Devonport Regional Gallery
30.04.16 10:22 am
29.04.16 6:42 am
Iron Man Juggles 50 Characters
This week I spoke to Craig Irons of theatre group South Side Players about he and colleagues, Karissa Lane and Antony Talia about their production of ‘Wheeler’s luck’. When we spoke Craig said he was knee deep in rehearsals.
The play presents an all too common conundrum with the debate of development versus preservation. When local lady Nora Cox leaves the ownership of the land to her fellow residents they are divided on whether to succumb to the development plans of mainland blow in Richard Lush or retain the pristine purity of the unspoilt town of Bell End.
Craig tells me the characters in the play make their decision by the running of a horse race. To realise the significance of this solution we have to revisit the town’s past to a time when festivals were celebrated by the running of a horse race. We travel by flash back to Bell End in 1882, when a young man called Johnny Wheeler steals both a town elder’s horse and his daughter’s heart and attempts to elope. In the process of elopement Wheeler and his girlfriend Lydia stop to help people involved in a shipwreck. Their ‘halt’ means they don’t make it to the ‘altar’. ‘Wheeler’s Luck’ is a phrase that enters the town’s folklore and refers to the fact that like John Wheeler there are the high points, the lucky moments in life but these are measured by the low points, which are some not so lucky moments.
One of the extraordinary things about this play is that although it only uses three actors (the original play only had two actors but Craig figured they could use some help!) to play 50 characters.
The differences in character portrayal is not by costume or make up but as Craig says by ‘physicality’. Instead of the masks of Greek theatrical performance of ancient times. It is up to the actors to transform into the characters by’ exaggerated, highlighted, physical action’.
With such a litany of characters how do the cast prevent making mistakes? Well, a lot of that is ‘muscle memory’ and of course the character sheets and maps that plaster the rehearsal room!
You can see ‘Wheeler’s luck’ performed by: Craig Irons, Karissa Lane & Antony Talia at the Theatre Royal, Backspace, on the following dates:
Wed 04 May 2016 7:30pm
Thu 05 May 2016 7:30pm
Fri 06 May 2016 7:30pm
Sat 07 May 2016 7:30pm
Wed 11 May 2016 7:30pm
Thu 12 May 2016 7:30pm
Fri 13 May 2016 7:30pm
Sat 14 May 2016 7:30pm
Katie Robertson, Marketing and PR Manager, Loud Mouth Theatre Company
28.04.16 7:15 pm
• LOUD MOUTH THEATRE COMPANY PRESENT
HOW TO HOLD YOUR BREATH
By Zinnie Harris
THE REALLY IMPORTANT THINGS
Directed by Julie Waddington (Construction of the Human Heart) with sound design by Tim Kling.
With Simone Dobber, Elka Bezemer-Pilkington, Robert Maxwell, Ivano Del Pio, Aleksandra Crossan, and Christopher Forbes.
April 29 – May 7
Moonah Arts Centre, 23 – 27 Albert Road, Moonah.
Embark on an epic journey through Europe with sisters Dana and Jasmine as they discover the true cost of principles in this twisted exploration of how we live now.
Starting with a seemingly innocent one night stand, this darkly witty and magical thriller by Zinnie Harris dives into recent European history.
THE NICE THINGS SOME SMART PEOPLE HAVE SAID ABOUT THE SHOW
“Imaginative and pulsing with energy, How to Hold Your Breath is an insightful and powerful play that depicts a dystopian vision of the modern world.” ★★★★ Culture Whisper
THE ONES BEHIND THE MADNESS
Loud Mouth is a Tasmania-based theatre company committed to producing new, collaborative and professional theatre experiences.
Barging onto the local scene in 2014 with their hit debut ‘Venus In Fur’, Loud Mouth have continued to prove that they are here to stay.
“To me, Loud Mouth represents the future of theatre here and in them I see the next generation of professional Tasmanian theatre.”
- Charles Parkinson, Artistic Director, Tasmanian Theatre Company
THE QUOTABLE QUOTES FROM DIRECTOR JULIE WADDINGTON
“The writing is rich, clever and the journey is epic. I hadn’t been so excited by a script for a very long time. It also has two amazing roles for women - that appealed very much.”
“It will be intimate, at times sexy, at times funny and quirky, it is mysterious, a mystery and it asks lots of questions. It is devastating, horrific, violent, raw. I hope it will be a viceral experience and that it will stay with audiences long after they have left the theatre. I hope to make theatre that asks questions of the audience rather than assume the answers for them.”
THE PRICE YOU HAVE TO PAY
http://www.loud-mouth.co or through Centertainment 6234 5998
$15 - $30
Friday the 29th April: 8pm
Saturday the 30th April: 4.15pm and 8pm
Tuesday the 3rd May: 8pm
Wednesday the 4th May: 6.30pm
Thursday the 5th May: 8pm
Friday the 6th May: 8pm
Saturday the 7th May: 8pm
• PAY WHAT YOU WANT
A LOUD MOUTH THEATRE COMPANY INITIATIVE
Ever walked out of a show and thought “that wasn’t worth the ticket price!” or, better, “I’d have paid TWICE the price for that!”?
This year, the power is finally in your hands. Each of our opening nights for our major shows will be door sales only, and you can decide what theatre is worth to you. Instead of paying before the show, we’ll
ask you to pay after, and the amount you fork out is entirely in your hands: with no minimum charge, if you can’t afford to, or don’t want to pay a cent, you don’t have to!
And if you’re so enwrapt you want to hand over your life savings, we will let you do that too! Because we care.
In part, we are doing this to try and make our shows more accessible and affordable. But we are also doing it to start a conversation with our audience about what art is worth, and how we all evaluate it differently.
Remember, this program is only available on our opening nights: standard ticket prices will apply to door sales for all other season dates.
FRIDAY NIGHT :
HOW TO HOLD YOUR BREATH
MOONAH ARTS CENTRE
28.04.16 4:52 pm
28.04.16 7:06 am
Marmalade’s Simmering Songstress
Emily Lubitz of folk band Tinpan Orange tells me that she ‘totally fell in love with’ Tasmania on the bands recent visit to participate in the Cygnet Folk Festival. Emily says Tasmania is ‘beautiful’ and ‘like another country’, ‘fresh and crisp’.
Our conversation turns to the origin of the group’s colourful name ‘Tin pan Orange’.
Emily tells me that it was actually chosen from a list of options that performers peruse because it as it ap-pealed (pardon the pun) to them. I say actually because the group used to employ a little creative licence and fun when people quizzed them about the band’s name origin.
They cheekingly credited the name of the band as an homage to their grandmother who lived in Africa and made them marmalade in a tin pan.
The latest single ‘Rich Man’ from the new album ‘Love is a Dog’, Emily tells me the single had very simple production values. Produced in her own kitchen with the aid of some lamps, a camera, a stylist and director and completed in five hours. Emily plays the role of a rich woman who is adorned, by ‘unknown’ hands with fur coats and a jangle of jewellery. Emily’s character accepts the adornments but is weighted down both physically and metaphorically with their physical heaviness and its accompanying responsibility. The woman then removes them to feel freedom that wealth cannot bring or buy.
The conversation turns to creativity and Emily talks about the idea of ‘soft mind’ ie the undirected mind being open to the creative process. She gives the example of the movie ‘Pollock’. In one scene of the movie Pollock, the artist, is seen sitting in the studio staring blankly. A time elapse occurs and we see Pollock still sitting and staring only later to burst into a flurry of creativity. What this scene hopefully demonstrates is the value of what we might consider aimless time which actually is a time of fertile thought of the undirected or soft mind.
See some of that wonderful creativity in performances by Tinpan Orange.
You can see the video of Rich Man here
You can see Tinpan Orange in Hobart on April 29 at Grand Poobah and in Launceston on Sunday May 1 at Fresh on Charles.
Kylie Eastley, Glenorchy City Council
28.04.16 4:55 am
Thursday April 28, 6pm ...
Devonport Regional Gallery
27.04.16 7:25 am
26.04.16 1:52 pm
The Bennies recently wrapped up their Wisdom Machine Australian tour in Maroochydore on Queensland’s Sunshine Coast. Two weeks and 15,000 kilometers later they were playing a festival in Berlin, Germany. It’s indicative of the work ethic for the Melbourne band who have earnt a reputation for not only hard partying but heavy touring.
So far 2016 has been a whirlwind for the band. In January, Wisdom Machine’s first single ‘Party Machine’ reached number 88 on triple j’s Hottest 100, some two months before physical copies of the album were even available. They toured the country and sold out shows wherever they went, including Melbourne, Sydney and Brisbane and while they have always built their name around their live show, with Wisdom Machine, people were now talking loudly about their music.
They graced the covers of magazines, scored album of the week accolades and even infiltrated the charts, with the album debuting at number 40 on the ARIA Album chart and number 10 on the Australian chart. They drew the attention of Less Than Jake drummer, and owner of Florida based label Paper & Plastic, Vinnie Fiorello, who released their album in the UK and US, and they got invited to play at Belgium festival Groezrock, alongside their heroes in Rancid.
