When it comes to collage, there's a couple things you might not be aware of. Firstly, the act of cutting and pasting various parts into a brand new creation isn't just something kids do. Secondly, this fine city of ours has a whole group dedicated to the art of assemblage. For those keen to get snipping and gluing, the aptly titled Brisbane Collage Club is the place to flock to. The likes of Felix Clifford, James Hornsby, Justin Stenton-Dozey, Kat Elizabeth Donald, Katy McHugh, Kurt Whittington, Laura Richter, Lizzie Riek, Rachael Bartram, Warren Handley and Harley & Händen already have — so much so that they're all featured in the organisation's first exhibition. For three weeks, their efforts will adorn the walls of Poly Gone Cowboy, starting with an opening event on January 29. Working across both digital and analogue, and combining everything from poetry to photography, their pieces provide a showcase on two fronts: of the city's imaginative up-and-comers, and of works likely to inspire your own creative patchworks. Image: Katy McHugh Design.
It's the news Brisbane eastsiders have been waiting for, and anyone keen on mixing up their Sunday morning shopping routine will be pretty happy about it too. Come January 31, the Carindale PCYC will be playing host to a new weekly market. It's called Moo and Glue. And the great name is just the beginning — though, when it comes to summing up both the farm-fresh and handmade goodies on offer, the market's moniker really does get the message across. They're backing it up with the usual mix of stalls and trucks, all selling things that will stock your pantry, fill your stomach and decorate your home. On the edible side of equation, expect locally grown produce from The Happy Veg, fresh bread from The Baker's Corner, caffeinated brews from Mr Barista, ice cream from Miss Daisy and sweet treats from Eat That Cake. More stallholders are being announced on a regular basis, so expect that list to grow. Yes, you're allowed to get hungry just thinking about it. Elsewhere, you'll find an international food court lined with many of the city's favourite mobile eateries, plus a jumping castle for younger attendees. Basically, it's the weekend marketplace locals have been dreaming of — and a much needed addition to this patch of Brisbane. The first Moo and Glue Farmer's, Craft and Boutique Market will take place on January 31 at the Carindale PCYC, 27 Narracott St, Carina, and will run every Sunday morning from 7am. For more information, visit their Facebook page. Image: Dollar Photo Club.
If you've been searching for a supportive environment to use the phrase, "How very droll," listen up. NPR humorist, bestselling author and creator of uncomfortably real windows into human existence David Sedaris is coming back to Australia. Returning for a national tour in January 2016, the beloved American humour writer will bring his trademark sardonic wit and social critique to the stage for An Evening with David Sedaris, his third tour to Australia. Celebrated for his constant This American Life appearances, must-read pieces in The New Yorker and his unputdownable books Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames and his most recent book, Let’s Explore Diabetes With Owls, Sedaris is no stranger to telling it like it is — and don't expect our own country to get away unscrutinised. "I love the airports of Australia," says Sedaris. "Security wise, they’re like stepping into a time machine and coming out in 1975. No one yells at you, you get to keep your shoes on. It’s heaven. Coming from the UK, I also appreciate how open the people are, how willing to talk about money. ‘How much did your house cost?’ I ask. ‘How much do you make per year?’ In Europe people pass out when you ask that question, but in Australia, they just jump right in and answer." Sedaris's last Australian tours sold out quicksmart, so you're going to want to lock these down when they're on sale 9am August 14. AN EVENING WITH DAVID SEDARIS TOUR DATES: January 17 — Civic Theatre, Newcastle. Tickets via ticketek.com.au. January 18 and 19 — Sydney Opera House, Concert Hall. Tickets via sydneyoperahouse.com. January 20 — Brisbane City Hall, Brisbane. Tickets via ticketek.com.au January 21 and 22 — Hamer Hall, Arts Centre Melbourne. Tickets via artscentremelbourne.com.au. January 23 — Theatre Royal, Hobart, Tickets via theatreroyal.com.au. January 24 — Octagon Theatre, Perth. Tickets via ticketswa.com. Tickets on sale 9am Friday, August 14. Image: Anna Fishbein.
The '90s really are the decade that just keeps on giving. You lived through the outfits and the music, then looked back with astonishment after they passed. Now, enough time has elapsed that you can embrace them again with the affection you’ve always been secretly harbouring. You know it's true. That’s where the ‘90s Music Video Party comes in, celebrating the decade everyone once pretended to forget but now loves to remember. Nostalgia is unavoidable as three hours of your favourite tunes set a retro mood, accompanied by the corresponding music videos on the big screen. Last time this event it was held, it sold out — that's how much everyone wants to pretend to travel back in time. Yes, the bubblegum pop of Aqua and the grunge of Soundgarden will combine, and the MMMbop of Hanson and the room shaking of DJ Jazzy Jeff & the Fresh Prince too. Hop on to the event’s Facebook page in advance to request your must-hear track, then make like The Spice Girls and say you’ll be there.
“Your nose like a delicious slope of cream / And your ears like cream flaps / And your teeth like hard shiny pegs of cream.” Diner en Blanc — like Howard Moon's poem — will have you in all white. But sorry, Booshers: the fourth edition of this Brisbane event is just for the sophisticated. Now on five continents, the Diner en Blanc began in Paris 27 years ago thanks to François Pasquier and friends. This year, 2000+ of Brisbane's creme de la creme will once again dress in all white on Saturday, October 17, for the event held at a predictably stunning location that remains secret until the very last moment (for the last two years, it was the beautiful banks of the Brisbane River at Portside and Roma St. Parklands). Following an evening of elegance, fine dining and live music, the foodies then pack up their crystal, dinnerware, tables and litter. Like ghosts (white 'n' all), they leave behind no sign of their rendezvous (but don't get any ideas, a white sheet thrown over your figure will not do for an outfit). Diner en Blanc guests must either be invited by a member from the previous year, or get on the waiting list for a ticket. Here's what happened last year:
While women are more present than ever in the armed forces, the military uniform somehow remains a symbol of hyper-masculinity. It evokes ‘manly’ ideas of discipline, power and emotional disconnection — and, of course, there's the old trope lauding the physical appeal of a man in uniform. In Men in Uniform, Bachelor of Fine Arts Honours candidate Sally Edwards uses a collection of men’s fashion to playfully reinterpret the military uniform and its masculine associations. The exhibition takes the form of a one-night-only runway show, where Edwards’ collection sees combat fatigues and trench coats become pink PVC and orange knits, questioning current notions of masculinity and how they are communicated through fashion. Be at AC-H Gallery from 5pm, 17 October, to see Men in Uniform march down the runway. Photo by Yck Strong.
