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Sophie Knezic

To celebrate the year’s memorable plays, films, television, music, operas, dance, and exhibitions, we invited a number of arts professionals and critics to nominate their favourites.  

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Credo by Imants Tillers

by
March 2023, no. 451

In the early sixteenth century, the Italian Renaissance poet and philosopher Giulio Camillo conceived an imaginary structure for universal knowledge named The Theatre of Memory; essentially a classical amphitheatre that inverted the position of spectator and stage, turning the auditorium into a tiered structure that fanned into rows of encyclopedic knowledge. Imants Tillers makes no mention of Camillo’s theatre in his anthology of essays, Credo, but the structure could be a parallel schema for his own expansive project The Book of Power – an ongoing inventory of all the canvas board panels Tillers has painted since 1981, which totalled 102,663 by 2018.

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To celebrate the year’s memorable plays, films, television, music, operas, dance, and exhibitions, we invited a number of arts professionals and critics to nominate their favourites.  

... (read more)

Barbara Hepworth: In Equilibrium

Heide Museum of Modern Art
by
22 November 2022
‘I do not want to make a stone horse that is trying to and cannot smell the air,’ quipped the British sculptor Barbara Hepworth in 1934. What Hepworth meant by this cryptic statement is that she did not wish to be an artist making figurative sculptures of recognisable subjects but instead to distil her deep sensitivity to the natural world into a language of living things that could themselves breathe, palpitating with a sense of their own inner vitality. ... (read more)

The allegory of the cave in Plato’s Republic represents Western metaphysics’ defining narrative on the nature of light. In this famous fable of shackled prisoners, humankind is confined to a realm of falsity and shadow from which they can only escape by breaking free into the light of day, where the power of illumination reveals the truth of the world.

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Queer

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29 March 2022

We all know that emancipatory drives in the late twentieth century dislodged the hegemonic politics of social normativity through the movements of second wave feminism, civil rights, and gay activism, but it’s worth remembering that some rights took longer than others. Homosexuality was only fully decriminalised in Australia in 1997 (Tasmania being the last state to do so); same-sex marriages were not legalised until 2017.

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‘Wasn’t sexual expression a principal motivation of gay and queer dancefloors … Isn’t that the freedom we were fighting for? To be kinky dirty fuckers, without shame; to not sanitise ourselves in the bid for equality?’ So exhorts DJ Lanny K in 2013, reflecting on his time spinning discs at down-and-out pubs in ungentrified Surry Hills in the mid-1990s as part of Sydney’s fomenting queer subculture. Lanny K, Sydney-based Canadian immigrant, is one of a handful of artists – performance artists, dancers, even a tattooist – interviewed by Fiona McGregor in her collection of essays Buried Not Dead. Mostly written between 2013 and 2020, each essay is based on a rolling interview with an artist and draws out their recollections of early practices and careers, several united by reference to a specific time and place – Sydney’s emergent gay scene in the mid-1990s.

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NGV Triennial 2020

National Gallery of Victoria
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04 January 2021

In Giambattista Battista Tiepolo’s The Banquet of Cleopatra (1743–44) – a jewel in the NGV’s collection of eighteenth-century art – a dining table shows the Egyptian queen Cleopatra facing the Roman consul Mark Antony, her hand elegantly clasping a pearl earring that she is about to drop into a flute glass filled with vinegar, which she will subsequently drink. In doing so, the sheer value of the pearl will make Cleopatra the winner of a wager as to which of the two could stage the most extravagant feast.

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Keith Haring | Jean-Michel Basquiat: Crossing Lines

National Gallery of Victoria
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03 December 2019

In Keith Haring, Jean-Michel Basquiat: Crossing Lines, the National Gallery of Victoria presents a double portrait of the late, iconic, New York-based artists Jean-Michel Basquiat (1960–88) and Keith Haring (1958–90), becoming the first public museum to place their careers in direct dialogue. The retrospective presents many of both artists’ signature works. The vibrant juxtaposition creates a narrative of two ambitious rebels as rising stars in 1980s New York as well as a compelling snapshot of the heyday of the city’s bohemian Lower East Side.

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To celebrate the year’s memorable plays, films, television, music, operas, dance, and exhibitions, we invited a number of arts professionals and critics to nominate their favourites. 

... (read more)
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