About

Writer, musician and crochet aficionado. Currently completing a Masters in Performance Studies at the University of Sydney researching artists and urban renewal, and playing with her band No Art.

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Rug #69

Rug #69

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garden nailz :)

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Shoutout to the old studio I shared with trischelleroberts :’)

lovelyheadspace:

Shoutout to the old studio I shared with trischelleroberts :’)


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A nice article on visual art performance versus contemporary performance, which manages to articulate things that I feel like I’ve been trying to put my finger on for a while. Via Justine Shih Pearson.

A truly Vivid Sydney
Vivid is an idiosyncratic event on Sydney’s cultural calendar that has grown rapidly since its inception in 2009. What has made Vivid so successful is its ability to affect the ways in which we understand and experience our own city. Taken on even a superficial level, the festival is a resounding testament to the transformative power of art. The artistic director of 2009-2010’s Fire Water, Michael Cohen, has spoken about this kind of potential in relation to a lesser known cousin of Vivid: Newcastle’s LiveSites.1 In attempting to frame such events, Cohen recalls the experience of a school fete during childhood, in particular how the familiar schoolgrounds would feel somehow different afterwards. The goals of his work are framed as ‘that feeling, those recollected stories and affected memories’.
However, Vivid did not emerge solely from a desire to reinvent the city for its inhabitants. Rather, like many similar high-profile cultural events worldwide, it was an initiative designed to bumper tourism numbers in the winter months, which had declined over the years following the Sydney Olympics.2 Acknowledging the complex, interrelated interests that lie behind the festival adds depth to the unproblematic image of Vivid as a celebration of the city and its cultures. Laura Levin and Kim Solga, writing about Toronto’s Luminato Festival, ask questions of that event that are pertinent here.3 ‘When we set out to “stage” a city, whose vision of the city do we rehearse as “real” or “true”? Who benefits from that staging, and who pays the hidden costs?’ Levin and Solga’s verdict is searing: that ‘such projects co-opt and redeploy the experiences of those they ultimately marginalize’. In other words, while artists, arts-workers and existing cultural scenes are essential to this staging, it is ultimately not their version of the city that is realised: such events are more concerned with creating a sophisticated cultural facade than investing in a vibrant and sustainable local creative culture.
It’s difficult to walk a line between uncritical celebration and pessimistic criticism. It would be all too easy to take a shot here at the apparent irony of R.I.P Society and the presence of ‘dolewave’ in the Music program (particularly in the context of the recently announced federal budget, which will have a severe impact on the ability of artists to make and show work). Actually, I believe that the fact that a number of local creative communities are represented as part of Vivid is a very good thing: I’m genuinely excited for those who have had the opportunity to be a part of the festival and enthusiastic about these cultures being visible on a larger stage. That said, I am also deeply ambivalent about what lies behind the festival’s benevolent face. The content and pricing of forums on ‘creative use of vacant spaces’, ‘cultural facilities’ and ‘young people and the arts’ (from the ‘Local Government Forum Series’) suggests that the focus is on presenting ourselves as creative in order to attract tourism and investment, rather than actually nurturing said creativity. Large-scale events like Vivid inevitably involve many competing interests and this isn’t a bad thing per se: what I’m arguing here is the importance of balancing those interests against each other.
If it’s a truly open, progressive and creative city that we seek, then (to echo Andy Pratt) we cannot afford to be ‘starry eyed’.4Amidst growing calls for greater recognition of and support for creative projects as part of the fabric of our city, it’s worth stopping to think about what kinds of creative projects, and what kind of city, we actually want - and for who.
Photography: Gus Hunt

1 Michael Cohen (2007) ‘Tracing New Absence: Events for Place-making and Place-faking’ About Performance, No. 7, 183-196 2 Joel Meares (2014) Vivid Sydney: the light is fantastic now but it wasn’t always so’ The Sydney Morning Herald, May 16, 2014, accessed June 4, 2014 http://www.smh.com.au/entertainment/art-and-design/vivid-sydney-the-light-is-fantastic-now-but-it-wasnt-always-so-20140516-zreqv.html 3 Laura Levin and Kim Solga (2009) ‘Building Utopia: Performance and the Fantasy of Urban Renewal in Contemporary Toronto’ TDR: The Drama Review, 53:3, 37-53 4 Andy Pratt (2011) ‘The cultural contradictions of the creative city’ City, Culture and Society, 2, 123-130

A truly Vivid Sydney

Vivid is an idiosyncratic event on Sydney’s cultural calendar that has grown rapidly since its inception in 2009. What has made Vivid so successful is its ability to affect the ways in which we understand and experience our own city. Taken on even a superficial level, the festival is a resounding testament to the transformative power of art. The artistic director of 2009-2010’s Fire Water, Michael Cohen, has spoken about this kind of potential in relation to a lesser known cousin of Vivid: Newcastle’s LiveSites.1 In attempting to frame such events, Cohen recalls the experience of a school fete during childhood, in particular how the familiar schoolgrounds would feel somehow different afterwards. The goals of his work are framed as ‘that feeling, those recollected stories and affected memories’.