Sometimes, one festival just isn't enough. As ace as the Teneriffe Festival is, the festival within the festival is one of its biggest drawcards. That'd be the Pork, Fork & Cork Festival, Part IV, and its annual ode to tasty food and beverages. As the name suggests, this is the street party's fourth year, which means they've perfected the art of eating, drinking and being merry. Festival mainstays Alfred & Constance, Alfredo’s Pizzeria, Chester Street Bakery, Kwan Brothers and Limes Hotel are all part of the fun, showcasing savoury sensations, specialty cocktails and all-ages milkshakes. They're joined by the Doughnut Time caravan, which means ample parcels of sweet pasty goodness that no one can resist. Newcomer Little Wick Winery will also pop up, and if you don't know who they are now, you won't be able to forget afterwards. The festival marks the first public unveiling of their venture, Queensland's first urban winery. Now that's something to sip and savour — and to keep talking about afterwards. You can do just that at one of the two official afterparties, on the rooftop at Limes Hotel and inside the walls of Alfred & Constance — where else?
Grab your vomit bag: one of the most notorious and disgusting franchises in the history of horror movies is slithering into cinemas for round number three. From the demented mind of writer-director Tom Six, The Human Centipede 3 is being touted as the most extreme film in the series so far, featuring a centipede more than 500 people in length. It’s also currently sitting at a whopping 7% on Rotten Tomatoes, which is roughly seven percentage points more than we expected. The Human Centipede 3 will have its sole Brisbane screening at New Farm Cinemas on Thursday July 2, marking the only time you’ll be able to view the film on the big screen in all its repulsive glory. Actor Laurence R. Harvey will be on hand for a post-film Q&A, assuming the entire audience hasn’t already fled the theatre.
The super-adorable Finders Keepers Markets have been home to Brisbane's most creative and quirky designers for more than six years. The independent hip-fest is returning to their home at The Old Museum in July for two days. The biannual, designer-centric, come-one-come-all mini-festival has managed to bridge the gap between local market and exclusive exhibition, creating a space for independent designers to engage with the wider community. You'll be able to nab some marvellous treats difficult to find anywhere else. From bespoke leather goods to bespoke stationary, upcycled journals to upcycled bicycle reflectors, every stall will be a unique shopping experience that combines innovative design with grassroots feel-goodery. As usual, there will be live music, a cafe, a bar and thousands of other Brisbanites celebrating independent art and design. Finder Keepers is open 10am-4pm on both days.
Maths and art may not seem like easy bedfellows, but don't tell that to Genine Marie Larin, Meagan Streader and Robert Andrew. The emerging Brisbane creatives have banded together to explore line as a point of movement. No, this isn't just a show filled with paintings of stripes. Their exhibition is called Superlinear, a term that has specific mathematic significance. It describes a function that grows faster than a linear one — and is also used when a line departs from the two-dimensional plane. Think about brush strokes expanding and rushing forward, and that should give you an idea of the types of images they're working with. Superlinear also marks the eagerly awaited relaunch of the Spiro Grace Art Rooms, Spring Hill's favourite dynamic exhibition space. What better way to rechristen a place that attempts to leap ahead of the artistic pack than with a show based on doing the same? Now that's a great creative equation.
"When you've got it, flaunt it," the song goes — and when it comes to Australian movies, filmmakers have taken that advice. What they've got is a stunning outback setting, and they certainly know how to show it off. The latest example: Strangerland. A tale about missing children, arguing parents and the many factors that have caused both states of affairs, Strangerland has plenty of other things going for it. There's the high-profile cast of Nicole Kidman, Joseph Fiennes and Hugo Weaving, for one. There's the simmering mood of melodrama, for another. There's never any doubt, however, that this is a movie defined by its location. The Parker family — pharmacist Matthew (Fiennes), his wife Catherine (Kidman), teenager daughter Lily (Maddison Brown) and younger son Tom (Nicholas Hamilton) — has moved to the country town of Nathgari, laying low and hiding from past troubles. It's the kind of place where the locals know each other by name, and where there's little to do but complain about the heat, which the newcomers do plenty. It's also the kind of place where kids wander and adults wonder, as happens when Lily and Tom disappear into the night, leaving Matthew and Catherine looking for answers. A determined cop (Weaving) investigates the case, his detective work uncovering family surprises, marital tensions and deep-seeded disharmony, while a dust storm complicates his search. A remote town turned ugly and a scenic setting brimming with complexity fuel Strangerland, recalling the likes of Wake in Fright, Picnic at Hanging Rock and Mystery Road. They're comparisons first-time feature director Kim Farrant seems happy to conjure, leaning heavily on the oppressive nature of the landscape as she does. Her film lingers, both lovingly and a little too long, on aerial shots of the rock, dirt and scrub, making the harshness of the Australian desert evident. In fact, postcard-worthy pictures of the nation's interior receive almost as much screen time as the actors. That's not to say that the cast doesn't have much to do, just that they're often dwarfed by their background — and that rings true not just visually but in the story. Kidman carries the weight of past tensions in her performance, one of her best of late, as a woman trapped on several levels. In contrast, Fiennes doesn't fare as well at expressing his character's inner turmoil, leaving his on-screen wife the star of the show. The third point in their tussle, the ever-welcome Weaving, makes the best of a stock-standard part. Indeed, stock-standard describes the majority of Strangerland as it sticks to the 'atmospheric Australian drama' playbook. What sets the movie apart from other efforts, however, is its refreshing consideration of female sexuality — a rarity in films of this and other ilk. It seems that the women at the feature's core have also heeded guidance about flaunting what they've got, their desire and desperation proving gripping viewing. Strangerland is at its most powerful when contrasting Lily's blossoming youth with Catherine's need to connect, and coping with the crises that spring from both. The space between the two is the real mystery unfolding in the outback.
