Posts Tagged ‘the good room

01
Feb
18

Flowstate

 

Flowstate – What’s Flowstate?

No, it’s not the latest facial scan digital technology used to capture actors’ features for use in films requiring the actor’s face to appear on the bodies of her doubles to achieve the illusion of a perfect triple axel performed by the actor herself…

 

 

Flowstate is a 3000sqm interim-use, creative pop-up repurposing the Arbour View Café precinct in the heart of the South Bank Parklands, designed by specialist Australian architecture and performance design firm Stukel Stone.

 

Flowstate comprises three distinct zones: a grassy relaxation zone, immersive digital art installation JEM by award-winning design studio ENESS and an open-air performance pavilion. Launched on January 29, Flowstate boasts a year-long showcase program of free artistic experiences spanning circus, dance, theatre, music and visual installation. Queensland artists and performers will deliver 20+ free artistic experiences against a panoramic tree-lined skyline, inspiring audiences to contemplate a range of ideas underpinned by a focus on city form.

 

The year-long showcase program is South Bank Corporation’s contribution to the cultural activities happening during the year of the Commonwealth Games. Precinct partners include Queensland Performing Arts Centre and Griffith University, as well as broader partners including UPLIT, Festival 2018, CIRCA and Metro Arts.

 

Participating artists and companies include CIRCA, Dead Puppet Society, Little Match Productions, Elbow Room, The Good Room, Liesel Zink, and Polytoxic. Resident local DJs bring their energy to the precinct every Friday evening. Find them on the Flowstate Green 5.30pm – 7pm.

 

“South Bank Corporation is delighted to unveil Flowstate, and to launch a year-long multi-arts program of free creative experiences marking our contribution to the cultural activities happening across the state during the year of the Commonwealth Games,” South Bank Corporation Chair Dr Catherin Bull AM said. “As a place where ideas about what the city can and will be are explored, Flowstate aims to encourage a vibrant culture of exploration and exchange across the South Bank precinct.”

 

 

The addition of the 3000sqm interim-use site offers South Bank’s 11million+ annual visitors another engaging experience to enjoy in the precinct, famous for its awe-inspiring riverside parklands, Australia’s only inner-city man-made beach, award-winning restaurants and bars and world-class accommodation options. Set against the Parklands’ stunning subtropical backdrop, Flowstate invites both locals and visitors to collaborate with some of Queensland’s most compelling artists, witness new performance work in development, engage in workshops, participate in a robust program of public conversations and engage with a groundbreaking digital installation.

 

Free event highlights include Aura by Queensland’s world-leading performance company CIRCA (06–25 March); Dead Puppet Society’s roving installation Megafauna (04–08 April); Little Match Productions’ all-ages contemporary opera The Owl and the Pussycat (11–15 April); moonlit musical trek Song to the Earth by Corrina Bonshek (16–19 May); and These Frozen Moments by the inimitable The Good Room (21 November–02 December). Complementing Flowstate’s Pavilion performances is an inspiring speaker and workshop series, with special guests throughout the year including Magda Szubanski, Luke Ryan and Margi Brown Ash, plus a weekly resident DJ set every Friday evening on the Flowstate Green.

 

Professional Queensland-based artists are also invited to apply for one of two additional supported residencies, for public work-in-progress showings at Flowstate in December 2018. Submit an online application here

 

“Via Flowstate, we hope to stimulate ideas, questions and maybe even some more answers about what contemporary cities can and should be,” Dr Bull said. South Bank Corporation CEO Bill Delves said Flowstate capsured the ever-changing nature of the South Bank precinct, continuing its 25-year legacy as a “people’s place”. “With the team’s delivery of Flowstate, we continue to sculpt Brisbane’s beloved playground into a magnificent world-leading precinct where local, interstate and international visitors eat, work and play,” Mr Delves said.

 

Find out more about Flowstate here

16
Sep
17

I Just Came To Say Goodbye

 

I Just Came to Say Goodbye

The Good Room

Theatre Republic – The Block

September 13 – 23 2017

 

Reviewed by Xanthe Coward

 

 

EVERYTHING IS NOT OKAY.

