When the group decided to call it a day after the release of their second album, Aquarius, speculation was rife about personal differences and love triangles within the band.
After a seven-year hiatus it was Nystrøm’s idea to get the band back together, and she says it didn’t take much convincing but she still went about it strategically. “In 2008 I was actually watching [the 20th anniversary] for a tour here in Copenhagen and we were on that show, way back in time, and I saw ourselves onstage and thought, ‘oh my god I miss that!’. So I brought the band back together,” says Nystrøm. “I started with Renè because I kind of knew he would be in the moment I asked, and then I went to Claus because I knew if Claus was in then Søren would do it as well.”
Despite the previous ups and downs, Nystrøm says that growing up and having other anchors such as family – Nystrøm is married to bandmate Søren Rasted – has made them see each other differently. “We just accept each other as we are [now] and we give each other space,” she explains. “We are back together thinking that we are the best of friends and through music we have a friendship that nobody can touch.” (LL)
Nov 1, Enmore Theatre, 118 Enmore Rd, Newtown, $66-157 (meet & greet), enmoretheatre.com.au]]>
Ever since Potts Point Galleries opened its doors, locals have flocked through the doors and given it rave reviews. At its official opening, Lord Mayor of Sydney, Clover Moore, said: “Potts Point is home to one of our city’s most diverse local shopping precincts, and the new Potts Point Galleries is a welcome addition. I have no doubt their treasure trove will soon become a must-visit destination for locals and visitors alike.”
Baker’s Potts Point Galleries have injected new life into a defunct video store where many of his former Woollahra dealers are among Baker’s stable of antique elite. To celebrate the opening, property owners who engage and sell through Network Real Estate will receive a gift medallion entitling them to spend $1000 at Potts Point Galleries. For more information visit www.pottspointgalleries.com.au.]]>
This year Jurassic Lounge is using the theme of the Mexican holiday Day of the Dead, a celebration honouring the passing of family members. Punters can expect performances by Pickled Tink and 2014 Miss Burlesque winner Memphis Mae. There will also be a photo exhibition by Mexican photographer Roberto Duran, and an arts and crafts market selling Mexican jewellery and chocolate skulls.
It’s fantastic that the Australian Museum will give us the chance to learn more about Mexican traditions. Keep in mind though, there’s a line between admiring different cultures and cultural appropriation. While dressing up is encouraged, many minorities find it offensive when their traditions are borrowed for fun.
The people behind Jurassic Lounge have been working closely with the Mexican community. But that doesn’t mean everyone with a Latin background feels comfortable with the idea of people painting their faces in sugar skull as part of “Mexican Halloween”.
So if you go along to Jurassic Lounge this year, by all means embrace a different culture. But maybe rethink a racist Halloween outfit.
Nov 1, Australian Museum, 6 College Street, Sydney, $16, jurassiclounge.com/buy-tickets]]>
However, rather than tug, The Best of Me yanks a little too roughly with a heavy-handed direction, obvious plot twists and plenty of kissing in the rain with clichéd dialogue.
James Marsden turns in a solid performance as his first lead in a Sparks’ adaptation. The passionate chemistry between the young leads and their older selves is sturdy, even if their relationships never are.
With an unobtrusive soundtrack and pretty southern locations, The Best of Me is a nice film; unsubtle and unapologetic in its melodramatic portrayal of young love. (LL)
Heartfelt ballads and politically charged lyrics are enhanced by the rough-edged, dark drawl of Williams’s voice; an instrument in itself that leads the mandolin, banjo and harmonica to create a cohesive, but varied album that’s easy on the ears.
Listeners will enjoy this collaborative debut from a talented bunch of Aussie musicians. Even in downtempo mode, Ironsight has a rocking soul. (LL)
But Hijinks is … Read more]]>
But Hijinks is the aquarium as you’ve never seen it before with dive bars (pun intended), DJs, treasure hunts and even marine biologists.
For this week’s event, Halloween is their inspiration. There will be voodoo tricks by magician Manik Jones, Frankenstein makeover crafts with Kaila Perusco and Phantom Follies, an ‘interactive theatre experience’ where you can have a conversation with a severed head on a couch. Dressing up is encouraged, of course.
According to Samuel Hilton from The Festivalists, they were approached by the aquarium with the goal of reinventing it as a place for young people to “have a night out, party, and really engage with what the aquarium does.”
“It’s really about re-activating these spaces for young adults,” he said. “That was the same as the Australian Museum. It’s the type of place that people visit when they’re kids and then don’t visit again until they’re taking their children or even their grandchildren.”
The final Hijinks will be a Retro Beach Party taking place on November 13. (AS)
Oct 30, SEA LIFE Sydney Aquarium, Darling Harbour, $25, hijinkssydney.com/tickets
Written by Anita Senaratna]]>
Featuring more than 200 artworks by some of the genre’s most prolific artists, Pop to Popism will be the biggest collection of pop art ever to be seen in Australia. The retrospective spans three decades, from the 1950s to the 1980s, examining the rebellious origins of pop art, its ascendancy, and its persistent legacy in Australia and beyond.
Assistant Curator Anneke Jaspers notes that the inclusion of Australian works was an imperative. She says, “We have brought together a comprehensive collection of works that trace the history of pop art and, for the first time, we have included significant Australian works to situate Australian pop art in an international context.”
