Sunday, 9 February 2014
one of the opening works of this year's Sydney Fetsival this was amazing here's what I said for Artshub http://www.artshub.com.au/news-article/festival/news-article/review/festivals/la-voix-humaine-197783 This year’s Sydney Festival opened in extravagant style. It welcomes the Toneelgroep Amsterdam, under the visionary director Ivo van Hove. We are also privileged to see Halina Reijn’s gripping, bravura performance of Cocteau’s intense monologue (written in 1928 and first performed in 1930) and here performed in a Dutch translation from the French with English subtitles. It has a timeless yet contemporary feel, is seemingly simple, yet searingly emotional and universal. The setting is an empty flat, with only a phone and a roll of toilet paper, many floors up, with a large sliding window through which we can see. Sterk’s contemporary city soundscape is broadcast partly on iPod that ‘the woman’ hears. Other sounds range from sirens to Beyonce to throbbing beats. Reijn portrays a deeply suffering "every woman" in a passionate examination of love, loss, courage and despair. It is the last phone call (with annoying technical hitches and interference) between Reijn as The Woman and her unseen, unheard lover, who, after five years of a gloriously happy relationship has left her and is about to marry someone else . Dark-haired Reijn is extraordinary – pale and luminous, she ranges from a wickedly delicious laugh and giggle to tears and silent screams of heartbreak and despair. For most of the show she pretends to put on a brave, understanding appearance for her lover – or does she? Still recovering from the failed suicide attempt the night before, at one point she is so stressed she throws up again. Her performance is full of fragile yet sustained control. We also learn about their dog who is hiding inside somewhere. Reijn is mostly casually dressed in a cardigan, striped tracksuit pants and a Mickey and Minnie Mouse t-shirt and blue socks. (She also has an exquisite filmy blue gown). At times she darts around the apartment, fleetingly across our field of vision. She paces angrily or perches on the window sill. Sometimes she stands or crouches agonised against the wall (enabling a great use of shadows and other subtle, delicate techniques by Smolder ). An astonishing and enthralling theatrical tour de force. Rating: 4.5 stars out of 5 La Voix Humaine Writer: Jean Cocteau Director: Ivo van Hove Actor, translator: Halina Reijin Dramaturge, translator: Peter van Kraaij Scenographer: Jan Versweyveld Lighting design: Martijn Smolders Sound design: Erwin Sterk Carriageworks, Eveleigh Sydney Festival http://www.carriageworks.com.au/ 9-13 January
but wait there's more... here's what I thought of the gala final http://www.sydneyartsguide.com.au/short-and-sweet-dance-gala-final/#more-4464 This was the culmination of two very exciting weeks and four companies with some extraordinary performances, the selection of this year’s best and audience favourites. For some reason at the matinee I attended two works listed were not performed. There was a range of styles and rhythms and some of the works were sensational. All the pieces were contemporary in style. Most of the performers were quite young and their ability varied widely. Each performer’s capability was acknowledged, stretched and challenged. I have commented on most of the works featured already so just to mention a few: Joseph Simons excellent ‘Familiar Strangers’ opened the program. This was a sharp, incisive , terrific performance. ‘And then patterns’, choreographed by Kirsty Formholtz, included some fascinating lighting. The opening music pulsated and throbbed and included flute. Drumbeat and guitar were emphasized the middle section. Choreographically it included ‘Tutting’, repeated phrases of movement and yawns. The piece featured card playing and seemed to be about the group vs the outsider. The marvellous ‘Jaybird’ thrilled as previously, although this time I noticed perhaps a more Forsythe style influence . It was great to see the wonderful arms and interlocking movements of ‘No Fungus No Tree’ again. ‘Nyunga’ with its Aboriginal/Torres Strait Islander influence used its unison work and demanded a tight stretched long line most effectively to its crashing, repetitive , eerie score. The weird but wonderful and darkly ironic ‘Sink or Swim’ choreographed by Ntalie Pelarek took the audience to interval. The chilling, somewhat disturbing ‘Girl Getting Bitter’ opened the second half with a sizzling performance. Amber McCartney in ‘ Hard Boiled Wonderland ‘reminded me of an avatar in her astonishing , angry solo of ‘ locking and popping’ .She