Cutting Edge: Beautiful Dystopia
Brooklyn-based composer William Brittelle talks to Maddy Briggs about his latest, genre-blind mini-album in which he stares down the apocalypse.
Brooklyn-based composer William Brittelle talks to Maddy Briggs about his latest, genre-blind mini-album in which he stares down the apocalypse.
Elizabeth Jigalin and Oliver John Cameron discuss their new site-specific work Sonant Traces, which has its world premiere at Sydney’s White Bay Power Station this month.
The second outing of Brisbane Powerhouse’s ΩHM Festival of Other Music marks Queensland as an international player in left-field, contemporary arts.
Sophia Brous discusses her site-specific work The Invisible Opera, which explores the concept, dynamics and paradoxes of a public space.
Yuwaalaraay composer and storyteller Nardi Simpson reflects on her recent tour of Europe with Ensemble Offspring.
Associate Director Nhlanhla Mahlangu and composer Kyle Shepherd discuss William Kentridge’s Olivier Award-winning Waiting for the Sibyl ahead of its Australian premiere.
Curator Jonathan Wilson explains his ideas for Volume, a new festival at the Art Gallery of New South Wales.
Sound artist Daniel Portelli explains how an art music/video essay about our relationship with mangroves is a form of forest therapy.
Samantha Wolf explains how bonding with reality TV during the pandemic inspired her new piece for Ensemble Offspring.
KLASSIK underground founder Tahlia Petrosian believes that a broader approach to classical music sows the seeds for a thriving future.
Avant-garde multi-instrumentalist Benjamin Skepper talks about his desire to bring science and technology into his art practice.
Elliott Gyger explains why each movement of his new viola solo Solitaire follows a strict set of rules.
Percussionist Louise Devenish explains how oystershell and underwater video feature in a project exploring the history of Australian rivers.