Spending April and May in their fourth continent in as many years, The Bennies will return home from their European and UK tour, to continue the second phase of their Wisdom Machine tour.
Constantly outdoing themselves with everything they do, this will be their biggest and most expansive tour to date, with 27 shows across each state, regional shows and new destinations they have previously never visited, including Townsville, Albany, Karratha, Werribee and, by popular demand, Nimbin.
Proudly presented by triple j, catch The Bennies pack out dance floors this June and July, supported by Poison City label mates Clowns, who are also fresh from European tour dates. Also along for the wild ride will be Perth power pop outfit Axe Girl, featuring Ness from Jebediah.
WITH SPECIAL GUESTS
CLOWNS & AXE GIRL
Wednesday June 22nd - Club 54 - Launceston, TAS
Thursday June 23rd - Brisbane Hotel - Hobart, TAS
Friday June 24th - Max Watts - Melbourne, VIC
Saturday June 25th - Pelly Bar - Frankston, VIC
Sunday June 26th - Karova Lounge - Ballarat, VIC
Wednesday June 29th - Mynt - Werribee, VIC
Thursday June 30th - Barwon Club - Geelong, VIC
Friday July 1st - The Gov - Adelaide, VIC
Saturday July 2nd - Village Green - Mulgrave, VIC
Sunday July 3rd - Music Man - Bendigo, VIC
Wednesday July 6th - Mairners - Batemans Bay, NSW
Thursday July 7th - The Basement - Canberra, ACT
Friday July 8th - University Of Wollongong - Wollongong, NSW
Saturday July 9th - Factory Theatre - Sydney, NSW
Sunday July 10th - Small Ballroom - Newcastle, NSW
Wednesday July 13th - Nimbin Bush Theatre - Nimbin, NSW
Thursday July 14th - Miami Tarven - Gold Coast, QLD
Friday July 15th - Spotted Cow - Toowoomba, QLD
Saturday July 16th - The Triffid - Brisbane, QLD
Sunday July 17th - Sol Bar - Maroocydore, QLD
Thursday July 21st - Flinders Social - Townsville, QLD #
Friday July 22nd - The Grand - Cairns, QLD #
Saturday July 23rd - Railway Club - Darwin, NT #
Thursday July 28th - Tambrey Tavern - Karratha, WA #
Friday July 29th - Rosemount - Perth, WA *
Saturday July 30th - Studio 146 - Albany, WA *
Sunday July 31st - Prince of Wales - Bunbury, WA *
TICKETS ON SALE WEDNESDAY APRIL 27TH 9AM FROM http://WWW.THEBENNIES.COM.AU
# The Bennies Only
* The Bennies & Axe Girl only
26.04.16 6:04 am
Kate Ceberano will return to Tasmania in June as part of the annual ‘APIA Good Times tour’.
It will be a homecoming of sorts for Kate, as Henry Mundy, her maternal great, great, great, great, grandfather, was a painting master, teacher, composer and musician that practised his craft in Hobart, eventually passing away under tragic circumstances. Kate recounts an unusual experience, a strange feeling of sadness that enveloped her when she was in St David’s Park a couple of years ago. She later discovered that St David’s park is Henry Mundy’s final resting place. Kate’s grandad Douglas was also born in Hobart.
Kate’s mum, Cherie, has inherited her ancestor’s visual artistic talent and is a skilled portrait artist who has even done some portraits of her famous daughter! Kate says her mum is quite prolific and is busy with commissions whilst studying additional classes in art.
It follows from this connection that Kate’s family has a great love for Tasmania. They especially love the atmosphere of walking around the dock area and the Henry Jones Hotel. Kate also loves Launceston where every year she takes part in a ‘gorgeous night time’ performance under an Elm tree.
When I ask Kate how it is being the one girl with three male musicians (the tour also features Daryl Braithwaite, Jon Stevens & John Paul Young) in the APIA Good Times tour she is very generous, citing the joy she gets from communal performance.
Kate’s refreshing attitude to performing and lack of diva status continues in her attitude to her unfinished works. Not one to leave them lying around ‘just in case’ she ‘might go back’ to them, Kate calls these uncompleted opuses ‘creative debris’ and considers if she hasn’t done anything with them up to now she probably never will and shreds them!
Kate is a multi-talented woman, performer, song writer, author and mother, Kate exercises her writing talent by writing a regular column for a weekly mother’s magazine.
Kate says soon she will be catching up with a friend that resides in Tasmania and will do pottering around at their house and by that she means the kind of ‘pottering around’ that requires a kiln!
Ever the creative, Kate tells me her family history still has much to be discovered and one could assume this lady has a lot more history to create.
You can see Kate perform in APIA Good Times at Theatre North Friday 17th June Wrest Point Casino Saturday 18th June at 8pm.
Virtuosi Tasmania Inc
25.04.16 6:30 pm
Virtuosi Tasmania Inc
fine chamber music for regional Tasmania
For our third concert this year, four TSO string players will bring you two quartets; a quintessential Mozart followed with a well loved Schubert, full of lyrical beauty.
Jennifer Owen, Miranda Carson violins; Jo St.Leon viola; Ivan James cello.
Venues & Dates
Sun 1 May 2pm Holy Trinity Church, Cressy
Sat 7 May 11am Stefano Lubiana, Granton
Sat 7 May 4pm Home Hill Winery, Ranelagh
Download the full Program with all the details, or visit our Website.
Tickets for the concert at Cressy are available from the David McEwan 6397 6242 or
Val Murfett 6397 8366.
All other tickets are available from the TSO Box Office or call 1800 001 190
Tickets will also be available at the door.
Visit http://www.virtuositas.org.au for further details.
Emma Bett, Bett Gallery
23.04.16 9:06 am
Zero 01 & One 01 2015-2016, stained and stained, varnised marine ply, stainless steel, framed, 103 x 80cm
OPENING FRIDAY 29 APRIL 2016, 6-8PM
EXHIBITION CONTINUES TO 16 MAY 2016
VIEW ONLINE CATALOGUE HERE:
22.04.16 9:52 am
Early this week I phoned Linden Wilkinson who plays Nellie (narrator and servant) in the upcoming Shake & Stir and QPAC production of ‘Wuthering Heights’, soon to tour Tasmania. With such a unique first name my opening question to Linden is its origin.
Linden tells me her mum and dad provided different reasons for her naming. Her Mum says Linden was named after a visiting English actress while her father maintained she was either named after ‘a block of flats’ or an elm tree with ‘a fragrant blossom in summer’. Linden is happy with any interpretation of her unusual name but it seems somewhat appropriate that she be named after an actress who like the fairies, who visited Sleeping Beauty in the fairy tale may have bestowed upon her the gift of the desire to act.
Linden has been to Tassie in the past, once acting in a production of ‘Arms and the Man’ for the South Australian Theatre Company as well as working with and visiting the homes of two of our famous Tassie actors in Robert Grubb and Michael Sibbery .
Linden has also been to Tassie for one of the wooden boats festival and spent some time in Cygnet and Strahan, she is however keen to visit a place she hasn’t been before, Launceston. That opportunity will happen this visit.
A visit to the Theatre Royal for this performance Linden thinks is quite appropriate considering the haunting nature of the production to a theatre that is renowned for its resident ghost!
The NIDA trained actor who is highly educated, including possessing an economics degree tells me although she enjoys performing in all manifestations of acting, theatre is her first love.
Of this new production of Wuthering Heights Linden explains the director has modernised the language deliberately to ‘intensify’ and give the drama ‘shock’ value.
The modernisation will also encourage a younger audience to engage with the classic story. Already the play is gaining enthusiastic crowds who Linden says ‘laugh in the right places’ to decrease the tension in this story of the violent strength of that one great love.
You can see Wuthering Heights in Tasmania:
4 – 7 May Theatre Royal Hobart
10 May Theatre North at the Princess, Launceston
21.04.16 6:41 am
COMING TO TRIABUNNA
The Man Who Was Drowned
Triabunna: FRIDAY, 29TH APRIL AT 2.00 P.M.
Swansea: SATURDAY, 30TH APRIL, 2016 AT 2.30 PM.
Henry Lawson (1867 – 1922) was one of Australia’s much loved and best known writers and poets of the colonial period, although lesser known were his constant struggles with the demons that controlled his life.
Melbourne Theatre Company actor David Tredinnick’s one act play brings Lawson to life, as Tredinnick, above, fearlessly portrays not only Lawson’s writing, but also his excesses, his alcoholism, depression and poverty.
Tredinnick’s first major role as a lead in the Melbourne Theatre Company production of Angels in America in 1993 won him a Green Room Award. He went on to appear on stage in The Talented Mr. Ripley, Roulette, Dealer’s Choice, Strangers in the Night and Dead on Time.
David is also known for his role in the television series The Secret Life of Us and has made a number of guest appearances in All Together Now, Blue Heelers, Something in the Air, State Coroner and Halifax (for which he was nominated for an AFI award).
Following recent successful appearances in Melbourne, David is looking forward to bringing The Man Who was Drowned to Tasmania.
Bookings are essential and can be made at the Council Offices, Triabunna, 6256 4777 or at Bear Cottage, Swansea.
