Followers of this spiritual exercise and meditation regime who won’t recant their beliefs are imprisoned as the Chinese government are threatened by this ‘cult’.
China has no tradition of voluntary organ donation and yet they have the largest amount of organ transplants after the US. In a six year period, an estimated 40,000 innocent people have been slaughtered for their organs and incredibly, media coverage is diminishing as the undeniable evidence is building.
Is it ethical for a government to take the lives of innocent human beings owing to their ’unpopular beliefs’ and sell their organs for profit? Why won’t the Chinese government allow an independent investigation into the source of thousands of organ transplants performed each year?
Insightful interviews with labour camp survivors, activists, journalists, human rights lawyers and surgeons who discuss these horrific crimes against humanity will have the most hardened of skeptics come to the conclusion that these allegations are indisputable. (MMo)
3rd Aug. Event Cinemas, George St. $15 (incl. Q&A panel discussion).Tickets & info: hardtobelievesydney.eventbrite.com.au
4th Aug. NSW Parliament House. $15. (incl. Q&A panel discussion).Tickets & info: hardtobelievesydney2.eventbrite.com.au
The motto of the MRLNP will be “Nothing To Hide”, a full frontal exposure of our manifesto that is bound to turn the election on its head. Here are just a few of the changes and improvements we would like to see in what is rapidly becoming one of the most ‘unliveable’ cities in the world.
A MORATORIUM ON NORTH KOREAN STYLE CIVIC ARCHITECTURE: That means a complete reversal of the plan to turn the Park Street precinct opposite the Town Hall into a vast Pyongyang style civic square, an horrendous Kafkaesque nightmare of concrete and stainless steel. The Woollies building will get a heritage listing with the guarantee that anybody can whip in to buy a barbequed chicken or packet of Tim Tams between the hours of 6am and midnight.
BUSKING LICENCES ABOLISHED AND JOY BROUGHT BACK TO THE SAD ARSED STREETS: Unleash the cacophony of guitar strumming, drum beating, ball juggling, fire eating entertainers who once brought colour and zest to our city streets, from the Devonshire Street tunnel to the Pitt Street Mall. Bring back the Moose Man in Kings Cross, with a twenty four hour exemption, and let the urban symphony permeate every nook and cranny of the otherwise cold, heartless, concrete jungle.
SLASH THE FIREWORKS BUDGET TO SOMETHING SANE AND REASONABLE: Every year we get the same pitch from the Lord Mayor – “This NYE’s fireworks will be the biggest and best ever”. The only thing ever bigger is the shameless amount of money squandered on this pyrotechnic madness. As most punters are totally inebriated by midnight, and most kiddies asleep, a five minute show would easily suffice and just to show that we are not entirely party poopers we’d offer a free six pack of sparklers to anybody under eight years old.
THE LORD MAYOR’S NYE PARTY – IT HAS TO GO!: Speaking of party pooping, the scandalous amount spent on the annual Lord Mayor’s NYE party and crony-fest at the Opera House, rumoured to be around $900,000 means this elitist boozeup has to go. Instead the Lord Mayor would be offered the exclusive use of a ‘party bus’ for the night and an unlimited supply of goon bags, touring the city neighbourhoods and dispensing cheap wine and nibblies. The common touch!
24 HOUR CAFETERIA IN THE LOWER TOWN HALL: A number of charities do a great job in providing meals for the homeless, usually served in the often cold and windy streets, but why not relieve their financial burden by turning the seldom used Lower Town Hall into a 24 hour caf, with a guaranteed ‘sit down’ meal for anybody down on their luck.
BILLY CARTS FOR BOURKE STREET: The Bourke Street Bicycle Path is a complete disaster and there have been more sightings of the Tasmanian Tiger than cyclists using it during the last few years. It would however make a great Billy Cart track and a private consortium could easily turn it into a thrill ride to rival Katoomba’s Scenic Railway and Luna Park’s Wild Mouse.