“We don’t see things as they are, we see things as we are,” said Anais Nin — but what does that mean in these selfie-taking times? We use social media to share our thoughts and to cultivate our identities. We build our sense of selves through snaps and posts, and we form opinions of others through their online presence. We know that they do likewise. There's plenty of food for thought in the topic, so custom garment printers The Print Bar and creative collective The Push have asked 16 female artists to chew it over. Not Yr Sweetheart is the result, pondering who we want to appear to be in our current social media-heavy climate, and doing so through graffiti, jewellery, photography, large-scale murals, ceramics, print making, illustration, typography, sound and fashion design. It's a diverse showcase of fluid personalities, a celebration of a handpicked group of local talent, and — like our internet-mediated images — whatever we perceive it to be. It's also a chance to support Australian (and one US) creatives as you're laughing, questioning, dancing and interacting with their works, with all sale profits going back to the artists and their efforts to forge their identities.
You've watched films based on World War II. You've read books and possibly seen plays, too. You might not have seen an immersive dance theatre installation, though — but now, thanks to performer and Phluxus2 Dance Collective artistic director Nerida Matthae, you can. In putting together the company's latest production, she took inspiration from photographs of her grandfather, a German paratrooper. His experiences provided the starting point for The Paratrooper Project, and for an expression of several lines of thinking about history and conflict. How does the past, particularly when filled with traumatic acts, influence the present? What imprint does war leave upon current day realities? Down in the trenches, that's what Matthae and fellow collaborators Gareth Belling, Gabriel Comerford and Margi Brown Ash investigate through movement. Together, they dance through remnants and imaginings of time, memory, action and trauma — but they're not alone. As the performers are placed in the battle zone, surrounded by 12 moving parachutes and accompanied by a soundtrack that utilises artillery, you can walk through and explore the set. You won't just witness the intimate, thought-provoking rumination on conflict — you'll be a part of it.
Your wallet is empty but your wardrobe and shelves are filled with nice-looking stuff: it's the epitome of a #firstworldproblem. You're probably not used to thinking much more about it, but Nancy Stilianos is. She has even created an entire art show on the topic. All the Pretty Things ponders the effects of overconsumption, while also presenting an ongoing search for remedies to our spend-happy society. And yes, to make her point, Stilianos does use attractive objects — but that's just the beginning, of course. First, she studied mass-produced decorative items and was inspired to create homegrown and handmade alternatives. Then, she realised that stuff has a life beyond its obvious use, and drew upon that discovery to get creative. Next came a contemplation of richness, complexity and diversity, both of the objects and within society. In Stilianos's hands, pretty things become much, much more than the obvious. Join the opening night event on Friday, June 26, from 6–8pm.
Everyone loves pop songs — and anyone who says they don't is probably lying. It's okay, they've got a reputation to uphold. For one night at the Brightside, though, they don't have to pretend otherwise. Punk Goes Pop! is exactly what it sounds like: punk bands covering pop songs. It's based on the series of albums of the same name, first released in 2002, offering loud, fast-paced, rock-infused versions of everyone from 'N Sync to Belinda Carlisle, Rihanna to Kanye West, and Taylor Swift to Mumford & Sons. The list goes on. The Brightside's version offers a fun twist, with local bands Double Lined Minority, Set the Record, Seabound and Elegies along for the ride. They're serving up covers of covers of pop songs, like a nesting doll of new takes on catchy chart toppers. Between sets, Thriller DJs will spin the original compilations to ensure the upbeat mood never wavers. And then there's the drink of the evening, the aptly titled bucket cocktail Falling in Reverse's Take On Coolio's 'Gangstas Paradise' Was the Worst Cover in the History Of Music. Best order it when the music is quiet.
It's the yearly exhibition that leaves us with jaws on the floor; the 59th annual World Press Photo exhibition is coming to Australia for another year. Beating 97,912 submissions by 5692 photographers from 131 countries, Denmark's Mads Nissen took out the top spot for 2014 Photo of the Year for his intimate, poignant portrait of Jon and Alex, a gay couple in conservative St Petersburg, Russia. After almost six decades of beautiful and devastating photojournalism, the WPP contest continues to be one of the world's most important platforms for art, journalism and humanising the headlines. The World Press Photo exhibition can be seen at Sydney’s State Library of NSW, May 23 – June 21; WA Museum in Perth, July 4 – 26; and Brisbane Powerhouse, August 8 – 30. Before the exhibition makes its way to Australia, take a look through some of the landmark images that caught the eye of the WPP judges; from an orphaned rhino in Kenya to Lionel Messi at Brazil's World Cup, Istanbul's anti-government protests to a young Kamilaroi girl in Moree, New South Wales. With many of the photographs documenting the more saddening news headlines, they're often not easy images to look at, but it's the work of these photojournalists that wakes up an otherwise ignorant world.
Bangarra's latest work, lore, celebrates the passing-down of knowledge from one generation to the next. For 25 years, Bangarra has created dance works to enlighten audiences about how Aboriginal and Torres Strait Islander cultures survive today. As its title suggests, lore is no different in providing a stage for ancient spirituality to meet the 21st century. lore is a double bill, and making the rounds to Canberra, Wollongong, Brisbane and Melbourne, following a successful premiere at the Opera House on June 11. Seasoned choreographer Frances Rings' Sheoak is followed by I.B.I.S, by Deborah Brown and Waangenga Blanco, in their choreographic debut. Both Sheoak and I.B.I.S. transport the viewer to sacred places, whether at the roots of an all-giving Grandmother tree or surveying the beauty of the Torres Strait. Bangarra never shies away from social commentary; the works address everything from climate change to racial inequality. Yet in the staunch declarations of identity onstage, there is a constant look to the future, with hope.
Like your culture with a side of scares, your tunes on the heavier end of the spectrum, and your performances gloomier than most? Does your festival-going experience feel incomplete if you're not donning a costume while you're taking in a show? Whether you want to indulge your dark side, or you're just looking to attend a different kind of shindig, one event has you covered. That'd be the Dead of Winter, Brisbane's horror music and arts festival. Because there truly is a place for everything, Australia’s only boutique celebration of all things brooding and mysterious, culture-wise, has enjoyed revelling in the type of stuff most other events overlook since 2009. Think motley crews of horror punk lovers and misfit metal heads — and that's only the beginning. Rock, hardcore, blues and psychobilly combines with burlesque, comedy and even fashion in an event that really isn't like any other. A lineup of local and international underground bands and sideshows — including Tumbleweed, The Go Set, Lord, Dreadnaught, The Resignators and A Breach of Silence — will span multiple stages for a whole day of on-theme fun of the macabre and moody variety. It all happens on Saturday July 25 at the Jubilee Hotel, with tickets already on sale. Until then, it is perfectly acceptable to hole up watching horror movies while trying to decide which costumes to wear.
