Published 01 December 2020
Tracey Moffatt offers her personal insights on the making of 'Bedevil' made in 1992 with Film Finance Corporation Trust funds. Due for release in 1993.
Beyond ethnicity, becoming Asian - Australian. How does one address issues of ethnicity? What is authenticity?
Published March 1993
Exhibition review Cultic Gloss: Shaun Kirby
Contemporary Art Centre
Adelaide, South Australia
October 23 - November 24 1992
John Hughes independent documentary film on Walter Benjamin One Way Street was screened on ABC television in December 1992, the centenary year of Benjamin's birth. The film has been released to festival audiences in the US and Europe and will theatrical release in Sydney and Melbourne in 1993. Here John Hughe slips into pause and explores an opening on certain scenes.
Sydney's new Museum of Contemporary Art has actively integrated film, TV and videos into its programs since opening in 1991.
Independent cinema may have been diverse in form, but its practitioners had in common a position of difference and marginality, working outside the mainstream and in opposition to it.
Exhibition review Crossings Mary Knott: Drawings and Sculptures 1988 - 1992
Curated by Tony Geddes
The Art Gallery of Western Australia
October 3 - December 13 1992
Geraldton Regional Gallery
December 18 -January 21 1993
Bunbury Art Galleries
January 30 - March 7 1993
What is the effect on film when the maker's background is utterly different from the culture in which he now works. Anna Epstein talked to a film-maker who brings fresh vision to the Australian film industry.
It is diversity, and the celebration of the marginal which makes Australian film innovative. Diversity provides the opportunity for people in Australia to enjoy and reflect on the cultural heterogeneity rather than on the alienating myth with which we are so familiar.
Expressionism and modernism. Two old fashioned words in these days of post modernism.
Exhibition review Souvenirs Aldo Iacobelli
Experimental Art Foundation
22 October - 15 November 1992
The Third International symposium on Electronic Art (TISEA) which took place in 16 venues in Sydney from 9 -13 November 1992 converted the whole city into a massive hologram event.
Surely one of the powers of cinema is the aesthetic redemption of everyday reality, a poetics in motion that can distill and energise mundane objects, be they tiles on a kitchen wall, the fluorescent facade of an airport terminal, a luminously white T-shirt being twisted and tugged or the compact shapeliness of Y-fronts on a young body emerging from bed.