However, Vivid did not emerge solely from a desire to reinvent the city for its inhabitants. Rather, like many similar high-profile cultural events worldwide, it was an initiative designed to bumper tourism numbers in the winter months, which had declined over the years following the Sydney Olympics.2 Acknowledging the complex, interrelated interests that lie behind the festival adds depth to the unproblematic image of Vivid as a celebration of the city and its cultures. Laura Levin and Kim Solga, writing about Toronto’s Luminato Festival, ask questions of that event that are pertinent here.3 ‘When we set out to “stage” a city, whose vision of the city do we rehearse as “real” or “true”? Who benefits from that staging, and who pays the hidden costs?’ Levin and Solga’s verdict is searing: that ‘such projects co-opt and redeploy the experiences of those they ultimately marginalize’. In other words, while artists, arts-workers and existing cultural scenes are essential to this staging, it is ultimately not their version of the city that is realised: such events are more concerned with creating a sophisticated cultural facade than investing in a vibrant and sustainable local creative culture.

It’s difficult to walk a line between uncritical celebration and pessimistic criticism. It would be all too easy to take a shot here at the apparent irony of R.I.P Society and the presence of ‘dolewave’ in the Music program (particularly in the context of the recently announced federal budget, which will have a severe impact on the ability of artists to make and show work). Actually, I believe that the fact that a number of local creative communities are represented as part of Vivid is a very good thing: I’m genuinely excited for those who have had the opportunity to be a part of the festival and enthusiastic about these cultures being visible on a larger stage. That said, I am also deeply ambivalent about what lies behind the festival’s benevolent face. The content and pricing of forums on ‘creative use of vacant spaces’, ‘cultural facilities’ and ‘young people and the arts’ (from the ‘Local Government Forum Series’) suggests that the focus is on presenting ourselves as creative in order to attract tourism and investment, rather than actually nurturing said creativity. Large-scale events like Vivid inevitably involve many competing interests and this isn’t a bad thing per se: what I’m arguing here is the importance of balancing those interests against each other.

If it’s a truly open, progressive and creative city that we seek, then (to echo Andy Pratt) we cannot afford to be ‘starry eyed’.4Amidst growing calls for greater recognition of and support for creative projects as part of the fabric of our city, it’s worth stopping to think about what kinds of creative projects, and what kind of city, we actually want - and for who.

Photography: Gus Hunt

1 Michael Cohen (2007) ‘Tracing New Absence: Events for Place-making and Place-faking’ About Performance, No. 7, 183-196 
2 Joel Meares (2014) Vivid Sydney: the light is fantastic now but it wasn’t always so’ The Sydney Morning Herald, May 16, 2014, accessed June 4, 2014 http://www.smh.com.au/entertainment/art-and-design/vivid-sydney-the-light-is-fantastic-now-but-it-wasnt-always-so-20140516-zreqv.html
3 Laura Levin and Kim Solga (2009) ‘Building Utopia: Performance and the Fantasy of Urban Renewal in Contemporary Toronto’ TDR: The Drama Review, 53:3, 37-53 
4 Andy Pratt (2011) ‘The cultural contradictions of the creative city’ City, Culture and Society, 2, 123-130

Photography: Jaclyn Paterson

Photography: Jaclyn Paterson


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dionyssos:

Jean Brusselmans , Belgian 1884 - 1953

dionyssos:

Jean Brusselmans , Belgian 1884 - 1953


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Unity Floors, Chook Race, Standard Bowl, 12 September 2014
For the first release from Mystic Olympic. Interview between the two bands here.

Unity Floors, Chook Race, Standard Bowl, 12 September 2014

For the first release from Mystic Olympic. Interview between the two bands here.

Originality is overrated
Photography: Bianca Bosker

Originality is overrated

Photography: Bianca Bosker

Liars know how to be in a band, Wendy Syfret, i-D Magazine, 24 July 2014


Henri Matisse’s studio, 1948

Henri Matisse’s studio, 1948

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jesuisperdu:

martiros saryan
1912