Tickets: $25 per person.
20.04.16 6:15 pm
IMAGE: from movie The Andalusian Dog, 1929, France, screenplay: Luis Bunuel and Salvador Dali
FRIDAY 29 APRIL 7pm at Despard Gallery.
as part of the I DREAM…. SURREALISM show
via Despard website or pop into the Gallery. Limited seats available.
Join us for some popcorn and drinks and enjoy an hour of short surrealist film.
GET YOUR TICKETS HERE:
I DREAM ... SURREALISM with Peter Ellis, Geoff Parr, Dale Richards and Bill Yaxley.
NOW SHOWING. at Despard Gallery.
13 APRIL - 8 MAY 2016
Online exhibition here:
15 Castray Esplanade
HOBART TASMANIA 7000
20.04.16 12:14 pm
Join us for an entertaining night of spoken word performance, live music, projections and more. The Packing Shed is a new omnibus performing arts event organised by Furious Penguins and hosted at MGA-ARI.
As well as our feature performers Heather Freedman and Peter MacPherson we will have plenty of open mic slots. So bring your work and read, sing, tell jokes, improvise, juggle; thrill us or chill us or crash and burn, it’s all good. The focus of the night is on encouraging experimental and emerging performers so be brave and ... be there! We would particularly like to encourage some improvised storytelling: the prompt is what kind of animal are you?
We also have a book swap table - bring a book, take a book. Poetry books preferred but a bit of this and that makes for serendipity.
Venue is MGA-ARI at 62 Gormanston Rd, Moonah. By bus: Hobart-Glenorchy buses, get off at Stop 19 and scoot down east down Fleet Street then through the skanky alley, turn left and you’re there. By car: drive your miserable heap to Gormanston and park on the street where you belong.
Carolyn McDowall, Muse News, The Culture Concept Circle
20.04.16 12:12 pm
Ned Worledge, Font PR
19.04.16 8:49 am
2016 marks the ninth year of Tasmania’s premier portraiture competition, the RACT Insurance Tasmanian Portraiture Prize (TPP).
The TPP invites Tasmanian artists, aged 30 and under to produce a portrait of a living Tasmanian who is important to them.
Last year’s winner, Alasdair Doyle, who stunned judges with his multimedia video installation containing a bold political statement, said he strongly urged artists to enter the competition and to think outside the box with their work.
“I would encourage young artists thinking of entering RACT Insurance Tasmanian Portraiture Prize in 2016 to be brave and bold, and explore the limits of portraiture and mediums in which portraiture can be represented,” said Mr Doyle.
Mr Doyle said winning the RACT Insurance Tasmanian Portraiture Prize was a huge confidence booster both personally and for his practice.
“Having my name associated with such a reputable program and arts body has been immensely beneficial towards the progression of my career and towards accessing new networks,” he said.
“It was gratifying and encouraging being given the acclaim of a highly respected judging panel, and the public, and it’s something that I believe is important to sustaining a spirited art practice.”
This year’s judging panel will be made up of aforementioned 2015 TPP winner Alasdair Doyle, award nominated Melbourne based artist Carla Fletcher, and Tasmanian College of the Arts, UTAS lecturer Yvette Watt.
Mr Doyle expressed that although it will be difficult, he is very excited to be a part of this year’s judging panel.
“Being one of this year’s judges allows me to engage with a new perspective of the Tasmanian Portraiture Prize, and in doing so gain valuable professional experience.
“It is hugely humbling to be placed in a position wherein I am given the responsibility to judge my peers and I look forward to this no doubt difficult task.”
RACT insurance CEO Trent Sayers said his organisation is thrilled to continually support such a dominant growth industry within Tasmania.
“By continuing our support of the Tasmanian Portraiture Prize and the local arts scene, RACT insurance hopes to foster the development and passion of young Tasmanian artists,” said Mr Sayers.
“We feel it is important that local businesses do everything within their power to create opportunities for our youth to thrive within their chosen industry.
“Applicants are continually surprising our judges by experimenting with a vast array of artistic mediums from multimedia/video, photographs, oils, acrylics, graphite, watercolours, print and animation, we can’t wait to see what 2016 has in store.”
The winner of the 2016 RACT Insurance Tasmanian Portraiture Prize will receive $5,000 and a trip for two to the Archibald Prize exhibition in Sydney.
Entries are now open for the 2016 RACT Insurance Tasmanian Portraiture Prize, closing on Thursday 30 June, with the shortlisted artists to be announced early to mid-July.
The 2016 winners will be announced at the RACT Insurance TPP opening night at Hobart’s Long Gallery on Friday, 16th September.
Following the announcement, the artworks of all the shortlisted entries will be exhibited at the Long Gallery before the exhibition moves to Launceston’s Sawtooth ARI Gallery ( Saturday, 8 October – Sunday, 23 October) and then onto the Burnie Regional Art Gallery (Saturday 29 October – Friday 9 December).
For more information visit http://www.taspp.com.au like the RACT Insurance TPP page on Facebook.
18.04.16 11:39 am
An exhibition of ethereal beauty, Gaze, by Hobart photographer Craig Riddington will feature in the Long Gallery at Salamanca Arts Centre from April 20-26.
The exhibition is the first by Riddington in Hobart and opens from 6pm on Wednesday, April 20.
Riddington studied photography at the London College of Printing and enjoyed a successful career as an editorial and commercial photographer. His focus during this time was many and varied – from live music to documenting the impact of transitioning to school in Australia for refugee children.
But it was a chance meeting with one of the world’s foremost landscape photographers, Michael Kenna, which was to have a profound impact on his scope and direction.
“Particularly, I am inspired by the atmospherics which can be captured through the combination of monochrome images and long exposures,” Riddington said.
“This is particularly so in Tasmania, where the landscapes are exquisite and the nature of the light is quite incredible.”
Riddington also has a purist approach to the post-production of images – digitally replicating traditional darkroom techniques.
While Riddington continues to work as a commercial photographer, his current artistic interest is around the ideas of time and permanence, which is explored at the intersection of man-made objects and the natural environment.
Ellie Ray, Dianne Sheehan
18.04.16 9:08 am
Katherine Hattam, The doctor’s dilemma 2007
KATHERINE HATTAM: DESIRE FIRST 1978–2015
Deakin University Touring Exhibition
DATE & TIME: Opening Friday 18 March 6pm. Exhibition runs until Sunday 8 May
OPENING SPEAKER: JARROD RAWLINS, CURATOR MONA (MUSEUM OF OLD AND NEW ART)
ARTIST TALK: 4:30pm, 18 March
Katherine Hattam: Desire First surveys the work of Melbourne based artist Katherine Hattam. The exhibition traces the development of Hattam’s practice from early charcoal drawings in the late 1970s through an evolving practice that encompasses drawing, collage, printmaking and sculpture. Katherine Hattam is renowned for explorations of domestic and family spaces that are at times joyful, dramatic and intense.
Through the use of recurring motifs, in particular the chair and other domestic objects, alongside collage drawn from deconstructed Penguin classics and modernist textbooks from her late mothers’ collection, Hattam transforms personally symbolic materials and references into an archaeology of family, feminism, education, literature, psychoanalysis and role of the unconscious in art making.
The artist will be travelling to Devonport from Melbourne to present a floor talk to College students and visitors at 4:30pm prior to the exhibition opening, and will be present at the opening. The exhibition will be opened by Guest Speaker Jarrod Rawlins, Curator at MONA (Museum of Old and New Art) and the opening will be catered for by Devonport Tafe as part of the Devonport Food and Wine Festival.
• Jessie Pangas: TRANSform
DATE & TIME: Opening Friday 18 March 6pm. Exhibition runs until Saturday 16 April
OPENING SPEAKER: ELLIE RAY, DIRECTOR DEVONPORT REGIONAL GALLERY
Jessie Pangas is an emerging artist based in Ulverstone, Tasmania. Her inspiration and ideas are drawn from urban spaces, in particular, the houses that hold, protect, conceal and reveal the personalities and communities that make up the urban environment.
The familiar and the new combine so that recognition and wonder are experienced through the viewing of the artist’s acrylic paintings of architectural forms. These forms are often mere façades or fragments of a whole, and in some works a strange narrative of shapes emerge so that the artist’s line of inquiry as to ‘what these works [might] say about our individual and community identity’ is posed within these ‘snatches’ of vernacular houses. There is a playful – almost whimsical nature about these paintings, yet multiple levels of meaning come into play after their initial ‘reading’. Set against a featureless background the viewer is left pondering the meaning of individual and community identity.
The artist will run a contour-drawing workshop in the final week of the exhibition.
The opening coincides with the opening of the touring exhibition Katherine Hattam: Desire First 1978 – 2015 and will be catered for by Devonport Tafe as part of the Devonport Food and Wine Festival.
ALISON COTES, Daily Review
16.04.16 11:19 am
Ulrike Schneider as Agrippina. Brisbane Baroque 2016, produced by Leo Schofield and Jarrod Carland, plays in various venues around Brisbane City until April 16. Check the website ( HERE ) and buy tickets from QTIX 126 346.
