The Anna Schwartz Gallery presents Lauren Brincat’s 2013 solo exhibition It’s Not the End of the World, which will run from March 21 to May 11. Lauren Brincat is a Sydney-based artist who currently works in Mexico City. Well-known throughout Australia and the rest of the world, she has had many successful solo and group exhibitions. Her work can be seen in the collections of MONA, the MCA, the Art Gallery of Western Australia, and the Chartwell Collection at the Auckland Art Gallery. Brincat specialises in performance and object art but also works through video and sculpture, often pushing her own physical and cognitive limits. Inspired by early performance art of the 1970s and an an array of media, she has previously filmed herself as she hung from a diving board, eventually unable to hold on, and recorded her journey as she traipses over 100 blocks by foot. Find out what Lauren did next at Anna Schwartz.
After recent exploits in the US and Europe, PVT are becoming old hands at the whole ‘touring’ thing. They’ve supported high profile acts such as Bloc Party, Menomena and Gotye and, over the course of their career to date, have toured Australia several times in support of their creative efforts. The latest of these efforts is Homosapien, a thrilling example of PVT’s instrumental prowess and creative capabilities. This album is their fourth, and it brings together all of the great elements of their previous releases dating back to 2005 (released under the name Pivot). They have wasted no time in inserting themselves into the Australian music consciousness. Indeed, the trio have had taken the country by storm with their brand of electro-laden music that blends ethereal elements with grounded, contemporary hooks. Homosapien sees the band place more emphasis on vocals, adding an intimate element to their experimental soundscapes. Joining PVT on their tour is the up and coming electro-RNB duo, Collarbones, who have been making waves since releasing Die Young last year. They are being hailed as a great genre-bending talent, much like their tour buddies, PVT. Get in quick and secure a ticket. Trust me, you’ll be blown away.
Stark lighting and shadow fall upon the stage, which is tilted at a crazed angle like a skate ramp or the deck of a listing ship. Four men, shirtless, leap onto it like hunting predators. They seem like werewolves or some other supernatural beast, human in form only. With this arresting image, Savages starts. Shortly after, the men will appear toting suitcases and garbed in holiday attire, exchanging merry greetings, but the image of them as monsters is stuck with you. While on the outside, this is a story about a group of 40-ish mates sharing a holiday, there is always a pulse of horror beating beneath the surface. The latest play from Patricia Cornelius (Do Not Go Gentle, 2011) is a story about a group-assisted descent into darkness. A gang of old friends go on a cruise together, a long-awaited boys' holiday, swearing to leave their troubles, responsibilities and concerns behind them. Once at sea, a tension starts to build within the group and the savagery we caught a glimpse of at the start begins to peep out through the cracks. From the beginning, there is a feeling of unreality. The dialogue frequently uses poetic devices, including frequent rhymed exchanges, and is often delivered in a declamatory style. While it feels unnatural, it is purposeful: the camaraderie among the men is depicted as a forced and not entirely convincing ritual that binds a group riven with tension, insecurity and unease. On the steeply angled stage, there is a constant sense of things askew. The men engage in a constant game of competitive hypermasculinity — sweaty chest beating fuelled by lust and anger. No other actors are ever seen, making the men seem shut off from the world, not just by the sea, but locked within their interactions with each other. The group dynamic overpowers them as individuals. Despite an overarching atmosphere of rising menace, the play employs a touch of humour and there are times when the men's antics are amusing, for instance when jostling in a boxy space that represents their cramped cabin, or struggling against their restless natures when trying to relax on deck chairs. In rare private conversations, you see hints of men on the cusp of middle age facing relatable issues — loneliness, career frustration, relationship breakdown, diminishing physical prowess. However there is always something a little bent in the way they process their problems. At first it feels troubling that you can never quite relate to the characters, but by the end you're glad of that. The play draws on real-life cases of foul behaviour on cruise ships — most notably the events surrounding the death of Dianne Brimble in 2002 — though it is not so much a dramatisation of any one set of events as it an evocation of a psychology. While highly stylised, the play's depiction of group dynamics is well observed. Savages is a darkly fascinating piece, a strong statement on the human capacity for inhumanity.
An appropriately frosty selection of films are set to screen this July as part of an Icelandic programme curated by ACMI's Roberta Ciabarra. Highlighting two of Reykjavik's eminent directors, Fridrik Thór Fridriksson and Baltasar Kormákur, there are nine award-winning films to explore from the early '90s up to today. For those of you aurally attuned, check out Fridriksson's Rock in Reykjavik (Rokk í reykjavík) to see some 1980s post-punk panache and a teenaged Björk in one of her earlier bands. If you feel like something a little more dramatic, with a touch of slapstick, why not try Kormákur's 2008 White Night Wedding (Brúdguminn), which was officially selected for the Best Foreign Film Oscar, as well as being the highest grossing film in Icelandic box office history. From cockle-warming drama to icy criminal thrillers, this programme delivers something for every film lover and is a perfect warm-up for MIFF. Both single tickets and passes are available.
When many talk about design, they invariably talk about minimalism. We see a harsh white cube. Perhaps a few well-manicured young people painstakingly drawing triangles on graph paper. The graphic designer, in our popular imagination, is a Helvetica-loving, glasses-wearing snob who takes their coffee black and their projects with loads of empty white space. Common (and funny) as this impression may be, it's unsurprisingly a bit reductive. This talk from internationally-renowned design critic, Alice Rawsthorn, is bound to set us straight. Claiming design is all-encompassing, this talk from Rawsthorn is about the way design in fact influences most of what we see and do in our everyday lives. These thoughts are coming off the back of her new book, Hello World: Where Design Meets Life — check it out, it's pretty well-designed, so she must know what she's talking about. As Melbourne's CBD become more and more curated — hello city squares, public art, and coloured laneways — it's clear to see the importance of design in most aspects of our lives. After this, perhaps you'll be able to see some of the cogs that make it all work.