had exceptional feet and a laser like use of leg and was seemingly boneless , using isolation and /or robotic like movements at times and she had an incredible, very flexible back. ‘Salt’ was as captivating as last time I saw it with its Butoh like influence. Rochelle Carmichael’s ‘Out of No Thing’ with the dancers inky like brushstrokes, swirling movements and unusual lifts which felt sharp and threatening. ‘No I would never’, choreographed by Hayley Raw, featured sizzling jumps and excellent control in a terrific use of ‘line And the exuberant huge cast of ‘Swingdancin’’ choreographed by Natasha Crane joyously completed the show. The Gala performance of Short +Sweet Dance 2014 was held at the New Theatre, King Street Newtown on the 2nd February. A swag of awards were presented at the end of the night by joint Artistic Directors of the Dance Festival, Josh Lowe and Adam Wheeler:- Outstanding Choreography- Sean Marcs and Anna Healey for creating and performing No Fungus, No Tree - exploring the world of the symbiotic; and Brianna Kell and Alexandra Andrews for creating and performing Salt - an inspired investigation. The People’s Choice Award- Swing Dancin’ – Natasha Crane’s infectious and quirky mix of styles performed by 25 artists, Award for Audacious Work- Eva Crainean for Girl Getting Bitter - a comical, sexy and vengeful piece commenting on serious social issues and the femme fatale stereotype. Outstanding Female Dancer-shared-Amber McCartney for Hard-Boiled Wonderland - a movement study inspired by the work of Japanese novelist Haruki Murakami; and Rosslyn Wythes for /Lu:p-/ – inspired by entrances, exits and the cyclical process where, within each loop, different information is revealed. Outstanding Male Dancer- Harrison Hall for his solo work Melekh - “casting a shadow of light from within the darkness”. At least four of these works will appear in the glittering, Short+Sweet Gala Variety Show Saturday 22 March at the Seymour Centre York Theatre, when the best of Short+Sweet Dance, Theatre and Cabaret festivals will be showcased in the first ever combined season finale. For more information and bookings visit the Short and Sweet’s officicial website- www.shortandsweet.org
Some excellent most eciting work here's what I thought for Sydney Arts Guide http://www.sydneyartsguide.com.au/short-and-sweet-dance-company-d/#more-4401 Company D of Short + Sweet dance showcased some very strong, exciting work that was full of challenging, thought provoking discoveries. It opened with a film entry ,‘Traces’ choreographed by Graeme Spencer. Traces of memories of movement in haunted rooms , a lot of it lyrical and elegiac. There was much use of fancy photographic techniques and blurry images .What one could see of the actual dance and performance itself was terrific . A special mention must be made of the next piece, the amazing ‘Jaybird’ , choreographed and performed by Jay Bailey, which is an astonishing, breathtaking hip hop/breakdance reworking of classical ballet allusions , in particular the Fokine ‘Dying Swan ‘ and Petipa’s ‘Swan Lake’ and ‘Sleeping Beauty’. Jay in blue feather like costume gave an incredibly energetic performance with a sizzling yet fluid line and marvellous jumps . There was dramatic lighting and very effective use was made of silhouette. L.C. Beats gave an exceptional performance with the beats sound effects counts etc on the hand held mike. ‘No Fungus No Tree’ choreographed by Sean Marcs and Anna Healey was possibly Australian Dance Theatre/Gary Stewart in style and had a throbbing, pulsating soundtrack . Fast, frenzied movements were contrasted with tiny ,delicate ones (eg fingers tentatively walking up an arm). At times it was almost a waltz .Some of the movements were almost robotic, and there were lots of isolation movements, others were slipper sliding movements and there was excellent partnering . ‘Hard Boiled Wonderland’ choreographed and performed by tall, blonde and leggy Amber McCartney was an amazing solo that combined isolation movements and breakdancing with a sensational use of energised arms .In some ways it was as if she was trapped in an invisible vertical box.At other times she appeared to be a computer avatar. An interesting use of UV light for the second half was also featured. ‘Nyunga’s’ soundtrack bubbled and burbled .You caught the feeling of it being a boiling hot day .The quartet of dancers performed snazzy interlocking repeated phrases of movements and there appeared to be an Aboriginal/Torres Strait Islander traditional dance influence in addition to one section which had fast frenetic Flamenco like hand claps. ‘Melech’ choreographed and performed by