Daily Review Rating: *****
Music in the Castle of Heaven, the opening concert was called, and although it was dedicated to the music of Poppa Bach, the title fitted almost everything I saw, with one sad exception, an embarrassing production of Purcell’s deservedly little-known semi-opera, King Arthur, to the even littler-known text by John Dryden, about which the less said the better. And as for the costumes!
But to greater, magnificent things, like the aforesaid opening concert, Bach in the Castle of Heaven, with the QSO and the Australian Voices conducted by one of the great hopes of the next generation of Australian-British conductors, the sprightly, charming, energetic Jessica Cottis.
She had the performers in the palm of her hand, as she urged, excited and danced them though of some of the greatest music ever written, what Beecham might have called Bach’s Lollypops, for every piece was well-known and well-loved, and each was greeted with delighted recognition by the audience.
Sure, it was the Bach hit parade, but what’s wrong with that, because each piece is deservedly well-known and beloved, and there are some things you can never get too much of, like the orchestral suite No 3, and the chorus from cantata BWV 80, A mighty fortress is our God.
I had a new and strangely invigorating experience, because having forgotten to pick up a program before the first half, I sat there not knowing what to expect, but found every item a familiar joy, even to the best thing Bach never wrote, Bist du bei mir, which I’m having sung at my funeral.
The full program, which I acquired at interval, alerted me to more treasures to come, like the Kyrie and Dona Nobis Pacem from the B minor mass, the latter shattering in its ironic thundering crescendos, and the aria known in church circles as The Butcher’s Funeral Anthem (Sheep may safely graze), from Cantata 208.
Everything you ever loved about Bach was there, and would have converted even the most dedicated rock head to his music. And exquisite soloists, too, Greta Bradman, Nicholas Scott (UK), Ioana Tache (Belgrade/Australia), Kristian Winther (Australia) and Brisbane’s own Christopher Wrench on organ and harpsichord – what more could you want? Perfect title for a perfect concert, and it set the scene for nine days of the music of the spheres – and there are still two days to go.
It was Alfred Deller who revived the counter-tenor voice in the 1950s. The voice has proved more and more popular, and another concert at this festival demonstrated what a wide-ranging voice type it is. Here we had Australia’s Russell Harcourt, with his light, high, almost soprano-type tones; Owen Willetts from the UK with a voice that sometimes threw itself down almost to a baritone sound; and world favourite Italian Carlo Vistoli, with a middle range that could shoot both up and down in a way that was super-dramatic and quite astonishing.
They sang as individuals rather than in duets or trios, to allow the range of their separate voices to shine, so it was a lesson in diversity for those who thought the counter-tenor was a one-dimensional voice. Lots of Handel, of course, quite a bit of Vivaldi, some Johann Hasse and a rare piece by Nicola Porpora called Alto Giovi, interesting as a contrast but not quite as engaging. Australia’s own Orchestra of the Antipodes was energetically directed from the harpsichord by Erin Helyard, and added another level of joy.
It was another stand-out, standing-ovation recital, which shows yet again that Brisbane is no longer the city of musical bogans. Silly Tasmania, to give away this festival two years ago, and allow Brisbane to have it for the next three years.
The grand hit so far has been Handel’s Agrippina, first performed in 1709, and cemented his reputation for ever. The plot is as ridiculous as most 17th century operatic plots, with a coy libretto by Cardinal Vincenzo Grimani about Agrippina’s attempts to get rid of her ancient bumbling second husband Clau-Clau-Claudius (or Clavdivs if you ever saw the television series with Derek Jacobi), and replace him with her son by her first marriage, the evil Nero.
How much of it is true I don’t know, because my scant knowledge of the Caesars comes from the Roman author Suetonius (in translation of course), but it didn’t matter. Four and a quarter hours of sublimity on so many levels, and a fine line of irony in the production values from director Laurence Dale, set designer Tom Schenk (it’s all done with mirrors, you know), and outrageously naughty costumes by Robby Duiveman – Nero (counter-tenor Russell Harcourt) comes on as a high-camp schoolboy in a red and gold blazer, red knee socks and golden sneakers, while Ross Ramgobin as Pallante, one of Agrippina’s courtiers, flaunts a long pale-blue flowing train behind his pantaloons. And Agrippina’s (Ulrike Schneider, pictured above) metres-long black silk cloak billows out behind her as if generated by a body fan – spectacular!
This could all be very silly, but the music of Handel, in this opera rarely seen before by most of the audience, showed once again the genius of Handel, and all the soloists were faultless. As for the set, doing it with mirrors in this case was a stroke of genius, as two double-sided mirror flats moved around the stage to create four different rooms reflecting a single column and a massive curule (those curved x-shaped Roman chairs – I had to look it up) in all kinds of combinations and permutations.
So far, so magnificent, and there are still two days to go – a free public talk today (Friday) at the Cremorne Theatre called The Castrati – rock stars of the Baroque at 11am; the women’s voices of Emily Cox’s Canticum singing Vivaldi’s Women of the Pieta which he wrote for the Ospedale of the Pieta in Venice has one performance tonight in St John’s Cathedral; and there’s a final performance of Agrippina on Saturday night. So there’s your weekend gone. It’s worth moving to Brisbane for this festival alone.
An extract ...
Go for baroque
Staying with tourism and Tasmania, Gadfly would have packed his bags for Hobart to take in the city’s baroque music festival, had the Silly Willy Hodgman government not preferred two years ago to give $5 million to a V8 Supercars event rather than $600,000 for another year of music. Instead the fest relocated to Brisneyland, requiring Gadfly’s entire life’s supply of frequent flyer points to attend the world-beating Brisbane Baroque.
Baroque music and Brisbane may not be traditional bedfellows, but here it is a case of money well spent from the tourism and events people in the Palaszczuk government and a huge batch of patrons including Graeme Wood, a former Suncorp Queenslander of the Year, and supporter of numerous noble journalistic causes.
Gadfly could only squeeze two performances into his hectic schedule.
There was G. F. Handel’s opera Agrippina, the storyline of which bears a striking resemblance to Canberra politics but is in fact set in Rome and based around the intrigues of the emperor’s wife to secure the throne for her deranged son Nero, a role that introduces necrophilia to the Brisbane stage.
Then a night of Bach with the Queensland Symph and the Australian Voices choir, conducted by the British-Australian thriller Jessica Cottis, with solo appearances from Greta Bradman, among other young talents.
The place was crawling with Sydneysiders: opera scholar and teacher Annie Whealy and her husband, former judge of the NSW Supremes, Tony Whealy, arranged for more than 70 of their nearest and dearest to fly up, and there was another heap of attendees from Sin City organised by a group of touring culture vultures.
Among the celebs were Queensland governor Daphnis de Jersey, sitting a row in front of the tallest, most awesome, drag queen in the history of Queensland.
Sighted in the foyer was Attorney-General Bookshelves Brandis, surrounded by a swoon of adorable pink-cheeked youths from the Young Liberal movement.
Brisbane Baroque is in its second year, having fled Hobart after two. In its final Tassie year, a grant request for $600,000 from festival producers Jarrod Carland and Leo Schofield was met with a meagre $400,000 from the then yarts minister Lara “The Skittle” Giddings, which left no payment for anyone in the Hobart Baroque’s administration. The producers stumped up a pile of their own money to get the show across the line.
When Carland and Schofield thought they could squeeze by in their third year with government support of $800,000, they were offered just $300,000, after a three-month wait as the application was considered. Left with six months to get the new festival organised, they pressed on, extracting money wherever they could. Bookshelves even offered $100,000 from the Commonwealth. But when Leo was knocked back by Hodgman for a boost, the festival upped stakes and went to Brisbane, where for the past week the hotels, bars, cafes and clip joints have been bursting with visitors stuffing money into the Queensland economy.
Of course, Hobart is still an ideal location for baroque activities. The Theatre Royal is the nation’s earliest surviving theatrical venue, and St David’s Cathedral is also ideal, along with the 1845 Egyptian revival synagogue.
The MONA-funded Dark MOFO festival is also set for June with the packed schedule including a Gothic gala costume ball at the North Hobart premises of Turnbull Family Funerals.
Lucinda Toynbee Wilson
15.04.16 6:05 pm
ART FROM TRASH
Established in 1993, the ART FROM TRASH exhibition is the first and
longest running exhibition of its kind and an iconic and much loved exposé
of creativity. Attracting over 120 artists and 5000 visitors annually, this
event has proved itself as a powerful and much needed change agent for
a better future.
ENTRIES CLOSE 2 MAY 2016
Makers of all ages, styles and stages, from emerging talent to established practitioners, schools
and community groups exhibit alongside each other in an exhibition of increasingly accomplished
and thought-provoking works of art.
SOMETHING NEW FOR 2016
TRASHION is the new sidekick of the Art From Trash Exhibition and an antidote to the ‘take,
make, consume, dispose’ pattern synonymous with the fashion industry. TRASHION wants to
inspire a new way of thinking based on the assumption that resources will not always be
abundant, available, easy to source and cheap to dispose of. Fashion, perhaps more than any
other industry in the world, embraces obsolescence as a primary goal. TRASHION is the cure.