Stay tuned for even more pervasive policies and our full list of Mayoral candidates!]]>
Fracture is written … Read more]]>
Fracture is written and directed by Lucy Clements. This being her first play, she has been heads down, bums up for awhile in order to organise the production. Clements has a fascination with psychological thrillers, and there is another two in the works.
She says Fracture will be a 55-minute rollercoaster as audiences work out what the truth of this story is, side by side with the characters.
This production tells the story of 20-something Charlie, who lives with a couple of roommates in a pretty average apartment living a pretty normal life. Except for the fact that Charlie has a past, and he’s about to learn you can’t hide from it forever.
The idea for this play began with a friend’s three-page script. Clements offered to help turn it into a full-length play as co-writer, however after a lot of ups and downs her friend called it quits. But she found her final inspiration through a colleague.
“Nicki Bloom was my final major inspiration for the work, who I began working with as a dramaturge after my Blue Room season. Nicki talked to me a lot about mental health and helped me find new pathways that this play could go down,” explained Clements.
“This was when the play became very influenced by the theme of male postnatal depression, which up to 10% of dads experience and no one talks about. This has had a significant impact on our current production.”
Fracture stars Brandon McClelland, Contessa Treffone, Tel Benjamin and Kate Cheel. (AMal)
Aug 2–12, 10pm. Old Fitz Theatre, 126 Dowling St, Wooloomooloo. $25. Tickets & info: www.oldfitztheater.com.au
BY ATHINA MALLIS]]>
Lesley Dimmick is more shocked than anyone that the not-for-profit gallery she ambitiously opened in the late 80’s is about to celebrate … Read more]]>
Lesley Dimmick is more shocked than anyone that the not-for-profit gallery she ambitiously opened in the late 80’s is about to celebrate its 28th birthday.
“I’m a bit surprised myself, because I thought I’d just do it for a couple of years before I became a famous artist…”
With two art degrees to her name and “no galleries for people starting out” around at the time, Dimmick sought to open the Tap Gallery as a not for profit, artist run initiative to support burgeoning artists.
Almost 30 years later, the Tap has overcome many hurdles (they’ve been required to relocate twice since August) to earn a reputation as a friendly, welcoming and active community art centre.
The Tap has been making the most of their smaller new space, but have their fingers crossed to move to a bigger space in future, to allow them to resume the full breadth of their projects along with their successful independent theatre program.
In addition to solo shows, the gallery hosts several group shows every year, many of them tied to important cultural events such as Mardi Gras and International Women’s Day. Currently on show, the 20th Real Refuse exhibition is an opportunity for artists whose work was not selected for the Archibald, Wynne or Sulman prizes to go on public display.
As the curator of Nudes on Tap, the gallery’s annual nude photography exhibition which runs in conjunction with Head On Photo Festival, Marie Brokensha does not underestimate Tap’s value.
“Having this gallery as a non-profit gallery is fantastic, because its one of the only galleries in Sydney where you can exhibit nearly anything you want, its not judgemental… and its not thinking about making money out of the artists,” she said.
Arriving in Australia from France a decade ago, Brokensha began her relationship with Tap when she was looking for an inviting place to host photography workshops. She found that the tap was quite accepting to nude photography, which she considers quite a niche and often misunderstood practice.
“Through the Tap Gallery I could find a bigger audience as an art nude photographer and probably get a certain reputation in the photographic business as well.”
In September Brokensha will be coordinating a boudoir photography exhibition at the Tap, which she describes as “another way for me as a feminist to show[case] a sensual way [of showing] images of women in lingerie [whose bodies are] different to what you’ll see in glossy magazines.”
The Tap has been an essential stepping stone for many successful artists over the years. This year alone, two artists who held their first solo exhibitions at Tap, Nicholas Harding and Biron Valier, became finalists in the Archibald Prize and Sulman Prize respectively.
“It was certainly where I had my first commercial success in Sydney… People honour the prestige of Tap and the dedication of Lesley and the team there,” said artist Blak Douglas, another painter who hung his first solo show at the Tap.