Gelato. A wonderful addition to the sweets world. What you might not know is just how serious some people are about it. Enter the Gelato World Tour. Across five continents, eight cities will become ‘capitals of gelato’ as they teach people about the real nature of gelato, its flavours and history. Melbourne is up next. For each stage, 16 gelato artisans are chosen to create flavours that will go head to head. Guy Grossi, the president of the jury for Oceania's stage of the tour will decide just who gets a chance to present their gelato. May the best gelato win. Visitors can taste each artisan's offerings, watch as it is made before them and take part in short lessons on the art of making this sweet goodness from Carpigiani Gelato University. Guests also have a chance to vote for their favourite gelato. It is time to get serious about our desserts, folks. Sign us up. This magical happening will be going down from 12.30 - 9pm from October 25 - 27. To get the full experience, 'Gelato passes' are available for $10 at the gate which will give you two full cups, and three tastes of the different gelati on offer.
Bendigo Art Gallery is once again proving that it is worth a trek out of the city to witness an outstanding exhibition. Modern Love will feature 60 fashion-focused works from the post-punk era of the 1980s to today. All pieces have been gathered from the Fashion Institute of Design & Merchandising (FIDM) Museum in Los Angeles. Items in the collection will range from the haute couture of Alexander McQueen to Adidas high-tops and t-shirts. The point of displaying such a variation of designers is to encapsulate contemporary fashion and style. Bendigo Art Gallery will be the only venue in Australia to display this specific collection, and it is the first travelling exhibition of its kind from the FIDM Museum. Designers that are featured in Modern Love include Thom Browne, Chanel, Comme des Garçons, Dior, Ferragamo, Tom Ford, Jean Paul Gaultier, Carolina Herrera, Betsey Johnson, Patrick Kelly, Helmut Lang, Monique Lhuillier, Louboutin, Alexander McQueen, Issey Miyake, Moschino, Thierry Mugler, Hiroaki Ohya, Zac Posen, Prada, Christian Francis Roth, Ralph Rucci, Valentino, Versace, Vivienne Westwood, YSL and more.
Are you about style and grace when it comes to afternoon snacks? Does cash rule everything around you? If so, then prepare to indulge your tastebuds and eardrums with this fanciful combination that frankly is such a great idea it's simply criminal that this is the first one ever to happen in Melbourne. Local DJ MzRizk — whose dulcet sounds and dope beats you might recognise from her KissFM show Urbanfervour — has put together the Hip Hop High Tea and will also be handling the decks. Her insistence on stringent tea etiquette (no milk allowed up in here) bodes well for those looking for a high-class tea drinking experience, and her solid track record on the local club scene assures good taste on the turntables as well. If that's not enough to seal the deal, then surely the puntastic names of the treats — 'KRS-Scone with C.R.E.A.M.', anyone? — should definitely get you down there.
This article is sponsored by our partners, lululemon. Not only is yoga everywhere right now, so is that most stylish of yogi clothiers, lululemon athletica. Now the group who taught us that sports gear could also be fashionable is getting us psyched for the grand opening of their new Highpoint store with a night of psychedelic yoga classes. Taking place at an old power station in Melbourne's inner-west, Yoga to the Beat trades in beachside locations and Tibetan wind chimes for an urban underground adventure. When was the last time your yoga class was accompanied by live DJ beats, drumming and UV bodypaint? This ain't the sort of yoga class to bring your nanna to. Throw in complimentary refreshments to go with your entirely complimentary evening and you've got Monday sorted. To experience yoga in its most cutting-edge form, come along on Monday, June 3, from 6.30-8.30pm. Mat places are limited, so RSVP by May 29 by emailing highpoint-store@lululemon.com.
Underground, garage-rock royalty don't come much royaler than King Tuff. With a CV that includes stints with psych-folk pioneers Feathers, Sub Pop's Happy Birthday and the melodic metal of Witch, the man born Kyle Thomas has made a career out of crafting awesomely dirty and scuzzy guitar licks. Having decided to go it alone, King Tuff's debut solo album Was Dead showcases a performer who knows a thing or two about them blues. Sitting somewhere between a lo-fi version of The Black Keys and Wolfmother on an acid trip, the album is a filthy cocktail of straight-up guitar rock, stoner vocals and shout-along choruses. Then there's the man himself. With his matt of unkept hair and that middle-finger-to-the-system attitude, King Tuff is a beguiling and charismatic stage presence, with the ability to rouse a crowd into rabble and mayhem with little more than one of his Zeppelin-esque solos.
The Barwon Interviews, On Getting to The Altar of Good Fortune and Bitch Slap are three of five new exhibitions currently showing at Seventh Gallery. Natasha Carrington's The Barwon Interviews utilises four screens, each showing a different interview with a prisoner on site at Barwon Prison. By showing a limited portion of the interviewee's body — legs to waist — a sense of anonymity and distance remains intact. With subtitles on all four screens and one interview being played out loud, the flow of information is constant and overwhelming, forcing the viewer to either focus on one screen, or let the information wash over them. The subject's stories range from baking bread, to bodybuilding and reflections on family, offering a rare insight into the lives and mind of these oft forgotten inmates. Take a walk into the back half of the gallery and you’ll find a startlingly white room, housing On Getting to The Altar of Good Fortune. Two tiny images can be found, one pasted on the wall and the other poking out of the doorframe. Again loud audio is played, creating an interesting audio and visual interplay. Artist Ilya Milstein calls his piece a ‘travelogue’ of a trip to Germany turned research expedition, concerned with uncovering the secrets of an 18th century sculpture by Johann Goethe. Bitch Slap by Madeline Rose Chapman invites viewers to think about how women are seen and understood in our world. Images from famous films show women being beaten by men — while these somewhat familiar images are not immediately shocking, their isolation forces the viewer to consider just what our immunity to their horror communicates about society. While each exhibition is separate, they are united by the constant presence of both audio and visual stimuli, creating a collectively engaging experience for the viewer. Image from The Barwon Interviews
Oh, 2003. It was the year when the American government served up 'Freedom Fries', when Apple launched a little music webstore called 'iTunes' and when a bunch of nerds spent 10 days building a website by the name of 'MySpace'. It also marked the arrival of a Sydney band now known as Dappled Cities — art rockers beloved for belting out lo-fi indie tunes with an off-pop bent. Their stage presence garnered acclaim from critics and screams from fans, quickly leading to slots at SXSW and tours across the US and UK. They continued to cultivate their live theatrics, supporting the likes of Death Cab for Cutie and blowing minds with orchestrated baroque remixes. Now, after a decade on the road, the hardworking lads are ready to celebrate their aluminium anniversary by taking their tunes back to the sweaty underground club scene where it all began this Saturday night. Fans will be able to request songs via the band's Facebook page prior to the show and rumour has it that the boys will also be testing new songs from their unnamed fifth studio album, out later this year. Hallelujah.