TRASHION is not a competition it is a celebration of creativity.
In keeping with the continuing surge in popularity of bespoke clothing and the up-cycling of
second hand wares, TRASHION is a fashion parade gala event inspired by the international
success of World of Wearable Art in New Zealand and will work with designers, artists, students
and fashion slaves to showcase and inspire outfits both extreme, wild and wacky but also
sustainable clothing ranges and accessories to promote recycling.
The popularity and broad appeal of ART FROM TRASH continues to grow and we once again
look to expand the event to keep our artists and audiences free of limitations. With our new
addition TRASHION the Resource Work Cooperative has a big year ahead with big plans for
We invite you to share the word of our success and champion these local initiatives
of global significance. May 20 from 6.30pm all are invited to admire great works of art
made by discarded and rejected materials.
All information on entries for ART FROM TRASH and TRASHION are
available from the resource website
In modern western culture, the things we regard as waste are the abject - abhorrent, intolerable,
and quickly hidden from our view by the dissociative processes of disposal, collection and
landfilling. Although they were once things of use, purpose, subjectivity and meaning, our current
approach to waste means they are largely destined to be cast out of the cultural world forever.
Nevertheless, the material reality of these objects remains. Buried, forgotten, and largely unseen,
they cause untold pollution and disruption to ecological processes.
Re-use art presents us not with a horrific dystopian vision of this situation, but with an articulation
of alternative possibilities and a celebration of the transformation of wasted things into works of
cultural significance. A globally significant phenomenon, re-use art encompasses practitioners
and projects such as the Mutoid Waste Company, the Museum of Contemporary Rubbish, the
Junkyard Museum of Awkward Things, the Narrating Waste project and the Significant Objects
project, to name but a few.
Resource Work Cooperative’s Art From Trash exhibition is a proud part of this significant body of
arts practice, and approaches the subject with a community focus that situates the exhibition,
and the works created therein, firmly in the social and cultural context of Tasmania.
Resource Work Cooperative
Resource Work Cooperative is a non-profit Worker’s Cooperative, established in 1993 with the
goals of reducing waste, creating sustainable employment, and promoting waste minimisation in
the community through creative and engaging educational projects. We operate the South Hobart
Tip Shop, the Deconstruction service, the Community Pick-Up Service, and the annual Art From
Trash exhibition. We also hold stalls, workshops, and community tours of our operations all year
round. We have been recognised for our achievements with numerous awards over the years,
including the Dr Edward Hall Environment Award, The Small Business Sustainability Award, and
the Minister’s Choice Award in the Tasmanian Awards for Environmental Excellence.
14.04.16 12:41 pm
Following Easter, The Ascension of Jesus is the next major Christian feast, celebrated 40 days after Easter Day. While not so prominent as other holy days, this feast has inspired a wealth of music from great composers over the centuries. Allegri Ensemble, conducted by Andrew Bainbridge, is proud to present a selection of this glorious choral music in our first concert for 2016, God Is Gone Up.
The program features Spanish master Tomas Luis de Victoria’s parody Mass, “Missa Ascendens Christus in altum”.Interspersed between movements of the mass are motets and anthems, including the motet upon which the Mass is based, “Ascendens Christus in altum”. Other works include Orlando Gibbons’ mighty “O clap your hands”, an extended two-part anthem for double choir based on text from Psalm 47. Also for double choir are Stanford’s “Coelos ascendit hodie” and Mendelssohn’s motet “Am Himmelfahrtstage” (On Ascension Day). Christopher Tye’s “Omnes gentes, plaudite manibus”, Peter Philips’ “Ascendit Deus”, Henry Purcell’s “O God, the King of Glory”, William Byrd’s “I will not leave you comfortless”, and Dulos Couillart’s “Viri Galilaei” are the other a cappella works.
The program concludes with two works with organ accompaniment (played by Ben Mackey): “Viri Galiaei” by Patrick Gowers (1936 – 2014) for double choir, soloists and two organists, in what is almost certainly a first performance in Tasmania; and Gerald Finzi’s magnificent anthem “God is gone up”, set to an inspired text by American poet Edward Taylor (1646-1729), which remained unpublished after his death for over 200 years.
The concert is on Sunday 1st May 2016 at 2:30 pm at Hobart Town Hall, 50 Macquarie St, Hobart.
Tickets are $35 adult/$26 concession from CENTERTAINMENT or cash sales at the door from 2:00 pm.
More information is at http://www.centertainment.com.au/events/godisgoneup
Ellie Ray Director Devonport Regional Gallery
14.04.16 9:42 am
Ulverstone artist Jessie Pangas with her exhibition in The Little Gallery TRANSform, March 2016. Photography: Kelly Slater
Exhibition and project submissions for 2017 are now open for The Little Gallery Project Space in Devonport Regional Gallery.
Submissions close 5 pm, 1 June 2016
The Little Gallery is available to emerging and early career contemporary Tasmanian artists and promotes experimentation in 2D and 3D art, critical thinking and engaging concepts.
Exhibitions run alongside those presented in the Main Gallery and may run from 2 weeks to 8 weeks depending on the exhibition scheduled in the Main Gallery. It is preferable that projects have not been shown before and have been made within the past twelve months.
Artists are expected to present a floor talk while their exhibition is open.
Unless prior arrangements are made between the Artist and the Gallery, Gallery staff will act as mentors to emerging artists and will advise and assist with the installation of their exhibition.
DRG promotes and supports professionalism and equity in the arts and pays artists fees regardless of an artists’ status or stage of their career.
Ellie Ray, Dianne Sheehan, Devonport Regional Art Gallery
13.04.16 3:36 pm
Karin Chan, Far away I came, 2016, Giclée print
THE LITTLE GALLERY PROJECT SPACE
DATE & TIME: Opening SUNDAY 17 APRIL. Exhibition runs until Sunday 8 May
OPENING SPEAKER: ELLIE RAY, GALLERY DIRECTOR
ARTIST TALK: FRIDAY 29 APRIL, 12:30PM
Karin Chan is an emerging artist based in Hobart. She completed her Bachelor Fine Arts with 1st Class Honours at the University of Tasmania, Hobart in 2010. Since that time, Chan has been exhibiting regularly in solo and group exhibitions in Tasmania and Victoria.
Chan’s practice reflects on her transiting cultural identity between Singapore and Tasmania. Through the use of creative costuming and objects, Chan represents journeys of transformation and cross-cultural references.
Airmail includes photographic works that represent the artist attired in ‘wearable sculptures’ within the Tasmanian landscape.
“[Air Mail] aims to deliver an intimate connection through exploring new ways of engaging sculpture objects to deliver empowerment, both using the reflection of my feelings and the experience of my transiting cultural identity.” – Karin Chan, 2015
Included in the exhibition will be a series of postcards from her overseas family and an interactive component inviting viewers to participate in a mailing exercise where they can reconnect with their own family members by writing on postcard size artworks. Viewers will be able to leave their addressed postcards for eventual postage to family members.
13.04.16 6:10 am
Well, maybe Tommy Tiernan wouldn’t really call himself a troubadour but one can sense when talking to him that behind the comedic mask there lies a serious poet.
I recently chatted to Tommy from Ireland about his latest tour of Australia.
I remark to Tommy that there isn’t a Tasmanian date this tour, with true comedic timing he replies he ‘must have done something awful last time!’
With that sharp wit I wonder if Tommy had ever considered another career. Tommy says he did consider a career in the priesthood but he wasn’t holy enough and that comedy became his choice because he was not ‘torn between two lovers’ and so could approach it with gusto. Comedy was the thing Tommy had a talent for.
I suspect Tommy is overly modest in not nominating a talent for anything else. As he tells me he has a great love of words, literature, reading plays and writing poetry, a way with words that goes beyond that required for a command of comedy.
In saying that it takes an extreme and quite inclusive talent to be a comedian, no joy for the thin skinned and demanding complete commitment.
Also required ‘a sensitive ear’ for the audience reaction, engagement, delivery tone, a sound story and the necessity, while not to ‘fundamentally change’ material, to manipulate and make adjustments to suit a particular audience.
And how does a comedian like Tommy prepare for a show and sharpen his craft? Tommy says he listens to other comedians. He cites Dylan Moore albums, Spike Milligan and Monty Python as all wonderful resources that put him in the comedic frame of mind.
While those classic comedians get him ready for a show, I ask Tommy what he does to relax in between comedic commitments and he tells me it can range from meditation to ‘being in the moment’ by reading his much loved poetry.
Tommy has always had a strong fan base in the Australian Irish community but encourages all those non- Irish lovers of comedy to come along to his show.
Maybe in another time and place Tommy would be a bard or a court jester for kings but in our time he is the king of jest.
Tommy Tieran ‘Out of the Whirlwind’ can be seen at the following locations:
BRISBANE QPAC CONCERT HALL SATURDAY 16 APRIL
MELBOURNE HAMER HALL SUNDAY 17 APRIL
SYDNEY ENMORE THEATRE APRIL 21,22
PERTH RIVERSIDE THEATRE MONDAY 25 APRIL
11.04.16 6:55 pm
Virtuosi Tasmania Inc
fine chamber music for regional Tasmania
The feature of our second concert for the year is Brahms’ Horn Trio but it will also include the very popular Rachmaninov Vocalise and a delightful suite drawn from Russian cinema music from Schnittke.
