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                    ROARAWAR FEARTATA: Benjamin Cittadini and Craig Peade

                    Test Sites: Round 4

                    The artists, Benjamin Cittadini and Craig Peade
                    ROARAWAR FEARTATA are a real-playtime-based-interactuallive-immerciful-performancapist-asocial-insituational art theatre established in 2003 by Benjamin Cittadini and Craig Peade.

                    ​They have created text-based performances including the award-winning 'Bunny'; performance interventions in galleries; curated art spaces and conducted site-specific performance exploration residencies in Frankston, Dandenong, Footscray, Collingwood, Bendigo, New York and Prato, Italy.

                    In 2009 they contributed to the 'Interventionist Guide to Melbourne' at Platform Artspace, Flinders Street Station and performed with Jill Orr, Stelarc and Domenico DiClario at Federation Square as part of Karen Casey’s 'Global Mind Project'. They presented 'I Luv Amanda Crowe 4 Eva' as part of LiveWorks at Performance Space in 2010. In 2013 they received a grant from the Malcolm Robertson Foundation to develop the script 'Little Ladybug' and in 2016 they collaborated with Triage Live Art Collective on 'Hotel Obscura' and with Punctum Inc. on 'Complete Smut: Art Auction' for the Melbourne Festival of Live Art.

                    Potlatch – The Good Life

                    ROARAWAR FEARTATA’s test interrogates the anomaly of stairs in a flat city and the symbolic efficacy of gift-giving. Our two chosen sites represent opposing ends on the spectrum of spectacle within the City of Melbourne: wide-eyed riverside meandering on a sunny Saturday and the mid-week masochism of a corporate throughway channelling the chill winds of an unprecedented polar vortex.

                    This test posits a gift-giving of the self; our own body’s fleshly humility is given away. As an esoteric order, inveigling the curious and bewildered passers-by alike with strange, uncanny encounters of celebration and comfort, sunflowers become torches, staves, whips and weapons. Counting in foreign languages, amplified breaths, voices and tongues harmonised with music boxes playing You Are My Sunshine, haunting the haunted architecture of a built environment ignorant of its ascensions and descents; mnemonic ghostings embodying a Sisyphean melancholic hope bursting indifferent bubbles or the spectacle of apathetic happenstance.

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