I wonder if I am loved’” (press release). Albinger’s Heroin(e) was reviewed in RT88) and this show will be reviewed in RealTime 100. Dawn Albinger, No Door On Her Mouth – A Lyrical Amputation, Blue Room Theatre, Oct 26-No 13; www.blueroom.org.au

light up, light up

Paris doesn’t immediately spring to mind when thinking of Brisbane, but Brisbane is in fact becoming a city of lights if not the city of lights. More specifically, it is currently hosting the Light from Light exhibition, which is showing simultaneously at the State Library of Queensland and the Shanghai Library in China. Visitors in each location come face to face with artworks that Australian and Chinese artists have embedded in collection spaces and public areas. In addition, they are also able to experience the same artworks in each other’s locations via webcam. The 20 light-inspired and light-generating artworks include neon art objects, light sculpture, images generated by solar telescopes and illuminated texts. Collectively they explore “the properties and metaphors of light, and the notion of libraries as sites of enlightenment” (website). The artists include Janet Burchill and Jennifer McCamley, Eugene Carchesio, David Haines and Joyce Hinterding, Lin Tianmiao, Archie Moore, Pak Sheung Chuen, Josef Strau, Wang Gong Xin, and Zhang Peili. Light from Light is an initiative of MAAP – Multimedia Art Asia Pacific. Light from Light, State Library of Queensland and Shanghai Library, from Oct 1; http://maap.org.au/

RealTime issue #99 Oct-Nov 2010 pg. web

© RealTime ; for permission to reproduce apply to realtime@realtimearts.net

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