Edwina George violin; Heath Parkinson horn; Stewart Kelly piano.
Venues & Dates
Sat 23 April 11am City Baptist Church, Launceston
Sun 24 April 11am Home Hill Winery Ranelagh
Mon 25 April 11am MONA, Organ Room Berridale
Download the full Program with all the details:
or visit our Website:
Tickets are available from the TSO Box Office or call 1800 001 190
Tickets will also be available at the door.
Visit http://www.virtuositas.org.au for further details.
Junction Arts Festival
11.04.16 3:56 pm
Now in its sixth year, Junction Arts Festival is one of Tasmania’s growing number of boutique
festivals and events across the state that takes place in Launceston, Tasmania at the junction
of winter and spring.
The Festival has a particular focus on live arts, participatory and sitespecific
performances that place the audience at the centre of the experience. Junction
provides a rare opportunity to explore Launceston in new ways, unlocking hidden, disused
and unconventional spaces, offering unique experiences for local and visitors alike to
The Festival is held over 5 days and nights from Wednesday September 7 to Sunday
September 11, 2016.
Program details will be launched in June 2016.
Event dates: 7-11 September 2016
Venue: Launceston CBD, various throughout
11.04.16 6:43 am
Sidespace Gallery Salamanca Arts Centre
Level 1/77 Salamanca Place, Hobart, TAS.
Dates & Times Exhibition is open to the public:
14th to 18th April 2016
Hours; Thurs / Fri 10am-7pm Sat – Mon 10am – 5.30 pm.
[Date & Time of Official Opening:
Thursday 14th April 5.30 – 7.30 pm.]
Local Huon Valley artist Henrietta Manning’s current exhibition ’Nesting Series’ is not your usual nest exhibition! Manning’s first Tasmanian exhibition, explores the transience of life and the commercialization of our homes. With more than 50 nests painted from life many have been combined with collaged panels juxtaposing painted specific bird nests with collaged material such as wallpapers, newspapers, old photos and real estate text. Exhibiting since 1985 Manning is an established artist and a finalist in many art prizes including The Wynne1994/1996.
A contemporary realist Manning works predominately from life in acrylic on board. ’Nesting Series ’is her first solo in Tasmania since moving here in 2009.
The series developed while renovating her Tasmanian home and studio. Adjusting to the new surroundings she observed the wildlife, in particular the birds.
‘The words ‘nesting’ ‘feather your nest’ ‘empty nesters’ ‘nest egg’ took on new meaning as I watched the ingenuity of the different birds nest building skills. All strong, warm and safe, perfectly adapted to surroundings and materials available, yet so transient and vulnerable once left behind. I saw a parallel between these ’homes’ and the ones I and other people were making. Our homes are also only transient and will eventually, like ourselves, disappear.’
Fascinated by the layering of wallpaper/newspaper and hessian found in old houses as successive generations make their mark and are then covered over by the next, the artist combined these with old photographs and real estate related text to form small abstract collages. These were then juxtaposed with the nest paintings. The beauty and individuality of the nests stand out from a distance, but close up, reading the text, the viewer is made to consider the world of real estate and finance.
Manning looks at how homes are presented and sold to us through real estate agencies. Buying and selling ‘homes’ is big business. Packaged not to meet actual needs but as a way of living, an opportunity, ‘lifestyle’, choice impacting our quality of life and inexorably linked to a sense of social status and our financial security for the future.
What is really important about the homes we seek ? What damage is our ever larger footprint doing to the ‘homes’ of other creatures?
Manning is currently working in the southern midlands as part of the Oatlands Gaol Artist in Residence Program. A retrospective of her work will be held next month, 27th May – 11th June at MAC [Moonah Arts Centre].
Rebecca Fitzgibbon, Megan Reeder Hope
08.04.16 6:30 pm
“That all the world will be in love with night, and pay no worship to the garish sun.” - Juliet Capulet
● Dark Mofo: 10-21 June 2016: Hobart, Tasmania, Australia
● Museum of Old and New Art’s winter festival
● Lineup announced Friday 8 April 6.30pm AEST
● Tickets on sale Monday 11 April 2016 11am AEST
● Sign up to the mailing list for sweet nothings http://www.darkmofo.net.au
Ancient traditions collide with contemporary culture as Dark Mofo’s shadow grows across the city
of Hobart, Tasmania, this June.
Mona’s midwinter festival is a maelstrom of cultural pandemonium, enticing an annual pilgrimage to
the southern island of Australia to celebrate the night through large-scale public art, food, film,
music, light and noise.
Dark Mofo 2016 takes place from Friday 10 June to Tuesday 21 June, spreading its tendrils into
new spaces around the state with events across Hobart’s waterfront: from Salamanca Place to Dark
Park at Macquarie Point; at the Tasmanian Museum and Art Gallery; up river to Mona; and further,
to the historic Willow Court in New Norfolk.
+ DARK MOFO FIRST WEEK +
Wednesday 8 June - Tuesday 14 June
Mike Parr’s Asylum is a one-off installation at Willow Court in the Derwent Valley, in which the
seminal Australian performance artist will create works in response to the site of an historic mental
institution dating from 1827. Asylum will occupy different buildings including The Barracks, “C
Block” (former “Male Maximum Security Ward for the Criminally Insane”), “Allonah” (former
“Female Maximum Security Ward for the Criminally Insane”), and the Occupational Therapy Block,
with video, sound, photos, objects, and an interactive piece.
Asylum includes Entry by Mirror Only, an exclusive 72-hour performance from Thursday 9 June
to Sunday 12 June in the “Allonnah” ward, in which Mike Parr will be drawing for the duration, or as
much as possible. The site will be open to visitors 24 hours a day during this time. The cost of
admission to the site during the performance is a mirror, of any kind, to be left behind.
“For never was a story of more woe”: this exhibition and performance contain disturbing content
and themes, and may not be suitable for children. Book a return ticket on the Mona Roma Fast
Ferry. This project is presented by Mona and Dark Mofo in partnership with Detached. Curated by
(Entry by Mirror Only performance in Asylum: 12 noon Thursday 9 June for 72 hours, entry price is a
mirror, which you will leave behind).
(Asylum: entry is free, Monday 13 June, 12-4pm and Saturday 18 + Sunday 19 June, 12-4pm).
ZHU (UK) brings the Dark Mofo opening night party to our Neon City with a compelling cocktail
of electronica and deep house, kicking off a weekend of after-hours queer and deliciously dark
music programming. BYO glowsticks. “Will now deny to dance?” - Lord Capulet. (Friday 10 June,
7.30pm, all ages, MAC2. Tickets $69-$79 +BF).
Dark Park is Dark Mofo’s industrial public art playground at Macquarie Point on Hobart’s docks; a
place to explore comfort zones, with an unsettling array of works by international artists including
immersive and interactive installations in a storm of stimulation continuing nightly throughout the
festival. (Friday 10 June until Sunday 19 June, 5pm-10pm, free entry to Park; some installations
ticketed, as below).
○ Our Time - United Visual Artists (UVA, UK) This London-based collective creates a grid
of pendulums, suspended in a huge warehouse, and set into unified motion. Mind your
○ Bodystorm - Grupo EmpreZa (Brazil)
This bracing Brazilian performative group will create a physical installation inspired by
sandstorms, tornadoes and other windy phenomena. (Free)
○ THUNDERHEAD - Tina Havelock Stevens
You may know her as ‘White Drummer’, performing in the waters off Little Frying Pan Island
near Mona. Here, Havelock Stevens will drum up some apocalyptic meteorological drama
with an improvised one-off live response to a video of the perfect storm along Highway 54
in Texas. (Free).
○ The Cloud - Patrick Hall
The artist who created Mona’s “I love you” drawers (When My Heart Stops Beating, 2011)
celebrates our brief time here with hundreds of illuminated faces hanging overhead in
bottles, weeping into a thin skim of water on the ground below. (Free).
○ Anemographs, 2016 - Cameron Robbins
Complementing his Mona exhibition, Field Lines, Robbins’ ephemeral LED light drawings
will transcribe the patterns of the wind. (Free).
○ House of Mirrors - Christian Wagstaff and Keith Courtney
An elaborate chamber of kaleidoscopic reflections create a disorientating installation in
which to lose yourself—and your friends. (Door sales $10).
○ Divination - Nancy Mauro-Flude
A thirties-era DaDa cabaret crossed with cypherpunk internet café, peopled by talkbots and
other data-driven non-humans. (Maiden voyage: Friday 10 June, 7pm. Register for the event
in advance: http://divination.cc. Installation continues until Sunday 19 June, 5-10pm. Free).
○ The Labyrinth - Mayonaize
An experience that will morph and evolve throughout the festival in a joint project between
calligraphic Melbourne street artist Mayonaize and Richmond Maze. (Door sales $10).
