Culture

One of this year’s most satisfying records has emerged, unexpectedly, from the hyperpop bricolage of 100 Gecs.

A dazzling exhibition at the Art Gallery of South Australia explores the foundational role that photography played in Andy Warhol’s life and work.

The Adelaide Festival holds both the deft idealism of Remote Theater Project’s Grey Rock and Kip Williams’ misguided follow-up to The Picture of Dorian Gray.

The work of award-winning graphic designer John Warwicker and his multidisciplinary design collective, tomato, is a rhythmic chaos, and a background to the past few decades.

We push the bikes through fields of stinking black muck, the sun beating hot on our bare heads. My hair, shaved a week ago under bad light in a roadside toilet, is a snatch of silk on fire. Ahead of me the mechanic shows frustration, stomping dirt. When he turns to squint at me, his face is pinched with aggression. My throat scratches with thirst. I need to piss, but I’m afraid of appearing old and weak. Colette hated the humiliations that age brought, and remembering her determined efforts to appear youthful, I push with my legs, lower my face parallel to the plastic bike seat.

The tension between brutality and tenderness in Pina Bausch’s groundbreaking Café Müller was a revelation for theatre-maker Liv Satchell.

Wang Chong’s one-man show at the Malthouse, Made in China 2.0, is high-impact metatheatre that writes its own self-criticism.