Culture

Michelle Ransom-Hughes’s podcast about a Melbourne injecting room, Nobody Dies Here, implicates the listener in a process of radical non-judgement.

Gaslight, a new Queensland Theatre adaptation of Patrick Hamilton’s 1938 play, features stunning production values but falls short on suspense.

The largest retrospective of Yhonnie Scarce’s work to date, The Light of Day at the Art Gallery of Western Australia, illuminates a sinister history.

For French theatremaker and writer Édouard Louis –who is appearing at the Adelaide Festival in his first Australian visit – art is more than a means of escape, it is life-saving.

She pulled away. There was something almost too clean about him, as if he had scoured all trace of human biology from his body and replaced it with the scent of unguents and cologne. The hot influx of his breath was the same: clean and minty, but with a whiff of death somewhere beneath it.

German artist Sung Tieu’s fascination with the enigmatic artist Lutz Bacher stems from how they create politically charged connections between personal preoccupations and wider structures of power.