| 23 is 10! | Welcome to a celebration of our 10th birthday. First a word from Tony MacGregor, Chair of the Open City Board of Management. This company was established by Keith Gallasch and Virginia Baxter in 1987 for the collaborative works they performed in theatres, galleries and on radio. In 1994 Open City began to publish RealTime+OnScreen which has been a fulltime operation since 1996. FROM THE CHAIR I’ve been free-associating around those words—real, time—looking for a RT61 JUNE / JULY 04 way into writing about this thing I’ve been hovering around for these past 10 years. Longer really, because RealTime was an idea long before it was a reality, one of those determinations that Keith Gallasch and Virginia Baxter make and then work into existence: “mainstream theatre criticism is hopeless, we need a journal that deals properly with the per- formance community in all its hybrid, messy complexity.” (Or words to that effect.) And, lo, it was so. How many ideas have taken shape, been given form in the endless conversa- tion around that generous wooden table in the kitchen at Womerah Avenue, Darlinghurst where Gallasch and Baxter have lived since their arrival from Adelaide in 1986? Like so many projects which have been founded on their energy and ideas—Troupe in Adelaide, Open City, all those performances—once deemed A Good Idea, RealTime seemed inevitable, an idea made real through that seemingly irresistible combination of clear argument, creative invention, per- sonal passion, A-grade grant writing The RealTime team: Keith Gallasch, Dan Edwards, Gail Priest, Virginia Baxter Heidrun Löhr skills and the sheer bloody mindedness that they bring to all their projects. Calmly, without hysteria or undue But the knack of spinning the straw ideal even, an ideal of the work of art We’re gonna have a real good time together polemic. Real, not rhetorical. (The right of rhetoric into the gold of action is a as way of engaging with the world, as a We’re gonna have a real good time together time, too. Children, don’t ignore this les- rare one; Keith and Virginia, a collabora- vehicle for satisfying undying curiosity, We’re gonna have a real good time together son: timing is everything.) tive partnership, possess this gift in abun- for, perhaps, speaking about what We’re gonna dance and bawl and shout Celebrating 10 years of any publica- dance, and it should be acknowledged. I might be true, or at least, of speaking together tion, is it right to dwell so much on 2 am sure they too have long, dark nights; about power. RealTime—and its edi- Na-na-na-na-na, na-na-na-na-na, na-na individuals at the expense of the many that age wearies them (as it wearies us tors—have done more than serve a com- Na-na-na-na-na, na-na-na-na-na, na-na... who have contributed to its success? I’m all), but they will always seem to me munity, they have, in so many ways, thinking here not just of the multitude of indefatigable, unceasing. Just check out made it. That is their gift to us (readers, I think we’ve all had a real good writers, the shoals of eager readers, but these pages, count the words, total up the writers, makers, audiences), and I thank time. And more to come. I hope we can of stalwarts like David Varga, Kirsten hours. them for it. all keep dancing, bawling, shouting, with Krauth, Mireille Juchau and especially Perhaps this is the nub of what I Where’s the free-association, I hear RealTime leading the chorus. Gail Priest, toilers in the vineyard too, want to say: in RealTime, art can still you ask? Where’s ‘real’? What about and indispensable to these accumulated be understood as a gift, not only as a ‘time’? I can hear it in my head as I successes of the past 10 years. I tips me commodity. Like much of the work they write—a stupid refrain, rock’n’roll lid to all of you, heartfelt. (Head felt—the write about, Keith and Virginia, and dumb—Lou Reed, circa 1970 something Tony MacGregor hat, I mean. Squashed bunny.) Gail, have served an idea, served an (I was stoned at the time): May 2004 FROM THE EDITORS The early years of RealTime now seem Judy Annear was our first manager, fol- here, and, like the current contributing edi- ests. We provided a broader context for like a distant dream, a fuzzy recollection of lowed by Susan Charlton and then Lynne tors, have all been invaluable. artists’ work and the writing about it. At a fury of creation, learning on the job, Mitchell. When RealTime became full-time any time almost half of RealTime’s writers reaching out across the country to engage we divvied up the management among MOTIVATION are practising artists. writers and distributors, connecting with ourselves. Gail Priest, an integral member In 1993 we were lamenting the dimin- artists, knocking out grant applications, of