If you’ve been teetering on the brink of comic book and superhero fatigue, meet the movie that just might push you over the edge. In the case of the latest version of Fantastic Four, it’s not just the fact that every month seems to see a new film in the genre reach cinemas (or the knowledge that this particular content was translated to the screen just last decade). It's also the feature's embrace of cliché, grim tone and a complete lack of energy that causes it to grate, and then some. Fantastic Four is yet another gritty reboot of a superhero origin story. In case you can’t remember the 2005 film of the same name and its 2007 sequel Fantastic Four: Rise of the Silver Surfer (or in case you’ve willingly forgotten them), the series mythology concerns a quartet of friends who get genetically altered and gain superpowers — stretchy limbs, rock-like skin, bursting into flames and invisibility. The characters first created in 1961 by Stan Lee and Jack Kirby are now brought back to the big screen by Chronicle writer/director Josh Trank. Reed Richards (Miles Teller), Ben Grimm (Jamie Bell) and Johnny Storm (Michael B Jordan) travel to another dimension and come back changed, with the latter's sister Sue (Kate Mara) also caught up in the fallout. Their one-time friend Victor Von Doom (Toby Kebbell) goes with them...but doesn’t fare quite so well. With X-Men: Days of Future Past writer Simon Kinberg and The Lazarus Effect's Jeremy Slater helping on the script, Trank’s take is as stern and serious as his cast are young and fresh-faced — think Fantastic Four filtered through the template of a teen drama, even if the actors are slightly older than that. Outcasts come together, trouble ensues, and everyone tries to come to terms with their trauma in a manner not unlike many after-school specials. Yes, life lessons are also learned, including the all-important “never drink and teleport” and “don’t touch the green, glowing goo”. It all makes for as low-key, downbeat affair as comic book adaptations have seen, with the cast the saving grace. The presence of the five key players — plus Reg E Cathey as Johnny and Sue's father — is a welcome one, although their performances hardly live up to the great work they've delivered in the past. Bell's version of the Thing is the feature's highlight, though we hear much more of the actor than we see. In his brooding brute of boulders, a glimpse of the emotion Trank is aiming for is apparent, albeit only briefly. That Teller and co. hardly shine could be a reflection of the stilted dialogue they’re spouting, (including a blatant one-line rip-off of Ghostbusters) as well as the unengaging series set-up they're immersed in. When all the lab scenes, messy action and cheap-looking special effects ultimately build up to the bestowing of the group’s name (aka the movie’s title), disappointment isn’t the only emotion you'll be feeling. As a concept, there’s plenty of interest in Fantastic Four — and yet filmmakers keep floundering in bringing it to the screen. A sequel is already slated, of course, and here's hoping that it tells a new tale with a smattering of enthusiasm, rather than blandly rehashing familiar territory.
A high tea at the Sofitel is the height of luxury, but a high tea inspired by the French, the queens of cake and cheese? Step aside. For a reasonable $55 you can indulge in a kir royale on arrival and then chomp (elegantly) through a spread of sweet and savoury treats in the Sofitel’s 30th floor Club Lounge. This year's tea was inspired by the 2015 Pantone Colour of the Year, marsala, and will feature scones, French pastries, ribbon sandwiches, raspberry choux a la creme, cherry cone mousse and pistachio sacher torte. Zut alors. Do make sure you sing 'Non, je ne regrette rien' loudly as you waddle home, full of French treats.
Everyone's favourite annual celebration of France is back for another year. That'd be the Brisbane French Festival, complete with all the fine food, busy market stalls and fun activities Francophiles have come to expect. This year's three-day cultural affair features plenty of all three, although the wine and cheese pavilion is certain to be everyone's first port of call. If you're able to tear yourself away from feasting on deliciousness, you can browse for homewares, gifts, fashion, books and magazines, or enjoy live music, dance classes and even magic and acrobatics. Want to steep yourself a little deeper in French style? That's where the fashion shows and masterclasses come in. Jostle for the front row as designers Jérôme L'Huillier and Mette Pedersen showcase their chic stuff, or learn about everything from French table settings to Bordeaux vineyards. Then, cap off your weekend of Gallic goodness with a glass of champagne — yes, there's a session on that too, of course.
How much do you know about the tutu, the fitted bodice and round skirt combination that ballerinas wear? Well, you know that. You might not know that they were designed to promote maximum movement while exposing fancy footwork. And they debuted back in 1832 in Paris, making them almost 200 years old. Over those two centuries, they've become an icon of the ballet world, with dancers and audiences alike accustomed to seeing them in pale, single shades. If you've ever wondered what a different take on the tutu would look like, now you can find out. That's the task the Australian Ballet charged the nation's top designers with for a one-off Sydney performance in 2003 — but a great item of clothing never goes out of fashion. QUT Art Museum are bringing these timeless garments to Brisbane, including creations by Akira, Collette Dinnigan, Dinosaur Designs, Easton Pearson, Alex Perry, Sass and Bide, Scanlan and Theodore, Harry Seidler and Tigerlily. Here, dance meets design in the most stunning, stylish way, and a romanticised costume gets reinvented.
Nothing says you're sorry like a pom pom. If you haven't heard that saying before, don't worry. We might've just made it up, but we're simply following in Rachel Lynch's footsteps. Since September 2015, Lynch has been the go-to gal for woollen tokens of apology after making her own, letting it loose on Instagram and watching the world take notice. Her fluffy balls of remorse inspired others to follow suit, resulting in an ongoing community art project and The Print Bar's Apomogy exhibition. The former, like the underlying concept itself, is as straightforward as it sounds: all manner of people craft their own pom poms, attach their candid confessions, and then post them off to be included in the artwork. The latter showcases the project as it currently stands, complete with multi-coloured bundles and hand-scrawled notes galore, as well as workshops to help apologetic folks whip up their best creations. Who knew saying sorry could be so much fun?