seemingly boneless Harrison Hall had some snappy dramatic light changes and some challenging floorwork. It began where Hall in a grey costumes was hunched and seemingly trapped, a sad clown ? an escaped ‘Petrushka’? ‘Bond’ choreographed by Laura Jackson had three couples in sinuous,rippling movement – three stages of their relationship? Slo-mo was used and at times there was an intense or dreamlike feeling .Some of the duets for the couples were most impressive. ‘On My Own Terms’ by Caterina Mocciola and Jay Bailey had an intense, concentrated atmosphere- was it ‘about’ the breakup of a relationship? .There was slinky ,intimate movement contrasted with the performers almost flying and a backwards run was also included . ‘Out of No Thing ‘, the concluding work choreographed by Rochelle Carmichael was strong, powerful and dramatic. The cast wore simple yet elegant black costumes .Choreographically at times there were laser sharp movements, a frieze like line at one point , some writhing ,sculptural tableaux and some most unusual lifts. Mini duets and trios featured rolling floorwork .Did I detect a possible Bonachela influence combined with Butoh ? One to watch out for. Short + Sweet Dance Company D played at the New Theatre Jan 31 and Feb 1 2014 Running time – two hours (approx) including interval
here's what I thought for Sydney Arts Guide http://www.sydneyartsguide.com.au/short-and-sweet-dance-company-c/#more-4436 Company C of Short+Sweet dance continues the exciting season with twelve more short works. Overall there was some very interesting work, but I found several of the pieces unclear and perhaps in need of more development and polishing . The opening work however Joseph Simon’s ‘String ‘ was magnificent , a short black and white film where Simon’s is caught in string. He uses angular yet liquid movement to stretch and try and escape but is still tied. How does string affect the body? Facial expression and tiny subtle changes in skin texture and layers are important. .Another of my favourites was ‘/Lu:p/’ choreographed and performed by Rosslyn Wythes. It was full of cool pure movement lustrously performed . Choreographically there was an elongated stretched feel and some marvellous jumps. Small repeated movements were taken and expanded. Gemma Dawkin’s ‘Vanishing point’ was set in a futuristic viewing tower and featured some unusual side lifts and partnering, with a possible Cunningham style influence. It was as if the three were swimmers in their own lanes in a swimming pool, not really interconnecting, and living their parallel lives. Hayley Raw’s ‘No I would Never’ included speech and was a brilliant ,luminous performance .It was very expressive yet there was a sense of massive control the whole time. It was angular yet liquid and there was rolling floorwork. ‘The Fear Of ‘, an audience favourite, choreographed by Jessica Young was about phobias and had the dancers dressed as Gothicky vampires and mysteriously moving in and out of a large clear box. Some of the choreography was frenzied and there was a great mini solo or two.Emphasis was placed on the use of a very flexible back . Tap dancing was also included . ‘Salt’ choreographed and performed by Brianna Kell and Alexandra Andrews had a pulsating throbbing soundtrack and was Butoh influenced I think.It opened with the performers in the half light pouring salt .There was lots of interesting floor work , with strong arms as if the dancers were reaching towards the light. ‘ We Step’ choreographed by Jodie Ewing began with tentative first steps and developed to explosive movement it was all about balance and stretching towards the light ending with one of the group reaching towards the stars . For Matthew Mizyed’s ‘September‘ the cast had a dark Goth look to its beeping, humming soundtrack. The unison choreography was rippling and there were sinuous repeated phrases of movement. Most impressive . ‘May I Please ?‘choreographed by Courtney Scheu and wickedly performed by Mariana Paraizo was a wonderful short piece but a diabetic’s nightmare about a dancers obsession with a seemingly endless supply of jellybeans. Curved,small, repeated phrases of movement were used . At one point the huge pile of jellybeans become a pillow, at another Paraizo makes ‘snow angels’ with them. At times Paraziao ‘s movement was almost robotic but this was countered with a balletic Sugar-plum like fury and she sizzled with a glorious sweeping line . The final work ‘Swingdancin’’ choreographed by Natasha Crane , with its enormous, exuberant cast in black and white costumes , radiating energy !energy! energy! in its medley of dance styles combining showbiz/musical, swing and jazz , sent the audience home delighted . Short and Sweet Dance Company C was at the New Theatre 29th & 30th Jan 2014 Running time 2 hours (approx) including interval