There aren't many protagonists in modern theatre much like Arty, the subject of the Melbourne Theatre Company's new production, Beached. Lazy and living at home, but with grandiose visions of one day becoming an explorer or even a movie star, Arty is a perfectly average hero. He's the sort of character Seth Rogen might play in a Judd Apatow film, with one one large difference — he weighs 400 kg, a fairly unsubtle metaphor for a man who is literally going nowhere. Written by Melissa Bubnic and directed here by Petra Kalive, Beached (yes, as in whale), takes the well-worn cliche of a man who has lost his way and gives it a decidedly modern twist by having him compete in a reality television competition to win life-saving surgery. Under the watchful eyes of the camera and with the help of his doting mother JoJo, Arty makes an extreme physical transformation, but at what cost? Cleverly incorporating puppetry and multimedia, Beached is a biting satire of the vacuousness and inhumanity of celebrity culture and reality TV. Much like Arty himself, this is one production that cannot be missed. Image via mtc.com.au
Greek myths are always being remade. Like biblical stories, Shakespeare and Dracula, their appeal is universal, their stories are still as tragically powerful today as they were 3000 years ago. The Odyssey is one of these classics that is always finding a new voice, whether moved to the deep south of the US or deep space. Now indy theatre extraordinaire La Mama is housing a fresh take on the story: Penelope's perspective on the whole thing. Odysseus's wife doesn't get a whole bunch of play in Homer's original version, but Man Booker Prize-winning author Margaret Atwood filled in the gaps with her novella The Penelopiad. Now she has adapted it into a play for an all-female cast who sing, dance and chant their way through this alternate take on the classic story, and it's being staged in Melbourne by the Stork Theatre. Sexism, justice, family: all the Greeks' (and our) dirty laundry is aired here in a fashion by turns comedic and violent. Atwood is a writer of significant power, and the locals behind this production are sure to put on an intimate, engaging version of her story.
If you see an unusual number of fictional characters roaming the streets this May 4, you're not crazy, but you are missing out: it's Free Comic Book Day. Every year on the first Saturday in May (this year it coincides with Star Wars Day, so expect a lot of Jedi robes and Princess Leia buns), comic book stores around the world give away free comics to anyone who walks in. Free Comic Book Day started in America, but it's been picked up by stores in Australia as well. Aiming to "reach out to those individuals unfamiliar with the comic book specialty market", Free Comic Book Day sees many publishers ship specially printed comic books, often previews of upcoming titles, to participating stores around the world. It's not just about the free stuff, though — most stores will have special events going on like artist signings, dress-up competitions and giveaways. The website also has a handy store locator, so you can see what stores are participating near you.
You may remember Lord of the Flies from high school English as being that book about the little boys stranded on a desert island who turn feral and start killing each other and hallucinating about beasts and talking pig heads. Even if you don't, that summary is pretty much the gist of it. It's quite a gory read but raises some interesting points on political power and human nature — universal themes but explored in a very masculine way due to the lack of female characters. But the latest stage adaptation by Sydney-based company US-A-UM wants to change that. Directed by Sydney Theatre Company's Kip Williams, the adaptation of William Golding's 1954 classic features an all-female cast, because who says women can't be bloodthirsty, murderous and politically manipulative? According to US-A-UM, their adaptation is "about gender, about stripping away constructed civilisation, and about how we read who can and cannot participate in behaviours that we assert as being innate to us all." Lord of the Flies will be making its debut as part of the Malthouse Theatre's Helium season of works by independent artists and ensembles.
A fictionalised account of Grace Kelly's marriage to Prince Rainier III of Monaco, Olivier Dahan's glittery period drama arrives in theatres on a wave of bad publicity. Repeatedly delayed by its American distributor, publically disowned by the Monacan royal family and critically savaged after its opening night premiere at Cannes, the buzz around the film is nothing short of toxic. Yet the reality is that no amount of negative press could prepare you for how awful Grace of Monaco truly is. The film takes place in the early 1960s, five years into a marriage that has lost its fairytale feel. Stifled by the minutiae of her stately duties and neglected by the emotionally distant Rainier (Tim Roth), glamorous Grace (Nicole Kidman) yearns to return to Hollywood. Instead, she finds herself a pawn in a trade dispute with Monaco's French neighbours — one that threatens to erupt into the world's most one-sided war. Blending the tepid romanticism of a made-for-TV biopic with the most tedious political drama this side of The Phantom Menace, Arash Amel's screenplay is suffocatingly dull. The dialogue, when it's not dropping lead bricks of exposition, consists mostly of groan-inducing Hallmark quotations. There are a few unintentional comedic gems, thank God, but for the overwhelming majority it's just flat-out embarrassing. Equally weak are the attempts to connect Kelly's weepy personal crisis with the fate of Monaco at large. The entire second half of the film hinges on our heroine learning proper princess etiquette — via Miss Congeniality-style training montage — in the hopes that she can soften mean old Charles de Gaulle's heart. Of course, considering that the conflict basically boils down to whether or not Monaco gets to keep operating as a tax-free haven for wealthy Frenchmen, it's difficult to see why anyone should care. Dahan's direction is as ghastly as Amel's script, with sickly golden lighting and eye-watering soft focus making the film look like something between a daytime soap and a handbag commercial. His most baffling decision, however, is the one that led him to shoot key scenes of emotional dialogue in extreme close-up. As the frame roams aimlessly from Kidman's chin to her eyeball to her earlobe as she talks, the overwhelming impression (aside from a mild feeling of motion sickness) is that the guy operating the camera is every bit as bored as we are. It's a bit of a shame really. Kidman's performance is perfectly adequate, making it far and away the movie's greatest asset. She's certainly better than the wooden, chain-smoking Roth, who sports an unconvincing British accent as the decidedly not British Rainier. None of the film's normally respectable side players — including Frank Langella as Kelly's clerical confidant, Parker Posey as a hatchet-faced matron and Roger Ashton-Griffiths as a cuddly Alfred Hitchcock — fare much better. For a story about a woman called Grace, there are few films in recent memory as lacking in the virtue of the same name. Avoid this movie like the plague. https://youtube.com/watch?v=bFYmYWa348c
