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A sense of the open, of fear, and of the possibility of danger pervades this mysterious and emotional production.
Concertmaster Natsuko Yoshimoto farewells the ASO with an exhilarating performance.
Curated by Patrice Sharkey and Rayleen Forester, this is an ambitious survey exhibition of contemporary arts in South Australia.
Bringing together 22 strong, resilient and determined female voices from around the world, Truth Bomb is a homage to the women artists that have ‘guided and inspired’ the author.
A film screening, a follow-up in-depth conversation and a masterclass make for much (remotely experienced) fun.
If you can get past the mental roadblock that this is not an exhibition of Van Gogh's paintings but a spectacular digital event, then Van Gogh Alive delivers in spades.
With Bad Boss: What to do if you work for one, manage one, or are one, Michelle Gibbings demonstrates a profound understanding of the modern workplace and she has the skill to communicate her knowledge in a palatable and engaging manner.
The Bard’s most farcical play was a flawless choice for TheatreiNQ's pandemic-aware return to the stage.
Kylie Maslen’s 'Show Me Where it Hurts' is a provoking and much-needed contribution to the conversation about invisible illness.
Using her own experiences as a lens, Eula Biss interrogates our psychosocial relationships with money, wealth and consumption.
This non-fiction work takes a social, historical, and ecological look at the world's favourite insect, and the little known figures who have studied them.
Adelaide audiences enthusiastically embrace Australia’s first mainstage post-COVID production.
Avoiding politics and preceding the plague, this wacky reboot is nevertheless a film for this moment, argues Adrian Martin.
Anita Johnson Larkin has the capacity to transform the autobiographical into the multi-biographic, sharing intimate stories through objects discarded by others, reconfigured into sculptures.
Laurence Billiet's tender insight into one of our most celebrated sports stars is joyous and timely, says First Nations critic Bryan Andy.
John Wood's autobiography is written with great warmth and passion, acknowledging the transitory essence of the theatre world.
Kriv Stenders' insightful and entertaining documentary places Joy McKean in her rightful place centre stage, says Anthony Morris.
Mykel Dixon's creativity manual asks the reader to record how they think they will be remembered after they are dead and buried.
In 'The Convict Valley', historian Mark Dunn seeks to tell the stories of those typically overlooked by Australian history.
'The F Team' presents a perspective on Lebanese Australia that is an overdue addition to the #LoveOzYA bookshelf.
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