Since its launch in 2001, the biennial Ten Days On The Island has aimed to be a festival for the whole of Tasmania, bringing in international artists and putting local artists on the world stage.
This year, as in 2019, the festival’s program and the titular “ten days” are spread across three weekends. With travel bans and conservative limits on theatre capacities, the program is thinner than usual, making the stretch across the state an even greater challenge.
Artistic director Lindy Hume proposes a Romantic, rather than Gothic Tasmania, placing Jess Bonde’s photographic re-imagining of Caspar David Friedrich’s 1818 oil painting The Wanderer Above a Sea of Fog as the festival’s central image.
Summary
Rating 80 / 100
Black metal, with its emphasis on repetition, nature, and sheer power, has always been good at capturing the Kantian idea of the sublime; the kind of fearful awe we feel when we look at immense structures, human-made or otherwise. A band like
Darkspace draw from the sublime of the unending cosmos, and the horror of human scientific potential. Last year, Melbourne group,
The Peregrine turned the cold woodland environmental tropes of black metal on its head with their album ‘
Rust and Dun’, evoking the crushing vastness of the Australian desert. In conversations about the sublime, the sea tends to be overlooked, with people preferring Nietzschean images of looking down on the world from atop a mountain. Yet the sea has always been a part of the sublime. In fact, the photo for the Wikipedia page of the sublime in philosophy is Caspar David Friedrich’s 19th-century romantic painting,
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