Event Type: Salamanca Arts Curated

This event is part of Winter Light 2022 and is presented by Salamanca Arts Centre

Music, art, costume, VR and film are the tools PARKER uses to implore us to travel through the hallways of her mind in Body of Work. From breaking up to dreaming big her work propels us on a journey that’s a poetic evaluation of liminality. In the waiting rooms of life, potentiality implores us to take a chance, to lament, to wander and to wonder– PARKER is our guide.

Using sound and vision to sculpt and disrupt space, each exhibition in the series reacts explicitly to the architecture in which it is held– no two visits are the same. Each show is incomplete without you, the audience, to participate in this Body of Work.

17 – 21 August 2022
11am – 4pm daily
Long Gallery

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Whilst the wearing of masks is not mandatory it is recommended in certain situations by Tasmanian Public Health.  Masks will be available upon entering the venue for those patrons who would like one.  

If you’re unwell, it is recommended that you stay at home, and we look forward to welcoming you at Salamanca Arts Centre another time.

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Tash Parker

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The Visual Artists

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The Muscians

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Behind the scenes
Creative support and development for exhibitions and performances

Salamanca Arts Centre presents

Eclectica Salamanca ~ a musical excursion to other times, other places

A Sunday afternoon concert series: Two bands: Japanese Punk + Afrikaya = the Rhythm of Dance

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7pm – 8pm
The Tokyo Punk Mona Music Ensemble [起爆]

Born of a Tokyo-Punk-inspired performance experience at Mona, The Tokyo Punk Mona Music Ensemble [起爆] is an absurdist, anarchist ensemble in which some of Tasmania’s most talented performers smash punk and Japanese influences into a riotous thing of beauty.

Bring your best pogo shoes and leather jacket.

Hayato Simpson – Synths, Drums, Violin.
Yyan Ng – Guitar, Drums, Flute Shakuhachi, Taiko Drums, Banjo, Vocals.
Risa Ray – Dance, Vocals.
Dominic Nguyen – Bass, Double Bass, Piano.
Eri Mullooly-Hill Konishi – Keys, Dance, Vocals
EAndy Page – Synths, Guitar

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8:30pm – 10pm
KING B-FINE and AFRIKAYA BAND

AFRIKAYA BAND

King B-Fine’s recent Afrikaya Band ensemble is a mix of eclectic Tassie musicians dedicated to delivering his upbeat Afro Beat sounds in the soulful Tassie fashion. Formed in early 2020, he and his new band have already released two locally recorded singles with music videos.

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All guests are reminded of the following entry requirements and to practice COVID Safe Behaviours including:

Full Vaccination required to attend this event
Check-In via the Check In Tas app
Sanitising hands upon entry
Maintain Physical Distancing (1.5m)
If you are feeling unwell, please do not attend (we will see you another time!)
If guests are not enjoying a beverage, guests must wear a face mask at all times.

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Eclectica Salamanca is supported by the City of Hobart through its Cultural Grants Program and by the Commonwealth Government’s Office of the Arts via the RISE Fund.

Salamanca Arts Centre presents

Eclectica Salamanca ~ a musical excursion to other times, other places

A Sunday afternoon concert series: three duos perform songs with & w/out words.

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2pm – 2:50pm
The voice and the guitar

Quin Thomson – Vocals
David Malone – Guitar

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3pm – 3:50pm
Bohuslav Martinu Duo No. 1 H.157 for violin and ‘cello
Zoltan Kodaly Duo for violin and ‘cello Op. 7|

Peter Tanfield – Violin
Martin Penicka – ‘cello

Composed in 1914, this great work had to wait until 1918 for its first performance. Conceived at the height of Kodaly’s research into and collection of Hungarian and Eastern European folk music – predominantly simple song, without the complex adornment so frequently heard in Gypsy renditions – with his then great friend and colleague Bela Bartok, the music is rich with Hungarian melody and idiom. Kodaly loved dialogue, and he uses the two instruments in elaborate conversation and exchange to achieve a big scale of structure and form. The work is rich with contrast and colour, demanding much of both instrumentalists.

