culture

After a six-year hiatus, Ezra Koenig’s band Vampire Weekend won a 2020 Grammy for their latest album, Father of the Bride. He reflects on the changing landscape of the music industry and how he handles his new-found fame. “We have a deep connection with a certain group of people, and we’ve grown it a little bit, but at a very sustainable rate.”

More than a decade after her best-selling debut, Unpolished Gem, Alice Pung remains one of Australia’s most beloved authors for her gentle yet forthright prose. She speaks about racism, role models and motherhood. “As a writer, I don’t know if you can really see from another person’s perspective … It is important to try and put yourself in someone else’s shoes, but I’ve realised in the last five years you can never really do it.”

For the 2020 Sydney Biennale, artistic director Brook Andrew is challenging the dominant narratives of this country, instead bringing together perspectives that have been unjustly relegated. “Australia is on a precipice of change in this present moment, with people renegotiating and confronting histories which shift dimensionally. It’s about who we are today, and there is a moral question that arises in this, which is: Where do you stand in the face of change?”

Using her brilliant wit as a tool for political activism, writer Lindy West has fought for social justice issues such as fat liberation and abortion rights. The author of Shrill – now an acclaimed TV series – and The Witches Are Coming speaks about her work. “There’s something intoxicating about being defiant, especially when you start to articulate all the ways in which your life has been made smaller and more difficult by systems of power.”

A pioneer of the arte útil movement – in which art goes beyond aesthetics and is a tool for social change – Cuban performance artist Tania Bruguera aims to transform audiences through her politically charged work. “I have been fighting not only for my ideas but also to break this illusion that art to be art has to be useless, has to be apolitical.”

Once a powerhouse of Australian publishing, Hilary McPhee traded the comfortable life she knew for a mysterious job with Middle Eastern royalty. In writing about this adventure and the collapse of her marriage to Don Watson in her new memoir, Other People’s Houses, she traces her strange journey back to herself. “I dreaded coming back to Australia because I left feeling I’d lost everything, I’d lost my marriage. We’d been together for more than 20 years, so it was quite a lot of life.”

A screen actor since he was 10 years old, Damon Herriman is all too aware of the precarities in his line of work. He speaks to Steve Dow about the ups and downs of his career and his new film, Judy and Punch. “It has a dark fairytale vibe. You can watch Judy and Punch as an allegory or a feminist revenge tale, or you could watch it as a really entertaining fairytale fable, or both.”

Packer & Sons looks at the extremes of Australian masculinity through the lens of its two most successful media dynasties. “It would be impossible to stage Packer & Sons, a play about three generations of Packer power, without the Murdochs. The two competing families have brawled, collaborated and defined themselves against each other. The Murdochs are the Greeks to the Packers’ Roman gods.”

Drawing on his recent experience of a heart attack, as well as his decades-long friendship with director Pedro Almodóvar, Antonio Banderas has produced what may be his finest performance in Pain and Glory. “We hadn’t worked together in eight or nine years, but suddenly he calls me and says, ‘Hey, I’m gonna send you something. You’re going to find a lot of references to people that you and I know.’ And I received Pain and Glory. I couldn’t believe it. I couldn’t believe it because he was there, it was such an opportunity. So, I went to him as a soldier, as a very, very plain soldier, ready to listen. Really listen.”