 

Strangely, forgiveness never arises from the part of us that was actually wounded. The wounded self may be the part of us incapable of forgetting, and perhaps, not actually meant to forget, as if, like the foundational dynamics of the physiological immune system our psychological defences must remember and organize against any future attacks — after all, the identity of the one who must forgive is actually founded on the very fact of having been wounded.

 

Stranger still, it is that wounded, branded, un-forgetting part of us that eventually makes forgiveness an act of compassion rather than one of simple forgetting. To forgive is to assume a larger identity than the person who was first hurt…

 

David Whyte

 

In 2002 a DHL cargo plane and a Russian passenger jet collided in Swiss-controlled airspace over southern Germany, killing 68 Russian school students, two pilots and Mr Vitaly Kaloyev’s wife and two children. This story is told plainly and simply, chillingly, in tiny pieces, using surprisingly little text. Intricately interwoven along the way are numbered anonymous apologies and offers of forgiveness (or refusals to forgive or to be forgiven) selected from hundreds of online contributions to The Good Room’s website for their newly devised show, I Just Came to Say Goodbye. All the elements come together perfectly, which is no surprise to those who know The Good Room’s previous productions. We know the formula works; we adored I Want to Know What Love Is, which premiered during Brisbane Festival 2014 and enjoyed a return season at Brisbane Powerhouse in 2015, and I Should Have Drunk More Champagne at Metro Arts in 2013.

 

The Good Room has never let the vampires get in the way of making an original show.

 

Directed by Daniel Evans and co-created with Amy Ingram, Caroline Dunphy, Lauren Clelland and Kieran Swann, this is the work that’s consistently disrupting Queensland’s arts’ ecology, demanding more from artists and audiences, and offering a richer, more complex, lingering and affecting theatrical experience.

 

I would like to have the time to sit in on the company’s creative process and tell you more about it because not enough theatre is being dreamed onto our stages in this way, and not enough of our theatre makers believe they can do likewise. This is largely because our training and our theatrical tradition is still so text-based. (We could argue that The Good Room’s trilogy of shows is text-based, but that would be over-simplifying the work and under-valuing the creative process).

 

 

The company’s next work (I’ve Been Meaning to Ask You) will involve young people in its creative development and performance. For some, it may be their first foray into devising from scratch. (Can we note, it’s simply not soon enough to be exploring the work of companies such as Gob Squad, Frantic Assembly and Complicite at a Masters level!). I hope The Good Room’s process becomes a preferred model of devising theatre with students especially, so we might see the process included in the curriculum for Years 10 – 12. Sure, something like it, within “physical theatre” vaguely happens now, depending on the awesomeness of the teachers involved and the cooperation of admin, however; even with an abundance of new work, we’re still seeing chasms in this country between theatre, physical theatre and dance. (Within an intelligently programmed arts festival the gap is less apparent).

 

The truth is, rarely can a response make something better — what makes something better is connection.

– Brené Brown

 

Despite closing with a burst of silver glitter and opening with an eighties’ daggy dance team dressed in Brisbane Festival hot pink (choreographed by Nerida Matthaei, hysterical!), I Just Came to Say Goodbye is necessarily dark. It delves into a place we don’t like to go, exploring the vulnerability that lies at the heart of our anger and our resistance to forgiveness. Can we ever really forgive another? Can we ever forget the things another has said or done to make us feel such anger/betrayal/bitterness in the first place? What happens when we choose not to forgive? In the case of Mr Kaloyev and – spoiler alert – the family and friends of his victim, there’s no happy ending.

 

 

To forgive is to assume a larger identity than the person who was first hurt.

 

The inability to forgive seems more often than not to lead to violence, a person lashing out against another, staged literally by The Good Room in an impressive extended fight sequence. Choreographed by Justin Palazzo-Orr it must be the longest continuous fight sequence we’ve seen on a Brisbane stage. It’s violent and tender and funny and tragic. Caroline Dunphy’s movement is always captivating but this performance is next level neo-butoh. She’s a wicked nymph, leaping and climbing and crawling all over Thomas Larkin (who has his own stunning image making moments at the beginning of the show), and hanging from him to create a disturbing, broken picture, to be read as a moment of grief, or the resolve of a ghost, or simply, and complicatedly, a reference to some degree of Stockholm Syndrome in the relationship. (Are there degrees of Stockholm Syndrome?). Or it’s something else entirely, depending, I suppose, on what sort of day/week/month/year/life you’ve had. The intimate moment that precedes this suffering though, is unmistakably a representation of the couple’s abject despair, beautifully, tenderly realised. This sort of intimate connection between performers takes time to develop and direct, and skill to replicate, or discover again, each and every night of the season. It’s so desperately sad. Meanwhile, Amy Ingram is a wildcat, and Michael Tuahine is both fierce and funny in attacking and being attacked. Satisfyingly, everyone ends up fighting everyone; it’s horrifying and highly entertaining. There’s certainly a little schadenfreude at work here.