Alongside a dazzling cast of international pop art legends, Pop to Popism recognises the legacies of Australian artists Brett Whiteley, Richard Larter, Martin Sharp, Vivienne Binns and Bridgid McLean.
“There has only ever been one major pop art survey in Australia – in 1985 – and Australian works were not shown in that exhibition,” Jaspers notes.
Pop to Popism will fill an entire floor of the Gallery with the works of pop art luminaries Andy Warhol, Roy Lichtenstein, Cindy Sherman, and Jeff Koons. The art is on loan from some of the world’s most prestigious institutions and private collection including the Museum of Modern Art, New York; the Tate, London; and the National Gallery of Australia, Canberra.
Jaspers says, “We are presenting works by more than seventy artists from around the world. Obviously, Andy Warhol features prominently in the exhibition. Warhol was such a pioneer of pop art. He practiced in the genre for so long and influenced so many artists. Warhol is almost synonymous with pop art – in fact, the name assigned to second wave pop art in Australia, Popism, is appropriated from his memoir.”
“This exhibition has been two and a half years in the making – for a show of this scale, that’s actually not that long,” Jaspers continues. “For many of the works, this will be the first time that they have been exhibited in Australia. We were especially lucky to secure Lichtenstein’s iconic Look Mickey from the National Gallery of Art in Washington DC.”
Other iconic artworks making their Australian debut at Pop to Popism include Rosalyn Drexler’s Race For Time; Gerhard Richter’s Helga Matura and her fiancé; and Sir Peter Blake’s Self-portrait with badges.
Pop art originated in Britain and the US in the 1950s. In a dramatic and conscious shift away from fine art traditions, pop art was brash, often ironic, kitsch and more playful than its highbrow predecessors.
American artist Robert Rauschenberg anticipated the Pop Art movement by transposing objects of everyday life into art. Warhol launched the movement into overdrive when he found an unlikely muse in the humble Campbell’s soup can.
The pop art aesthetic and sensibility sprouted from the burgeoning popular culture and mass media saturation of the period.
“The American Pop Art movement emerged from a very particular social context – amidst the post-war economic boom, there was a push towards consumption, driven in part by the corporate sector through advertising,” Jaspers explains. “In this new economy of desire, society was flooded with new imagery and there was a move towards throwaway culture. And so pop art was an intuitive response to that culture of consumerism.”
“Like their American counterparts, Australian Pop Artists were spurred on by social and economic change. But while Australian Pop Art drew upon aesthetic aspects of the international movement, a distinctly ‘Australian’ pop art vernacular emerged, engaged with local phenomena, such as beach culture, and other painterly styles, such as hard-edge abstraction.”
Despite the genre’s inherent cynicism towards consumerism, the pop art canon contains some of the world’s most exorbitant artworks. Just last year, Warhol’s Silver Car Crash (Double Disaster) fetched a mere $US105.4 million at Sotheby’s, New York.
Amused by the collectible-throwaway paradox of pop art, Jaspers points out, “When we reflect on the fact that pop art is a commentary or a criticism of consumer culture, it is ironic that so many of the works themselves went on to become highly valued commodities.”
And while the Pop to Popism chronology ends in the 1980s, Jaspers believes that the pop art sensibility is alive and thriving in the contemporary art world. “The Pop Art movement of the 60s left a lasting legacy. That first wave of pop art led to an uptake of pop art strategies in the 80s by artists whose work fell under the banner of post-pop, neo-pop, Popism, or the Pictures Generation – artists like Cindy Sherman and Richard Prince.”
“I think we are now seeing a third wave of pop art. With each new generation of artists, the spirit of the work changes in response to the changing nature of pop culture at the time.”
Nov 1-Mar 2015, Art Gallery of NSW, $10-$20, artgallery.nsw.gov/exhibitions/pop-to-popism
Though … Read more]]>
Though you may be intimately familiar with Bondi, Clovelly, Tamarama and Bronte, you will see each of them in a different light and be reminded just how beautiful they are in this heartfelt work.
You will wonder at the people drawn to the beach: painters, yogis, tightrope walkers, fashion models, fisherman, salsa dancers and surfers – and all of them linked to the moods of the sea throughout the seasons.
It’s also a kind of time capsule. Perhaps a hundred years from now people will see this and wonder at what it said about us: Australians liked to walk along the sand, sunbathe, swim, surf. . . what quaint, uncomplicated people they were! Wonder what happened to them? Where are they now?
David Roberts provides the atmospheric music score. (MMu)
* * * ½
Written by Michael Muir]]>
Amazing production value throughout the film is complemented by sharp and genuine dialogue. Fabulously rich performances carry the sombre tone through this intense narrative. Although, generally already raw and dark –– it could have been grimier to better portray the barren nature of this particular context. Something perhaps dulled down to better cater to mainstream audiences, instead of staying completely true to its commemoration.
Overall, it’s a beautiful story of humanity. It aptly captures the homophobia, bigotry, ignorance and curiosity that the LGBT community deals with constantly, using wit and humour to tie it in effortlessly. (RBM)
Written by Rocio Belinda Mendez]]>
* * * ½]]>