There was little doubt fashion designer Tom Ford's debut film was going to have style, but what about substance? Effortlessly silencing doubters, Ford has taken Christopher Isherwood's novel, infused a layer of autobiography and drawn an impeccable portrait of grief, love and, quite literally, the light of life. It's 1962 and college professor George (Colin Firth) awakes from a nightmare in his architectural, glass box of a house. Jim (Matthew Goode), his partner of 16 years, is dead, and it is his car crash that haunts George's dreams. Deciding to reunite with him, George suits up for his final day on earth, but while he stoically settles his affairs and silently says his goodbyes to his fiery best friend Charley (Julianne Moore), the tantalising appeal of life — personified by luminescent youth Kenny (Nicholas Hoult) — pulls at his plans. There is no question that A Single Man is an exquisite film and an enviable filmmaking debut. Firth's superbly rendered performance is matched by an evocative soundtrack and sublime visuals that show Ford's clear command of colour, close up and (less surprisingly) costume. Lean and lithe, Firth cuts a mean figure in his suit, while George's grey world flushes with luscious colour each time the vibrancy of life muscles in on his mourning. As arresting as Wong Kar Wai's transcendent In the Mood For Love, Ford's superlative study of passion and restraint is a singular film indeed. https://youtube.com/watch?v=sC9Zm1UJ7zs
Each year the French Film Festival arrives in Sydney brimming with cinematic gems and a splash of Parisian chic. This year is no different, with the programme featuring a glittering array of films and quite a few big names. Opening night honours go to Jean-Pierre Jeunet (Amelie), who is making the trip to Australia to present his new film Micmacs. Bringing his unique brand of quirk and sumptuous visual style, Jeunet once again follows around a group of zany misfits, this time as they track down some dastardly criminals. Also making the trip is director Philippe Lioret, screening his critically acclaimed feature Welcome. The story of unlikely friendship between a depressive Frenchman and a Kurdish refugee attempting to swim the Channel has resonated with audiences and provoked debate about President Sarkozy's immigration policies. Less concerned with realistic hardships is OSS 117, Lost in Rio, an irreverent, Austin Powers-esque romp and sequel to the popular OSS 117, Nest of Spies. Lingering on the lighter side of life is LOL, a coming of age comedy with Sophie Marceau (Braveheart) as a single mum with a teenage daughter. And Every Jack has a Jill features the luminous Melanie Laurent (Inglourious Basterds) as a Parisian Chloe to Justin Bartha's (The Hangover) American Jack in a crowd-pleasing rom-com. Similarly filed under 'Love at First Sight' is Jan Kounen's Coco Chanel & Igor Stravinsky. Yes, the cinematic love affair with Mademoiselle Chanel looks set to continue, though this time it comes with Mads Mikkelsen (Casino Royal) as the Russian composer and her fiery lover. Closing out the festival is another big name, though one that is perhaps less well known to Australians: Serge Gainsbourg. Graphic novelist Joann Sfar's debut feature is an innovative biopic of the iconic singer, poet and general enfant terrible — both a character and a film not to miss. The festival is screening at the Palace Academy Twin, Verona and Norton Street. https://youtube.com/watch?v=nQxgopUPOwU
The Human Rights Arts and Film Festival will be coming to Sydney in May, and to get into the swing of things they will be holding a fundraiser in the guise of international short film night, Par Avion. The line up includes eight acclaimed shorts from Europe, the USA and the Middle East, including Amreeka director Cherien Dabis' Make a Wish about a Palestinian girl's tenacious desire for a birthday cake. Steph Green takes an African immigrant to an Irish school in New Boy, whereas Pascale Hecquet's animated Giraffe in the Rain features a different kind of migrant and Jonathan Browning's The Job is a wry twist on Mexican workers in the United States. Provocative, sobering and heart warming, Par Avion promises to be an eclectic mix of shorts, each of which has carved out a window on the world. https://youtube.com/watch?v=5AEbcWsFlZA
A long time ago, one very white, suburban, middle-class girl wandered down to the Sydney Dance Company to give hip hop a go. Okay, maybe she had watched too many episodes of So You Think You Can Dance, and, fancying herself a bit of a mover, she thought she'd explore the art of hip hop. What she found was an unspoken-of world of spectacular poppers, expert lockers, and incredible groovers. While she may also have found that she hadn't nearly enough 'tude to dub her an expert of the genre, it was so much fun that she threw away her ballet shoes, took up her sneakers and never looked back. You too can experience the divine delight that comes with breaking it on down and learn to pop with the best of them at CarriageWorks' free hip hop dance classes. Over the next few Saturdays you will learn the magical moves and grooves of hip hop, all the way from popping to breaking. Get yourself ready for the Platform 3 Hip Hop Festival, coming to CarriageWorks mid-March. So if you think you can dance or you want to be just like your idol Nacho Pop, get your best B-Boy outfit on and head to Eveleigh. Image by Prudence Upton.
Welcoming the brand new Cross Arts Projects space is Danish Ahmed’s eloquent exhibition of recent paintings. The Cross Arts Projects, started in 2003, is a not-for-profit curatorial initiative that shows a mix of curated exhibitions and artist's solos. Their focus is on work with a strong conceptual grounding, and they pay attention to the periphery. For the last few years they have not had a space to show regularly, and so it is with open arms that we welcome them back. Danish Ahmed’s exhibition of small paintings fits perfectly with the tight new gallery space. The works were painted over the last couple of years in Sydney and their small scale is interpreted as akin to the tradition of Mughal miniatures from Ahmed’s homeland, Pakistan. Many deal directly with religious iconography and symbolism — such as the inward tree and prayer mat — and he contrasts these with the texture of woven cotton and Magritte-esque floating clouds to create a sense of collage, of multiple meanings. The most arresting works take a vibrant colour from the miniature tradition and expand it, soaking the subjects in its hue. Rather than grandiose statements on a topic, these small, resolved works are like considered musings.
Despite the funny name (sounds like a Ben & Jerry's ice cream flavour to me) Groovin' the Moo is a diamond set in what could otherwise be quite a dry month for us Sydneysiders. After all, what ever happens in May? Summer is but a distant echo in our ears and there's not a single public holiday in sight. So here's your chance to slip into your festival frock and take the next exit out of town. Held just an hour away from Sydney in the cute-as-a-button town of Maitland, in the Hunter Valley, this one-day festival is part of a travelling carnivalé bringing music and gypsy cheer to six rural locations across the country. Those talented boys from New York, Vampire Weekend, have packed a whole suitcase of new ditties to play. Then there's our own Lisa Mitchell, Miami Horror, and Empire of the Sun, and Canada's Kid Koala and Tegan and Sara. It all seems oh-so-indie until you get to the last two headliners — Silverchair and Grinspoon. I guess they just wanted to secure ticket sales? I'm personally looking forward to what their website refers to as "the biggest dance tent since Sheik Yerbouti" and curing my hangover with fine wines and cheeses. Tickets go on sale February 16, and you can book accommodation via the Maitland Tourism website http://www.maitland.nsw.gov.au/Tourism. https://youtube.com/watch?v=1e0u11rgd9Q
Lady Grey is a clever play. It has a vitality and, indeed, poetry to its language that is often missing from contemporary plays. On a stage bare but for a single wooden chair, a woman (Tanya Burne) grapples with the pain associated with the end of a relationship. In the end her suffering seems almost unjustified; she cared for the man she has lost only because he loved her, held her, and had a nice blue shirt. The point is — and it is a point Eno reiterates throughout — that this shouldn’t matter; pain and suffering are felt just as deeply by the superficial and self-centred. We should empathise because, Eno intimates, aren’t we the audience also a little so inclined? Calling on our common humanity in such a remorselessly intelligent way is refreshing and this play is funny, but Burne is almost too nice, if witty, to elicit a multifaceted response from the audience. At times she seemed startled (was this because Eno was in the audience?), rushing so quickly towards the end that the poignancy of some moments were lost (Eno likes to taunt his audience with the meaninglessness of such cliched theatre phrases as ‘in the moment’, but this only works if the actor is actually ‘in the moment’ when they deliver them). Nonetheless, I’m intrigued by the potential of this production. Eno is an acclaimed contemporary playwright, the director, Julian Meyrick is highly accomplished and Burne more than capable. At $15 it’s ridiculously cheap for a night at the theatre, and I’m inclined to say that you won’t be disappointed.