 

 

Anger truly felt at its center is the essential living flame of being fully alive and fully here; it is a quality to be followed to its source, to be prized, to be tended, and an invitation to finding a way to bring that source fully into the world through making the mind clearer and more generous, the heart more compassionate and the body larger and strong enough to hold it. What we call anger on the surface only serves to define its true underlying quality by being a complete but absolute mirror-opposite of its true internal essence.

– David Whyte

 

Jason Glenwright’s apocalyptic lighting comprises search lights and pin spots and a whole lot of blackness. At times, through the haze, we barely see faces but the voices and the silences between the words convey anything we think we might have missed with our eyes. And played in traverse with the audience seated on two opposite sides, we may well miss something from time to time. Just as in life, this is okay; we see what we want to see precisely the way we want to see it. At the other end of the technical spectrum and across the Theatre Republic at La Boite are the bright lights of Laser Beak Man, also designed by Glenwright. The guy is versatile to say the least! Underscored by Dane Alexander, I Just Came to Say Goodbye wouldn’t work nearly as well without its lights to pierce the darkness and a soundscape to scrape our souls (it’s absolutely terrifying, jarring; try not to be affected).

 

FORGIVENESS is a heartache and difficult to achieve because strangely, it not only refuses to eliminate the original wound, but actually draws us closer to its source. To approach forgiveness is to close in on the nature of the hurt itself, the only remedy being, as we approach its raw center, to reimagine our relation to it.

– David Whyte

 

I Just Came to Say Goodbye is a stunning result from what would seem a simple process on paper, but actually, in anyone else’s hands could be a colossal disaster. What Daniel Evans and Amy Ingram appear to do is to throw everything onto the floor – a vast collection of ideas and feelings and responses to real events and crowdsourced verbatim material – pour fuel over it, and set it on fire to create a spectacular event and food for thought, for a life outside the theatre that demands our burning presence.

 

17
Dec
15

I Want To Know What Love Is

 

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I Want To Know What Love Is

A QTC & The Good Room Production

Brisbane Powerhouse

Brisbane Powerhouse Theatre

December 16 – 19 2015

Reviewed by Xanthe Coward

THIS IS FOR YOU

812 anonymous love stories. 500,000 rose petals. 60 minutes of pashing and dashing on a rose-strewn rollercoaster ride through love’s loopy terrain. A joyous and heartbreaking trip inside the throbbing theatrical party of the year!

 

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I love this show. I love its heart. I love its guts.

 

 

I love the way it begins so innocently, so beautifully simply and comically, and then worms its way into your soul only to shred each one of us into little itty bitty pieces using our own memories, drawing on the experiences that didn’t kill us but made us stronger. Finding that one true love, missing the one chance with that random stranger and having your heart (and maybe other parts of your body) broken multiple times by a massive cunt, before covering our world in rose petals and reminding us that we are in fact LOVED.

The formula is simple, but the complexity is thrilling and the overall effect makes I Want To Know What Love Is the purest, most joyous and heartfelt theatrical production of the year. Again.

The opening sequence shares the bright white light of an iPhone torch piercing the darkness and the sound of self conscious breathing. Quick, uncertain steps patter across the space and someone sets up a standing mic. A spotlight reveals Tom Cossettini, delightful once again. He treats us to an increasingly confident rendition of Young and Beautiful. A deliberately strained and stilted voice becomes rich in tone and cheeky with brazen confidence as he serenades an audience member lit by an unexpected special beneath a cascade of rose petals. This is the first of many joyous moments, a red herring prelude to a darker, more disturbing segment.