I saw three of the four Companies over the two weeks .Busy! here's what I thought of Company B for SYdney Arts Guide http://www.sydneyartsguide.com.au/short-and-sweet-dance-week-1/#more-4288 For this year’s Short + Sweet Dance Week 1, I was able to see the very exciting second ‘company’ , Company B . (There are four ‘ companies ‘ in all over the two weeks in the dance division) . As in the other Short+Sweet’ heat , it was an invigorating , challenging mix of short works of roughly ten minutes each . There was a very wide range of works, some brilliant, some rather disappointing. A couple of the works could really be described as ‘cutting edge’ and /or bizarre. All the works had powerful, passionate performances . Technically in dance styles it ranged from including hip-hop and break dance to ‘contemporary ‘ with some balletic movements thrown in , although there was no pointe work at all in the entire programme. Footware ranged from none to trainers or plastic gumboots and wet socks. Quite a few of the works were ‘plotless’ but most however did have a theme or narrative running through them. For me my favourite works were the very strong opening and closing short pieces that were incredible solo performances. The program opened very strongly with ‘Ctrl’ choreographed and performed by James Andrews. Andrews was in a semi transparent top and white shorts, and to a powerful throbbing electric soundtrack he began with small, almost robotic movements that gradually expanded and included the long, stretched line of sizzling legs. Andrews had a distinctive ‘epaulement’. Sometimes there were sculptural poses, at others rippling fluid movement and a very demanding use of a flexible back. Were we meant to pick up possible allusions to Matthew Bournes ‘ Dorian Grey’ and ‘Swan Lake’ and the narcissism of Robbin’s ‘Afternoon of a Faune’?!. ‘Serenity’ which included the unusual use of a Tibetan singing bowl, had the three performers in creamy white ,elegant Grecian like tunics/leotards .There was an atmosphere of floating , of simply breathing. It was captivating and hypnotic, lyrical and expressive. There was no pointe work (but exquisitely pointed feet) and I particularly thought of Balanchine’s ‘Apollo’ and Ashton’s ‘Symphonic Variations’ . ’Familiar Strangers’, about gossip and celebrities, by Joseph Simons , contrasted wild yet liquid movements with small ,very controlled gestures . It began with Simons naughtily posing in just black underpants. He then gets dressed in casual black dance gear and there is some break dance/hip hop floor work and angular contortionist like movements. To a yodelling song we see how small gestures can change from passive to threatening or vice versa (eg answering a mobile phone sweepingly becomes a gun ) and speech is combined with elements of sign language. Most impressive. ‘Microcosm’ choreographed by Maya Gavish was a fascinating, rather strange pas de deux of mirroring of movements and sounds. ‘Sink or Swim’ as choreographed by Natalie Pelarek was definitely an audience favourite. Some found it hilarious. It was vmutilayered in meaning with allusions to works by Meryl Tankard, Pina Bausch and Busby Berkley. Some of it was very exuberant and witty. At one point we see one of the performers very carefully take out a number of eggs hidden inside her bra, cover them with kisses and place them in a large picnic basket. But why does she go mad, destroy a photo and her teddy bear and break and whisk the eggs and throw egg all over her head! There is a delightful sequence with most of the cast in wetsuits goggles and flippers ‘swimming’. ‘Girls Getting Bitter’ choreographed by Eva Crainean was quite disturbing – the three excellent women with their ‘Coin Operated Boy ‘ ( to the Dresden Dolls song) were sort of a mix of 1930’s acrobatic , burlesque , cabaret vamps and merciless , teasing femme fatales who treat him horrifically. The closing work, ‘Lachlan’, choreographed and performed by Alison Plevey, was a fabulous evocation of life on the land, with squeaky gumboots and squelchy wet socks. The soundscape was of a heavy rainfall . Tall ,leggy Plevey with backbends, stretches and rolling floorwork, brings a sort of cross between Cunningham and de Quincey feel to this work (in some ways it is quite ‘Body Weather’) to this nature inspired piece that is an inspired joy and also seems to echo with loneliness. Short+ Sweet Dance Week One ( Companies A and B ) played at the New Theatre between the 22nd and the 25th January, 2014.