○ A Galaxy of Suns - Michaela Gleave & Tasmanian Symphony Orchestra Chorus
Constellations are transcribed into scores, as members of the Tasmanian Symphony
Orchestra Chorus sing the stars with lead artist Michaela Gleave, composer Amanda Cole
and programmer Warren Armstrong. (Friday 10 + Saturday 11 June, 5pm, Free. Exhibition
TMAG’s major winter exhibition,Tempest at Tasmanian Museum and Art Gallery will be a
romantic shipwreck of piracy and wild weather, creating a wunderkammer in the entire gallery space.
Curated by Juliana Engberg, Tempest will feature historic works from TMAG and other state
collections alongside new works by Tacita Dean (UK/Germany), Rodney Graham (Canada) Fiona
Tan (Indonesia/Holland), Victor Alimpiev (Russia), William Kentridge (South Africa), Hernan
Bas (USA), Mariele Neudecker (Germany/England), Valerie Sparks, Rosemary Laing, Pat
Brassington, Paul Wood, Ricky Swallow, Kit Wise and David Stephenson. (Opens Friday 10
June, 5pm; Saturday 11 - Monday 13 June, 10am - 4 pm; continues Tuesday - Sunday until November
20, 10am - 4pm. Free).
Event for a Stage is presented for Tempest; the Australian premiere of a new stage-to-film work at
the State Cinema by the celebrated Turner Prize-winning ‘Young British Artist’ Tacita Dean OBE.
A cinematic iteration of the artist’s multi-form exploration of acting and the creative process,
starring Stephen Dillane (Game of Thrones, The Hours, Spy Game, King Arthur), and shot live
during the nineteenth Biennale of Sydney. (To be opened by the biennale’s artistic director, Juliana
Engberg on Thursday 16 June at 6pm, with screenings on Saturday 18 June + Sunday 19 June at 1pm.
Tickets $25 +BF).
Mona’s winter exhibition, Field Lines, by Cameron Robbins utilises mechanical instruments to
create artworks from the natural elements, including new site-specific works responding to the
museum’s location. Curated by Nicole Durling and Olivier Varenne. “Now art thou what thou art—
by art as well as by nature” - Mercutio. (Opens Saturday 11 June, 4pm, continues during museum
hours until Monday 29 August. Included in museum entry; $20-$25, free for Tasmanians).
Also at Mona, the latest addition to the Mona collection is a new immersive sensory installation,
Ryoji Ikeda’s supersymmetry [experience]. supersymmetry [experience] is the outcome of
Ikeda’s residence during 2014-15 at CERN (French for European Council for Nuclear Research;
home of the Large Hadron Collider) in Geneva, and references the extension of space-time
symmetry that relates to two basic classes of elementary particles (boson and fermion) to help
explain why particles have mass. (Opens Saturday 11 June, 5pm. Ongoing during museum hours,
included in museum entry; $20-$25, free for Tasmanians).
Black Box is a pop-up performance space for some Dark arts in the MAC2 Backspace, Macquarie
Wharf, near Dark Park. (Opens Saturday 11 - Sunday 19 June, various performance times below).
● Ryoji Ikeda - supercodex [live set] A battle of digital noise, blips, and bass drones
created from raw data and mathematical models. You shouldn’t miss this Japanese noise
maestro in action. “I shall be deaf to pleading and excuses” - Prince Escalus. (Saturday 11
June, 9pm, $29 +BF).
● Lustmord (Australian Exclusive)
A chaotic performance from the progenitor of dark ambient music. “These violent delights
have violent ends” - Friar Lawrence. (Sunday 12 June, 7pm, $29 +BF).
● RBMA presents Ephemera (Live) with Tim Hecker and Marcel Weber (MFO)
“Straining harsh discords and unpleasing sharps” - Juliet. Immerse yourself in a synaesthetic
spectacular of sound and light, complete with the scent of drone composed by conceptual
perfumer Geza Shoen. (Wednesday 15 June, 6pm, 8pm, $29 +BF).
● The Bacchae
Featuring an ensemble of young performers and musicians, Fraught Outfit and St Martins
deliver a hallucinatory theatrical event; a dream-like invocation of Dionysian excess and
violence as told through the eyes of teenage girls. Conceived by Adena Jacobs and Aaron
Orzech, with music by Kelly Ryall. Adult themes. “A challenge, on my life” - Mercutio.
(Friday 17 June + Saturday 18 June, 7pm, Sunday 19 June, 1pm, $39 +BF).
Blacklist is Dark Mofo’s irrepressible late-night art party, evolving this year as Dark Mofo takes over
a larger and wilder Hobart City Hall precinct, with artists to be announced. It’s a blacklist you want
your name on - both weekends. “Give me my sin again” - Romeo. (Saturday 11 June + Sunday 12
June, Friday 17 June + Saturday 18 June, 10pm till late. Tickets $39 +BF, door sales $45 subject to
Visual arts highlights around the city will occupy gallery spaces, public spaces, dockside buildings,
tunnels, roundabouts, and make spontaneous appearances during the festival, including Night
Garden in Triabunna and Hobart’s CBD, Neither Here Nor There in the pedestrian tunnels under
the Fountain Roundabout, Brainstorm at the Tasmanian Centre of the Arts, Dark Ocean at the
Institute for Marine and Antarctic Studies, Made of Holes at Rosny Barn, Big Cheese at
Contemporary Art Tasmania, and more.
Telling women’s stories through women’s songs, Shellie Morris, Emma Donovan, Deline Briscoe
and Ursula Yovich of our Aboriginal nation are the Songwomen of Black Arm Band, joined by
True North; a performance in sound, light and language from Tim Moriarty of the Yanyuwa people
of the Gulf of Carpentaria and Cynthia-Louise Dellit with Baroque flute, at the Odeon Theatre.
(Sunday 12 June, 2.30pm. Tickets $19-$59 +BF).
Dhāraṇī: Tom Vincent Octet develops a darker and larger ensemble to perform new extended
jazz compositions, unifying ancient and contemporary music forms at Moonah Arts Centre.
(Tuesday 14 June + Wednesday 15 June, 7.30pm, $59 +BF).
Dark Mofo Films takes residence in Hobart’s sandstone State Cinema, so brace yourself for a
helter-skelter cinematic selection as our curators Nick Batzias and James Hewison skulk back into
town with a swag of unsettling content for your viewing displeasure.
From nightmares of visceral genre to devastating visions of Europe’s refugee crisis, this year’s Dark
Mofo Films program surveys our most primal, profane fears. Highlights include the Australian
premieres of Tassie filmmaker Sean Byrne’s creepy The Devil’s Candy and English director Jim
Hosking’s The Greasy Strangler, already described as an “oasis of filth” (not Shakespeare).
(Session times and tickets online late April).
+ DARK MOFO SECOND WEEK +
Wednesday 15 June - Tuesday 21 June
[Musicians waiting. Enter Servingmen, with napkins]
The City of Hobart Dark Mofo Winter Feast serves a communal banquet, this year with a focus
on flame-grilled street food and festivity across Princes Wharf Shed No.1 (PW1), Castray Esplanade
and Salamanca Lawns. Look for the hellfire at the gates and take a seat at Hades’ table. “More
light, you knaves; and turn the tables up, and quench the fire, the room is grown too hot” - Lord
Capulet. (Wednesday 15 June - Sunday 19 June, 4pm - 10pm). (Tickets $10 from Wednesday 15 -
Friday 17 June; $20 Saturday 18 June; free entry Sunday night. Season pass $50 +BF).
The ogoh-ogohs are back. “One fire burns out another’s burning, one pain is lessen’d by another’s
anguish” - Benvolio. Participate in the communal Purging of fears throughout the festival: write
your fears down on paper and sacrifice them to a giant demon at the Winter Feast. It’s a familyfriendly
ritual building up to a procession across the docks to Dark Park, and the Burning on the
solstice night. (The Purging: Wednesday 15 - Saturday 18 June, free. The Burning: Sunday 19 June,
5pm, Winter Feast PW1/Dark Park, Macquarie Point, free).
Hymns to the Dead is the darkest music we could find. Wear black, bring earplugs, witness Cult of
Fire’s esoteric death metal from Prague, Swedish prog-black metal Tribulation, blasphemous
Greek death metal Dead Congregation and Melbourne’s utter doom lords Inverloch, all shaking
the stage and possibly some plaster off the ceiling, at the Odeon Theatre. (Wednesday 15 June,
7.30pm, $49 +BF. 18+).
Itchy-O is a Denver-based avant-garde marching band with LED-lit sombreros who will make
surprise ruckus at different venues. You’ll hear them coming.
The Funeral Party will be one to memorialise for life. It’s Dark Mofo’s debauched gothic gala
costume ball in the sanctity of that glorious parlour, Turnbull Family Funerals. “Partying is such
sweet sorrow” - Mona. (Thursday 16 June, 8pm, tickets $89 +BF by ballot - register online).
