back;)
editorial
GIVEAWAY 28 SEPTEMBER
Donnie Darko, 15th Anniversary Edition DVD
GIVEAWAY 24 AUGUST
When the Goal Posts Move, by Ben Eltham
;)
festivals
OZASIA FESTIVAL
How animal are humans?
Ben Brooker: Tutti, Stepping Stone & Andres Busrianto, Beastly
OZASIA FESTIVAL
OzAsia Festival: Exorcising America
Ben Brooker: interview, Toshiki Okada, God Bless Baseball
DARWIN FESTIVAL
2016 Darwin Festival: the power of art in the making
Kaye Hall: Lippy; Gobyerno; You and Me and the Space Between
DARWIN FESTIVAL
2016 Darwin Festival: Tradition sustains innovation
Nicky Fearn: Tracks, Landed; Rianto, Medium; Finucane & Smith, The Birds
Cultural diversity’s new dramaturgy
Ben Brooker: The National Play Festival
Liveworks 2016: a storm of creativity
Keith Gallasch: interview, Jeff Khan, Liveworks Festival of Experimental Art
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special features
ARTS EDUCATION
Advancing the art of reviewing
Keith Gallasch: interview, Erin Brannigan, Reviewing the Arts, UNSW
ARTS EDUCATION
An independent art school for all
Chris Reid: Adelaide Central School of Art
ARTS EDUCATION
Another route to being human
Zsuzsi Soboslay: George Khut, Behind Your Eyes, Between Your Ears
ARTS EDUCATION
Futuring music theatre in the academy
John Bailey: Jane Griffiths, Monash University Centre for Theatre & Performance
ARTS EDUCATION
The making of performance makers
Keith Gallasch: interview, Chris Ryan, University of Wollongong
A conflict of interests
Rennie McDougall on criticism & its contradictions
Accepting the agency of the non-human
Jonathan W Marshall: Performance Studies International 2016
Adelaide College of the Arts: Acting, privilege and legacy
Ben Brooker: interview Terence Crawford & staff
Asia-Pacific artists screen climate change
Hugh Davies: book review, Screen Ecologies
Dance: LINK-ing and Mastering
Keith Gallasch: Interview, Michael Whaites, WAAPA
Occupying culture in Rio de Janeiro
Ann Deslandes: Ocupa MinC in Brazil’s Ministry of Culture
On the record: Australian artists in free-fall
Jana Perkovic: Ben Eltham, When the Goalposts Move
Reverse the trend; champion creative education
Liz Bradshaw: Sydney College of the Arts crisis in context
Tribute to a pioneering dance media artist
Keith Gallasch: Stephen Jones, Dancing the music: Philippa Cullen 1950-75
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performance
A just hearing in the court of theatre
Keith Gallasch: Powerhouse Youth Theatre & Griffin, Tribunal
An inclusive vision of Australian women
Keith Gallasch: Karen Therese, Women of Fairfield
Art & the inevitable
Kathryn Kelly: Emma Serjeant, Grace
Crime, punishment & role reversal
John Bailey: JR Brennan’s The Chat
Drought drama
Jason Richardson: Eastern Riverina Arts, Basin
Gaming climate change
Teik Kim Pok: Boho Interactive: The Best Festival Ever
Girls lost and found
Keith Gallasch: Andrea James, Winyanboga Yurringa; Angela Betzien, The Hanging
Imagination and incarceration
Elyssia Bugg: Squidsolo, RIMA
Living beneath life
Keith Gallasch: Sydney Chamber Opera, Notes from Underground
The cruelties of God, evolution & showbusiness
Jonathan W Marshall: Nathaniel Moncrieff’s A Perfect Specimen
The virtues of self-indulgence
John Bailey: Zoey Dawson, Conviction; THE RABBLE, Cain and Abel
Troubled bodies tangle with truth
Keith Gallasch: Force Majeure, Off the Record
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dance
For All We Know (or thought we knew): Part I
Dean Walsh
From Picasso to music to dance
Bernadette Ashley: Dancenorth, Lee Serle, The Three Dancers
Inquisitive pairings of data and forms
Andrew Fuhrmann: MetaData, Re-make, Mermermer
Salamanca Moves: making visible dance’s diversity
Keith Gallasch: interview, Kelly Drummond Cawthon
Something more than ourselves
Maximilian: Lee Serle, MULTIMODAL
Taking on the panic machine
Keith Gallasch: interview Tim Darbyshire, Stampede the Stampede
Tasmanian youth: dancing with a mission
Judith Abell: Stompin, Launceston, 1992-present
The aesthetics of kinetic impact
Nikki Heywood: Tim Darbyshire, Stampede the Stampede
The call to dance
Jonathan W Marshall: MoveMe Festival 2016
The metadata that counts
De Quincey Co, Metadata, Melbourne and Sydney
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visual arts
Degrees of green art radicalism
Lyndon Blue: Radical Ecologies, PICA
Imaginary ecologies: real fears & hopes
Debra Petrovitch: Keith Armstrong, Over Many Horizons
Slow traumas or apocalypses of choice?
Francis Russell: Inanition: A Speculation On The End of Times
The screen: inside and out
Robert Shumoail-Albazi: The Screen as a Room, The Substation
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sound/music
PARTIAL DURATIONS BIFEM 2016
Music Writers’ Workshop
BIFEM 2016
BIFEM 2016’s unprecedented scale and vision
Matthew Lorenzon: festival overview
BIFEM 2016
Fine friction between sound & meaning
Alex Taylor: Leah Scholes, Simulcast
BIFEM 2016
Four quartets, from musing to outburst
Zoe Barker: Argonaut Quartet, Glossolalia
BIFEM 2016
Loops within loops
Claudine Michael: SISTER, Work
BIFEM 2016
Mastering the power of unpredictability
Bec Scully: Peter de Jager, Marathon, works by Xenakis
BIFEM 2016
On the precipice
Bec Scully: ELISION/ANAM, Enno Poppe, Speicher
BIFEM 2016
The corralling of disparate voices
Alex Taylor: Argonaut Ensemble, Seeing Double
BIFEM 2016
The dead arise, play and dance
Zoe Barker: ELISION/ANAM, Machine for Contacting the Dead
BIFEM 2016
The ensemble as organism
Madeline Roycroft: ELISION ensemble, The Wreck of Former Boundaries, How Forests Think
BIFEM 2016
The sounding of dance data
Matthew Lorenzon: Kasper T Toeplitz, Myriam Gourfink, Data_Noise
BIFEM 2016
When light plays an orchestra
Madeline Roycroft: COD.ACT, pho:ton, Bendigo Symphony Orchestra
ELISION ensemble: a bold 30-year adventure
Matthew Lorenzon: interview, Daryl Buckley
Exploratory music on a high in Bendigo
Matthew Lorenzon: interview, David Chisholm, BIFEM 2016
Sound by nature, music by name
Philip Brophy: Inland 16.4, Through Savage Progress
The critical limits of sound
Thomas Smith: Liquid Architecture, Autotune Everything
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+onscreen
film & screen culture
Racism laid bare: not so funny
Katerina Sakkas: Abe Forsythe’s Down Under
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+onscreen media arts
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