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It’s a startling mood change – and I knew it was coming – with Cossettini joined by Caroline Dunphy and Amy Ingram, demonstrating all the playfulness, competitiveness and polite turn-taking of every configuration of a relationship before it ends bad. And then it ends bad.

Margi Brown Ash brings new energy and a completely different quality to the production. Where Carol Burns approached much of the original material with her quiet, elegant reserve, Margi Brown Ash attacks it with unique vigour and wide eyed, full throttle, devilish delight. Each actor in this small company has discovered the delicacy of the more sensitive submissions and they treat the tales with the utmost respect, while giving some of the other anonymous stories the spectacularly sordid treatment they deserve, all for our entertainment and amusement, and for theirs, I’m sure. There’s certainly a voyeuristic aspect, and a number of times when some of us would like to leap over the seats to join the performers, in the riot of rose petals and splendour and grit and goodness and LOVE. What? Just me?

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Icona Pop’s cute and angry I Don’t Care underscores the sweeping and leaf-blowing of petals out of the way as if they’re shattered pieces of each heart, pieces of each person, which we offer to another and demand to have returned to us once the thing is over. Then there are the pieces a lover – or abuser – takes forcefully away from us. These pieces are carried away the moment the wind changes, or stuffed cruelly into a pocket so no one else can ever have them.

How do we put ourselves together again when some of the pieces are gone forever?

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Against a brilliant pulsing heartbeat of a soundtrack (the lifeblood of the show) by Lawrence English, Jason Glenwright’s lighting perfectly complements Kieran Swann’s design, creating many moods within a splendid setting. It’s a Catherine Martin styled American Beauty fantasy sans the tub, the nakedness and the convenient petal placement, although none of those elements would be out of place here. There are many more petals used this time. Masses and masses of them, thousands in fact, fluttering down from above, then teeming like rain, and then released from yellow plastic bags and scattered joyfully across the space. With great passion and fury they’re later pushed and swept and kicked and tossed into the air, poured over the actors, almost smothering them, just as any great…and terrible…love will do.

This is theatre as therapy, almost cathartic, leading everyone into themselves and along their own (don’t say it!) … JOURNEY. THERE. I SAID IT.

The stories are ours…well, the stories are yours. If you submitted your story online we got a glimpse of your life, your love… Johnny BalbuzienteIt’s an intimate show, perhaps in some ways better suited to the smaller, more intimate space of the original studio. But it’s become a bigger, slicker operation in the powerhouse theatre (“The Lovebox”), allowing a greater number of people to see it (and see it again!). How lucky are we? This is a company with a LOT of love to give!

Cancel everything and go see I Want To Know What Love Is.

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This show is an editorial and directorial gem, collating so many moments of so many lives that I imagine it would be possible to create a dozen or more episodes using the stash of unused material. Perhaps we’ll see a YouTube series yet, or a never-ending series of books in the style of WOL. But don’t wait for those! Director, Daniel Evans is a busy, busy guy!

THIS IS A PASH AND DASH AFFAIR

– DANIEL EVANS

Your best chance to experience the real-life equivalent of Love Actually this festive season is to see I Want To Know What Love Is before it finishes this weekend.

09
Sep
14

I Want To Know What Love Is

 

brisbanefestival2014

iwanttoknowwhatloveis

 

I Want to Know What Love Is

QTC & The Good Room

Bille Brown Studio

September 4 – 19 2014

 

Reviewed by Xanthe Coward 

 

CHECK BACK BEFORE THE END OF THE WEEK FOR GORGEOUS IMAGES

 

“Perhaps we are in this world to search for love, find it and lose it, again and again. With each love, we are born anew, and with each love that ends we collect a new wound. I am covered with proud scars.”

Isobelle Allende

 

We are a combination of a thousand different experiences (especially when it comes to love).

Deviser/Director, Daniel Evans

 

 

Everyone is here. Wesley is playing the role of Glassy and the foyer fills quickly around him with the chatter and laughter of friends, and the clink of glasses and the clatter of heels. I contribute to the clinking and clattering and chattering. I feel like I haven’t seen everyone for such a long time! This is the tribe I know and love! We’ve strolled across the road from Brisbane Writers Festival, where I’ve been hanging with a different tribe and hearing about how challenging it is to get published and get noticed, how courageous one must be to write, and how disciplined. I Want to Know What Love Is is a cleverly devised show, using the written submissions of the general public… YOU. You are the writers! But by giving this glorious little show such a short season within the Brisbane Festival program (it runs for this week only), I feel like QTC is challenging us to demand its return.

