Devised by its second year students, NICA’s Circonoclasm is an exploration of the theft and destruction of the arts through circus. A new artwork is about to be unveiled at the National Gallery of Melbourne. But when it is stolen, everyone become a suspect as the investigators take unconventional, or in some cases too conventional, methods to solve the crime.
Director David Woods has a large cast of performers to play with and that he does, but unfortunately much of Circonoclasm is grounded in acting, sketch and slapstick with not enough satisfying circus. The opening in particular is drawn out far too long as we watch robbers and guards running on and off stage in varying comedic fashion like a montage of Scooby Doo gang as they are chased by (or chasing) the monster.
William Robert Johnston was a Melbourne based antique dealer and a
collector of beautiful things from the age of eight, when his grandmother gave him
a little teacup. As his collection grew, Johnston wanted to share these unusual
and visually arresting items with the wider community. Upon his death in 1986, the
not-for-profit museum, The Johnston Collection was established which comprises
of 1,400 objects of mostly 17th century English furniture,
paintings, ceramics and objet d’art.
Part of the charm of the Johnston Collection stems from itsrevolving door of guest curators over the years, which has included
The Australian Ballet's Artistic Director David McAllister, milliner Richard
Nylon, interior design studio Hecker Guthrie, and Barking Spider Visual Theatre
company. These curators are offered the freedom to express their personal connection and response to what they display and how it is set up, giving people the chance to view these objects from different perspectives and ensures a great rotation of the collection.
My Monster: The Human-Animal Hybrid is an exhibition at RMIT Gallery that looks at our relationships and perceptions of the non-humans who are among us. Curated by Evelyn Tsitas, the exhibition is divided into five different and curious sections: xenos (foreigner / stranger), mythos (stories / narratives), tokos (childbirth / reproduction), eros (erotic love) and kosmos (the world).
A highlight of the exhibition is in mythos, with Moira Finucane and David Verhagen’s Fur Can’t Fly (The Mourning of the Fur). This is beautifully conceived immersive, multi sensory installation that tells of a transformative journey in the mountains of Brazil. The evocative score by Shinjuku Thief and the soothing yet commanding voice of Finucane aid you through your journey. The specially designed vibrating chair and the lighting design by Thomas Dahlrnburg and Verhagen are simply stunning. With your eyes closed, every movement of the chair and sliver of light slipping into your vision makes you believe you are living this uplifting tale.
There is a sense of excitement and anticipation shared between twenty
strangers as they stand around the National Gallery of Victoria's information
desk. We are about to embark on Moira Finucane's The Intimate 8 tour of
the gallery, and anyone who knows Moira Finucane knows that expectations should
be left at the door and to openly accept the adventure that awaits.
I'm not quite sure when or where Finucane appears from, but suddenly she
stands before us, wearing a black flowing dress with Swarovski crystals.
"This is the gallery ladies and gentlemen, The National Gallery of
Victoria, and it belongs, belongs, belongs to you, to the people", she
proclaims as we are guided through a number of artworks housed in the NGV.
The tour requires we all wear headphones so that when we hear Finucane
speak, it feels like she is a thought in your mind, as if your subconscious has
suddenly come to life to enlighten you. Her constant elaborate movements,
physical contact with the audience and steady, impassioned eye contact as she
relays the history of the various paintings, sculptures and other works vividly
bring these items to life as humanly possible.
William Robert Johnston was a Melbourne based antique dealer and a collector
of beautiful things, and he wanted to share these unusual and visually arresting
items with the public. Upon his death in 1986, the not-for-profit museum, The Johnston Collection was established.
The Collection has had a rotation of guest
curators including The Australian Ballet's Artistic Director David McAllister,
milliner Richard Nylon and design studio Hecker Guthrie, who were given the
opportunity to explore, regard and share the curiosities within the collection.
With its current exhibition, House of
Dreams, guest curators Barking Spider Visual Theatre - a Melbourne-based
multi-art form company – have spent the last 18 months designing the nine
spaces to create a highly evocative and imaginative environment to be experienced.
Led by Artistic Director Penelope Bartlau, the theatre company is known for its
exemplary productions and varied methods of creating and sharing stories with
audiences.
Another year, another Melbourne International Film Festival. Bought myself a passport and managed to surpass last year's effort of 37 films to 51 films.
This included films from Spain, USA, Germany, Australia, France, Taiwan, Georgia, India, China, South Korea, UK, Japan, Norway, Brazil, Iran, Austria, Canada, Finland, Mongolia and Italy
I don't think Xavier Dolan can do any wrong. He gets such amazing work from his actors - in this case Antoine-Olivier Pilon, Suzanne Clement and Anne Dorval, who just about steals every scene she is as the mother to Steve, a troubled, violent youth who returns home.
The writing is flawless and Dolan creates a story that demands your attention. Some beautifully shot scenes including the "dream sequence" and a soundtrack that supports the development of the story. Cleverly filmed aspect ratio comes into effect at pivotal moments of the film too.
It reminded me a little of I Killed My Mother but (and not wanting to take away from its greatness either) much stronger all round.