Thirsty? If you're not now, you will be once you've read this. That's the only appropriate reaction to a festival of beer, after all. Just think of all the amber liquids and foamy goodness. Okay, enough drooling; here are the important details every ale lover needs: more than 130 beers and ciders will be on offer, plus an international food court. To set the mood for two full days of booze and food, there'll also be live music from none other than Daryl Braithwaite and Shannon Noll. You don't turn a beer fest into a long weekend bonanza without calling in the pub rock big guns. Eating and drinking might be the main attractions at Brisbane Beer Fest's 2016 outing, but this is also an event for those serious about their beverages too. Amid the tasting and the sampling of more tipples than you could dream of, you can also meet the folks behind 20-plus breweries and find out their tricks of the trade. If there's a beer heaven, this is it. Image via Green Beacon Brewing.
If you like beer, buns and biological conservation, then get your mates together and lend a hand. Stone & Wood Brewing have set up a pretty incredible initiative that not only sorts out a gross environmental problem at Gardens Point, but lets you party in return. First things first: the clean up. Slip, slop, slap and head to Gardens Point mangroves under the fig tree on the Riverstage side of the Goodwill Bridge at 3pm this Saturday. For two hours you can lend a hand cleaning up the mangroves in the area along with Clean Coast Collective. Then, as a little treat, you get to party. Pesto & Meddles, Eden Mulholland and TH'FIKA will be performing at the Maritime Museum, and the Bun Mobile will be providing all the bites. That will kick off at 5pm, aka immediately after the clean up finishes, and it should wind up around 9pm. Have a bit of heart and sign yourself up for this worthwhile cause — or just do it for the beer.
Having said au revoir to the French Film Festival, it's now time to slip over the border into Spain. Returning to Palace Cinemas around the country, this year's Spanish Film Festival will once again showcase some of the biggest and most critically acclaimed Spanish and Latin American films from the past 12 months. How's that for a cinematic siesta? The festival — which will feature at the CBD's Palace Barracks and Palace Centro in Fortitude Valley — begins with the highest grossing film at last year's Spanish box office: rom-com sequel Spanish Affair 2. Other comic standouts include espionage spoof Spy Time, madcap ensemble My Big Night, and dark domestic comedy Happy 140. Of course, not everything on the program is quite so light and breezy. Critically acclaimed drama Much Ado About Nothing confronts legal and political corruption in modern day Chile, while Ma Ma stars Penelope Cruz in one of her most nuanced roles to date, as a put-upon single mother diagnosed with breast cancer.
Feel like being inspired? In need of a positive evening out? Trust Peppermint Magazine, Australia's own eco fashion and lifestyle quarterly, to come up with an event that fits the bill: their PepTalks series. Launching on March 22 at Wandering Cooks, PepTalks embraces both interpretations of its name. Yes, fab folks featured in the magazine's pages will chat about their work, lives and efforts to make a difference. Yes, their discussion will pep you right up. Justine Flynn, Hailey Bartholomew and Shannon Sheedy are the first inspiring figures in the PepTalks hot seat, sharing their experiences founding social enterprise organisation Thankyou, making short films, and creating sustainable homewares and lifestyle brand Dharma Door respectively. Plus, talk isn't the only thing on the menu, with snacks from Sol Breads, Woombye Cheese Company and Loving Earth chocolate also on offer, as well as a drink on arrival.
If art should make audiences think differently about the world around them, then Geoff Todd has hit the jackpot. Sure, his work has been displayed by the National Gallery of Australia and other prestigious institutions, and featured in exhibitions across the United States, Austria, Hong Kong and Italy as well; however his real aim is to shed light on those often ignored. Focusing on the mythological creatures of several cultures, and following their transformation from their original incarnations, Todd's Beautiful Beasts dissects figures that are frequently persecuted and misunderstood. Of course, while his paintings and drawings depict sirens, minotaurs and more, it's not difficult to see the real-life, modern-day parallels. Indeed, there's something probing and mesmerising about his pieces, which draw upon Todd's labourious research. Thankfully, pondering his art and its meaning isn't limited to his latest show, with the event doubling as the launch of his new book of the same name.
If you had a childhood fear of swimming at the beach, tried to get your bicycle to fly, dreamed of becoming an archeologist or begged your parents to take you to a dinosaur-filled theme park, then we're betting you grew up watching movies made by one man. That's just the impact Steven Spielberg's films had on kids of the '80s and '90s. Now, decades later, your youthful obsession is about to come in handy in the most important way possible. First, gather your similarly fanatical friends. Then, head on over to Shady Palms to strut your stuff at their Spielberg trivia night. Yes, Steven Spielberg (not to be mistaken for Senor Spielbergo) is in the spotlight at the next Man vs Bear-hosted battle of knowledge, which is good news for everyone who wore out their family VCR or DVD player watching Raiders of the Lost Ark, E.T. the Extra-Terrestrial or Jurassic Park over and over again. Questions about everything from Close Encounters of the Third Kind and Schindler's List to Saving Private Ryan and War of the Worlds are bound to pop up — and, if you emerge victorious, you'll probably be crowned the next JJ Abrams. If you've seen Super 8, you already know that the Lost creator and Force Awakens director is the world's number one Spielberg expert.
In the space where someone makes art, two things combine. The product of their efforts takes shape as a tangible object, and the tools of their labor remain scattered around it. The artwork is the main attraction, but it wouldn't have been possible without a range of mundane items and materials. With Catacoustics III, Charles Robb once again connects the two into composite sculptural forms or installations. And he does so while building upon his previous efforts and considering another important artifact of the creative process: the public monument. Accordingly, as he explores the slippages that occur in an artists' studio, as well as the contemporary possibilities of his chosen medium of sculpture, he also constructs a fragmented replica of the Ian Fairweather (1891–1974) memorial rock on Bribie Island. Inside and outside forms of art merge, as do the familiar and strange, and the meticulously crafted and refined but also strangely disorienting, in an exhibition that ponders both form and purpose.