The Bacardi Express may be an iconic 1960s relic but it certainly ain't the kind of blissed-out peace train Cat Stevens would croon about. For two solid days, under one rattling roof, musicians, bartenders, cooks, crew, and nearly one hundred revellers will clutter five bespoke carriages for the sake of music on the move. Headliners La Roux will be joined by Art vs Science, Yves Klein Blue, Miami Horror and the Cassette Kids, with DJ support from Sampology, on a new route that will see this rail-show play exclusive gigs in Brisbane, Coffs Harbour, Newcastle, and finally Sydney. The various themed carriages housing the hubbub will include a gaming carriage, a jamming carriage and a 'made-to-mix' carriage which I can only assume will involve copious amounts of Bacardi and the creative use of mixers. So if jamming, sleeping, and eating with some of this country’s finest musician’s sounds like your bag there are still 12 whole seats available on the train, and the concerts are free so you need not worry about calling in sick for a couple of days. However, like all good stations in life places are limited so register online at www.bacardiexpress.com.au. We have three double passes to Bacardi Express to giveaway. To win, just visit our Facebook page, click 'Suggest To Friends' and spread the good word, then comment on the wall to confirm. We'll draw names out of a hat and notify winners on Wednesday 24th March.
It is hard to describe talented Sydney singer-songwriter Jonathan Boulet without jumping on the 'young achiever' bandwagon. Yet considering that this young man, when he was barely a day over 20, penned, produced and played every instrument on his self-titled debut album, which he also recorded in his garage, how can you help but be impressed? He has a voice to make Thom Yorke swoon and his finely crafted sound ranges from folky pop to esoteric and haunting soundscapes. The latter to be found amongst unreleased tracks on his website and further reveals the true creative spirit that is at work here. With his much anticipated second album set to drop in the next few months, he will be playing a special Sydney show, with local support from Cabins and The Crooked Fiddle Band at the Standard on Friday, October 21. Long disused, the Standard was commandeered by the Lo-Fi Collective last year and turned into a multi-purpose performance space. It is the perfect environment for what could be, who knows, one of your last chances to see him locally in such intimate surrounds, before he hits the big time he surely deserves.
What's a little deviance amongst friends? Whether he's directing, writing or talking in front of a crowd, there is one thing that John Waters does best, and that is to bring the filthier habits of humans to light with a spray of panache and playfulness. Come October and the dapper Pope of Trash shall grace the Sydney Opera House with his personal selection of films that will extract all sorts of late night juices. Organised into four categories titled 'Shock', 'Terror', 'Goddess' and 'Sex', these double features will be presented by Waters, whose curatorial mantra is to screen "radically intelligent and disturbing movies that will push [Australian audiences] closer to the edge of cinema insanity". Some of these films - such as the 'Shock' duo, Antichrist and Irreversible - are famous for their unrelenting destruction of humanity, but Waters has also selected films that celebrate the perverse in a positive light. And, for lovers of camp and the surprise hilarity of a bad film, the 'Goddess' pairing of Boom! (1968) and Fuego (1969) should finish you off with a smile. Take this opportunity to be exposed to thrilling madness, all while clutched against the bosom beneath the world's most famous pencil moustache. https://youtube.com/watch?v=YnpofBtijF8
Secret Wars may not be quite as secret as it was when it started in 2006 in London, but the name still seems appropriate. After all, there’s always going to be something weirdly personal about watching two artists trying to outdo each other in a 90 minute race/battle. Perhaps it’s because the pursuit of art seems so solitary even when it’s an onstage competition. Perhaps it’s just that the contestants usually spend their time illustrating elaborate puns on their opponent’s names. In any case, it always makes for a great evening. This Wednesday, Oxford Art Factory will host the final of Sydney’s 3rd Secret Wars ‘Season’. Heesco and Sprinkles will be trading ink in a fierce battle for this year's Secret Wars crown. Remember to cheer extra loud for the artist you think deserves the top spot — the crowd vote is decided using a decibel reader.
The idea of ‘play’ as an art form has been floating around since Surrealism and Dada, yet people still tend to think of art and video games as being enemies. Art makes you culturally superior, while video games are for fat guys who sit around in their underwear eating bowls of cereal. It’s only in the last few years that the masses have become more open to the idea of digital interaction as a form of artistic exploration, but there are some artists who have been experimenting with technology, play, narrative and interaction since the early ‘80s. The Garden of Forking Paths draws together a range of historic and contemporary artists who have created boundary-pushing computer games that break the traditional shoot-em-up gaming orthodoxies. Jaron Lanier’s 1983 Moondust is the earliest example, even incorporating an ‘80s version of the Wii remote. Laurie Anderson and Hsin-Chien Huang’s 1995 Puppet Motel CD-ROM consists of a series of beautifully crafted interactive rooms filled with Anderson’s stories, imagery and music, giving the user no instructions as to how to interact with them. Artists Auriea Harvey and Michaël Samyn’s 2009 The Path reworks the Little Red Riding Hood story, delving into the psyche of the audience with a short horror game that blurs the line between art and video games. All of the works are interactive, with some installed on ‘antique’ computers sourced specially to allow viewers to experience the games with authenticity.
Surf culture is something Australians feel an affinity with even if they don’t surf. Who hasn’t gone through a phrase where it was only acceptable to wear stuff made by Billabong and Roxy, bought a Hawaiian shirt or maybe just called someone “dude”? It’s more firmly engrained in our culture than sarcasm and irony and, like both of these things, you don’t need to be particularly good at it to appreciate it. But of course surf culture is more enjoyable when you actually do surf, because then you can make the most of things like the Deus Surf Swap and get your board custom sprayed by Marty Worthington, splash out on one of the latest foam mowers from Bing Surfboards or flog your own sticks for surf art, posters, vintage bric-a-brac and retro surf wear. The organisers are a chill bunch and welcome everyone from pro surfers to those just wanting to deck out their lounge in sweet surf memorabilia, and even boogie boarders can come along if they keep quiet about it. All this is going down at Deus Ex Machina in Camperdown, which is remarkably un-salty but has an excellent collection of custom motorbikes. Image by mikebaird.