 

Dear QTC,

 

 

We all adored I Want to Know What Love Is.

 

 

PLEASE BRING IT BACK!

 

 

Cheers. x

 

So it’s a proper Opening Night, with all the bells and whistles (and all the red roses and pink champagne in the world), and all the Industry friends. It feels GOOD. It feels good like it must be the work of THE GOOD ROOM. We know we can trust this collective of creative heads and hearts to entertain us, to challenge us, and to make us leave wanting more. There’s no deprivation about it, in fact our hearts are full…we want more of THAT.

 

I knew this show would be gorgeous (I was told it would be gorgeous) but I wasn’t prepared for so much of the gorgeousness to be done and dusted before the half way mark. The pure joy of an early succession of exuberant scenes concludes with what I can only presume, is the end of the honeymoon period of the show. We’re left hanging in darkness, in some undefined sad sort of state. I guess it feels like loss. The shock of love gone. Yeah, you know it. The honeymoon period is over, man.

 

I spoke with Carol Burns after the show about the dramatic mood change; it’s a distinct beat, unmistakably sad; you can’t miss it. I assured Carol that it could be felt! Indeed, it’s a rare thing in the theatre, to feel so strongly, a collective response to a single beat. I joke that I recognise that beat, the turning point in a relationship after the cascades of rose petals have finished raining down and the kisses have stopped meeting you at the door and the fights start about who’ll take out the rubbish. After the extreme highs come the devastating lows. Or, day after day, the plain ordinary. Or, the break up.

 

It’s a tumultuous journey and no one apologises for the rough bits. We spend just as long as we need to, wallowing, relating, remembering, and commiserating… There are uncomfortable titters from time to time because REALNESS. RECONISABLE. RELATABLE. REALNESS. It’s not all bad; so much of the show is very funny and very moving. I Want to Know What Love Is tastes like a fistful of sticky, sugary, virtual cotton candy goodness, with a bit of harsh reality thrown in.

 

The stories come from the community. Over eight hundred randoms submitted their stories online via the specially built website wewantyourlove.com

 

wewantyourlove

 

It’s the sort of verbatim theatre I love – not too verbatim – the words are painted in full colour, with layers upon layers of meaning between them and the canvas, the picture almost certainly improving on the telling of the tales. No offence, to you, the writers. Sometimes, the simpler the story, the greater the effect, as when there are no words and we are left to fill in the gaps; an awesome little device. The stories we hear range from love at first sight, I’ll love you forever, happily ever after tales to devastating blame games, plots for revenge and guilt-ridden admissions. Wow, we actually begin to feel like we know these people. We think perhaps we are these people. Not so random after all.

 

New work needs time and it needs space and it needs trust.

Amy Ingram

 

We know Amy Ingram’s comedy is excellent, and this production allows her a little tragedy too. It’s clearer, and sadder than ever before. Carol Burns, Caroline Dunphy and eighteen year old Tom Cossattini in his QTC debut, also manage to get the tone exactly right, seemingly effortlessly, taking us on a rollercoaster ride that starts out naively and joyously and finishes with sass and stubborn, glassy-eyed glimmering hope, in spite of the tumult and ugliness along the way. In this way, the show’s structure cruelly and accurately reflects the usual pattern of relationships. We still haven’t come to terms with the life-death-life cycle, have we?

 

Daniel Evans, not only a published writer and Premier’s Drama Award winning playwright (his work, Oedipus Doesn’t Live Here Anymore, will be staged by QTC in 2015), is the sort of director who creates work you wish other directors would see. If they did so, perhaps we wouldn’t have to suffer through so much earnest work. Just saying.

What Dan does, with co-devisor, Lauren Clelland on board this time, is take a story, offer it to his actors, and with their help, he passes the story on to us. Dan’s a custodian of stories.