the RealTime triumvirate, started out ishing coverage of the arts in the mass THE BIG PICTURE labelling bundles and loading trucks, cov- proof-reading for us and moved into layout media and, specifically, the lack of engage- Over the years we critiqued reports by ered in ink, wracked with endless financial and design and advertising sales and web ment with performance, hybrid practices Gonski (bad news for screen culture) and trepidation, exhilarated every time an edi- management! Having our own office and and what we then called techno-arts. It was Mansfield (worse for the ABC), tore into tion rolled off the presses and partying computers in the city made everything a lot the absence of a national perspective that Creative Nation (as you’ll see on the pages every time (we’re no longer up to that). easier. David Varga moved on, replaced by irked us in particular. We watched per- that follow) and the restructuring of the Final layout happened variously in an old Kirsten Krauth who also took over and forming arts and then film magazines Australia Council (quite a stoush), screamed flour mill in Newtown (now home to the developed OnScreen from the pioneering struggle and collapse over the years. We arts murder in the wake of the Howard Omeo Dance Studio), graphic design stu- work done by Annemarie Jonson and wanted to know what was happening election (see the cover for RT14), and dios in Surry Hills and, for years, the Alessio Cavallaro. Novelist Mireille Juchau across Australia, what was innovative and looked at the cultural ramifications of crowded city office of Art Almanac with followed Kirsten who went to work for the who was making this work. The Mabo and Wik. We’ve addressed issues of artist Paul Saint patiently at the computer AFC. Before Gail, the hard yards of adver- Performing Arts Board of the Australia censorship, globalisation and Free Trade through the long nights. tising sales had been valiantly run over the Council was offering seeding grants for arts and countless funding issues. We’ve moni- years by Michelle Telfer-Smith, Sally magazines, we got one and away we went. tored the growth of the international mar- HOME WORK Thompson and then Sari Jarvenpää. A trial edition in February 1994 was fol- keting of the Australian arts, the changing Our home was our editorial office for Nowadays Gail and Virginia make an affa- lowed by an unbroken string of bi-monthly nature of arts festivals, the rise of the several years. A remarkable team would ble sales team. RealTimes from August that year, once improvisation movement, issues and suc- gather in the kitchen on a Saturday every 2 Consultative editorial teams were set funding was secured. We had argued in cesses in the arts and disablilty field, and months to edit a new edition: John Potts, up in all states and some members have our grant application that we wanted to surveyed Aboriginal film and new media. Annemarie Jonson, Jacqueline Millner, been with us for many years: Sarah Miller, produce a magazine that looked across the Through Philip Brophy’s inspirational Catharine Lumby, Gregory Harvey, Linda Chris Reid, Josephine Wilson, Darren arts because we thought that was the only Cinesonic column we all learned to listen to Wallace and Michael Smith, with contribu- Tofts, Richard Murphet, Philippa way to survive and, more importantly, that films while Hunter Cordaiy’s Writestuff put tions from Colin Hood (a dab hand at Rothfield, Anna Dzenis, Diana Klaosen, reflected growing cross-artform practice. us in touch with the complex screenwriting droll headlines) and Richard Harris. Our Eleanor Brickhill, Linda Marie Walker, We were right on both counts. We encour- side of our film industry. Kirsten Krauth first assistant editor (thanks to the enlight- Barbara Bolt and Erin Brannigan. Others aged readers to look for innovation and to edited WriteSites, an important record of ened Jobstart scheme) was David Varga. have come and gone, too many to name go beyond their particular artform inter- the literary aspect of new media art. continued on page 24 | We’ve also surveyed the integration of digi- ship in general with funding bodies has However, and this is one of the great and technology are explored with passion. tal media in performance and dance and been very good; the continued support of ironies, Australian artists have still man- These are the innovators, often hybrid arts 24 extensively reviewed new media artworks (especially) the Australia Council and the aged to create an embarrassment of riches, practitioners, whose work is increasingly | and the festivals and conferences that con- Australian Film Commission, along with gathering increasing international acco- known around the world, if less so at stellate around them here and overseas.