Few films feel as tailor-made for their audience as Josh Boone's adaptation of The Fault in Our Stars. Based on the enormously popular young adult novel by John Green, about two teen cancer patients who fall hopelessly in love, it's a story designed to play the heartstrings like a fiddle, extracting sighs and sobs from willing viewers with surgical precision. It's melodramatic, sure, but you'd be hard-pressed to deny its effectiveness. And thanks to a fantastic lead performance from Shailene Woodley, the sentiment never feels insincere. Woodley plays Hazel Lancaster, a sarcastic 16-year-old with terminal tumours in her lungs. Hazel has more or less come to terms with the nature of her illness, but at the behest of her worried parents (Laura Dern and Sam Trammell) agrees to attend a patient's support group. It's there that she meets Augustus Waters (Ansel Elgort), an impossibly charming cancer survivor himself, who soon sets about sweeping her off her feet. Despite Hazel's assertion that hers is not your typical cancer narrative, The Fault in Our Stars very much follows a formula. Viewers are promised tragedy, and then lulled into hoping that that tragedy might be averted. Peaks of joy are followed by valleys of strategically excavated sorrow, timed to cause maximum devastation. Thankfully, Hazel is an endearing enough character that you don't really mind the film manipulating you. Pithy voiceover helps us get to know her as a funny, strong-willed young woman who makes the best of an awful situation. Woodley's performance is impeccable, capturing both the giddy excitement of young love and the sobering adult reality of death. Her co-star falters with some of the heavier material but is still immensely likeable as Augustus. Admittedly, the young man isn't the most plausible of characters — no teenager is this articulate, no matter how much they'd like to believe otherwise. A lot of his dialogue is meant to sound wonderfully deep and inspiring but is just as likely to cause cringes in anyone over the age of about 17. Nuggets of teen philosophy notwithstanding, the interactions between the characters generally feel authentic, with plenty of humorous banter to put the romance — and the heartache — into relief. It's thanks to Boone and company's balancing of the three that The Fault in Our Stars is a success. https://youtube.com/watch?v=9ItBvH5J6ss
Hip-hop heads and rap enthusiasts, this one’s for you. Boney are starting up weekly parties featuring local and touring DJs who will be spinning the finest hip hop from ’79 to now. Resident DJs include the likes of Rob Steezy (Hoodpass Radio/Re-Up), Thaddeus Doe (Shiftee/Un-Funk), Stephelles (Favella Rocke/Re-Up), and Low-Key (Shiftee). To celebrate the launch of MVP there will be FREE BEER courtesy of Miller so we suggest arriving early. MVP will begin on Wednesday, June 18 and it’s free entry — you just need to RSVP on their Facebook page and you’re good to go. A hip-hop hump day is music to our ears.
For those of us unable to hang about at Splendour this year, sideshows are the next best thing. Thankfully, Foster The People are among the Splendour acts making their way to Melbourne and boy, are we excited for some indie dance pop to lift our Splendourless spirits. FTP's debut album Torches sold nearly two million copies worldwide, and their sophomore effort Supermodel has already produced some incredibly catchy singles, such as 'Best Friend' and 'Coming of Age'. We can't deny we're looking forward to a sneaky singalong to super singles 'Pumped up Kicks' and 'Call it What You Want' — and just generally leaving all our worries at the door (the unashamed blessing of indie dance pop). This Palais Theatre show is going to be a metric bucketload of fun. https://youtube.com/watch?v=Ndzln1UEyf0
Are you sick of Friday nights spent in dingy bars with sleazy businessmen and girls in microscopic dresses? Does the thought of catching one more seedy cab from outside the Carlton Club make your skin crawl? Maybe it's time to class up your weekends. And there's no better way to do that than with late-night art, killer music, and the classiest venue of them all: the National Gallery of Victoria. From now until the end of August, the NGV are opening up their winter blockbuster series to the night-time crowd. It's been around for a few years now, so you probably know the drill. Each Friday night, you'll be able to cruise around Italian Masterpieces while listening to some sweet Aussie musicians and sipping on some wine. With talks, DJs, and a suitably Italian bar menu, the NGV has officially been transformed into an all-in-one oasis. This year's series will be kicked off by Kirin J Callinan on Friday, June 27 and followed up with the likes of Owl Eyes, Teeth & Tongue, Dan Kelly, and The Audreys. Head over to the NGV website to see the full line-up.
The fifth annual Melbourne Cabaret Festival is gearing up for another stellar season and you’re invited to join the frivolity (fishnets and feathers optional). This year the festival will run for three weeks and include 30 different shows that will be performed all over the city. Cabaret truly is a unique performing art form; combining musical theatre, comedy, intimacy and interactivity all in the one show, it's sure to guarantee a great night out. The Melbourne Cabaret Festival genuinely has something for everyone. For lovers of Lucille Ball there's Elise McCann’s show Everybody Loves Lucy, or if the ‘80s are more to your taste, Geraldine Quinn’s Sunglasses at Night: The 80s Apocalypse Sing Along Cabaret could be the show for you. If you’re after something a little more intimate, we recommend Olympian Matthew Mitcham’s debut show Twists and Turns, or Wicked the Musical star Amanda Harrison in Up Close and Reasonably Personal. Head over to the Melbourne Cabaret Festival website to see the full program.
West Elm are teaming up with Etsy this weekend to bring you an afternoon of crafty goodness from your favourite online designers. From 1pm to 6pm on June 21, you'll be able to track down and purchase unique items made by local artisans. Better yet, there's no need for postage fees or waiting periods. Etsy has curated a stellar line-up of 16 sellers, offering everything from nifty jewellery and funky stationary through to re-purposed timber homewares and hand-poured soy candles. There will be a broad range of handmade products oozing with style and personality. Plus, you'll get to chat to your local innovators over treats and tunes. In recent years, the Brooklyn-based retailer and the online marketplace have turned from competitors into unlikely collaborators, citing the common goal of injecting a bit of integrity and authenticity into the crafts and homewares market. On the whole, it's pretty cool that this mega-brand is giving shelf space to indie crafters. But don't forget, this pop-up is on for one day only! You snooze, ya lose. Photo credit: Kimberly Chau Lee.
