Event Type: Salamanca Arts Curated

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

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

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

King B-Fine 

Afrikaya’s unique & lively Rastafarian front man. King lives by the Rastafarian philosophy & the tradition of honouring that everyone is born royal. Originally from war torn Sierra Leone, King B-Fine now calls Australia home and resides in West Hobart with his Tasmanian wife & young family. King B-Fine’s passion for performing started early, his musical influences include the legends of reggae & afro beat such as Marley, Tosh & Fela Kuti. King’s musical achievements are impressive, as is his list of musical awards. He has toured Europe, shared the stage with international reggae musicians, headlined an Australian music festival in Qld and was an Australia Day Award Finalist in Sydney.

What is equally impressive is that King composes and produces his own music under his labels, Fine Records & Royal Movement Records. He has released numerous albums and singles with accompanying music videos.

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.

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.

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.

2pm – 2:50pm
The voice and the guitar

Quin Thomson – Vocals
David Malone – Guitar

Quin Thomson and David Malone

Quin Thomson and David Malone

 Members of the early and modern music group Sequenza, and have come together for a duo concert to explore some of the rich repertoire of music for voice and guitar. It is an alluring combination; a pairing that is centuries old and perfectly matched today. Quin and David will bring together seguidillas from Spain by Fernando Sor, lieder by Brahms, and music from South America by Villa-Lobos and Jorge Morel. A highlight of this concert will be the premiere of a new work by Maria Grenfell who has been commissioned to compose a piece for voice and guitar to celebrate Gustav Weindorfer, whose vision established the Cradle Mountain wilderness area as a national park.

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.

Peter Tanfield 

Born in England in 1961 and started the violin aged four. He studied in Germany, Israel, Switzerland and Holland where his teachers were Igor Ozim, Felix Andrievski, Alberto Lysy, Herman Krebbers and Yehudi Menuhin. He was a prize-winner at The Carl Flesch International Competition, International Mozart Competition, International Bach Competition amongst others. As soloist and chamber musician he has played throughout Europe, China, Japan, India, Canada, the Middle East, Africa, USA, and USSR. He has recorded numerous solo and chamber works for television and radio as well as CD. He has played for Chairman Deng in China and the Sultan of Oman. As soloist he has appeared with many major orchestras; the Philharmonia, City of London Sinfonia, Scottish Chamber Orchestra, West German Radio Orchestra, Radio Symphony Orchestra of the RAI in Rome. As concertmaster, he has had extensive experience working with BBC Philharmonic, RSO RAI Roma, West German Radio Orchestra, London Sinfonietta, Scottish Chamber Orchestra.

Martin Penicka 

TitleMartin Penicka studied with Lois Simpson and Julian Smiles at the Australian Institute of Music. He graduated in 2002 with the degree of Bachelor of Music (Performance) with first class honours. During his studies, he played in many chamber ensembles, most notably with the award-winning Con Brio Trio. In 1999 Martin took part in a tour to the USA organised by the Performing Arts Unit to complement the Art Express exhibition in the Corcoran Gallery, Washington DC. A solo artist in the Symphony Australia Conducting Program in 2001, Martin has been a casual member of the Sydney, Melbourne and WA Symphony Orchestras. He was a semi-finalist in the 2004 Symphony Australia Young Performers Awards and the 2MBS FM Young Performers Award. Martin has been an ANAM Academy Musician at the Australian National Academy of Music. In 2006 and 2007 he was involved in the Sydney Symphony fellowship program. Martin joined the TSO in August 2008 and regularly plays in chamber music ensembles around Tasmania including the newly formed baroque ensemble Van Diemen’s Band. He has appeared on several ABC classic FM Sunday Live Broadcasts.

4pm – 4:50pm
Klezmer Music

Rachel Meyers – Violin
Dave McNamara – Accordion

Rachel Meyers & Dave McNamara

Rachel Meyers and Dave McNamara have been playing klezmer music for more than 20 years. Rachel’s violin playing draws out unimaginable emotion from this music of the Jewish people of Eastern Europe. Ably supported by Dave, on accordion, Rachel will be taking the audience on a journey through klezmer dances and songs, with and without words.

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.

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

‘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

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.

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

Alf Jackson

Is a musician from Hobart, who began his studies in percussion at the age of ten. At the age of 12 Alf gained third place in Drumtek Australia’s Best Up & Coming Junior Drummer Competition. Since then Alf’s drumming has resulted in collaborations with Julius Schwing, Branford Marsalis, Tom Vincent, Brian Ritchie, Peter Knight (Australian Art Orchestra), Paul Capsis, Ava Mendoza, Sam Anning and Julien Wilson – to name but a few. These engagements have varied from album recordings to national & international tours and to television & radio appearances. In 2010 Alf was awarded first place in Young Jazz Players Competition at the Clarence Jazz Festival. Other festivals performances include MONA FOMA, Dark MOFO, Devonport Jazz Festival, Ten Days on the Island, Festival of Voices, Mornington Peninsular Music Festival and Falls Festival. In 2020 Alf was accepted into BANFF contemporary music intensive with a full scholarship which was cancelled due to Covid-19.

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.

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.

Jake Walker | Genevieve Griffiths

Jake Walker

Jake Walker was born in New Zealand and moved to Australia in 2000. His practice is inextricably linked to the natural and cultural landscapes of New Zealand. Walker admits that as a child he ‘didn’t really know there were too many other kinds of painting’ aside from landscapes. His works are constantly shifting and revisited after some time, with chance and instinct at the core of his working practice. Sometimes this results in works of ‘weightlessness of accident and incident.’ Exploring themes of modernist architecture and abstract perspectives, Walker’s free and loose sense of play embraces material forms. Walker sees paintings as objects, not flat two-dimensional images. This openness to experimental processes has led to a series of works using clay- painterly forms and stoneware frames that lead from one thing, to another.

He is represented by Station (Melbourne), Gallery 9 (Sydney), Hamish McKay Gallery (Wellington NZ), Ivan Anthony (Auckland) and Dutton (NYC).

A large ceramic pot sits on a beige gravel surface with green foliage behind it. The bottle is mostly dark blue in colour with flashes of red, white and orange. There are star shapes cut out of the ceramic bottle shape.

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

Photos: Jesse Hunniford
Photo: Jesse Hunnifrod
Jake Walker | Genevieve Griffiths

Jake Walker

Jake Walker was born in New Zealand and moved to Australia in 2000. His practice is inextricably linked to the natural and cultural landscapes of New Zealand. Walker admits that as a child he ‘didn’t really know there were too many other kinds of painting’ aside from landscapes. His works are constantly shifting and revisited after some time, with chance and instinct at the core of his working practice. Sometimes this results in works of ‘weightlessness of accident and incident.’ Exploring themes of modernist architecture and abstract perspectives, Walker’s free and loose sense of play embraces material forms. Walker sees paintings as objects, not flat two-dimensional images. This openness to experimental processes has led to a series of works using clay- painterly forms and stoneware frames that lead from one thing, to another.

He is represented by Station (Melbourne), Gallery 9 (Sydney), Hamish McKay Gallery (Wellington NZ), Ivan Anthony (Auckland) and Dutton (NYC).

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.

Malachi Quinn. Bubble (2020). Oil pastel on black paper. 29 x 42 cm.

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