British band WU LYF are making their Australian debut at the Sydney Opera House next week, as part of the Vivid Festival. Part beat poet, part disenfranchised youth, part anarchist, this fascinating band from Manchester have been creating a few waves recently with their infectious and emotive self-coined 'heavy pop'. Determined not to sell their soul to the music industry, they've been cleverly manipulating the media and building a steady following over the last couple of years, whilst still remaining decidedly enigmatic. Perhaps even their name, an acronym for World Unite Lucifer Youth Foundation, is an ironic nod to their defiance. Attempts to scratch beneath their surface are met with fierce resistance though, and even on their own website they remain staunchly obtuse. Their story is told across numbered segments in semi stream of consciousness prose which, you'll soon realise, are out of sequence, rendering them nonsensical. The jury may still be out on whether they are bona fide rebels, or if it's all just an exceptionally clever PR stunt, but that's kind of missing the point. Their music is superb: deep, raw, emotive, yet accessible. This show may be a chance to witness the phenomenon that is WU LYF before they break into the big time.
Greece conjures up numerous thoughts. Philosophy? History? Democracy? Yes, yes and yes. Indie rock? Apparently so. GROUPLOVE founders Hannah Hooper and Christian Zucconi met on an artists residency on the island of Crete. Upon returning to the United States, they met drummer Ryan Rabin and began recording in his home studio. The sound they developed mimics their homeland of California. Their self-titled EP has received heavy play on Triple J, led by heir single 'Colours', and an album will be out soon. On their first trip to Australia, they are being supported by Young The Giant, and will bring their own brand of indie escapism to our shores.
Two things that nearly all humans like are clothes and getting really awesome ones at heavily reduced prices. If you're someone who likes both these things then you've probably already heard about The Big Fashion Sale, which is your best chance to get amazingly fantastic threads from some of Australia's top cult designers at prices you'd be hard-pressed to find on eBay. Now in its third year, the sale has amassed the most designers in its short history and will be packing them all into Darlinghurst's District 01. These designers include Karla Spetic, Christopher Esber, Nathan Smith, Amy Kaehne, Friend of Mine, Story by Tang, Seventh Wonderland, Elke Kramer, Ausmode, We Are Handsome, Meadowlark, PAM, Rittenhouse, Marnie Skillings, Dannika Zen, Secret Squirrel, Eleventh Hour and My Pet Square. But be warned — insane prices do not peaceful environments make. This sartorial wonderland is probably going to be one that's crazier than Zara circa May 2011, so arrive prepared to fight for your right to own beautiful things.
This year's Summer Opener takes place at Sun Studios, a recently renovated warehouse in Alexandria. With walls stretching up to 25 feet high and equipped with superb sound and lighting features, this is the perfect venue to host one huge New Year's Eve party. The line-up is fronted by Emerson Todd, a Berlin-based DJ who has also found considerable success in Australia. His popularity has been reflected in his work with the likes of Pnau and The Sleepy Jackson, as well as appearances on the festival circuit at We Love Sounds and Future Music Festival. He will be supported by Ft Mode, Eoin Brosnan and The Amateur DJs. The venue also includes a seperate bar and outdoor area. Ticket prices are inclusive of access to beer, wine and standard spirits as well as a summer barbeque. Head on over to the Summer Opener to welcome 2012 with music, friends and a good feed.
My biggest gripe with Woolloomooloo is that there’s no official abbreviation for it, which means that it’s really annoying to type on a QWERTY keyboard. Starry-eyed Frankie Jones, however, has bigger issues with the place. Arriving destitute in the inner-city suburb from Italy after her entire family dies and her financial situation hits rock bottom, Frankie begins to search for her long–lost cousin. What she finds, instead, is a job working the tables at Sydney’s most famous theatre restaurant, where she’s drawn into the secret theatre restaurant underworld by the terrifying Godmother of theatre, Mama Murkin. It’s “Muriel’s Wedding crossed with The Godfather, Pulp Fiction on a date with When Harry Met Sally, with a little pinch of La Dolce Vita.” Poor Woolloomooloo isn’t all complicated letter combinations and life-threatening theatre, however, it does have delicious Italian restaurant Puntino Trattoria, who are teaming up with theatre company Arthur Productions to put on this culturally and gastronomically rewarding evening.
If you’re heading to the movies without a picnic blanket this summer, you’re doing it wrong. Moonlight Cinema is back for its sixth season this year to prove that movies are better when you’re watching them outdoors, and best when you can bring your own food and booze without being super sneaky. The season kicks off with a preview screening of Alexander Payne’s comedy-drama The Descendents, while the rest of the cinematic lineup includes Woody Allen’s romantic comedy Midnight in Paris, the 2011 remake of The Muppets and the Hollywood neo-noir drama that cemented Ryan Gosling’s rank as the tenth sexiest man alive — claim your patch of grass early for Drive. Even The Twilight Saga might be remotely diverting when you’re sitting under the stars, and then there are the requisite screenings of The Breakfast Club, Top Gun and The Rocky Horror Picture Show. Also on offer will be NY-style street food, a fully licensed bar and gourmet picnic hampers you can book along with your tickets. Though the best way to do Moonlight is still with a bag of Cheezels and a bottle of wine. Gates open at 7pm and screening starts at sundown. Read Concrete Playground's guide to Summer outdoor cinema in Sydney
"A beautiful film… profoundly moving." Los Angeles Times "The Slumdog Millionaire of documentaries: an inspiring, deeply moving crowd-pleaser." Washington Post What happens in the world's largest trash city will transform you. Filmed over three years, Waste Land is the Academy Award-nominated documentary that follows renowned artist Vik Muniz as he journeys from his home base in Brooklyn to his native Brazil and the world's largest garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro. There he photographs an eclectic band of 'catadores' - self-designated pickers of recyclable materials. Concrete Playground is teaming up with Jameson and Hopscotch Films to present A Movie Night this Wednesday, November 30 at Cinema Paris, Fox Studios (where the film will be screening exclusively from December 1). At 6pm, we will be serving up some tasty cocktails prior to a special advanced screening of Waste Land at 7pm. To go in the running to win tickets for you and a friend, just make sure you are subscribed to Concrete Playground then email hello@concreteplayground.com.au by 5pm on Tuesday, November 29, 2011. Winners will be notified by email soon after. https://youtube.com/watch?v=0XCxpQMfGfc
A haunting new dance-based video work from Samuel James stages bodies against surreal surrounds, exploring the psychological and physical dimensions of places. Vivaria means literally 'place of life', but generally refers to enclosed areas where plants or animals are kept for observation or research. Within this hypnotic four-screen video installation, vivaria are shuffled and flipped like a child's toy blocks, allowing us to peer into strange and surreal worlds. These worlds are familiar yet not, urban places twisted into Escher-like repetitive architectural structures or fantastical landscapes. Within them, human figures appear, often tiny and seemingly overwhelmed by their surrounds, isolated and somehow disjointed. Soon, we realise that their strange movement is in synchronicity with their environment and, in moments where movement conjoins with architecture, we see that these humans have somehow adapted and become one with these alien places. The dancers involved are Martin del Amo, Peter Fraser, Linda Luke, Georgie Read and Lizzie Thomson, Sydney-based artists who are all incredibly unique, and this work reveals the great depth of their talents. Gail Priest's post-apocalyptic soundscape is a perfectly suited and carefully unobtrusive echo of the visual aesthetic.
