Time Out Table: Is Sydney Australia's cultural capital?

Have we nudged out Melbourne for everything arts? The big guns weigh in

First published on 13 May 2012. Updated on 20 Jun 2012.

Carriageworks, the STC, Belvoir, Griffin, White Rabbit – it feels like there’s never been a more exciting time to hit a Sydney gallery or show. It feels, we’d dare wager, like our fine city might just be eclipsing our southern sister as the country’s premier hub for everything arts. But is it? And if so, what’s driven this shift? We gathered eight of Sydney’s arts luminaries for a lunch at the Bar at the End of the Wharf and asked them just that.  

Chip Rolley

Artistic director, Sydney Writers’ Festival

“Every organisation around this table does some sort of talk element. And yet, with all of this development and all of this activity, our [Sydney Writers' Festival] audience has still been growing. Everyone’s audience is growing. The hunger is insatiable. You don’t feel that you’re fighting over the same turf. That’s the shift I think is remarkable, and it’s the one that keeps me up at night thinking, ‘Gosh, how did this happen? How do we make it continue to happen?’”

Paris Neilson

Manager, White Rabbit Gallery

“It’s almost not enough to be just a museum nowadays. It’s not enough to just show the art. You have to be doing other things to keep it interesting, living and vibrant. There’s so much happening: all the exciting things the Opera House is doing, the MCA’s redevelopment, the Art Gallery of NSW’s Kaldor collection. Sydney’s a really exciting place at the moment.”

Sam Strong

Artistic director, Griffin Theatre Company

“Sydney has regained – if it ever lost it – its status as the cultural capital. Part of that is growing audiences. The next step is to look at the nature of that audience. It’s particularly true of the mainstage theatre context that we both represent and speak to a relatively narrow band of the population. That’s an area where we can obviously grow. We’ve been keen to bring different art forms into Griffin to bring in new audiences and deepen what the company does. It gives the audience the chance to creatively interact with us rather than being passive recipients.”

Mathieu Ravier

Director, the Festivalists

“I’m French originally and I’ve lived all over the world, but the playground that is Sydney is so exciting to me. It seems to be so easy to get things up here. Everyone’s so encouraging and hopeful. In France, people are like, ‘You know it’s been done before?’ You feel you carry 2000 years of culture on your shoulders. Here you say you want to do something and they say, ‘Can I help?’”

Lew Palaitis

General manager, Sydney Fringe Festival

“Leading up to it and coming out of it, the Olympics had the city in a cultural coma – the entire city was focused on sport and tourism. When I ran a visual arts gallery ten years ago, it was a challenge just to get people to walk in. That’s different now. Art in Sydney has become less intimidating. The audience feels like they can enter any cultural context and engage with it. Arts and culture is on an upwards trajectory in this city. As long was we don’t get the soccer World Cup in the next ten years…”

Fiona Winning

Head of programming, Sydney Festival

“There’s a sense of movement across the sector. That’s another way that cross-pollination happens: people take their experiences from one organisation to another and new conversations and new ideas emerge. There’s also a huge appetite among Sydney audiences for conversation about the culture. That’s a wonderful shift. Part of our job is to enter that conversation, honour that conversation and keep on having it.”

Lisa Havilah

Director, Carriageworks

“We at Carriageworks think about the context in which we’re producing a contemporary programme and the fact that we’re in Redfern. We can provide an urban Sydney experience that is very different to the experience that national and international visitors get when they come to the Harbour.”

Patrick McIntyre

General manager, Sydney Theatre Company

“Melbourne CBD has a walkable network of old theatres, old restaurants, old bars, which Sydney lacks. Sydney did have a lot of live theatre venues and some really interesting micro-cultures, but it was all swept away during the boom time in the '80s. What we can do now is use that weakness as a strength, create little micro-environments, more idiosyncratic pockets of activity. We’re learning to use the city better and people like Clover Moore are working with us.”

By Darryn King   |  
 

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