Nowadays Douglas’ work hangs in some of the country’s most prominent galleries and he is currently preparing for the National Gallery of Australia’s Triennial next year, but as a contemporary Aboriginal artist who creates highly politicised works he respects the value of artist run spaces.
“There are constraints with more high-end commercial galleries, and having gone full circle in that experience, of course there’s much more freedom in an artist run initiative…generally you’re less likely to experience the confrontations that you can when you ‘stay in somebody else’s house’.”
At the forefront of the gallery’s steering committee, Dimmick considers herself an “anti-curator”. In her words: “I do not curate shows, I just assist artists in running their own shows.”
Jim Anderson is another artist who arrived at the Tap Gallery when searching for a space to show his work, being particularly drawn to Tap’s two annual LGBT focussed group shows.
Anderson returned to Australia in the early 2000’s after living overseas for 30 years, firstly in London (where he became entangled in a landmark obscenity trial as an editor for Oz Magazine) and eventually California, where he lived in a community (or ‘hippy’) town.
“When I came back to Sydney…I found that I could relate to Tap Gallery very easily because it’s a community gallery that is open to everybody and it was just the sort of support for my artwork that I needed when I got back here.”
“It belongs to an earlier Sydney in a way, a more bohemian sort of Sydney,” Anderson said of the Tap.
“One or two solo shows” at the Tap led to a career retrospective for Anderson at Tin Sheds Gallery, Lampoon – An Historical Art Trajectory (1970-2010), which has since travelled and will next be hung at the Maitland Regional Art Gallery. He continues to participate in the Tap’s group exhibitions.
“Galleries are important, [many] have disappeared recently because I think people take them for granted, but there’s a lot that goes on behind closed doors to run a gallery and Lesley taught me that,” said artist Mark Hanham.
Known for his brash large-scale landscape paintings, Hanham has been enjoying success since making the almost unprecedented move of opening his own solo gallery on Surry Hills’ busy Crown Street in 2011.
But when he was freshly graduated from art school he found himself in a slump and without an income. He ended up volunteering at the Tap through their ‘work for the dole’ program (which has been running for the better part of 15 years). There he was not only trained in backend gallery management but inspired and encouraged in his artistic practice.
“Lesley was just super nice and giving, and she helped out a lot of people who were really down and out, and gave them a bit of hope,” said Hanham.
“The thing I loved the most about Tap Gallery is that it’s very un-pretentious, it’s the real deal. Lesley’s showing art that is actually proper art, not necessarily commercial art.”
Hanham won the People’s Choice Award at the Tap hosted Kings Cross Art Prize in 2002, winning $2000 worth of Matisse paint. He went on to paint his 2003 Sulman Art Prize finalist painting, Time Square, with that paint.
“To simplify it, Lesley is the last freedom fighter. People have no comprehension that she’s done so much for the community it’s not funny,” Hanham added.
Dimmick’s contribution to the arts was formally recognised last year when she was awarded the Order of Australia Medal.
“For me that was an immense reward that I’ve actually put 27 years at the time of volunteer service towards other artists and running this space,” she said. “Because we’re actually providing those artists with an opportunity they didn’t have… to make money from selling their work… The joy of getting to know each artist as they come through, whether it’s a solo show or group show, they become friends for life.”
With a full program of group shows planned for the rest of the year, the Tap encourages individual artists to apply for their own solo shows.
Preparations are currently underway for the Tap’s 28th Birthday Group Exhibition and Party. For the big birthday bash the Tap will be taking their reputation for great opening night parties to another level, with dancers, burlesque performers and drag artists joining the throng.
Amongst the art on the walls will be Dimmick’s own ‘Archibald reject’, a portrait of her friend and well-known Newtown personality Norrie May-Welby. “I had to get rejected by the Archibald so I could hang it here,” said Dimmick, with a fiendish glee.
Her art career might not be quite what she pictured as a young girl, but there is no doubting that Lesley Dimmick and the Tap Gallery have made an unmeasurable contribution to the arts.