There's probably not one among us who hasn't imagined their life playing out as if it were a film. We imagine the audience's reactions to our expressions, the camera's soaring view over our actions. But never has it been so beautifully described as it has by Oliver Tate, the young protagonist in the film Submarine. Directed and written by Richard Ayoade (based on a novel by Joe Dunthorne), it was inevitable that this film would emulate the endearing sweetness that Ayoade brings to his character Moss in the lovable IT Crowd. It's a simple story: boy has crush on girl, girl is slightly troubled pyromaniac, boy's parents are dealing with their own problems which might involve the reappearance of long lost sweethearts, and so boy attempts to assist their love life. Broken up into prologue, three acts and an epilogue, the film does almost read like a book but the spectacular mixed media photography including Super 8 footage, stills and brilliant use of slow motion adds a decidedly visual tonic to the movie's book-like script. Not that being book-like is a criticism: the characters all speak with a studied wit, delivered with natural grace. Sally Hawkins, who plays Oliver's mother Jill, is an engrossing actor who takes subtlety to a new level, and the young stars Yasmin Paige and Craig Roberts are staggering talents to be watched. Strangely enough for a small film shot in Wales, Ben Stiller pops up as an executive producer and also makes a small cameo in the film. Assuming that he was crucial to funding, I can only take my hat off to him. This was a slow burn film, with a moving soundtrack and skilled direction. I say slow burn, because it takes a while to realise just how endearing, humorous and touching it really was. But once you do, you'll probably want to see it again.
There is a lot of 'themed' stuff going on these days. I am guilty as charged. I wonder why this is - do we need limitations, something finite, contained? Why do we need this now? With the world so apparently royally screwed I am sure there is a little bit of fantasy escapism wrapped in there along with a sweet nothing whisper from Mr. Nostalgia who claims that it was all so much easier back then. Either way, this is 2011. Let's not think about it too much. Dress ups we like. And dress up we will. And from the kings of themed dress-up parties we come to The Lost Boys' latest offering, On the Catwalk. With a secret venue texted to you on the day and commitment to theme like no other - this party is sure to pout and pose and photoshop away all those weighty world blues. With a whole host of DJs it seems a little odd that one would be expected to dance - how to move in haute couture and six inch heels? - but hey, the topple from the catwalk is all part of the show. Tickets are on sale now (and tend to sell out super fast) so get in quick, or failing that get your people, to call my people and hey, we will go from there. Update: tickets are now sold out.
Hendrick's Refined Courtship Clinic is "offering etiquette tips to both singletons and couples looking to woo potential suitors and develop their relationships with a level of decorum... offering advice on all matters from polite body language to acceptable topics of conversation and procedures of courtship to reading signals from a lady’s fan movements." It's marketing, but not as we know it. Hendrick's, better known as boutique distillers of a cucumbery gin, also have a penchant for quirky events such as supporting the Chap Olympiad, which of course gives them a chance to put their tipple in front of new tastebuds. Their courtship clinic has helped lovelorn individuals internationally, and is setting up shop at 387 Oxford St Paddington for a few days, to be hosted by Dr Humphrey SixWivs and Mrs Isabella Forlornicate. No doubt tongue will be firmly in cheek, and a gin will be firmly pressed into your hand should you drop in for some help in the romance department.
Have you ever wandered down a suburban street at night, when everyone's living room lights are illuminating their dinner and TV watching activities, and taken a little peek inside? We're all a little voyeuristic by nature, but it's not just the big events in life that are interesting. Sometimes we need to satisfy our curiosity for seeing into the lives of others. The Living Room Theatre company has combined our curious nature with a three fold theatre performance. Combining film, a radio play and a live theatre performance, A Little Room will let you into the lives of three women as they experience moments of love lost and gained. It will explore what these little moments mean when the time for taking them for granted has past. Toying with ideas about memory, experience and how we cope with the loss of love, this production will inspire a whole new way of looking at your loved ones. Do you remember the little moments? What happens if memories are all you have left? Inspired by the work of Canadian sound designer Janet Cardiff and employing the compositional structures of of Steve Reich and Keith Jarrett, this will be an illuminating production.
One of the leading figures in post-war and modern Japanese photography, Eikoh Hosoe is renowned for his work that combines elements of theatre, dance, film and traditional Japanese art. The Theatre of Memory is a new exhibition at the Art Gallery of New South Wales that brings together four influential series' of works by Hosoe from the past five decades. The Butterfly Dream, Kamaitachi and Ukiyo-e focus on the avant-garde Japanese dance form of Butoh which, Hosoe was deeply fascinated by. Also known as 'the dance of darkness', Butoh seeks to explore the hidden, dark side of human emotions. These works prominently feature the two dances often cited with creating Butoh - Tatsumi Hijikata and Kazuo Ohno. The fourth work featured in the exhibition is Embrace, a series of abstract nudes focusing on the purity of human form.
When I was young, and my parents would visit Myer to buy, like, an iron, or a food processor to aid the making of vegan hedgehog slice (true story), I used to head straight to the toy department and wonder what would happen if I got locked in there overnight. I was pretty sure it would be terrifying, but as a reward for my bravery I would get to keep all the toys I opened. Late Night Library is the slightly more grown up Lucinda’s version of that dream. Since April this year, Surry Hills Library has played host to a series of after-hours talks, workshops and film screenings, a fair number of them on the naughty side. This Thursday, that repertoire will be expanded as singer/songwriters take the LNL stage. Performers include Jai Payne (The Paper Scissors), Camilla Hill and Cody Dillon in what has been termed (by whom no-one knows) ‘a 4 headed 8 armed singing-songwriting chimera of death’. I guess my younger self was right about this kind of thing being terrifying. Entry is free, but it’s recommended you book ahead by calling the library: 02 8374 6230
It's totally okay to go and spend your money at August's Big Fashion Sale. Not only will you be virtuously supporting the Australian fashion industry, you'll get the chance to try on and possibly go home with some very clever and attractive pieces of work. The usual story of samples and seconds, these events are also a good way to hone your overall shopping fitness. Identifying items in sizes and styles relevant to you and evaluating them according to the 'amount you want them' x 'condition they're in' x 'actual saving' x 'how much money you have' formula, requires mental agility, budgeting and prioritising, which reinforces your 'responsible adult' powers. Not only that, the change rooms at these things are a yoga experience if solo and a lesson in how-to-not-elbow-people-while-not-meeting-their-eyes when communal. This particular sale, in the new location of Darlinghurst's District 01, has pieces from Asuza Women's, Maurie & Eve, Shakuhachi, Lonely Hearts, Laurence Pasquier, Carly Hunter, Nathan Smith, Birthday Suit, Rittenhouse, Deadly Ponies, Ruby Smallbone, Elke Kramer, Nicola Finetti, myPetsQuare, Emma Jube, Seventh Wonderland, We Are Handsome, Story by Tang, Secret Squirrel, Shona Joy and Strummer. Options will run from denim to sparkles.
Secret Wars may not be quite as secret as it was when it started in 2006 in London, but the name still seems appropriate. After all, there’s always going to be something weirdly personal about watching two artists trying to outdo each other in a 90 minute race/battle. Perhaps it’s because the pursuit of art seems so solitary even when it’s an onstage competition. Perhaps it’s just that the contestants usually spend their time illustrating elaborate puns on their opponent’s names. In any case, it always makes for a great evening. This Wednesday, Oxford Art Factory will host the semi-finals of Sydney’s 3rd Secret Wars ‘Season’. HEESCO and VARS ONE will be trading ink in a fierce battle for a spot in the Grand Finals later this year. Remember to cheer extra loud for the artist you think deserves the top spot — the crowd vote is decided using a decibel reader.