Chelsea Wolfe, kohl-rimmed American electronic sorceress, takes to the stage in her only
Australian show at the Odeon Theatre, joined by interdisciplinary chanteuse Jarboe of Swans and
Neurosis, and Brooklyn experimental composer JG Thirlwell presenting Cholera Nocebo. (Friday
17 June, 7.30pm, $49 +BF. 18+).
Savages (UK) bring their rocking lust for life to the Odeon Theatre. (Saturday 18 June, 7.30pm,
$49 +BF. 18+).
Symphony No. 3, Henryk Górecki’s melancholic meditation, Symphony of Sorrowful Songs,
will be performed at Federation Concert Hall by the Tasmanian Symphony Orchestra. Featuring
soloist Greta Bradman and conductor Otto Tausk, Chief Conductor of Theatre St Gallen
(Switzerland) and regular guest at Concertgebouw Orchestra (Amsterdam). (Saturday 18 June,
7.30pm, $69-$99 +BF).
Rivers and Streams is a hypnotic incantation from Lubomyr Melnyk, the Ukranian maestro of
continuous piano. Witness the fastest concert pianist in the world, in his only Australian show, at
the Federation Concert Hall. (Sunday 19 June, 2.30pm, $59 +BF).
Solstice night: The longest night of the year in the southernmost city of Australia. The Heart of
Darkness soars with soprano and strings to Schoenberg’s String Quartet No. 2, Op. 10, Tavener’s
Akhmatova Songs for Soprano and Cello, and Sculthorpe’s String Quartet No. 12 (From Ubirr, sans
didgeridoo), with soloist Allison Bell at St. David’s Cathedral. “Come, gentle night, come, loving,
black-browed night” - Juliet. (Monday 20 June, 8.30pm, $39 +BF).
The Nude Solstice Swim returns after the longest night of the year on Tuesday 21 June at 7.42am
at Long Beach, Sandy Bay. The Solstice Swim is a contemporary ritual enacted as the sun rises, to
welcome back the light. People shed their inhibitions with their clothes and brace themselves for a
new year. It’s not a spectator sport - it’s a rite of passage, and a lot of fun. “O heavy lightness!
Serious vanity!” - Romeo. (Free; register online).
Ongoing from first week:
○ Dark Park at Macquarie Point;Mike Parr’s Asylum at Willow Court;
○ Cameron Robbins’ Field Lines at Mona;
○ Tempest at Tasmanian Museum and Art Gallery;
○ Black Box at MAC2 Backspace;
○ Exhibitions around the city;
○ Blacklist at the Hobart City Hall.
Dark Mofo Creative Director Leigh Carmichael said: “As we head into the oncoming storm of
Dark Mofo, we are pleased to reveal the lineup for the 2016 festival.
“There are a number of initiatives that we are very excited about this year, the central one being the
collaboration with the Tasmanian Museum and Art Gallery (TMAG). Deeply Tasmanian themes and
ideas inspired directly by the exhibition Tempest are running right through the entire Dark Mofo
“It’s our belief that Tasmania cannot achieve its winter tourism potential without TMAG, so we are
very pleased to partner with them on this upcoming exhibition.
“We are very proud to say that ongoing collaborations with other Tasmanian organisations like
Detached, Tasmanian College of the Arts, Salamanca Arts Centre, Macquarie Point, Moonah Arts
Centre, the Tasmanian Symphony Orchestra, Contemporary Art Tasmania and a number of local
arts collectives has allowed us to showcase the largest group of Tasmanian artists of any previous
Dark Mofo festival.
“Other highlights include an expanded Dark Park, lower entry fees to the Winter Feast, and a major
exhibition named Asylum, to be held at Willow Court by internationally acclaimed artist Mike Parr.”
Tasmanian Premier Will Hodgman said: “Dark Mofo has taken Tasmania by storm. The cultural
tempest captivates with the promise of the unimaginable and the delivery of the unexpected. Dark
Mofo transforms our darkest days into a cultural beacon, drawing tens of thousands of locals and
visitors to our state. Once again, the Government is proud to partner with Mona to deliver Dark
Mofo, a highlight on our cultural calendar.”
The Lord Mayor of Hobart, Alderman Sue Hickey said: “It’s incredible to think that it’s only
four years since Dark Mofo sparked the transformation of Hobart from a winter city in hibernation
to a must-see destination for art, performance and good food. The City of Hobart is delighted to
back the festival through funding and in-kind support, not only because of the economic benefits,
but because of the dramatic social and cultural impacts. Hobartians have strongly supported the
festival in the past and I’m sure they’ll be out in force again this year.”
Mona founder David Walsh said: “After much begging, fossicking and creative misdirection from
Leigh Carmichael, Dark Mofo’s boss, the government and Mona both came to the party. I bet
Leigh’s feeling the pressure.”
Dark Mofo is a project of the Museum of Old and New Art, supported by the Tasmanian
Government through Events Tasmania, and the City of Hobart.
Dark Mofo June 10-21, 2016, Hobart, Tasmania, Australia.
Tickets on sale 11am Monday 11 April AEDT from http://www.darkmofo.net.au
Sign up to the mailing list for sweet nothings http://www.darkmofo.net.au/subscribe
Dark Mofo 2016 lineup announcement trailer for embedding from Friday 8 April at 6.25pm:
Dark Mofo 2015 highlights video for embedding:
Social post - less than 120 characters:
A storm unleashed in Hobart: @dark_mofo lineup announced, tickets on sale Monday
http://www.darkmofo.net.au #darkmofo #discovertasmania
08.04.16 4:49 pm
Greta Bradman Announces National Tour Atop Australia’s Most Iconic Venue
MY HERO: NATIONAL TOUR APR–MAY 2016
“One of the most exciting new female voices…”
Presto Classical, UK
“Bradman is already highly accomplished – and even more promising.”
Sydney Morning Herald
“What an extraordinary bobby-dazzler of a voice this is!”
The Weekend Australian
Singing atop of this country’s most iconic venue, The Sydney Opera House, Australian soprano Greta Bradman – recently named Limelight magazine’s Artist of the Year – celebrated Australia Day by announcing her upcoming national My Hero tour live on television on Tuesday night.
On the back of her 2015 award-winning, chart-topping debut Decca album My Hero, Bradman announced the tour will begin in late April and run through to the end of May, emcompassing both capital cities and regional centres.
“I’m so excited to be performing these concerts around Australia which celebrate some truly beautiful songs and arias,” says Bradman, “and which pay tribute to some of my musical heroes.”
B U Y T I C K E T S H E R E: http://www.gretabradman.com/
The My Hero tour is a celebration of many of Bradman’s own heroes, notably Richard Bonynge, who conducted her with the English Chamber Orchestra on the 2015 Decca album.
Bradman will be accompanied throughout this national tour by acclaimed pianist/organist Rhys Boak.
Beginning in Wagga Wagga on 21 April, the 19-concert tour has a special focus on regional centres, such as Hamilton, Goulburn, Cootamundra and Bowral.
Following her meteoric 2015, Bradman considers this national tour a chance to express her thanks to those Australians who have supported her journey as a professional soprano.
“I want to perform in regional Australia as well as capital cities because I adore the vastness of this great continent and its people! I believe it’s imperative to include Australia’s rural community – the country’s life blood – in one’s journey as an artist, and in doing so to make sure there are opportunities for people living here to experience live performances of classical music.”
Bradman’s My Hero, the soprano’s debut album on the Decca label, was released on 7 August 2015 and went on to become the best-selling classical debut recording in Australia in 2015.
M Y H E R O T O U R D A T E S
Thursday 21 April, 7pm – St. Michael’s Cathedral, Wagga Wagga, NSW
Friday 22 April, 7pm – St. Paul’s Anglican Church, Burwood, NSW
Friday 29 April, 7pm – All Saints’ Anglican Church, Ainslie, Canberra, ACT
Saturday 30 April, 7pm – Cootamundra Town Hall, NSW
Sunday 1 May, 2:30pm – St. Jude’s Church, Bowral, NSW
Thursday 5 May, 7pm – Good Shepherd Church, Hamilton, VIC
Friday 6 May, 7pm – St. Patrick’s Cathedral, Ballarat, VIC
Saturday 7 May, 7pm – All Saints Church, East St Kilda, Melbourne, VIC
Monday 9 May, 7:30pm – St. Mary of the Angels Basilica, Geelong, VIC
Thursday 12 May, 7pm – St. Peter’s Cathedral, Adelaide, SA
Friday 13 May, 5pm – Ngeringa Cultural Centre, Mt. Barker Summit, SA
Thursday 19 May, 7pm – St. John’s Cathedral, Brisbane, QLD
Saturday 21 May, 7pm – St. David’s Cathedral, Hobart, TAS
>b>Sunday 22 May, 2:30pm – St John’s Anglican Church, Launceston, TAS</b>
Friday 27 May, 7:30pm – Christ Church Cathedral, Newcastle, NSW
Saturday 28 May, 7pm – St. Stephen’s Uniting Church, Sydney, NSW
Sunday 29 May, 3pm – St. Saviour’s Cathedral, Goulburn, NSW
Saturday 10 September, 7pm – St. George’s Cathedral, Perth, WA
Further dates and venues for the Western Australian leg of the tour in September to be announced shortly.