This year all eyes are on Athens in the wake of Documenta14, a five yearly exhibition of contemporary art that this year made its debut in Greece. Lately associated with Europe's financial crisis, Greece has emerged as a hub of creative activity and progressive thought: fertile ground for artists to interrogate and discuss Europe's social and political future. Read More
The installation of Jonathan Jones' barrangal dyara (skin and bones) is nearing completion on site at The Royal Botanic Garden, Sydney. Read More
Bruce Pascoe is the award-winning author of Dark Emu. Pascoe is a writer, editor and anthologist, and was a guest speaker at Kaldor Public Art Projects' Spot Fire Symposium at the State Library of New South Wales, 7 May 2016. 'Day of Our Mother' is Pascoe's reflection from that day. View the symposium. Read More
The very first open rehearsal took place in a location not used again for the remainder of the project. Shoes were removed, and visitors climbed a
staircase to enter into a warm, enclosed space that seemed to exist quite apart from the rest of the building. Unsure how I would react to the
performers’ nudity, I quickly found myself totally at ease, drawn towards the carpet, compelled to be on the same level as those around me.
I was fortunate enough to attend the open rehearsals of Temporary Title, 2015 last Thursday and see the creative process of Xavier Le Roy.
There was an instant connection to his work as I was captivated by its sheer visual beauty. The exhibition space was transformed into a moving
sculpture of translucent flesh. The performers’ graceful bodies remodeled their size and shape as they travelled their journey solo, in pairs or
as a pride. My initial reaction to the work was the same as when I’m entrenched in the natural world, something that is vital for our own internal
rhythm as human beings.
When I read through my scribbled notes from June, from when I was taking part in Xavier and Scarlet’s development workshop in Venice for Title in Process, 2015 up until now, as we are developing the work in Sydney, I encounter questions that I continue to ask myself – not to find their answers, but to ask questions as a continuous mode of production: Read More
A + A
Today is first open rehearsal. About 30 people come. One of them is a child. For the purposes of this report I'll call him A.
The score is an hour and a half. We each have a shift. Mine: first 30 minutes be a visitor, last hour be in the score. So, I watch A. secretly, from the edges of the black carpet. I wonder, how is he experiencing the nakedness? Read More
Rehearsal Day 6, 7
I loved getting a first impression of the exhibition - the bodies keep rearranging themselves at different speeds and in different groupings and positions so that you are constantly taken by surprise at where and in what kind of state and grouping they are.
For three days last week, Carriageworks was home to 53 local facilitators, as they were undertook intensive training for Project 30 with Marina's collaborator Lynsey Peisinger. Take a look... Read More