Tap Gallery’s 28th Birthday
Exhibition: Aug 2–7, 12-6pm. Party: Aug 6, 5-10pm.
Tap Gallery, 259 Riley Street, Surry Hills. Info: www.tapgallery.org.au
Marie Brokensha: www.boudoirsalon.com
Blak Douglas: www.facebook.com/blakdouglas158?fref=ts
Jim Anderson: www.jimanderson.com.au
Mark Hanham: www.markhanhamartgallery.com
Fri, Jul 29, Venue 505
Hollie Smith: One of New Zealand’s most prominent artists – who has worked with numerous bands such as Trinity Roots, Fat Freddy’s Drop and Don McGlashan – brings her stylings and brand new album to Sydney this week.
Fri, Jul 29, The Basement
Mane: The enigmatic voice of Mane heads out on the road this weekend to celebrate the release of her latest single ‘Bitter’, which blends influences from pop and blues flawlessly.
Fri, Jul 29, The Newsagency
UNDR CTRL 2nd Birthday Fundraiser: The second of three signature parties by various industry heavyweights see’s UNDR CTRL taking charge to help raise much needed funds for Oxfam Australia. Taking the stage for the party are Roland Tings, Rainbow Chan and Motorik Vibe Council to name just a few.
Sat, Jul 30, Oxford Art Factory
The Internet: Following overwhelming demand of their first show, LA collective The Internet have added an extra show for Sydney fans this weekend. Fresh off the stage at Splendour In The Grass the group will be bringing their signature smooth soul and funk vibes with them.
Sat, Jul 30, Metro Theatre
Willoughby Symphony: For their fourth concert of the year the Willoughby Symphony have chosen to name this one Destiny. On the evening they will be performing Matthew Hindson’s explosive Boom Box followed by a rendition of Sibelius’ Violin Concerto by guest soloist Harry Bennetts before closing out the night with the classic Tchaikovsky Symphony No. 5.
Sun, Jul 31, The Concourse Concert Hall, Chatswood
Neville Staple: The Rudeboy legend of ska hits Newtown this weekend to celebrate the release of his latest album Ska Crazy. With a massive catalogue of hits up his sleeve and buzzing with energy following the album’s release, this is one not to be missed.
Sun, Jul 31, Newtown Social Club
Freedman Jazz Awards: The Music Trust has announced the three finalists for the prestigious 2016 Freedman Jazz Fellowship, Australia’s premier award for excellence in jazz. This year’s contenders for the annual scholarship are drummer James McLean and pianists Joe O’Connor and Luke Sweeting. This weekend the finalists have the chance to compete for the $20,000 cash prize in a live performance play-off so the audience is in for a treat.
Mon, Aug 1, Sydney Opera House
Troye Sivan: Australia’s own global pop icon returns home this week to perform a run of shows across the country. Over the past two years, Sivan has cemented himself as an international superstar and a force to be reckoned with.
Wed, Aug 3, Hordern Pavillion]]>
Running … Read more]]>
Running over August, Sculpture at Barangaroo is a free event that showcases twelve artworks by Australian artists – six existing, and six new works commissioned specially for the event. The program features free talks by the exhibiting artists and other special events run throughout the month, and organisers promise that the selection of works will “grow and change” over the course of these events.
Like Sculpture by the Sea, Sculpture at Barangaroo is designed as a family friendly event. The included sculptures are arranged along an outdoor walking trail through Barangaroo Reserve, running along the harbour-side Wulugul walk from Nawi Cove to Walumil Lawn. Barangaroo Reserve will be open as normal throughout the event, and visitors can also book cultural tours to explore the area’s Indigenous history. (ZS)
Aug 6–21, 8am–6pm daily. Barangaroo foreshore. Free. Info: www.barangaroo.sydney
Aboriginal Cultural Tours: $23.98-$39.13. Tickets & info: www.eventbrite.com.au
BY ZEIYA SPEEDE]]>
Over the years Ganz, or Jordy Saamena, has worked with Australian artists such as Flume, What So Not and Alison Wonderland who have all gone on to become industry heavyweights. More recently Jordy has been working with JOY. and Akouo on remixes and collaborations, so it shouldn’t come as a surprise if these two soon shoot to superstardom as well.