Q44 Theatre Company are the new kids on Melbourne's theatre block. The company, headed by Gabriella Rose-Carter, seeks to tell stories about the human condition in an artistic, dignified and accessible manner. Their upcoming production Orphans is no exception to this. Two orphaned brothers, Treat and Phillip, live alone and do what they can to survive. Treat, the older brother, makes money through petty crime as a means to support his brother, while Phillip adores every move his brother makes. They're a dreamer and a delinquent searching for meaning in life without a mother or father for guidance. One night Treat brings home Harold, a Jack of all trades who becomes the orphans' prisoner, and their lives are changed. As the story unfolds, Treat and Phillip adopt Harold as a parental figure, but whether they are able to let go of their self-imposed prison remains to be seen. A story that walks the line between comedy and family drama, Orphans looks like a perfect fit for Q44's 2014 season.
Docs have been kicking for decades. Your parents' soles are probably still relatively intact. Punks wear Docs. Pop stars wander to Starbucks in Docs. Somehow they've never lost that lovin' feeling since the first pair of Dr. Martens rolled off the production line in 1960. Now they're fusing their long-loved lace-ups with a solid live music lineup, with their #standforsomething pop-up store and concert series. Taking over Tongue & Groove on St Kilda's Grey Street, the Docs pop-up will stock boots, shoes, and Dr. Marten's products not available in Australia so you can be That Guy at your next coffee date. But it ain't all lace ups at the pop-up. Ahead of the general public launch Docs are hosting some pretty killer gigs in the space — Band of Skulls (June 18), Kingswood (June 17) and Stonefield (June 16). Unfortunately they've already closed the ballot for the gigs, but keep an eye on their Facebook page for any updates. After the gig-goers have checked out the merch, the Docs pop-up store will open up to the public from Thursday June 19 to Sunday June 22, so we can rifle through the Docs we'd usually only find online. You can find Docs at Tongue & Groove, 16 Grey Street, St Kilda from June 16. Hours are Thursday and Friday 11am - 7pm, Saturday and Sunday 11am - 5pm. https://youtube.com/watch?v=zxntDF0-5Uk
Stieg Persson is an Australian contemporary artist who has been exhibiting since the early '80s and who, most recently, had work in the celebrated Melbourne Now exhibition at the NGV. Born and raised in Melbourne, Persson has contributed to many local group exhibitions and is a regular exhibitor at the Anna Schwartz Gallery. His work is recognised for its abstraction, realism, romanticism and decorative complexities. Often they critique contemporary society and the contradictions of middle-class rebellion, in a playful and effervescent manner. This exhibition features canvases of abstract graffiti-like lines and curling patterns, resulting in almost floral images.
In Fred Schepisi's new rom-com, the unimaginatively titled Words and Pictures, two antagonistic high school teachers argue the merits of images versus prose. It's a flimsy and vaguely pretentious premise for a movie, but one that, at the very least, feels well-suited to the medium. After all, what is cinema if not the marriage of sight and sound? The unfortunate irony of Schepisi's film is that it fails to make a very good case for either. Clive Owen plays Jack Marcus, an English teacher at the expensive Croydon Academy. A burnt-out poet with a puffed-up ego and a drinking problem, Marcus openly bemoans the ability of his students, despite it having been years since he wrote anything of significance himself. A few of Marcus's colleagues find his attempts at roughish charm amusing. The rest treat him with barely concealed contempt. One faculty member well and truly in the latter category is Juliette Binoche's art instructor, the icy Dina Delsanto. Like Marcus, she was once an in-demand artist, although rather than a pen, her tools were paint and canvas. But rheumatoid arthritis has stripped her of her dexterity and forced her to take up teaching. The pair could hardly be more different. So naturally, they're destined to fall in love. The catalyst for their romantic conflagration is a remark made by a student, that pictures are more powerful than words. Delsanto, being an art teacher, agrees, prompting Marcus to strike back in his own class. Soon the debate embroils the entire school — because after all, nothing gets young minds firing than the surly sexual tension between their professors. It's difficult to think of a supposed romantic comedy with two less sympathetic protagonists. That being said, Marcus is so actively unlikable that the humourless Delsanto seems positively charming by comparison. Rejoinders that are meant to be witty instead play as painfully smug, while his smarmy attempts at wooing cross well into the realm of harassment. As a teacher he's even more unbearable, dropping truth bombs on his students by explaining that haikus are, like, the original tweets. Say whaaaaaat? Schepisi's direction is uncharacteristically flat, the director putting up as poor a case for pictures as screenwriter Gerald Di Pego does for words. At least the contest is even that way, although frankly both mediums deserve better. For that matter, so do we. https://youtube.com/watch?v=1JX6NScig7M
The story behind Melbourne folk foursome Husky's new song, 'I'm Not Coming Back', sounds pretty damn cute. It's something to do with looking up at the stars in the night sky, seeing the lights of airplanes gliding under them and the universal need to leave parts of ourselves behind. Swoon. This whimsically starry-eyed vision fits perfectly with the soaring sounds of the track itself. But contrary to the song's title, Husky are indeed coming back — kicking off their first headline tour since 2012 at Northcote Social Club on July 18. The folk-fuelled whiz kids stole hearts back in 2011 with their debut LP Forever So. Husky became the first Aussie band to be signed to Seattle label and arbiters of cool Sub Pop, then toured pretty much non-stop around Australia, the USA and Europe for a couple of years. It's a good thing they stopped and took a break, because now we're privvy to a whole lot of new Husky — as well as promising to play much-loved tracks from Forever So, they've been working on a whole lot of new folky goodness to tour with.
The Melbourne Art Fair is setting up shop this year at the grand Royal Exhibition Centre in Carlton, and from August 14-17 it will be home to more than 300 artists' work, presented by leading Australian and Asia-Pacific galleries. Contemporary art lovers have the chance to view, interact with and purchase work from both Australian and international artists, and trust us, there's plenty to get through. While much of the artwork is for sale, you don’t need a fat chequebook to check out the best artistic offerings. A public program offers plenty of artsy sights for all, including those who aren't inclined to venture to the Royal Exhibition Centre. Check out our top five picks of what you should feast your eyes on during this year's fair here.