A little bit late , but this was great Here's what I thought for Sydney Arts Guide What a fabulous way to start off 2014 with this magnificent revival of Gale Edwards’s version of LA BOHEME, originally seen in 2011. Lush, lyrical and romantic, passionately performed by cast and orchestra it feels as fresh as if it was a world premiere .Musically the Australian Opera and Ballet Orchestra, under the enthusiastic ,very energetic leadership of Andrea Licata, was superb, giving a dazzling rendition of Puccini’s much loved score . One of opera’s best known works, we follow the story of the young bohemians living and loving through harsh ,trying times and the tragic love story between Rodolfo and Mimi. It has inspired audiences and artists alike since its premiere, with countless works based on the opera including the Broadway musical RENT. Brian Thomson’s rich scarlet and gold opulent designs make us think decadence. Julie Lynch supplements this with revealing, suggestive costumes that scream profligacy too. John Rayment’s precise yet atmospheric lighting completes a beautiful, cinematic picture (even the emphatic drape of the scarlet front curtain concealing what’s to come, with the opera’s title spelt out with subdued incandescent bulbs is quite ‘Baz Luhrmann’ in style , referencing the earlier much loved production). Thomson’s sets take us from the freezing garret to a chilling tollgate via a high-glam Spiegeltent like idea that acts as a counterpoint to the extremes of wretched poverty and opulently vulgar wealth seen elsewhere in the production. Very effective use is made of the revolve at times. The glittering. multi-levelled posh theatre, draped with courtesans in varying degrees of undress in the boxes, gives an uneasy energy and exuberance to the Café Momus scenes. This production very effectively counterpoints young love and naive optimism with newfound sexual freedoms and a menacing under-current of what is to come .The political and economic upheavals underscoring the original story here act as a background for the pre-war years of 1930s Berlin , where deprivation and decadence co-existed in equal measures. The work takes on a guise of eerie sociopolitical menace, adding to the star-crossed tragic tryst between Mimi and Rodolfo. Their doomed relationship in some ways becomes symbolic of the death of culture and freedom enforced during the Third Reich. Nicole Car as Mimi is sensational – sweet , pure and fragile , dreaming of beauty with a huge , opulent voice and at times tremulous emotion .Her rendering of her introductory aria ‘ Si, mi chiamano Mimi ‘ was beautifully nuanced, allowing her performance to further build in the final acts . Park is a compeling , believable Rodolfo, in fabulous voice, his wonderfully warm, thrilling tenor supported by a dramatic performance throughout his character’s agonising emotional rollercoaster ride. He is both tremendously powerful and yet vulnerable as the unlucky romantic poet hero. With regards to the other pair of lovers Musetta and Marcello : Sharon Prero as the slinky , scheming Musetta is tremendous, showcasing one of Julie Lynch’s few opportunities for over-the-top glamour in her costumes, and providing a bewitching vocal performance replete with smoky spotlight and vintage microphone in the style of Marlene Dietrich and other glamorous 1920’s stars. Another highlight was Giorgio Caoduro’s performance as the charismatic painter Marcello, with hidden ripples of violence , controlled machismo and the rich tones of his terrific baritone blending together in a terrific performance .Marcello has an on-off relationship with the beautiful Musetta who is tempted away by far wealthier suitors. Conflict hides the two pairs of lovers mutual devotion – the increasingly ill Mimi must leave penniless Rodolfo, will they survive…Will Musetta and Marcello reunite? Prero as Musetta, has a number of very big vocal moments and tends to grab attention whenever she’s on stage – especially for example in Act 2, with her waltz Quando me’n vo’ – “When I go along”) as she’s torn between love and wealth, revealing intensity and beautiful timbre. Graeme Macfarlane gives a tremendous performance as the somewhat buffoonish –landlord Benoit in a garishly overloud green checked costume .Tall, gangly Shane Lowrencev gives a vibrant , detailed, generous, admirable performance as concerned Schaunard, a musician and confidant of Rodolfo and Marcello, who together form a sort of starving, artistic group with their friend Colline, a philosopher (Richard Anderson ) .Colline’s aria to his coat (‘Vecchia zimarra – “Old coat” ‘) is most affecting . Much fun was also had by the very engaging children’s chorus too . This was a very moving, passionate tremendous revival. Running time 2 & ½ hours (approx) including one interval. Opera Australia’s ‘ La Boheme’ by Puccini runs at the Joan Sutherland Theatre, Sydney Opera House in repertoire on various dates between the 4th and the-21st January 2014