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4pm – 4:50pm
Klezmer Music

Rachel Meyers – Violin
Dave McNamara – Accordion

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All guests are reminded of the following entry requirements and to practice COVID Safe Behaviours including:

Full Vaccination required to attend this event
Check-In via the Check In Tas app
Sanitising hands upon entry
Maintain Physical Distancing (1.5m)
If you are feeling unwell, please do not attend (we will see you another time!)
If guests are not enjoying a beverage, guests must wear a face mask at all times.

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Eclectica Salamanca is supported by the City of Hobart through its Cultural Grants Program and by the Commonwealth Government’s Office of the Arts via the RISE Fund.

Salamanca Arts Centre presents

Eclectica Salamanca ~ a musical excursion to other times, other places

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‘Le Chat Noir Quintette’ will present a variety of Parisian vintage swing and early European jazz from the 1910s to the 1930s in the style of the Hot Club of France, with music by composers such as Henri Crolla, Django Rienhardt, Stephane Grappelli, Romane, Ion Ivanovici, Vincent Rose, Joe Myrow, Irving Berlin, Juan Tizol, Matelo Ferret, Harry Akst, Fats Waller and Toni Murena to name a few.  This music has been curated to reflect the street and cafe/bistro sounds of Montmartre (Paris) during the ‘Belle Epoque’ (Beautiful Era). This was a period characterised by optimism, regional peace, economic prosperity and technological, scientific, and cultural innovations. In this era, France’s cultural and artistic climate flourished, with numerous masterpieces of literature, music, theatre, and visual art gaining extensive recognition.

This is the music that Monet, Renoir, Degas, Picasso, and Van Gogh listened to when they were out and about on their evening adventures. One of their favourite venues was the Chat Noir, the bohemian music bar where patrons sat at tables and drank alcoholic beverages while being entertained.

Charlie McCarth – Violin
Isaac Gee – Double Bass 
Rohan Sharma – Melodica
David Squires – Manouche Guitar
Felicity Lovett – Manouche Guitar

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All guests are reminded of the following entry requirements and to practice COVID Safe Behaviours including:

Full Vaccination required to attend this event
Check-In via the Check In Tas app
Sanitising hands upon entry
Maintain Physical Distancing (1.5m)
If you are feeling unwell, please do not attend (we will see you another time!)
If guests are not enjoying a beverage, guests must wear a face mask at all times.

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Eclectica Salamanca is supported by the City of Hobart through its Cultural Grants Program and by the Commonwealth Government’s Office of the Arts via the RISE Fund.

For its debut performance, the Alf Jackson Quintet will be performing a spectrum of music from composer and multi-instrumentalist, Ornette Coleman and his collaborators for Jazzamanca.

Coleman’s music is unparalleled. The vectors of Ornette’s lexicon, suspends preconceptions of music and is heard in his “fierce love with an outlaw music that he could hear but didn’t quite yet know how and with whom to play.”
It is heard in his exploration of the plastic saxophone, in the sound of Denardo Coleman (Ornette’s son) on the 1969 album, and in the anecdotes of Coleman bewildering punters and musicians alike during the height of the Bebop era.

The Alf Jackson Quintet takes Ornette’s approach as a provocation towards old and new dreams and attempts to attune to the many registers of Ornette’s playing, compositions and historical resonance.

Jon Smeathers – alto saxophone
Julius Schwing – guitars
Hamish Houston – double bass
Dom Nguyen – double bass
Alf Jackson – drums

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All guests are reminded of the following entry requirements and to practice COVID Safe Behaviours including:

Full Vaccination required to attend this event
Check-In via the Check In Tas app
Sanitising hands upon entry
Maintain Physical Distancing (1.5m)
If you are feeling unwell, please do not attend (we will see you another time!)
If guests are not enjoying a beverage, guests must wear a face mask at all times.

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Salamanca Arts Centre’s Live Music Program is supported by the Commonwealth Government’s Office of the Arts via the RISE Fund.

A painterly surface with the echoing motif of the bottle.

This work talks directly to Jake Walker’s exhibition Grog, which was held in Kelly’s Garden and which is part of our curated OPEN SKY / Kelly’s Garden Program.

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Thursday 20 January- Sunday 27 March 2022
This exhibition is part of the OPEN SKY / Kelly’s Garden 2022 program
Curated by Ainslie Macaulay

Closing Event
23 March 2022
5.30pm – 7pm

Jake Walker will present a group of ambiguous ceramic objects, alluding to keys, paintings and alternate realities.