Four shows. Four sites. Four weeks. Coming to a location near you, the Site is Set mini-fest is bringing some brand spanking new visual and immersive performance shows to Melbourne that will have you gearing up to choose your own mini adventure. First up is Exposition by Lara Thoms and Jason Maling. Throughout the year Jason and Lara have visited Melbourne's best expos so you don't have to. In one glorious location, they bring everything you may have missed, creating a niche expo... of expos. Join them and guests from the cosplay community, the tattoo world or perhaps if you're feeling particularly colourful, the untapped world of scrumble in their exclusive study of these wonderfully diverse events. Bron Batten approached a hypnotist to help her write her new show. They agreed. This is the result. Use Your Illusion blurs the line between truth, performance and lies as audience members as well as Batten herself are placed under hypnosis. Is this a brilliant study of the human psyche? Is Batten just using tricks to reel in her audiences? Is it both? Astrojet is an after dark experience exploring Melbourne's forgotten and short-lived museum, The Astrojet Space Centre. Artist Zoe Meagher takes audiences on a tour of the building, incorporating multimedia, performance art and a 'disco-infused' soundtrack. With bonus bus tour, Astrojet is sure to set your senses a-tingling and your brain a-thinking. If you're a dog person, then My Best Friend is for you. But be warned; this can and will get emotional. Following the death of his family dog, Malcolm Whittaker was inspired to honour the memory of dogs past. By retracing their walking rituals, Whittaker will unravel stories of Melbourne's dearly loved best friends. Running from August 17 until September 7, Site is Set mini festival is an inherently Melbourne experience — one you should immerse yourself in, if you're game.
Just when you thought you couldn't fit any more markets into your calendar, along comes Cat Stuff. Really, the concept sells itself: all things cat in one place, by some of Australia's most adorably intended artists, for you to spend every last dime on. What are you even pretending to wait for? Hosted by Tinning Street, Cat Stuff features works by many local artists, including Melbourne card making darlings Able and Game, adorable fluffy things from Cat-Rabbit and presumably amazing cat-centric items from all of your favourite crafties. Embrace your inner Dolores Umbridge and furnish your entire house in cat things before the week is out. Check out the Cat Stuff artist lineup on the Facebook page and head down to Brunswick ASAP. Image: Cat-Rabbit.
Omar Rodriguez Lopez is a man of many talents. He first made his musical mark in the early ‘90s as a guitarist in prolific post-hardcore band At The Drive In, followed by his work as guitarist and producer for the Grammy Award-winning progressive psych-rock ensemble The Mars Volta in the early naughties. Ten years on, Omar has established himself as a solo artist, as well as successful label manager, actor, producer and film director, having received cinematic acclaim for his first feature-length film “The Sentimental Engine Slayer” which appeared in film festivals the world over. Now, Omar Rodriguez Lopez is bringing his group to all major Australian cities, as well as co-headlining the Cherry Rock Festival in Melbourne. Be sure to take the rare opportunity to see such a well-established and multi-talented musical force in person.
It’s no secret which part of the world Bethany Consentino is talking about when she sings “We were born with the sun in our teeth and in our hair” and questions how you could possibly live anywhere else. But it is testament to her charm that even those whose Instagram feeds consist almost solely of Aussie beach pics are willing to listen to her latest 45-minute love letter to California without harbouring any feelings of resentment. Or maybe it’s just that it’s easy to graft pretty much any of Consentino’s sentiments on to our own. Her lyrics about boys and heartbreak and nostalgia seem appropriate whether you’re feeling a little emo or just a little bored. And even though most of the fuzzy reverberation and endearing sloppiness bleeding through Best Coast’s debut has been removed, The Only Place is still homey rather than slick. Supported by our own Pear Shape and Queensland’s Dune Rats, their Melbourne show will be a melting pot of blissed-out benevolent vibes.
Girls is a phenomenon. Everyone has an opinion one way or the other, whether you regard it as a groundbreakingly honest show with unprecedentedly strong female characters, or think it's overhyped trash that has a lot of problems. ACMI is hosting 'It' Girls as a panel discussion with some of Melbourne's hipster-iest cultural commentators to discuss the wildly divergent views of the show. With wits like Clementine Ford and Byron Bache on board, alongside talented writers/editors Sam Cooney and Michaela McGuire, the conversation is sure to be heated and insightful. Mediated by indy radio stalwart Jess McGuire and with musical interludes by the enchanting Kikuyu, this little microcosmic slice of Melbourne-meets-New York look to be an engaging and entertaining evening. Update: It Girls is now sold out.
Low-carbon and low-key, Home Art is a City of Melbourne initiative attempting to bring together members of the local community to be creative in the name of environmentalism. Locals will be involved in the creation of a piece of performance art, and then perform it in their homes. You can witness these artworks as part of an hour-long tour, which will be dramatically narrated by a 'local personality'. While one may or may not be skeptical about the quality of the art, this event has the possibility to bring excitement, creativity and meaning into the lives of many. If you live in North Melbourne, this is an opportunity for you to connect to your community. If you are into the environment, support this program which aims to be artistic without being wasteful. If you believe in publicly funded and developed art, this is the event for you. The Low-carbon art tours on December 1-2 are sold out, but screenings of the performances will take place in Federation Square December 15-17. Still from Geetha Raju and Aditi Chetty's 2011 performance.
Angus Stone is embarking on a solo tour to promote his new album, Broken Brights. Known mostly for his work with sister Julia in the award winning folk-pop duo, Angus and Julia Stone, Angus is breaking away on his own with a mammoth tour that will see him performing not only in Australia, but also Europe and North America. Broken Brights has been earning favourable criticism all over the world, with Mojo Magazine giving it 4 stars and Triple J naming it ‘album of the week'. This solo effort is doing well even before its release on November 6. Stone describes the album and "a whole different trip” to his previous efforts, with reports saying that the album ‘deftly shifts between genres without compromising’ and is as ‘steady as a heartbeat’. If those quotes piqued your interest, check out the album and Angus when he performs at the Palace Theatre.