Everyone knows that music is best when it is live and loud, and Brisbane has the event to prove it. That’d be the aptly named Brisbane Live Music Week, a seven-day showcase of the city’s sonic shenanigans presented by community radio station 4ZZZ. Any and all gigs taking place in Brisbane from March 20 to 26 technically fit the bill, but there’s much more to the third celebration of the city’s thriving music scene than that. There’s also one-off shows, the Queensland Music Awards and an Autumn sound smorgasbord, championing a variety of acts, styles and venues. City and Colour, Melissa Etheridge, Bixby Canyon and Steve Earle and the Dukes all feature on a lineup that any event would dream of having, spanning local legends, home-grown up-and-comers and international stars. Keep checking the BLMW website for the latest additions, and for those who can’t make it in person, there’ll be special live-to-air performances across 4ZZZ and their online outlets.
Forget awards ceremonies — acting classes are where the real heroes of the stage and screen can be found. Sure, you mightn't have heard of any of the folks learning their craft yet, but you will. Today's aspiring thespians are tomorrow's stars. That's why productions such as The Government Inspector are must-see affairs if you're serious about theatre and the performing arts. Final-year QUT Bachelor of Fine Arts (Acting) students will tread the boards to showcase their skills, and treat audiences to a retelling of a satirical Russian play in the process. If you're not already acquainted with the underlying story, don't worry — tales of corrupt government officials never feel anything less than familiar. In David Harrower's translation of Nikolai Gogol's classic piece, the arrival of the titular character sends a self-serving mayor into a panic. Chaos results, but only when it comes to the narrative, not the up-and-coming cast of talented performers.
Think beer is the only beverage Brisbanites are interested in this month? Think again. The city might be celebrating ales and other hops- and yeast-infused concoctions; however Felix for Goodness is turning their attention to a different kind of drink. Yes, their tipple of choice will keep you in high spirits — as long as you like gin, that is. Prepare for an evening filled with clear, fruity deliciousness of the locally made variety. It's not called the Australian Gin Night for no good reason. Hosted by Nip of Courage, the event has everything a gin lover could ask for: gin cocktails, matching canapés, and a sample of ten boutique Australian drinks, including a mystery option. For those keen to learn more about their preferred alcoholic liquid, Young Henrys' head distiller Richard Adamson will be on hand to present his latest release. No, this isn't a beer shindig by stealth — don't forget that the Newtown brewery also make their own Noble Cut gin as well.
The team behind the phenomenal stage play Songs for Nobodies are returning for a spiritual sequel. Written by playwright Joanna Murray-Smith specifically for singer and actress Bernadette Robinson, Pennsylvania Avenue showcases Robinson's masterful vocal ventriloquism, as she performs songs by Marilyn Monroe, Aretha Franklin, Bob Dylan and more. The show had its world premiere at the MTC in late 2014, and now makes its way to the Queensland Performing Arts Centre for a two-and-a-half week run. Robinson stars as Harper Clements, a staffer in the White House Social Office in charge of booking musicians for Presidential functions. Its conceit is just an excuse to let Robinson dust off her vocal chords, delivering musical impressions so bang on the money you'd swear the actual stars were right there in the room. To read our review of the original run of Pennsylvania Avenue, go here.
Remember when your mother told you that the friends you make at university will become your pals for life? Well, there might just be some truth in that soothing statement. It certainly proved accurate for the three artists behind The Shape of Words: Nameer Davis, David Parker and Barbara Penrose. 25 years ago, they met as students at Queensland University of Technology's painting and sculpture studios; today, they're sharing a showcase at the Brisbane Institute of Art. Their background isn't the only thing that unites them, though. As the name of the exhibition suggests, they're all more than a little fascinated with text. At this reunion of sorts, see how the three diverse practitioners interpret and interact with their common interest. Given that they've all forged their own paths — Davis tutors in painting and drawing at BIA, Parker is a jeweller and painter, and Penrose is well known for her public art — expect not only a celebration of their similarities, but of their differences. Image: Nameer Davis.
Think you've seen everything when it comes to theatre? Think again. Actually, you might've seen This is Capital City when it wowed audiences at La Boite Indie in 2013; however this all-new version promises something both different and special. For the unacquainted, don't expect your usual stage effort. In an interactive performance that guides you around Brisbane Powerhouse, you'll don headphones and embark upon a solo experience, because you're a part of the film noir and science fiction-influenced action. Your motivation: searching for answers surrounding the death of a co-worker in the world of Capital City. There's a war going on, but things are looking up — until you feel the need to find the truth and seek justice. You'll wander through your surroundings and question everything you've been told. You'll also be immersed not only in your environment and the tale you're unraveling, but in an intimate production where you're instrumental to the show.
On the first Monday in October, Queensland stops to honour ordinary working folks. Their labours earn everyone a day off and a long weekend — aka the best kind of reward for hard work done well. On the evening before this annual day off, the Flying Cock want to turn the occasion into a celebration. And, being the cheeky place that they are, they've come up with the perfect name for it. Meet the Labour Party, and no, it's not the one that first springs to mind. Here, politics won't be anyone's topic of conversation. Instead, the policies include: free entry all night, letting everyone in and preferring that no one wears a white collar. Of course, the event really is just an excuse for everyone to converge on the Brunswick Street bar, not that anyone needs one on the eve of a public holiday. DJs spinning on-theme tunes and the kitchen pumping out late-night food provide extra incentive, but we think the promise of fun and hijinks followed by a sleep-in the next day is the best encouragement.
The reputation of Australia as a holiday destination — particularly Queensland — once went hand-in-hand with a tradition of postcards. Every post shop, tourist attraction and souvenir store was awash in a somewhat cheesy sea of koalas, Harbour Bridges and the ‘Aussie Beach Bum’ (complete with bikini-clad buttocks against a sandy backdrop). Greetings From… is a lighthearted reimagining of the postcard as a pictorial representation of Australia. While koalas and landmarks might still be used as subjects, the contributing artists also depict the people and places that form their personal Australian identities, from favourite local bands to household products. The result is a collection of inside jokes, shared experiences and Australian icons that create a sense of shared cultural identity and connectivity — aks a nostalgic revival of the postcard’s role as a form of communication. Greetings From… exhibits at Work-Shop Brisbane until 24 October, with all artworks available for purchase.
