THE BUSINESS OF ART | For choreographer Lewis Major, bringing his contemporary dance company home to South Australia after many lauded years working in Europe is as much an exercise in entrepreneurialism as it is in creativity.
THE BUSINESS OF ART | The lessons of a lifetime spent working in arts institutions – from the Adelaide Fringe to Restless Dance Theatre – are helping Windmill Theatre Company associate director Sasha Zahra steer home the remount season of Amphibian this week, amid gut-wrenchingly relevant international tragedy.
THE BUSINESS OF ART: Recently heritage listed and a darling of its community, the architecturally iconic Marion Cultural Centre has made an unexpected leap – building a far-reaching reputation as an arts venue on the back of three busy Fringe seasons.
THE BUSINESS OF ART | Adelaide artist Gill Hicks’ live show Still Alive (and Kicking) will this month be streamed for audiences on the other side of the globe, but her journey to the stage has been long and winding. From a creative childhood, via the trauma of the London bombings, Hicks is reconciling her activist and artistic drives with help from a debut Adelaide Fringe season.
The closure of the Bakehouse Theatre signifies more than the loss of a historic venue. For independent theatre-makers, it’s long been a unique stepping stone – an affordable, accessible and flexible space where careers could be made through the presentation of big, bold ideas.
In SALA feature artist Roy Ananda’s dual exhibitions for this year’s festival, the surprising connections between a lifetime of obsessive pop culture fandom and 20 years of contemporary art practice are delightfully revealed.
In the ’70s, Adelaide was a global leader in boundary-breaking performance art. Now, a new generation of local artists are drawing on their history to reignite the city’s alternative art scene.