This was sssssoooo good .Here's my thoughts for Sydney Arts Guide http://www.sydneyartsguide.com.au/the-turk-in-italy/ It is hard to believe that this is the bicentenary of the first production of this work, and that it has been rarely performed. An absolute musical and visual treat, a hilarious blaze of slapstick and colour, ‘The Turk in Italy’ by Rossini with its original Italian libretto by Felice Romani has been spectacularly re-imagined for the 21st century by a brilliant creative team . It is musically superb .The Australian Opera and Ballet orchestra under the wickedly delightful and exuberant conducting of maestro Andrea Molino is in fine form and the singing is fabulous. This is one production where close attention must be paid to the very contemporary subtitles by Simon Philips (at times very witty but they can also be vulgar, but always much fun). No choreographer is credited, but the chorus have a wonderful time in a medley of very tightly set 1960’s-ish style dances (sort of think ‘Grease’ in a way) particularly in Act 2 with the multiple Elvises and Marilyns . And the extended opening at the beach with its bathing beauties and clumsy men, all put to the overture is magnificent. The set is very Italy 1960’s, a revolve within a revolve, featuring a red and white Cafe Geronio, and the busy kitchen and penthouse and curved grassy knolls .One can imagine that there is a Vespa just parked around the corner and Prosdocimo will bring the cocktails and expressos shortly.. Samuel Dundas as Prosdocimo , aka ‘the poet’ , in this production dressed as a frantic waiter, seeking inspiration for his play ,is the central figure that skilfully , wittily holds the opera together in a terrific , scintillating performance as he carefully parodies, observes and at times manipulates the goings on of the people he deals with and serves . The trio for him and Geronio and Selim, as just one example, is tremendous. This is a seaside town in summer and as can be expected tourist foreigners arrive by the boatload. One brings a band of gypsies and circus acrobats led by swarthy, scruffy Albazar (Graeme Macfarlane), who arrive almost simultaneously as a shipload of Turks , their head honcho being Pasha Selim. Selim was delightfully played and tremendously sung by Paolo Bordogna who gives a fabulous performance as the somewhat ridiculous yet macho and ‘hot’ primping poseur channelling at first The Artist Formerly Known as Prince and then Elvis who tries to get into bed with the local temptress Fiorilla. As sad, lovesick Zaida, ( Selim’s first love who had been sold into slavery in the backstory and escaped) Anna Dowsley is magnificent She sings gloriously and looks as if she stepped out of a Picasso painting. As Narcisso , Geronio’s ‘friend’ who is desperately in love with Fiorilla, Luciano Botelho has a strong, flexible tenor voice and brings the house down particularly with his second act aria when he is changing in the bathing shed. Emma Matthews as Fiorilla steals the show from her first joyous, exuberant entrance. She sings divinely, is a fantastic comic actress, and has us enthralled from her first appearance singing of the joys of love . At the start she is flighty, flirty and determined to have a very good time however this changes in Act 2 and her enforced moral u-turn with her big show stopping aria where she gloriously lets rip with a dazzling technical display that ravishes as she decides to return to the arms of Geronio . Conal Coad as Geronio, her far older sugar-daddy husband has a whale of a time imitating his late middle-aged pomposity. Coad gives a masterly demonstration of buffo style, his distinctive bass always serving the text and yet also capable of some pretty nifty very fast breathless patter, quite G & S in style. The duet for Geronio and the Turk, for example , where the latter tries to haggle unsuccessfully to buy the former’s wife, is delightful and leads to a comic duel with lots of sight gags incorporating each protagonist’s national drinks , ice on delicate areas , lemons as bitter hand weapons, and a soda syphon that ends up all over Prosdocimo. As I overheard another audience member say at the end ‘very silly, but absolutely wonderful ‘ Hear hear. Book now, if you haven’t already, before it sells out. Opera Australia have brought us this delicious gelato of a very fresh and vibrant version, – go on , treat yourself. Running time 3 hours (approx) including an interval Opera Australia’s The Turk in Italy, directed by Simon Phillips, is at the Sydney Opera House various dates in rep until February 12 and then plays Arts Centre Melbourne, May 1-13.
Contempo of the Art Gallery of NSW is bringing together seven artists working across a range of electronic media in an event that presents the latest and greatest in electronic art. Electroscape: the here and now of digital art is an experimental, interactive exhibition showcasing 3D printing, laser etching, robotics, electric muscle stimulation, complex sonic environments, interactive text and interactive 3D imaging. Featuring works by some of Australia’s most innovative artists – Lucas Abela, Leah Barclay, Andrew Burrell + Chris Rodley, Michaela Davies, Josh Harle, Kate Richards and Margaret Seymour – this promises to be more than just an art exhibition, but an emotive experience. All funds raised will help buy new contemporary art for the Art Gallery of NSW collection. Exhibition opening Wednesday 19 February 2014, 6-9 pm, 107 Projects - 107 Redfern St, Redfern. More details at from http://www.artgallery.nsw.gov.au/calendar/electroscape/.