 

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Kieran Swann’s design is nothing less than stunning. He’s humble, paying homage to Feliz Gonzalez-Torres, Tracey Emin and Jenny Holzer in his notes, but what Swann does, just as Evans does, is create worlds that we can’t wait to step into. The simple images of flowers and garbage bags may have come from the punters but it’s Swann who’s conjured the delicate-bold lush effect they make on stage. Lights by Jason Glenwright and soundtrack by Lawrence English support the pace of the production and punctuate the stories, offering us time to breathe and no time at all. A bit like life.

 

What’s incredible about this production is that a very basic idea has been executed in the most effective way when it could easily have ended up a disaster; a shoddy, tacky, nauseating and seriously awkward and embarrassing high school collage drama. It is none of these things.

 

I Want To Know What Love Is is elegant, sophisticated, heartfelt, inspiring and uplifting; it’s delicious festival fodder. It’s original, beautiful and unfortunately, it will disappear after this week…or will it?

Go now, just in case. You don’t want to miss this. It’s gorgeous theatre.

 

iwanttoknowwhatloveis_xantheianjessicabianca

 

19
May
14

Five diverse arts projects need your support via pozible!

 

METRO ARTS DEVELOPMENT PROGRAM

FIVE DIVERSE PROJECTS NEED YOUR SUPPORT

 

How much does is take to kick start five arts projects?  The answer is $16,500!

 

 

A diverse range of artists participating in Metro Arts’ development programs are set to receive dollar-for-dollar matched funding from Creative Partnerships Australia through its program MATCH: Crowdfunding for the Independent Arts Sector – to qualify for this funding they need to raise $16,500 through their individual crowd funding campaigns which will take place online through pozible.

 

The five projects include three creative developments of new works, an international dance exchange and a repertory season of eight pieces of contemporary theatre.  All five projects will run in the second half of this year and will be housed at Metro Arts.  Supporters can find the campaigns online at www.pozible.com/collection/detail/86 under the Metro Arts Collection.

 

Each campaign is offering different rewards for different levels of donations and range from a postcard direct from Eastern Europe in return for a $10 donation, to dinner with one of the city’s best directors for $500.  Every little bit counts, so supporters shouldn’t be shy!

 

Daniel Evans’ (The Good Room) project sees him produce eight plays, that wouldn’t otherwise be seen in Brisbane, directed by eight local directors in a two-week repertory season titled Awkward Conversation.  Joining the directorial ranks are those names well known to Brisbane such as Lucas Stibbard, Steven Mitchell Wright and Catarina Hebbard.

 

 

In contrast, curator and producer Britt Guy is looking to support the fourth year of the Croatia-Slovenia-Australia Artist Exchange which sees one dance practitioner from Croatia and one from Slovenia join two Australian artists, Jess Devereux and Zaimon Vilmanis, in an international cultural exchange to be housed in Brisbane at Metro Arts and Darwin, as part of Darwin Festival, before heading back to Croatia and then Slovenia.

 

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Hybrid performance maker and director, Genevieve Trace – after premiering Aurelian at Brisbane Festival last year – is raising funds to commence the development of her new performance work, The Lavinia Project, which tells the story of modern femininity in Australian culture in

 

Theatre maker Thomas Quirk wants to return to Brisbane to continue the development of The Theory of Everything which sees artists from both Brisbane and Thomas’ new hometown of Melbourne, collaborate to discover the theory of… well everything!  With characters such as Einstein, Queen Elizabeth I and Milley Cyrus onstage it should be interesting night in the theatre!

 

Rounding out the group is early career artist Lucy-Ann Langkilde who has graced Brisbane stages in such productions as Trollope (Queensland Theatre Company, 2013) and The Wizard of Oz (La Boite Theatre, 2013), but now wants to turn her focus to directing with her new work Las Pozas which has been selected as a Shortfuse Residency at Metro Arts.

 

This group of artists have the ideas and passion to match and really they are half way there.  Head to www.pozible.com/collection/detail/86 to donate and assist them over the line.

 

ABOUT METRO ARTS

A multi-artform incubator for independent practice, Metro Arts provides a platform of infrastructure, mentoring, development and producing support, networks and leadership for artists at all stages of practice, while concurrently promoting new and emerging ideas, forms and practices to the market.

 

The Lavinia Project – Pozible Video from Genevieve Trace on Vimeo.