Spirituality in cinema is a double-edged sword. From the works of Andrei Tarkovsky to the more recent A Prophet, films that delve into the unseen gears of faith and another world tend to laden themselves with a weight that will welcome dedicated viewers and drive the rest away. Of Gods and Men, directed by Xavier Beauvois, carries on the tradition with a piece that is beautiful, deeply meditative and, for those with the endurance, long drawn. The film takes place in and around a monastery in Algeria, during the mid-90s. A picturesque opening details the daily lives of the eight French Trappist monks who make their home here, and lays out their close relationship with the Muslim inhabitants of the neighbouring village. This is an image of pure, pastoral bliss, with the monks tending to their honey-making, their vegetable patches and their communal prayers. There is mutual respect and a genuine love between the two groups - monks and villagers - displayed both through the dedicated work of the doctor, Brother Luc (Michael Lonsdale), and through the monks celebrating birthdays with local families. Of course, such a peaceful opening begs to be overturned, and when Of Gods and Men's second act opens with the arrival of extremist Mujahideen soldiers, the violence of the outside world makes its presence felt. Like other films dealing with religion and spirituality, the arrival of the soldiers is the crucible of the monks' faith. Charged by their vows and their love to stand by the local villagers, sandwiched between the extremists and an increasingly paranoid government, the monks are faced with the question of whether they should leave or remain at the monastery where they will surely die. Often in spiritual films, the question of faith and the presence of a higher power is seen through the eyes of a sole believer. Not so in Of Gods and Men. Beauvois has worked with the ensemble cast to create a strong sense of communal faith, and this film renders a very human approach to an otherwise lofty genre. Supporting the cast and direction is Caroline Champetier's cinematography and Michel Barthélémy's production design. Both of these elements create a world that beguiles with its simplicity. Aside from questions of spirituality, these two elements gently place the idea of a slow, grassroots life, filled with bespoke knitwear and the comforts of tilled soil. Make sure that you're in the mood for reflection when you come to see Of Gods and Men. It will reward an unrushed viewing and subsequent pondering, but otherwise you will feel as if the film is half an hour too long.
A passing glance at Chunky Move's latest work, Connected, might conjure up images of medieval torture devices. For what other reason would someone be connected by strings from their back that run into what appears to be a Catherine Wheel? However, it is a closer look that reveals the sane, less bloodthirsty answer. Suspended above the performers is a complex web of paper, wire and string: a geometric net frozen in the air. Constructed by Californian artist, Reuben Margolin, this device echoes the movements of the connected dancers in real-time to produce temporary sculptures. While the principles behind the device's construction appear to be simple — a criss-cross of joints and bars — there is a wealth of mathematical brain-crunching driving their fluid articulation. As a result, Margolin's device becomes a major performer in Connected, working alongside the human dancers — directed and choreographed by Gideon Obarzanek — to create a series of clean, physical sequences that grow increasingly complex throughout the piece. Connected is a fantastic conceptual follow-up to Chunky Move's other works, Mortal Engine and Glow. Both of these earlier works explored the role of a human interface in manipulating audiovisual technologies. But, rather than hyperjumping to the far regions of digital performance forever more, Obarzanek has turned the clock back to old-school mechanics. The device at the heart of Connected does not run on electricity. Its movement is stimulated only by the dancer it is coupled to, and it is in this that the show presents a timely reminder. Technology may provide us with flashy new frontiers but, ultimately, what drives any application is still very much grounded in our humanity. Catch this living wave-form sculpture in Sydney before Connected jumps the oceans to South Korea and the USA. Image by Jeff Busby
An observant and sometimes handsome Englishman named G.K Chesterton once wrote that "Fallacies do not cease to be fallacies because they become fashions". What he might have meant is that popularity or acceptance does not necessarily determine something to be true or accurate; in fact the opposite is often the case. This opinion seems to work particularly well when considering the history of film and cinema, where narratives, roles, and stereotypes often find themselves in formulaic, fashionable loops (have you seen this one? Man loses girl so man does something, overcoming various obstacles, to get girl back). Think of all the remakes and sequels we witness each year in popular contemporary cinema that reinforce aged principles and tired behaviour. And, although we might consider ourselves astute viewers, we should probably admit that cinema is somewhat of a charismatic medium, often making it even more difficult to determine fallacy from fashion, social stereotype from social reality. Taking place at the always-rewarding Red Rattler, Seen & Heard is a free festival celebrating women filmmakers. And while this festival attempts to address and critique gender roles commonly occurring in both the production and exhibition of contemporary cinema, the festival organisers would contend with anyone wanting to pigeonhole women filmmakers with solely presenting and dealing with 'women's themes'. In fact the festival promises to "battle the celluloid ceiling" and deal with questions on "class, race, ability/disability, gender and sexuality". What seems promising here is that this festival looks as though it will be less about attacking gender restrictions in cinema and more about looking and listening at films that deserve attention, despite what the fashion may be. The schedule: Thursday January 14th - Stranger than Fiction: exhibiting both fiction and documentary shorts featuring guest speaker, filmmaker Sunny Grace. Friday January 15th - Scarlet, White and Blue: causing controversy over race relations in Australia. Saturday January 16th - Festival Gala night: featuring special guests Gurleseque and a live performance by Fag Panic. Sunday January 17th - She's So Unusual: experimental shorts with guest speaker, filmmaker Gillian Leahy.
The big haired, skinny jeaned UK outfit The Horrors are all pomp and dark romance. From the scuzzy thrash punk beginnings of their debut Strange House, they exploded in the UK with some serious NME cover time and have built a solid following around the world. They released Primary Colours last year, which saw them leaning more towards the sounds of post-punk/new romantics like Nick Cave and Joy Division, and shoe-gazers like My Bloody Valentine. The album was lauded by critics as phenomenal and it is really a fantastically moody yet poppy gem with aggressive but catchy hooks left right and centre. If you want to avoid the sweaty masses at the BDO then catch The Horrors' side show at the OAF.
Billed as "a unique collective of experimental pop, indie and electronic" The Sister Cities Music Festival would be graded as small on the festival-ometer, but still packs punch with some great bands and solo acts from Melbourne and Sydney. It's nice that they are trying to bring some unity to the table between these competitive sisters, and with acts like Sydney's Megastick Fanfare and Melbourne's The Emergency topping the bill we'll all learn there's nothing like percussive freak outs and dancing to bring cities and people together. It's a truly eclectic lineup with the folky/pop stylings of Shady Lane, and then Bon Chat Bon Rat - who win the obscure band name competition. The are a few unknowns on the bill also worth checking out: TST from Melbourne who do moody post-punk with Bloc Party-esque dueling guitars and disco beats, and Tantrums adding some more electronic tinges to the Fest with their glitchey melodies and beats. It should be interesting to see if it all comes together into something cohesive, though it probably won't and that could well be the charm of it.
