No Ball Games Allowed scratches at the insides of our bodies, irresistibly, but without reaching the spot of sensitivity, as it leans away from us and, instead, fully into itself.
A household name but with no one watching, are the Academy Awards… over? In 1998, the Oscars drew 55 million viewers to their self-professed glamorous ceremony. In 2010, numbers hovered above 40 million. Each year since, they have plummeted: 23.6 million in 2020 to 9.8 million in 2021. So why does no one watch the Oscars anymore?
Bula 🙂 I travelled to Fiji after Australian borders opened at the end of 2021 and (incidentally, due to covid isolation and a cyclone) stayed into the baby weeks of 2022. This video features footage only.
Rebecca Belmore’s corpulent force carries Turbulent Water, Australia’s first solo of the celebrated Lac Seul First Nation (Anishinaabe) artist. Showing at Buxton Contemporary until May, the exhibition broadly positions Belmore’s works: video projections with performance and sculptural elements which nurture Indigenous peoples’ cultural bonds and abrasions.
Retro sci-fi stage production SLUTNIK™ sprinkles in delight with sincere rocket scientist (Olivia Mcleod) and her Motherboard (Myfanwy Hocking) heading a fleet of lesbian cannibals away from the gendered perils of earth.
A non-linear narrative spun by its emotional axis risks not engaging some audience members with more substance. But, whatever the outcome, He/r doesn’t shirk away from its sensitive nature. The production centres on the unfettered psychology of queer women, coming full bloom through organic emotions instead of a clear cut socio-political takeaway. Although teetering toward overly stimulating and elusive, He/r mediates friendship with a raw, mesmerising quality.