Vitalstatistix’s national artist hothouse Adhocracy returns in early September but the future of the annual event is uncertain.
Bernard Fanning sounds remarkably free. Since the dissolution of his nationally beloved day job, and now well past the pressures of passing the nerve-wracking “first post-Powderfinger album” milestone (Departures did those honours in 2013), Fanning’s third solo album Civil Dusk is a mix of uncluttered folk-rock arrangements and easily flowing songwriting.
Kiwi co-directors David Farrier and his “geeky friend” Dylan Reeve’s documentary is unusual in that, like Capturing The Friedmans or Lost In La Mancha and Gimme Shelter, it began as one thing and then became something else entirely. What started off as merely strange became far stranger and distinctly uncomfortable, which is not what you’re surely expecting from a movie about tickling.
All the King’s Men is the centerpiece of Fiona Hall’s installation work Wrong Way Time that was exhibited in the Australian Pavilion at the 2015 Venice Biennale. Recently acquired by the Art Gallery of South Australia, All the King’s Men is one of the gallery’s most significant acquisitions to date.