When it comes to fashioning a successful rom-com, finding the right blend of romance and raunchiness is a delicate balancing act. If too much of the former is present, the film can wallow in cliché and sappiness. If too much of the latter rears its head, the physical side of things can overtake the emotional aspects. Sleeping With Other People might boast a title seemingly aligned more with one of these camps than the other; however this amusing, endearing look at the lives and loves of reunited college classmates happily finds the middle ground. Sexually candid dialogue combines with sweetness, yet never of the syrupy variety. The movie's characters want a happy ending, but they want to earn it — and they want it in all its forms. In 2002, Lainey (Alison Brie) and Jake (Jason Sudeikis) meet during a dorm room altercation, start chatting about matters of the heart and body, and then lose their virginity to each other on the same night. Twelve years later, they cross paths at a sex addiction group, with both harbouring intimacy and commitment issues that plague their dating encounters. Sparks fly, though given their respective romantic troubles, they agree they'd be better off remaining as pals. That decision starts to haunt them as they realise that their bond has all the hallmarks of a relationship, other than the slipping between the sheets part. There's never any doubt that both Lainey and Jake are frequently thinking about being more than friends — and while the course the largely brightly-shot Sleeping With Other People bounces along isn't difficult to foresee, the film is primarily concerned with them fighting that urge. For the central duo, they're trying to flee from their past problems and approach romance with maturity for a change. For writer/director Leslye Headland (Bachelorette), she's attempting to explore the non-bump-and-grind aspects of falling in love. That means that a scenario that seems ripped from the familiar actually becomes much more thoughtful, stripping away the schmaltz and adding an ample dose of authenticity. It's also ripe for comedy, whether flinging fast-paced, filthy dialogue between the protagonists (or fellow cast members Natasha Lyonne, Jason Mantzoukas, Amanda Peet and Marc Blucas as various friends and lovers), joyously enjoying Brie getting her groove back by dancing to David Bowie's 'Modern Love', or finding humorous truths in darker, more reflective moments. Of course, banter infused with wit, wisdom and warmth is only part of the rom-com package, however relatable it proves. As the genre has demonstrated time and again, getting audiences to actually believe the connection between the characters is a large part of the hard work. Here, Sleeping With Other People benefits from excellent casting, as fans of Community and Saturday Night Live will already know. Brie and Sudeikis dial up the chemistry that the film so crucially relies upon, yet never at the expense of fleshing out their roles. That mix of the expected and textured is the movie's ultimate balancing act, and serves it as well as it does it stars. Sleeping With Other People knows you know what's going to happen, but filters it through frankness, upbeat realism and an engaging double act, resulting in a rom-com delight that feels as genuine as it does honest.
Over the past century, Japan has given audiences the samurai epics of Akira Kurosawa, the monster mayhem of Godzilla, the manic violence of Takashi Miike and the animated splendour of Studio Ghibli. That's quite the achievement, and it's only scratching the surface of their marvellous movie output. It is little wonder then that the annual cinema showcase of the nation's next batch of film treasures — aka the Japanese Film Festival — is a highlight of every cinephile's calendar. Here, you'll see what it takes to become a manga star and you'll unravel a boxing-centric love affair, and that's just in Bakuman and 100 Yen Love, the program's opening and closing night films. The rest of the lineup is similarly diverse, whether exploring a schoolyard transforming into a training camp for killers in Assassination Classroom, showing a strange fondness for sea creatures in Princess Jellyfish or saving Japan from nuclear disaster in The Big Bee. Of course, it wouldn't be a Japanese Film Festival without the latest Sion Sono movie as well. After wowing viewers with the genre mashup of Why Don't You Play in Hell? and the hiphop musical that was Tokyo Tribe, this time he offers up Tag, a gore fest playing with parallel existences. To view the full Japanese Film Festival program, visit their website.
Australia's Greek Film Festival is rolling back into town with its latest lineup of contemporary and classic cinema from the Mediterranean nation. Presented by Delphi Bank, this year's program features a wide selection of comedies, dramas, documentaries and shorts, as well as a career retrospective of one of Greece's most iconic stars. The festival gets under way with opening night film Alex and Eve, a local production filmed in Sydney's inner west about a Greek Australian man who falls in love with a Lebanese Muslim woman — much to the chagrin of his Greek Orthodox family. Other standouts include Athenian gangster flick Wednesday 04:45, romantic drama Riverbanks and father-son road trip movie Magic Men. For the full Delphi Bank Greek Film Festival program, visit the festival website.
Every rock band spends time away from studios, stages and shows — and every rock photographer does the same. Dane Beesley may be best known for his concert images; however thriving gigs and intimate sets aren't the only things he snaps. Shades showcases his other work, with Beesley taking a casual documentary approach to reframing commonplace scenarios. You won't see pics that have graced the cover of Rolling Stone here. What you will cast your eyes over is a series of everyday sights that — thanks to the shutterbug's use of light, texture and depth — look anything but ordinary. The exhibition isn't just another collection of his pieces, but ties in to his latest book of the same name. Whether you wander by This Must Be The Place's gallery before July 8, or drop by on opening night on June 10, you'll witness the type of shots you won't find on Instagram. You'll also find his latest printed collection available to purchase.
Emily Brontë's much-loved classic Wuthering Heights is the latest story to be celebrated and reimagined through the creative eyes of the Shake & Stir Theatre Co. A love story soured by lust and obsession, Wuthering Heights follows the tale of street rat Heathcliff, who is brought into the care of the Earnshaws and forms an unbreakable bond with daughter Catherine as well as a loathing for her brother, Hindley. As Heathcliff grows more and more passionately obsessed with Cathy, he finds that Cathy is married to another man. Filled with rage and vengeance, Heathcliff desires nothing more than to enact justice upon anyone found to stand in the way of his happiness. Shake & Stir's artistic director Nick Skubij says, "We love the challenge of adapting and presenting much loved classics on the stage, especially one as huge as Wuthering Heights. There is a lot of risk but we are used to that now and don't shy away from it." Previous well-received adaptations of Shake & Stir's include George Orwell's 1984 and Animal Farm, as well as Roald Dahl's Revolting Rhymes and Dirty Beasts.
