Kali Reid

Welcome to the 12th guest blog post of Time Out Sydney's 52 Weeks of #SydCulture 2017 challenge! This month is a bit special: the lady who inspired this campaign, Kali Reid, is culture-selecting for us. Every Tuesday of March, Kali will be telling us what she loved the week before. Think of it as your recommendations for this week, from someone who sees a helluva lot of arts and culture. Over to her.  This week my cultural outings have been very varied. I saw Chimerica at STC and watched my first ever live match of professional football. I heard a great presentation on the history of Australian cultural policy and had all kinds of lively discussions with friends about it afterwards. But what I was most looking forward to sharing was a visit to 107 (in Redfern) to see Contemporary Contemporary Contemporary. Curated by the performance group POST (Mish Grigor, Nat Rose and Zoë Coombs Marr), it featured works from some great local artists, including Bron Batten, Nat Randall, Emma Saunders, Matt Prest and James Brown. Spread over two nights on Friday and Saturday, the program was a spin off of an idea POST had back in 2003, to try to present “the most contemporary works EVA”. Full disclosure: I was one of the co-founders of 107. Although I’m no longer involved, I always get just a little bit peaky proud when I see cool stuff is happening there. The space is going from strength to strength at the moment. If you haven’t been, I strongly recommend it. For example: try The New Plot,

Welcome to the eleventh guest blog post of Time Out Sydney's 52 Weeks of #SydCulture 2017 challenge! This month is a bit special: the lady who inspired this campaign, Kali Reid, is culture-selecting for us. Every Tuesday of March, Kali will be telling us what she loved the week before. Think of it as your recommendations for this week, from someone who sees a helluva lot of arts and culture. Over to her.  The audience is invited into the theatre space by means of a pitch-black tunnel that ends in an inflated white vaginal cavity. We all birth ourselves through it as best as we can, me somewhat trepidatious of what I would find on the other side. We take our seats, put headphones on and zone in. A binaural soundtrack beckons and a lilting voice coos in our ears: ‘We will take care of you’. My fears are apparently unfounded.   Scott Price, Mark Deans, Brian Lipson and Sarah Mainwaring in Lady Eats ApplePhotograph: Zan Wimberley     This is Lady Eats Apple, the new show from Back to Back, a Geelong-based theatre company who have an international reputation for disarming new work (previous works include Ganesh Versus the Third Reich and Super Discount). I’ve never seen one of their shows before, but I’ve heard plenty about them. So I wasn’t completely surprised to encounter realms of the absurd, delicate nuanced performances, and dialogue that confronts the harsh realities of living with a disability. Lady Eats Apple explores mortality in three acts. It traverses original sin,

Welcome to the tenth guest blog post of Time Out Sydney's 52 Weeks of #SydCulture 2017 challenge! This month is a bit special: the lady who inspired this campaign, Kali Reid, is culture-selecting for us. Every Tuesday of March, Kali will be telling us what she loved the week before. Think of it as your recommendations for this week, from someone who sees a helluva lot of arts and culture. Over to her.  On Friday night I went to see Tribunal at PYT in Fairfield. The show premiered at Griffin Theatre Company’s Stables Theatre last August while I was away. I’d heard plenty of good things about it and was pleased to get the chance to see it – particularly in Fairfield, where pre-show dinner at Aldhiaffah Al-Iraqi included the most delicious naan. Tribunal is framed as a people’s court, putting the government’s response to refugees on trial. As with many people, I confess I find it increasingly difficult to engage with the refugee debate in Australia. It’s exhausting. We know the treatment of boat arrivals in offshore camps is outrageous, inhumane, shameful. We know it’s happening on our watch. But any action feels completely hopeless, and in spite of all the things good people have done to try and effect positive change over the past 15+ years, outcomes for asylum seekers only ever seem to get worse. Even within this context – or perhaps especially because of it – Tribunal is well worth a look.   Mahdi Mohammadi (front) in TribunalPhotograph: Alex Wisser     One of the strength

Welcome to the ninth guest blog post of Time Out Sydney's 52 Weeks of #SydCulture 2017 challenge! This month is a bit special: the lady who inspired this campaign, Kali Reid, is culture-selecting for us. Every Tuesday of March, Kali will be telling us what she loved the week before. Think of it as your recommendations for this week, from someone who sees a helluva lot of arts and culture. Over to her.  Welcome to four weeks of my life in art, music, theatre and film. My goal for the year is to see more live music, and this week I went to catch an old favourite, PVT, spinning their fifth album at Oxford Art Factory on Friday March 3. In my early twenties I had a secret love of going to gigs alone, so I thought I'd revive the practice. I snuck in for the second half of support Jack Grace. Rough around the edges in all the right ways, and well worth checking out. PVT first came to my attention the year 2000, when they were younger, gawkier and known as Pivot. My boyfriend at the time raved about these amazingly avant garde electronic jazz musos after seeing a show at the jazz bar that used to be on the corner in Crows Nest. I was desperate to impress him so I never forgot them. I’ve seen them play a bunch of times since, and they’ve gone on to be very successful international artists. Hats off to my ex, it was a good tip.   PVT – Oxford Art Factory, Mar 3Photograph: Eddy Summers     Always one for a surprise, I decided not to listen to the album – New Spirit – before I got the