The Glenn Miller Orchestra is an institution almost as old as jazz itself. Yet for all the toes it’s set tapping and the charlestons it’s put in motion, it hasn’t come to Australia before. Until now. The legendary big band, now under the leadership of Rick Gerber, have been trumping up nostalgia all over the country with concerts in city and country alike, and they’re culminating their Australian tour with some shows at Melbourne’s Hamer Hall. They’ll be playing classics from the Andrews Sisters to Sinatra to the brassy tunes that kept our grandparents going through World War II. While said grandparents are likely to turn out in droves, the Miller big band has the verve to appeal to the younger crowd as well. Appearing with the Moonlight Serenade Singers and the Broadway Swing Dancers, they'll be bringing a little bit of history and a whole lotta old school fun.
A woman obsessed with the search for extraterrestrial life. A man lost in poetry as he faces illness and immanent death. A marriage in decay. Add a lesbian love affair and a touch of mid-life sexual awakening and you have Dorothy Porter’s Wild Surmise. The baroquely literary verse novel was a Miles Franklin contender in 2003 and this week sees the presentation of a staged version at the Malthouse. Jane Montgomery Griffiths adapted the script and also stars as the female protagonist, Alex, with Humphrey Bower as her estranged husband. This is her second production with Malthouse AD Marion Potts in the director’s chair, following from their successful collaboration on 2010’s Sappho... In Nine Fragments. With the script drawn from Porter’s verse, expect this to be a cerebral and evocative night of theatre, exploring space both outer and inner and most poignantly the space between us and our loved ones.
Woody Allen in recent years has moved away from his relationship with New York. It's not that the two have broken up, he's just found a more mature mistress in the bosom of Europe. With the likes of Vicky Cristina Barcelona, Midnight in Paris and, now, To Rome With Love, Allen has started a new love affair in Europe - but it's truly a fine romance. Phyllis (Judy Davis) and Jerry (Woody Allen) are heading to Rome to meet their daughter Hayley (Alison Pill)'s new fiance Michelangelo (Flavio Parenti). While there, the retired opera director Jerry discovers Michelangelo's father is an undiscovered operatic talent. Meanwhile John (Alec Baldwin) is reliving his youthful love affair through the eyes of Jack (Jesse Eisenberg) and Monica (Ellen Page), while Anna (Penelope Cruz) is a prostitute in a mix-up playing the wife of a timid young newlywed Antonio (Alessandro Tiberi) who's trying to impress his wealthy relatives. It sometimes feels like a chaotic film, however the comedy keeps the pace, so while each story ramps up to a climax, they all feel like they're running the same marathon. Allen's scriptwriting wit isn't what it used to be, and he is certainly starting to show his age. But if for nothing more than to fall in love yourself with the eternal city of Rome, this is a sweet comedy for a Saturday night.
Fans of Mumford & Sons need sigh no more; the folk darlings are bringing their banjos and heartbreaking harmonies to Melbourne as part of their Australian Stopover Tour. The city is one of 10 stops on a tour which sees the gentlemen visit metro and regional venues across the country. Mumford & Sons, who gave us the #1 hit 'Little Lion Man' back in 2009, are a band whose music is orchestrated for live shows. Their latest offering Babel is even more adrenaline-filled than their debut, which is an exciting prospect for punters who have experienced Mumford shows themselves or are yet to. Supporting the lads will be North American singer/songwriter Willy Mason as well as equally as uplifting uber group, Edward Sharpe & the Magnetic Zeros.
If you thought home grown talent Hungry Kids of Hungary had fallen off the radar in the past couple of years, you could be forgiven. In fact, the boys have been busy recording their second album and jet-setting across the world playing to international audiences. Their second album, You're a Shadow, is due for release in March 2013 and has fans of the band's catchy indie pop tunes waiting with baited breath. Catch them at the Northcote Social Club as they embark on their national tour. The Brissie boys are playing in smaller venues this time around, so head along for what will be a special, intimate show. The foursome will be playing a mix of old favourites such as 'Set it Right' and new tracks including 'Sharp Shooter'. These guys are old hands in the music scene, so you are guaranteed a night of infectious and perfectly polished tunes.
Oh Mercy are back with their new album and a string of shows as part of the 'Deep Heat' tour. Fresh from their successful North American tour, as well as a recording stint in the States, the band is celebrating their third and most colourful offering. This time they are stretching their musical legs, delving into heavier grooves with reggae influences, still maintaining the wholly pop-rock sound they have garnered a strong following from in previous albums. Their latest single ‘Drums’ is a bass-driven, dance-worthy track that showcases the best of frontman Alexander Gow’s vocals. Supported by Brisbanites Millions and alt-rockers from Perth, Split Seconds, the trio of talented bands are a treat in the flesh.
Stephen Malkmus and The Jicks have been playing for over a decade and have perfected their unique sound, which drips with catchy melodies and bursts with intricate guitar riffs. With five successful albums up their sleeves, it's safe to say that they are onto a good thing. The band formed in the hiatus of indie rock royalty, Pavement, and is fronted by Stephen Malkmus, who was the main singer and songwriter of the successful '90's band. NME has called Malkmus a “blessing from the indie gods”, so you know you'll be in for a treat on Tuesday and Wednesday nights as they grace the stage at The Corner Hotel.
Released in 1945 and directed by David Lean, the film Brief Encounter was adapted from Noel Coward's one-act play, Still Life. It tells the story of Laura and Alec, who fall in love after a chance meeting at a train station but, both trapped in bland yet affectionate marriages, are never able to fulfil their mutual passion. The Guardian's 2010 critics' poll selected Brief Encounter as the best romance movie of all time. In 2008, dynamic UK theatre company Kneehigh (whose Red Shoes was a memorable part of the 2011 Sydney Festival) decided to return the tale to the stage with an epic production combining drama, film, live music and vaudeville. After a successful nine-month run at London's Haymarket Cinema, it toured the UK before jumping the Atlantic to play several seasons in the US. Now, it's on its way to Australia, playing Melbourne, Perth, Wollongong and Sydney. https://youtube.com/watch?v=GW6WDC4E2fY
At first mention, collage may seem like that lost art form you left behind in Year 4 art class. Yeah, we all made a few sweet Clag-laden masterpieces, but we don't see many 'BfFs 5EvA' montages hanging in contemporary art galleries these days. We sense ACCA's new exhibition, In The Cut, may be a little different. For starters, collage and assemblage have a strong tradition with social and political activism. Stretching as far back as the photomontages of Hannah Hoch in Weimar Germany, the act of re-appropriating imagery has always been inherently political. This group exhibition featuring the work of 16 international and local artists, will span the mediums of drawing, sculpture, prints, and photography — all with a focus on historical and contemporary collage. Some artists to note include Linder Sterling whose work is synonymous with the London punk and post-punk scene; Ellen Gallagher who dissects the representation of race in print media; and Richard Larter, a local addition whose work revolves around Australia's socio-political history in the 1980s. ACCA claims the exhibition will perfectly complement Tacita Dean's monumental work FILM — a piece on show as part of the Melbourne Festival. And of course, the two collections absolutely have crossover — both are tactfully concerned with the mechanics of art production. However, from all the talent on show, it's clear In The Cut will be a standout in itself. This free exhibition is open from October 10 to November 24. Image: Pretty Girls by Linder Sterling, courtesy of Stuart Shave / Modern Art, London.
