Green Room: the Fringe countdown begins, FOFO strikes a chord

Prepare to put on your bangs

Adelaide Fringe has kicked off its 2022 program, with over a thousand events at 350 venues already listed and new ones adding to the festival opening on February 18.

Director and CEO Heather Croall said the 2022 event highlights the resilience of artists who have gone through difficult times in the past 18 months.

“The Adelaide Fringe would not have been possible without the commitment of the artists, venues and the entire Fringe team who have all worked so hard to bring back the biggest arts festival in the southern hemisphere, especially in these uncertain times. We are grateful for federal and state funding for the COVID stimulus which will provide vital stimulation. “

About 4% of next year’s schedule is international shows, up from around 20% before COVID-19 started, but the total number of events is almost back to what it was before the pandemic.

One of the highlights of 2022 will be Sky song, announced last month, which will see hundreds of drones fly in formation to a soundtrack of First Nations tales through poetry and song. Others include the art-meets-tech installation Borealis (returning to gluttony), Silence! (percussion, fireworks and pyrotechnics show by French artists Les Commandos Percu at Bonython Park), and the pop-up Xanadu Drive-In “Cinema Cabaret Nightclub costume party” at Torrens Parade Ground.

Croall said Fringe “will continue to work closely with SA Health in all elements of festival planning to ensure the safety of customers and Fringe enthusiasts when donning their Fringe.” Fringe-goers don’t have to be fully vaccinated to attend events, but some hubs and locations – including Gluttony and Holden Street Theaters – have already announced that they will require proof of double vaccination for entry.

To coincide with the launch, artists Reuben Kaye, Nazeem Hussain and Diana Nguyen have also been announced as Fringe 2022 ambassadors.

FOFO strikes a chord

Over 22,000 people attended the Adelaide Symphony Orchestra’s recent Festival of Orchestra at the Adelaide Showground, with general manager Vincent Ciccarello saying it gave the industry “hope and confidence for the future” as ‘it emerges from COVID.

“We are absolutely delighted with the way South Australians have responded to FOFO,” he said. “Their reaction – at the box office, in the public, via social media, by direct contact with us – has been simply overwhelming. FOFO seems to have struck a chord in the community, introducing ASO to a whole new and diverse audience.

The festival – which received support from the federal government’s RISE fund – ended on Saturday with Blue Planet II in concert and took place over 11 nights at the Showground with six different themed concerts. The most popular of these was Ministry of Sound: Classical, who sold.

ASO’s last concert of the year, Nativity, presents a major new work by composer and conductor Richard Mills and will be performed at Town Hall this Thursday and Friday with vocal soloists, Adelaide Chamber Voices, Young Adelaide Voices and the Graduate Singers.

The orchestra is also expected to launch its 2022 season this weekend.

Graduate art exhibition

Hannibal Coates’ Texas and Hugues, 2021, oil on cardboard, 73 x 109cm. Photo: James Field

Twenty-two graduate students from Adelaide Central School of Art present their work at the opening of the 2021 Alumni Exhibition this weekend.

The AICSA says the exhibition, which runs until December 24 and then January 4-7, is an opportunity to see current trends in emerging art and contemporary ideas, as well as to support artists emerging by buying their work.

The graduates’ exhibition includes painting, sculpture, moving image, installation, drawing and photography, with themes explored such as the natural environment, family ties, cultural backgrounds and groups of peers.

Sebastian Goldspink, curator of the 2022 Adelaide Australian Art Biennale, will officially open the exhibition at an event on Saturday and announce the 2021 Awards of Excellence.

Stars of the SA screens sector

James Currie.

SA soundman, mixer and sound designer James Currie – who has worked on 146 film and television productions in his 45-year career – has been recognized for Lifetime Achievement at the South Australian Screen Awards.

The City of Adelaide Mercury Award is presented annually to SASAs. Currie, who also received the Australian Screen Guild Lifetime Achievement Award in 2015, has credits on films ranging from Morant Breaker (1980) to Bad Boy Bubby (1993), ten canoes (2016), Bombay Hotel (2018) and the recent documentary My name is Gulpilil.

Scott Hicks described Currie as “an institution,” adding that the honor was well deserved: “James recorded the sound on my very first film, The Vagabond, and almost 50 years later, he’s working on my current film, The musical spirit“Says Hicks.” I’ve lost count of the films we’ve made in the meantime. “

The Grand Jury Prize was awarded to MYTH – The in-between, produced by William Littleton and directed and written by Alies Sluiter (who was also named Best Director). He shared the gong for best drama with The recorder, which also won other awards, including Best Performance (Brendan Rock).

A still of MYTH – The in-between.

Over 80 nominations were received across 24 award categories, with other winners at Friday night’s SASA gala ceremony at Mercury CX including Happy birthday (Best Comedy), My BA (Best Documentary), The best angels (Best animation), Dead center (Best Web Series), Nicholas Frayne (Young Filmmaker) and Lilla Berry (Emerging Producer). Natasha Wanganeen won first prize for best First Nations talent for her performance in the short film Djaambi, while producer and director Eva Grzelak won the new Mercury Rising Award.

Make art more accessible

A new guide launched by the Art Gallery of South Australia aims to make its collection more accessible to hearing and visually impaired audiences.

AGSA says the guide was produced by a gallery employee trained by Access2Arts, in consultation with the visually and hearing impaired community. It covers the artwork of the Elder Wing of Australian Art and the Melrose Wing of International Art, giving people a choice of different methods to find out more about the exhibits – including through audio description, Auslan videos. and a “simple English” option (for people with cognitive impairments or for whom English is a second language).

Links for the guide – launched Friday to coincide with International Day of Persons with Disabilities – can be found here on the AGSA website. The gallery also offers a continuous access program for its exhibitions throughout the year, including Auslan tours of the current Tarnanthi 2021 exhibitions and tactile workshops in the John Prince Siddon studio.

Photo: Saul steed

Green Room is a regular column in InReview, providing quick news to those interested or involved in the arts and culture of South Australia.

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