What on Earth has Jim Cameron been doing for the past 12 years? Well, not much - technically - for he has gone virtual, turning that closely guarded world of gaming geeks into pure cinematic spectacle. And that is exactly what Avatar is: absolute spectacle â€" a big, bright and sweeping epic that demands to be seen on the silver screen, behind 3D glasses. The story itself is pretty basic, essentially Pocahontas meets Fern Gully, and considering Sigourney Weaver's presence, it has a few lashings of Aliens (by way of Gorillas in the Mist) as well. Of course none of these references make for a particularly pretty post-colonial reading of the film. Your world is on the brink of utter destruction? Ok, but be sure to waste precious time trying to save the white woman. Not to mention the classic white warrior "going native" and rescuing the noble savages from themselves. Then again, Avatar probably wasn't meant to stand up to such discourse, rather it exists in the world of fairytale; one not so far removed from its gaming brethren or Cameron's Terminator and Aliens shoot-em-ups. And then comes the heart, where, mercifully, Cameron dials back on the stultifying declarations rampant in Titanic, instead presenting the burgeoning love of Jake (Sam Worthington) and Neytiri (Zoe Saldana) as one born of the respect of warriors. And in keeping with the fairytale tropes, every character slots into their allotted caricature very well. Weaver is the impassioned scientist, Giovanni Ribisi the corporate stakeholder protecting his bottom line and, most amusingly, Stephen Lang is Colonel Quaritch the mercenary muscle as well as the source of much comic relief (be it intentional or not). So though you won’t get anything new narratively, Avatar is a visual feast, bountifully colourful with enough glowing UV colours to make a raver jealous. It’s clear Cameron and those talented Kiwis at WETA have absolutely gone to town creating Pandora, as well as the painstaking performance capture required to bring life to the inhabitants themselves. It’s just a shame that some of the brilliant action is sullied by exposition that caters to the lowest common denominator; in 12 years it seems Cameron still hasn’t grasped subtlety, though perhaps it’s better that way. https://youtube.com/watch?v=dyDQoXEBkGw
Touted as the dance event of the Sydney Festival, Bale de Rua is coming to town with a whole lot of sweet dance action that smacks of Brazil. Using original music, traditional melodies, dynamic percussion and ridiculously-impressive production design, the company has created a mini break-beat carnivale, big on energy and athleticism. With a cast of fourteen men and one woman who specialise in hip hop, breakdance, capoiera and congado, Bale de Rua (literally 'street ballet') traces the history of Brazil, from its African roots to contemporary times. It was a sell-out in Paris and massive in Edinburgh and London - sending the critics into praise spasms anywhere it goes. Founded by two street-taught dancers, Marco Antonio Garcia (apparently we'll be hard pressed to find a more sculpted human body), an ex petrol pump/supermarket attendant and Jose Marcel Silva, an ex coffee bean picker/bricklayer, Bale de Rua is both an internationally acclaimed company and a dance school. Most of the dancers are graduates and many of them now also teach Bale de Rua dance classes in the poor neighbourhoods of central Brazil. Photo by Eric Deniset https://youtube.com/watch?v=jlVWj6PdUbE
Master of the implied jazz hands, Rufus Wainright returns to Sydney in October to play an intimate man-and-piano show at the the Sydney Opera House Concert Hall. Son of the equally famed Kate McGarrigle and Loudon Wainright III, and brother to Martha Wainright, Rufus has a daunting musical pedigree, which he seems to have all but pushed aside to forge his own (intense) fanbase with his poetic, bare-all lyrics. His debut album, Poses, led to wide acclaim, as has every single thing he's been involved in since (except that drug addiction that led to temporary blindness, perhaps). Rufus Does Judy at Carnegie Hall, his take on Judy Garland's 1961 concert, a song-for-song show in 2006, has become something of an iconic moment in pop performance. After his cancelled shows earlier in the year, this is one event not to miss. Tickets go on sale on Friday, June 4, at 9am. https://youtube.com/watch?v=J_TxPQKcG7w
The words, "The Beatles" are never uttered in Sam Taylor-Wood's debut feature film Nowhere Boy, and, for the most part, neither are the screaming girls that the phrasing conjures. That's because the film focusses intensely on John Lennon's life aged fifteen-eighteen, an intimate portrait of a specific time period rather than the usual longwinded biopic. Aside from a few little wink-wink sight gags scattered throughout, Nowhere Boy could be the late adolescence of any boy growing up in Liverpool in the mid 1950s. Except of course, Taylor-Wood knows that we know he isn't.Confronted with the death of the uncle that raised him alongside the starched Aunt Mimi (Kristin Scott Thomas, perfectly buttoned up), fifteen year old Lennon (Aaron Johnson) is further thrown into confusion when his biological mother steps into the frame, at the cemetery no less. Anne-Marie Duff as Julia is more like an ebullient older sister, eager to welcome back Lennon into her rebuilt life, having abandoned him as a small child. She gently shoos her two daughters out of the way as she coos over John, fussing and â€" just a little â€" flirting. 'Rock'n'roll means sex', she teaches him, knocking him for six, as he begins to measure out his approach to life, and, more to the point, his music. There's an excellent scene showing them hearing and reacting to Screamin' Jay Hawkins I Put a Spell on You for the first time in Julia's lounge room, capturing the shock of the new and how something like a song at the right age can change everything.The film is less about John Lennon and his budding musical talent, perhaps because Johnson feels a little out of place with his cheeky, quick banter, but moreso that it's the story of the two women who raised him, from within the interior of a family melodrama. The stark contrasts between Mimi and Julia, with their own clashing notions of both parenting and living, form the spine of the film. Both show up to see his new skiffle band play at a local fair, but though their intent of support is the same, they are unable to do so together. The reason for his abandonment as a small, crying child (shown occasionally in unnecessary flashbacks) is revealed at one point, sadly the least triumphant moment of the film.Taylor-Wood, known predominantly as a photographer and video artist, in collaboration with screenwriter Matt Greenhalgh (he penned the Joy Division biopic, Control) has made a loving, intimate rendering of a snippet of a life. Beautifully shot, and with period perfect costuming ("it's my Buddy Holly look", says John to Paul McCartney, at one point), Nowhere Boy looks the part and feels genuine but not enough to linger, even if by the end of the film we understand that the boy is actually going somewhere. https://youtube.com/watch?v=Y6Km9L1Sqd0
One of the best things about living in Sydney is the good weather, particularly in summer. So, why not make the most of our fair city by drinking and dining al fresco? Round up your date or your mates and have a picnic in the sun. Lucky for you, we're giving away lush hampers filled with tasty snacks and top-notch Wolf Blass drops to three Sydneysiders, so you can take your picnic game to the next level — without spending a dime. The hampers will come with six bottles of Wolf Blass Makers' Project wine, including its popular pink pinot grigio, rosé and pinot noir, and a heap of gourmet goodies, including eggplant and chilli chutney, artisanal crackers, handmade chocolates, gingerbread bickies, nuts and mini meringues. So, should you win this prize, you'll be feasting away this summer, whether you choose to do so by the beach, in a park or in your own leafy backyard. To enter, see details below. [competition]791139[/competition] Remember to Drinkwise.