Thanks to the internet and its widespread use by young musicians to showcase their talents, Jordy was able to find these artists very early on. “For me life is about waking up and making as much music as I can everyday, so 24/7 I’m searching out new music and sounds,” he said.
It was this passion for pushing boundaries and being unique that pushed Saamena to found his own independent record label. “A lot of people wanted me to put out music and put me in specific corners, but I felt like creating and releasing music that I liked at any particular moment,” he explained. “Now with my own label I put out tracks with different sounds and it’s whatever I want to do.”
Taking this step could have been incredibly risky but thankfully it has paid off and Ganz is now more popular and busy than ever. Last year he played a show at Sydney’s Chinese Laundry which saw him arrive just mere hours before walking onto stage. He explained: “I had enough time to shower and eat before playing then had to fly back out a few hours later to play in another city so I was pretty jet lagged.”
Luckily this time around Jordy has a much more relaxed tour schedule. He explained his excitement to be able to see more of the country this time around, adding: “This is my fourth time coming to Australia and I’m super hyped to get back again because it’s my favourite place on earth.”
Jul 30, 6.30pm. Pacha, 330 George St, Sydney. $25-$40+b.f. Tickets & info: pachasydney.com]]>
As part of the Sydney Science Festival, Dr Armstrong will be exhibiting his first solo work, Over Many Horizons, a five piece, interactive, immersive installation that uses robotics, sound, light and movement to inform and enhance the viewer experience.
He is an advocate for sustainability and hopes to raise public awareness around environmental and ecological issues, however he prefers gentle activism and doesn’t want his art to be didactic.
As well as displaying art, Dr Armstrong will be appearing on a panel together with several scientists. He sees this as the preferred forum for explicitly delivering a message.
“If you can put something that still has the qualities of art and gives people a strong emotive kind of experience – if you can put that alongside discussion and debate I think thats a really good combination…”
In spite of the use of technology and physics and some classic scientific themes (like the periodic table), Dr Armstrong insists you don’t need a knowledge of science to appreciate the works. In fact, he sees his art as a way to make science appealing and accessible to the general public.
“People are attracted to screens and shiny objects.”
One thing he has been challenged on is the disconnect between the use of technological items in his practice, which have built-in obsolescence, and the message of sustainability. He answers this in part by using retro and recycled equipment.
Ultimately, as a new media artist, he needs to find a way to use available technologies to create art but at the same time stay true to his purpose.
“It’s definitely something I fight with everyday.” (RB)
Aug 2–Sep 23 (12-6pm, Mon-Fri). UTS Gallery, Level 4, 702 Harris St, Ultimo. FREE. Visit www.art.uts.edu.au for information about talks and discussion panels.
BY RITA BRATOVICH]]>
What makes this album so ambitious is the band’s commitment and willingness to alter their sound so drastically with the introduction of operatic elements. Fans can rest assured though that they haven’t forgotten what brought them to the big leagues and have managed to maintain their punchy, heavy sound.
Opera Oblivia incorporates the slower operatic styles and elements so sparingly that they carry a real weight and lift the songs to a new level. Particular examples are at the end of opener ’24’ followed by lead single ‘Quality Of Life’.
‘Heels Of Hands’ is another standout track, the vocals here come entirely from interviews with molestation victims, and it’s a true tearjerker.
I highly recommend everyone check this album out, simply because of the innovation and touching truth-filled themes. (JA)
Transitioning sporadically from metalcore to punk, the listener is constantly left on edge waiting for the next unpredictable pace or melody change.
Frontman Drew Gardner’s throat-shredding screaming vocals are incredibly well done and catchy, even if you cannot always make out what the lyric actually is.
Again this record will certainly not be for everyone but if you’re after something totally unique, different and energising, this is for you. (JA)