With over 500 shows under their belt, the Japandroids are known for being something special on stage. Rumours circulated about their electric vibe at Laneway earlier this year, where the band hinted at a subsequent Australian tour. The time has come for this high-energy duo from Vancouver to fulfil that pledge with a series of intimate shows in August and September. in 2009 they almost disbanded following the release of Post-Nothing. Revived at the last minute by a sudden surge in popularity, they have gone on to produce another album, titled Celebration Rock in 2012, which further bolstered their reputation for pumping out an engaging style of garage rock. After being saved by their fans, the Japandroids seem bent on repaying each and every one with as many good vibrations as they can muster in a show. The guitarist Brian King has even said he consciously writes in the first-person-pluralto further engage the audience.
On February 24, 2010, Florida SeaWorld employee Dawn Brancheau drowned after being pulled underwater by the park's star attraction, a five-and-a-half tonne orca named Tilikum. Her death was the third in 20 years to involve the massive killer whale, who has spent most of his life in captivity. Troubled by reports of the marine park's unethical treatment of its animals and spurred on by conflicting stories about how Brancheau's tragic death occurred, documentary filmmaker Gabriela Cowperthwaite decided to investigate further. The result is Blackfish, a troubling if not particularly revelatory doco about the dangers of keeping predators in captivity. It's obvious that Blackfish is pushing an agenda, albeit one that most viewers will probably agree with. Convinced that SeaWorld's treatment of animals like Tilikum is morally wrong and may have played a key role in the death of Brancheau and others, Cowperthwaite's primary aim is to appal and incite outrage. Her interview subjects consist of marine biologists, animal activists and disillusioned former SeaWorld workers. Through the testimony of the latter in particular, Blackfish paints a damning portrait of physically and emotionally neglected animals along with subpar safety conditions for their trainers. Despite this, the trainers maintain they felt connected to their animals, like a parent does to a child. Footage of Brancheau at work — focused, professional but full of energy and laughter — is Cowperthwaite's emotional trump card. In contrast, the marine park chain is depicted as a faceless corporate entity, whose primary concerns seem to be dodging culpability and maximising profit (an end credits title card pointedly informs viewers that SeaWorld representatives refused to appear on camera). At the same time, Cowperthwaite never really breaks with documentary convention. Most of her major talking points, from the intelligent and social nature of marine mammals to the shady practices of the animals-in-captivity industry, have already been covered in earlier exposes, like Louie Psihoyos's shocking, emotionally devastating Oscar winner The Cove, to which Blackfish can't quite compare. Still, there's no denying the director's noble intentions, or the fact that her film is effective. While viewers may not be presented with much information that they didn't already know (or at least, assume to be true), there's certainly no harm in being reminded. Sickening footage of trainers barely escaping with their lives begs the question: when will the next fatality occur? If Blackfish causes even a few members of the public to reconsider where they go on holiday, then the project will have been a success. https://youtube.com/watch?v=G93beiYiE74
You've probably never seen anything like White Rabbit, Red Rabbit. Guess what? Neither have the actors. In this one-of-a-kind theatrical experiment, each night a different performer takes the stage having never seen the script, their only instruction beforehand to prepare an impression of an ostrich. Described by critics as everything from humorous to terrifying, it is the work of Iranian writer Nassim Soleimanpour. For years unable to leave his country — Soleimanpour was denied a passport for refusing national service — he created a play that needed no direction beyond what he could include in the script. The play has travelled the world and hopped languages since he wrote it in 2010. Soleimanpour himself only finally got to see it performed earlier this year. Now it's come to the Malthouse and an eclectic range of local performers — including actors, comedians and TV personalities — will take the plunge. It promises to be a journey deep down the proverbial rabbit hole.
Through dark wintry nights, Melbournians press on, bound by their love of music to check out live gigs. Melbourne venues outperform the rest of Australia, according to the annual survey by America’s live music bible Pollstar, and as for Melbourne's homegrown acts? Well, it wouldn't be like Melbourne to boast *ahem* but they do make it well worth clawing through the wind and rain. Footy is one such example of local talent. Not for football boffins, they're an electric piano duo featuring the fine fingerwork of Paddy Gordon and Lew Mulverino. Fresh from releasing their critically acclaimed debut record Mobile Cemetery, they're classical, psychedelic and poppy all at once. On stage, Superstar will join them — think lurid, transient tunes — and Pikelet’s Evelyn Ida Morris, who has an uncanny ability to hand off melodic lines to wildly erratic movements. This will be really *really* good, guys. You should go.
It's been a tough year for music festivals. Our hearts have been freshly broken after the cancellations of both Harvest and Homebake Festivals, and if there's anything that can put them back together it's Cherry Fest — Cherry Bar's one-day music festival still kicking strong in its seventh year. Cherry Bar is a Melbourne institution. Steadfast in its rightful spot on AC/DC Lane, this place has been the feeding ground for Melbourne rockers for the past 13 years. Well-known for its Thursday Soul nights and the fact it's every touring band's afterparty of choice, this bar is so goddamned cool Noel Gallagher once offered to buy it. Over two stages from 12 - 9.30pm, Cherry will host a total of 13 bands including The Bellrays (pictured), The Powder Monkeys, and Money For Rope. Cherry Bar owner and booker, James Young says it was easy to figure it all out. "Turns out people want to go to music festivals with a modest ticket price, modest capacity, great line-up, easy access to cheap booze and be part of an audience made up of genuine music lovers." Sign us up too.