Rugby fans all across Sydney are primed for this weekend. The HSBC Sydney 7s returns for two jam-packed days of rugby matches with 28 of the world's best international men's and women's Rugby Sevens teams going head-to-head to be crowned tournament champions. While all that action-packed rugby will keep you busy over Saturday, February 1 and Sunday, February 2, there's a lot happening off the field, too. The annual event will also feature a mini music festival, the chance to meet some of the players and much more. Basically, it's an all-out party no matter which way you look, so here are all the other things you must check out while you're there. [caption id="attachment_758988" align="alignnone" width="1920"] Rugby AU Media[/caption] DANCE AT SATURDAY'S FESTIVAL For the second year running, the Sydney 7s weekend will have its very own music festival so, when you're not watching the footy, you can dance into the night. The festival will host live acts across the two days, starting with some of our city's best homegrown DJ talent on Saturday. Kicking off on the decks is Bondi's own Yolanda Be Cool from 4.30–5.30pm, followed by DJ Tigerlily from 6.30–7.30pm. Closing out the night is ARIA Award-nominated artist L D R U, who'll perform from 7.30–8.30pm. Heaps of supporting acts are on the docket, too. Head here for more details. [caption id="attachment_758963" align="alignnone" width="1920"] Rugby AU Media[/caption] ENJOY SUNDAY'S MULTICULTURAL PERFORMANCES On Sunday, you can expect the festival area to feature an impressive lineup of acts from across the globe. Headlining the day is Polynesian recording artist Fiji (George Veikoso). He's a leading force in the contemporary island reggae music scene, so expect epic beats paired with his smooth vocals. Alongside Fiji, other acts to take the stage include a Caledonian pipe band, a live brass band, an African drum group and cultural dance groups aplenty. Apart from performing at the festival stage, some of these groups — which also include crews from South Africa, Scotland, New Zealand and the Cook Islands — will also roam around the stadium and perform pop-up gigs throughout the weekend. For full details, head to the website. GRAB A FEED While you're welcome to bring food and non-alcoholic bevvies into the stadium with you, part of the fun of the day is exploring the many food options that Bankwest Stadium has to offer. Here, the food offering is inspired by western Sydney's diverse communities and promotes local merchants and producers. From the stalls, expect the likes of beef brisket, ribs and pulled pork rolls from Barbecue Pit, poke bowls and rice paper rolls from Nourish and salt and pepper squid and tempura prawns from Catch. There are also pizzas, burgers and specialty coffees on offer, plus footy staples like beef pies, sausage rolls, hot dogs and hot chips. You can check out the full details of the food and drink offerings here. And if you're headed in with a group, weekend hospitality packages are also on offer. [caption id="attachment_759236" align="alignnone" width="1920"] Rugby AU Media[/caption] PUT YOUR FOOTY SKILLS TO THE TEST While rugby is raging on the field, spectators can get in on their own sports action with games and activities set up all around the stadium. If you fancy yourself as good as the pros, grab a mate and start off with the kicking challenge, a virtual simulation game which tests your skills. Each player gets a chance to kick and will be scored on speed, difficulty, power, height and goal scoring. The duo with the highest daily team score will even win two signed jerseys. [caption id="attachment_758991" align="alignnone" width="1920"] Rugby AU Media[/caption] WIN HEAPS OF PRIZES Apart from signed jerseys, there are heaps of prizes and giveaways on offer throughout the weekend. On-field challenges, dance cam competitions and free merchandise are all on the docket, plus games like horizontal bungee, obstacle courses and inflatable passing challenges all come with potential prizes. And you'll find branded giveaways everywhere you look, including clapper banners to help you cheer on your team during the match. You can win tickets to the best seats in the house and bag gifts like Budgy Smugglers. Basically, you're almost guaranteed to leave with a few freebies. There's more information on games and activities available across the stadium here. [caption id="attachment_758994" align="alignnone" width="1920"] Rugby AU Media[/caption] MEET THE PLAYERS Sydney's instalment of the Rugby Sevens tournament doesn't just give fans the chance to watch their favourite players in action — spectators also have the rare opportunity to meet players from all over the world as they take a lap around the pitch post-game to take selfies and sign autographs. There are a few key players you should keep an eye out for including Australian women's players Ellia Green and Emma Tonegato and men's players Maurice Longbottom and Lewis Holland. Plus New Zealand's Michaela Blyde and Ngarohi Mcgarvey-Black are two to hope for — so far in the 2019-20 season, New Zealand is ranked first in both men's and women's standings. And the winning team of the men's 2018-19 Sevens series was Fiji, so watch out for that team, too. [caption id="attachment_759009" align="alignnone" width="1920"] Rugby AU Media[/caption] SPARE A THOUGHT (OR DOLLAR) FOR THOSE IN NEED Of course, this year's event couldn't pass without an acknowledgement of the raging bushfires that have devastated our country. Sydney 7s is doing its part toward bushfire relief — it's donated over 2000 complimentary tickets to the NSW Royal Fire Service alongside $5 from every ticket sold over the just-passed long weekend. Plus, World Rugby, Rugby Australia and Asics have joined forces to pledge a total $1500 Red Cross donation for each try scored by the men's and women's Australian teams across the tournament. Spectators are encouraged to join in the fundraising and do their part, too. Why not pledge $1 for every try your favourite team scores throughout the weekend? To purchase tickets to HSBC Sydney 7s, visit Ticketek, and for event updates follow @Aussie7s on Instagram. Then, find more ways to make the most of your weekend below. Top image: Rugby AU Media
If you thought The Soda Factory's Tuesday Dollar Dogs was generous, that’s just the tip of the iceberg. Having just surpassed the 10,000 like mark on Facebook, they’re hosting an event titled 10,000 Leagues Under the Sea to show their gratitude. This nautical bash will feature a complimentary seafood smorgasbord of gourmet fish and chips, salt and pepper squid and lobster sliders. There’ll also be complimentary cocktails for the early birds who arrive between 5-7pm. Rockabilly party-starters, The Two Timin' Playboys will be taking the stage from 7pm, followed by DJs spinning tunes into the wee hours of Thursday morning. Relatively new on the scene, The Soda Factory has quickly crept up the ranks of Sydney’s hottest bars. This dimly lit industrial space slathered with 1950s charm is the brainchild of Graham Cordery of Experience Entertainment and Michael Chase. In gutting out what was formerly Tone Nightclub to make way for this hip retro hangout, Corderoy told us before opening that whilst he enjoys a quirky decor and customised cocktail, what he doesn't enjoy is having to walk out at midnight. This is evidently a criticism that has struck a chord with many Sydneysiders — at least 10,000, in fact.
The Biennale kicks off with a special ARTBAR night at the Museum of Contemporary Art on Friday June 29. This is a new range of events for the MCA, and it’s exciting to see more Sydney institutions dip into the realm of late night programming with a focus on culture and community rather than clubbing and drunkenness. This second ARTBAR instalment, curated by former Concrete Playgrounder, Eddie Sharp, is all about the mechanics and bipolar excellence/strangeness of cinema. There’ll be pianos with pinballs, inflatable delusions, 1960s 3D cinema and the opportunity to view the Biennale exhibition spaces on levels 1 and 3. ARTBAR in June is part of the 18th Sydney Biennale.