Grog: a granular material that has been crushed down from brick, refractory rock, or other pre-fired ceramic product and added to clay to give textures, reduce shrinkage during firing, help the clay to form uniformly and stop cracking and warping when being fired.

Grog; a strong alcoholic drink, originally rum , mixed with water

For all sales of work please contact Station: post@stationgallery.com.au

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An eclectic collection of fresh woodcuts, sketches and mosaics
by Jon Kudelka and Margaret Kudelka

May or may not cause howling at the moon.

A story of sex and society, as told by the self portrait paintings
of Malachi Quinn.

“Sex is the unspoken god of society. Sex, gender identity and sexuality dictate both the social realm, and individual conscious experience in numerous ways. Explicitly there is the overtly outdated gender roles, but on a more subtle level there is a philosophical assumption underlying traditional views on sex and gender: that people are their bodies. This argument posits that mind and the body are one (as opposed to dualism: mind with a body) by extension no different than an animal or a complex biological computer. There is no soul, no free will, rather we are machinery fulfilling out the urge to procreate until we die.

Problematic. Treating people as merely their bodies is an argument long used to justify discrimination. For social change to occur across the board we must change the underlying philosophy and begin to see people as beings rather than bodies. If we see a person, a being, we look past labels and connect authentically. Discrimination becomes a foolish concept because fundamentally we are all the same.

​This exhibition features two years’ worth of self-portraiture, and a life time of self-exploration and philosophical inquiry into the nature of identity and existence. It began as a documentation of change over time and turned into an immortalisation of aspects of myself. In the paintings I depict myself nude in various settings. Clothing is a label: man, woman, rich, poor, formal or casual, when taking away this label we see the being as it truly is. Furthermore, the normalisation of nudity in non-sexualised settings perpetuates the notion that bodies in and of themselves are not sexual objects. Everyone has a body, and for some reason it has become a controversial thing to see or even discuss. We often only see nudity in sexual contexts, in porn, in sexualised music videos, in advertisements using sex for profit, this misappropriation of the human figure subconsciously internalizes the idea that the function of the body is limited to sex, and thus it becomes an object of shame and secrecy. To counter this, I paint myself enjoying beautiful moments, a sunset, an art session, a bubble bath, a walk, all non-sexualised depictions of nudity. In this raw and real way, I hope to be seen for who I am, a being, not a body.

This painting series reflects my own journey of realising I am more than my body. Initially inspired by the recognition of ones own mortality following grief, the paintings follow my own journey of gender confusion and exploration. I began to go by he/him pronouns as I felt they better reflected who I was on the inside. Eventually I came to understand is that it is never our physicality that defines who we are, and gender expression is no different: people are more than their bodies. This transformation of ideology and physicality is shown chronologically in my paintings, with the 2020 works featuring my feminine side, cartoon, colourful with a cute style, which gradually become more fluid, dark and abstract, culminating in the 2021’s emotive expression of masculine figures.

​The paintings are filled with symbology which I have created to tell a more nuanced story. Each painting is a chapter, and the exhibition is the book. The images are the words and the symbols provide the key to reading them. The presence of the armour costumes and sculptures is to create a sharp contrast to the 2D nudity, as reminder that in theory it easy to think we are our authentic selves in the privacy of our own minds, but in the 3D world, the pressures of society have us guarded. The juxtaposition between 2D nudes and 3D armour is to illustrate this difference between who we are to ourselves, vs what costumes (or what ‘face’) we wear into the world and share with others. It is my hope that beginning to see people as beings, rather than bodies, will mitigate the need for such defences. The world I hope to see built is open and encouraging of expression and diversity. I believe this world begins with a subtle but powerful shift in perspective: recognising oneself and others as more than their bodies.

​Treating people as more than their bodies is a call to celebrate diversity and encourage open exploration of these ideologies. As sex and sexuality is such a fundamental facet of the human experience, squishing it into acceptable categories and punishing any deviation is not the way forward. Instead, we should celebrate all expressions of ourselves, accept others and aim to see people for who they truly are. Human beings are capable of so much more than fulfilling labels. Humans are beautiful and our bodies are not label makers. Fundamentally, we are so much more than our bodies. Lets celebrate ourselves and each other as human beings.”
– Malachi Quinn