At the heart of Queen of the Desert sits Gertrude Bell, a real life historic figure who was anything but ordinary. A writer, photographer, traveller and more, Bell bucked traditional gender roles, blazed a trail for women working in international politics, and ultimately played a key part in establishing the modern borders of Iraq and Jordan in the years following WWI. Sadly, while the film that tells her tale doesn't ignore those achievements completely, its primary concern instead seems to be her love life. That's how an account of Bell (Nicole Kidman) and her time in the Middle East becomes an episodic effort tied to the men she fell for and worked with. After begging her aristocratic father to send her anywhere outside of England, she is dispatched to Tehran to stay with her diplomat uncle (Mark Lewis Jones), and swiftly succumbs to the charms of embassy secretary Henry Cadogan (James Franco). When their courtship ends, Bell takes to the desert, forming a platonic bond with T.E. Lawrence (Robert Pattinson). And largely via letters, she also connects with Charles Doughty-Wylie (Damian Lewis), a married British consul stationed in Damascus. Writing and directing his first fiction feature since 2009's My Son, My Son, What Have Ye Done, Werner Herzog wants to have his cake and eat it too. He obviously intends to depict Bell as a fiercely independent woman, and yet he can't resist indulging in overwrought relationship melodrama. While such a contradiction might reflect life (and suit Herzog's fascination with existential contrasts, as seen in his other films such as Rescue Dawn and Grizzly Man), Queen of the Desert just can't seem to strike the right balance between empowered adventure and lovelorn longing. Instead, the film becomes a sweeping but standard epic, hoping to blend the emotion of The English Patient and the spectacle of Lawrence of Arabia, and ultimately proving as formulaic as that sounds. At least the latter inspiration provides striking, sun-drenched imagery, with the film at its best when it's charting a lush visual excursion across the plains. As for its worst — well, that's where the performances come in. In the cast's defence, there's a big difference between bad acting and portrayals that are stifled by bad material. Kidman, Franco and Pattinson are all serviceable, but simply aren't given the room they need to turn thinly drawn characters into something more. Kidman certainly tries in one of her most committed efforts in recent years, yet as she flits between yearning and determined, the true spirit of Bell never shines through. Accordingly, Queen of the Desert feels more like routine historical romantic fodder rather than a genuine biopic. Given the woman at its centre, that's hardly a satisfying outcome.
If a film has the title Frankenstein Meets the Space Monster, you could safely assume an alien is going to yell "It's alive!" at some point. All you need to do is watch to find out. In fact, as this flick unfolds, you can witness the action live in front of you. Making cheesy movie magic without an actual camera is what B-Movies Live! is all about, after all. Cult movie guru Kristian Fletcher gets a cast of actors to do their best with props, costumes, sound effects and music as they recreate a real-life feature. And you thought it sounded too glorious to be true, didn't you?
Only a few decades ago, Queenslanders loved a spot of croquet. In fact, if you were a sports-playing adult living around the state up until the 1970s, the only thing you were more likely to swing than a mallet was a cricket bat. That explains why more than a few croquet clubs still exist around Brisbane, even if the pastime isn't quite as popular at the moment. Of course, old trends come back into favour all the time — and if any occasion could inspire a revival of the game featured in everything from Alice in Wonderland to Heathers, it's the aptly named World Croquet Day. Yeronga's Stephens Croquet Club is celebrating with Cuppa, Cake and Croquet, which is exactly what it sounds like. Try the sport you've always wanted to test out, then enjoy afternoon tea afterwards. Wearing '80s attire and pretending that you're Winona Ryder or Christian Slater is completely optional.
It sounds like the stuff of legend: a beer that's only released twice a year. If you've tasted Feral Brewing Company's Tusk tipple, then you'll agree that its myth-like status is accurate. This aggressively bitter double IPA is much, much drier than its blend of hopped mango, citrus and grapefruit aromatics seems to indicate — and you won't be able to get enough of it. In case you need any more convincing, this is the type of brew that our medieval ancestors would've brawled over centuries ago. These days, you just have to head to the right place at the right time, like the Bloodhound Bar on May 6. As part of the latest Tusk release — aka thirteen kegs shipped from the Perth brewery to East Coast establishments — the Brunswick Street hotspot is serving up their barrel of hops-laden goodness until the tap runs dry. And if the drink of the day doesn't take your fancy, don't worry; other Feral bevvys, including Imperial Red IPA Fantapants and the sour and fruity Watermelon Warhead, will be on offer too.
It's an utterly modern dilemma: spending too much time looking at a computer, phone or television, and not enough time taking in the glorious sights of nature. Perhaps that's what makes Danie Mellor's latest exhibition so entrancing. The Australian artist makes visions of trees and plants his latest focus. The landscape is one of Mellor's recurrent creative concerns, after all, as is the concept of cultural histories. And while A sensual instinct might be designed to depict the visual side of biological life, it also offers an organic counterpoint to society's constant staring at screens. Across a collection of 13 photographic images, each tinted with his signature blue palette, Mellor both contemplates and depicts the allure of life and death unfolding. Images of the decay and growth of ecology speak to the cycles of existence, seduce the mind and the eye. As the latter is drawn into to intricate natural scenes, the former can't help thinking about what it all means.
When Now Look Here launched back in early 2015, the fledgling theatre company had grand plans, namely creating accessible and vibrant productions of exceptional plays. Following up their sold-out debut production of Anton Chekhov's The Seagull with a double bill of early Harold Pinter works, they're making good on that promise. A Slight Ache & The Lover dives into a duo of darkly comic tales of marriage from one of the twentieth century’s most influential theatre minds. In A Slight Ache, a couple's dreams and desires are disrupted by a stranger. In The Lover, a husband and wife work through the various roles in a relationship. After rapturous reviews about her previous efforts, artistic director Kate Wild oversees the latest staging of these two classic pieces. However, she also does more than that, ensuring that the performances place both the playwright and the actors at the centre of the show.
History is littered with tales of bleak deeds, and with art that takes inspiration from real-life acts of horror and darkness. Add Rana Hamadeh's The Sleepwalkers to the latter list — but don’t expect her first solo exhibition in Australia to be a typical true crime effort. The Lebanese-born, Netherlands-based artist has enacted, then filmed, the infamous account of Raya and Sakina for her IMA showcase. Co-commissioned with Nottingham Contemporary and The Showroom in London, The Sleepwalkers rediscovers the Egyptian sister serial killers who were found guilty of the murders of 17 women, most of whom were sex workers. Their grim tale doesn't stop there, with the twosome becoming the first women to be executed by a legal court in the modern history of their country. If that sounds like the kind of tale that must've inspired many a dramatised book, film, television show and theatre production about their lives and crimes, that's because it is. And if it sounds like an utterly enthralling presentation under Hamadeh's guidance, that's because it delivers on that front, too.