Fightclub's Tyler Durden put it best: "You are not a beautiful and unique snowflake". We spend our lives at work - our careers are an enormous and contradictory part of how we value ourselves, how we're judged and how we relate to others. Through sculpture, installation and photography, the curators of Mostly Agree investigate the part corporate culture plays in forming our sense of individuality: how work at once directs us by injecting us with purpose, and throws us into despair and paralysis by narrowing that feeling of boundless possibilities we feel at points in our youth. There is a rich and familiar history of the conflict between the individual and contemporary corporate capitalism in popular culture. And some of the works in Mostly Agree fall back on stock ideas: the suited everyman, the ironically modified office suite. Sometimes it risks mimicking the greyscale culture it seeks to subvert. But the show is solid, and worth a visit just for the excellent stop-motion video work Reproduction by Emma White. In an endless 13second loop, a polymer clay photocopier methodically pumps out blank pages, then sucks them back in. There is no beginning, middle or end, only the slow time of nine to five. The attention to detail is exceptional, from the way the paper bends as it is ejected, to the flash of awful, cold light that periodically bleeps out from the side of the copier lid. Watching this video is as addictive and pointless as repeatedly pressing the refresh button of your Gmail account or Facebook news feed. It wonderfully expresses not just the inanity of many workplace tasks, but the joylessness of the silent bus stop queue, the dread of the monthly phone bill's arrival, the non-choice between forty near-identical tubes of toothpaste under fluorescent supermarket light, and all the other tiny, predictable habits that capitalism shoves us into. Reproduction is a precisely executed, brilliantly simple and infallibly wholistic piece of conceptual art. Jaki Middleton and David Lawrey's sculptural installation Consolidated Life aims for the same balance of dreadful beauty. A three metre high office block looks like a vogon spacecraft from Douglas Adams' Hitchhikers' Guide to the Galaxy, but is in fact a Tardis of sorts. Circle the building and you will find a window to a miniature interior. Using mirrors and optical trickery, the artists have created a deadly still and infinite grid of desks, conspicuously empty of workers and interrupted only by a single, eerily spinning office chair. Image: "Consolidated Life", 2010, kinetic sculpture (internal view) by Jaki Middleton and David Lawrey.
It's been a few years now since Head On first reared its head on the Sydney art scene. For a third year, it's covering Sydney in exhibitions, photos in parks and railway stations, and even a two day marathon seminar that covers a weekend with workshops enough to leave you full of photographic knowhow (assuming you're quick enough to book). In the art, Adam Sebire shows buried desert roads, Sun Studios examine the face of roller derby and indigenous themes hail from Manuwangku (our review of its previous showing), Tennant Creek and West Australia's Conversations with the Mob. Kids get let loose on cameras in a trio of shows spread around the suburbs with Penrith's Kingswood, the Japan Foundation's Messages For Our Children and MLC's Vintography at Chatswood's Concourse. Teacher Leslie Oliver, meanwhile, turns the camera onto her students and their own returning Love Stories. The Nikon-Walkley Photographer’s Slide Night returns for a third year (6pm May 9, RSVP) while in Leichhart Library, a trio of shows focus on Vietnamese Market Gardeners, the iconography of teenage bedrooms and the ubiquitous sky. MiCK Gallery explores other urban wastelands, Maunsell Wickes takes in some William Yang and Rowena Hall combines pregnancy with some freaky cool imagery at Pine Street. Not enough? Get some rock, immobile homes and aliens at Gaffa, a night in Rio in Paddington and a slice of Queensland's best at Depot's North by Northeast. Image from Manuwangku: Under the Nuclear Cloud by Jagath Dheerasekara.
Opening in late-2015 and closing its doors one year later, you could've blinked and missed Master. But if you did manage to make it into the Surry Hills restaurant during its short tenure, you'll definitely remember it. Blackened quarters of cabbage lathered in fish sauce butter, silky strips of scallop with XO and a side of heavy-metal tunes — Master stood out on its quiet stretch of Crown Street. And now, it's making a comeback — for two nights only. Chef John Javier is resurrecting the restaurant's menu for two nights, on January 18 and 19, at his current haunt, the Lord Wolseley Hotel in Ultimo. And while the setting is different — Sydney's narrowest pub bears little similarity to Master's former, two-storey monochromatic home — the menu will feature all the favourites. As well as the aforementioned scallop and cabbage, the ten-course share-style dinner will include a dish of raw lamb with oyster emulsion, ash and enoki; salt-and-pepper veal sweetbreads; and anise-spiked diamond shell clams topped with ribbons of honeydew. Master devotees will be happy to know that the famed sweet-savoury 'roasted potato' dessert will be making a return, too. If you're yet to encounter this dish — and are maybe skeptical of its viability — trust us, it's good. Potato ice cream is deep-fried and served with a crust of malt crumb and freeze-dried vinegar. This decuplet of dishes, plus a few snacks, will set you back a very reasonable $100. If you'd like to spend more on dinner, you can — Javier is offering up a limited number of black pepper mud crabs for $200 a pop. To snag a crab, and a spot at the dinner — we're expecting they'll both get snapped up pretty quickly — email masterdiningpopup@gmail.com. The Master Pop-Up is open from Friday, January 18 to Saturday, January 19, from 6pm at the Lord Wolseley Hotel, 265 Bulwara Road, Ultimo.
Improved strength and flexibility, a clear and calm mind, reduced stress and anxiety and better sleep — experience the many mental and physical benefits of a regular yoga practice at YogiShed. Located in Collaroy, YogiShed is a school specialised in yoga and wellbeing, which aims to promote health and personal development in a supportive and welcoming environment. At YogiShed, you'll meet new friends and become part of a community of like minded people while limbering up your body and slowing down your mind. There's group classes for all levels including prenatal classes, mums and bubs, as well as private classes and even yoga by the beach. If you've never done a sun salutation, and want to learn the difference between a downward dog and a tree pose, try YogiShed's introductory offer where you can test out an unlimited amount of classes over one month for $70.
When a global pandemic has left you spending two months indoors, at home and under lockdown, there isn't all that much to say cheers to. That's been the reality for Sydneysiders since late June, but Young Henrys has come up with one way to get folks clinking their glasses again: free beer. Yes, it's a simple idea. Yes, it's a welcome one, too. And, because it involves the Newtown brewery and schooners, Young Henrys has dubbed the concept the 'Young Henrys Deliverschoo'. Here's how it works: each Friday that Sydney remains under stay-at-home conditions — so, at this stage, on at least Friday, August 20 and Friday, August 27 — the Young Henrys' van will hit visit one particular Sydney suburb and let the free beer flow. It'll be doing contact-free delivery in that specific suburb, with up to 100 schooners available each week, and a four-beer cap per household. Wondering how the brewery will pick which spot to focus on? It's calling upon your submissions — and asking you to use your Instagram account. Each week, you'll submit your suburb on Young Henrys' Instagram Stories, and the brewery will then make its pick. That lucky suburb will be announced on Thursdays and, if you live there, you'll need need to send Young Henrys a DM with your name, address and number — still via Instagram — to be in the running to get that free beer brought to your door. View this post on Instagram A post shared by Young Henrys (@younghenrys) Obviously, this now means you'll be spending some of your lockdown time obsessing over Young Henrys' Instagram account — but when free beer is the reward, that's time well spent. And if you're thinking that 'deliverschoo' sounds a lot like Deliveroo, so is the latter. The delivery service isn't officially involved; however, it has reached out to Young Henrys with a 'cease and assist' letter. "We are certainly flattered by your imitation of Deliveroo and we applaud your team's ambition to "Serve The People" and bring the pub experience home," said Deliveroo's Ed McManus — and announced that the company will give a $100 Deliveroo credit to each of the 20 winning households who nab a free brew as part of Young Henrys' giveaway. The Young Henrys Deliverschoo will start delivering 100 free brews around Sydney each Friday during lockdown from Friday, August 20. For further details, head to Young Henrys' Instagram account. Updated August 20.
