Despard Gallery: Wayne Brookes, All That Glitters is not Gold!

Steven Joyce Director Despard Gallery
05.05.16 5:08 am






Opened by Dr Megan Keating, Head of Painting,

Tasmanian College of the Arts



View the exhibition in the gallery between

11th MAY - 5th JUNE 2016


View the exhibition online:HERE

Level One
15 Castray Esplanade

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New Artistic Director outlines exciting new direction for Tasdance

04.05.16 10:24 am


Tasdance’s new artistic director, Felicity Bott, commenced in the role late in 2015 and is now poised, ready to launch a new era for the company.  The months ahead will be a busy and exciting time for Tasdance, as Felicity delivers their upcoming season evolve : revolve, a new experimental piece for Dark Mofo, and pilots a new education programme, Flash Card Dance.

Felicity is excited about being in dance at this point in history. She says “The 21st century has ushered in a wide range of technologies and networking practices that contemporary dance artists have only just begun to explore. What really excites me about this is that the possibilities for connecting artists and audiences are front-and-centre in the making of much public performance these days”. 

“Tasdance will be a vital conduit for these connections in coming years and a vibrant portal for the production and delivery of new work for our state: taking brave new works out and bringing brave new works in, engaging and thrilling audiences every step of the way.”

“evolve : revolve and Hal’cyon are two prime examples of this potent dance exchange, they ensure that Tasmanian cultural values are broadcast within and beyond the island, whilst also bringing others’ perspectives and artistry to Tasmania.”

evolve : revolve features two new works by important Australian choreographers and clearly marks the beginning of a significant new ‘spin of the wheel’ for Tasdance. Felicity considers that this exciting season was perfectly themed by the former director Annie Grieg before her departure late in 2015; “the evolve : revolve main stage seasons in both Launceston and Hobart take Tasdance’s commitment to contemporary dance excellence forward, respecting the history of Tasdance and evolving it into the present.” she says.

Hal’cyon is Tasdance’s first appearance in Dark Mofo. The work itself is a new direction for Tasdance, something Felicity brings from her own practice, but she is excited to embrace Tasdance history within the work. Maggie James, a former dancer, educator, and Tasdance Chairperson, is the subject of the visual imagery of the piece. Felicity says, Maggie’s presence at the inception of this work helps ground it to the history and culture of Tasdance.”

Another priority for Felicity is continuing Tasdance’s 35-year commitment to dance education. “Tasdance was founded on valuing and developing expert knowledge about ways in which children and young people learn about dance aesthetics and participate in physical expression and I intend for Tasdance to continue to be a national leader in this field.”

Mid-2016 will see the pilot of Flash Card Dance, a multi-year proposal that weaves a dynamic performance research thread through dance education practice. Modeled on traditional scholastic ‘flash cards’, this simple education resource is about ‘dance + reading’ with the word ‘reading’ being applied equally to literacy and interpretation. The cards are designed as an integrated set of visual stimuli with words, graphics and drawings. For 2016, the drawings have been commissioned from internationally celebrated Australian dance artist Antony Hamilton.

“My mother and her parents were teachers and it is in my blood want to know how best to trigger the imaginations of children and young people. Through Flash Card Dance, Tasdance will continue to be a part of making art that is connected to students’ lives. Building their skills and capacity is the only, only way forward to futures of sustained wellbeing. Education about dance resonates throughout the whole of a students’ education, building physical and creative confidence.”


Felicity Bott has dedicated almost 30 years to flinging her body and imagination around; as a director and programmer of works in professional and community settings; as a freelance choreographer; and a dance educator of students ranging from pre-school age through to tertiary students majoring in dance. She has a degree in English and Anthropology from the University of WA. Following four years at the helm of of STEPS Youth Dance Company 2000–2003, Felicity was the Artistic Director of Buzz Dance Theatre from late 2003 to mid 2009. Several national nominations and awards including a Helpmann award and an Australian Dance Award for Outstanding Achievement in Dance Education evidence her art and advocacy. Felicity is a 2007/8 Churchill Fellow and in 2009 was the recipient of the prestigious Department of Culture and the Arts’ Creative Development Fellowship in Western Australia.  2013 - 2015, Felicity was appointed to the role of Director of Ausdance WA, a peak body providing leadership, support and advocacy for all forms of dance in Western Australia.  In January 2015, Felicity was selected for the Australia Council for the Arts’ Emerging Leaders Development Program in Sydney. She is profiled in both editions of Rachel Power’s Creativity & Motherhood: The Divided Heart, a series of interviews with successful female artist-mothers (2008 & 2015).
Felicity is available for interview or photo opportunities on request. Images can also be provided. Contact Jane Forrest on 0439 862 363 or .(JavaScript must be enabled to view this email address) for further information.

Since 1981, Tasdance has embedded professional contemporary dance excellence in the cultural life of Tasmania as art form, career pathway and accessible cultural experience. A respected regional contemporary dance company with national and international reach, Tasdance collaborates to invent dance-for-our-times and to inspire the community to participate.


Launceston, Earl Arts Centre,
May 26, 27, 28 - 8:00pm, May 27 - 1:00pm (schools matinee)
Bookings: or 6323 3666
Ticket Prices - Full $35, Concession $25

Hobart, Theatre Royal,
June 2, 3 - 8:00pm, June 3 - 1:00pm (schools matinee)
Bookings: or 6233 2299
Ticket prices: Full from $30, Concession $25.

Odeon Theatre, Hobart
20–21 June 2016, 4.45pm–7.40am (sunset to sunrise)

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Dark Mofo
03.05.16 1:22 pm


Website HERE

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Devonport Regional Gallery
02.05.16 5:05 pm

June Wilson, Autumn walks, 2016, pastel

14 – 29 May, 2016
Opening Friday 13 May, 6 pm

Artists in Action: 22 May, 1–3.30 pm
Workshops: 17, 24 & 25 May, 6–8 pm

Devonport Regional Gallery presents the 26th annual North West Art Circle (NWAC) exhibition in the Main Gallery from 14th to 29th May, 2016. The NWAC is a group of close to 60 artists based on the North West of Tasmania that provides opportunities for local artists to promote and further develop their artistic practice.

The NWAC exhibition has developed over the years becoming a well attended and popular community event, allowing exposure and recognition of local artists and their work. Well known and emerging artists exhibit works in oil, watercolour, pastel, acrylic, drawing and sculptural forms. This year’s judges are local North West artists Lisa Garland and Brett Steer. The winning works will be presented at the exhibition opening on Friday 13 May.

A series of programs and events run alongside the exhibition, which includes workshops in watercolour, acrylic paint and drawing and artist demonstrations. The popular Artists in Action will take place on Sunday 22 May, with NWAC artists Deborah Conroy, Sandra Henderson, Dianne Beveridge and Christine Earthrowl demonstrating their artistic processes and practices to Gallery visitors. Artists are also available to answer questions about their practice.

NWAC artists Margaret Coombes, Deborah Conroy and June Wilson will present workshops in various media. People are encouraged to book in advance as places fill quickly.

Watercolour Landscapes (intermediate)  //  Tuesday 17 May, 6–8 pm
Margaret Coombes presents an intermediate watercolour workshop for participants to extend their practice, exploring paint consistency, colour mixing and wet into wet techniques. Participants will work towards completing a landscape painting within the two hour workshop.

Margaret is an experienced watercolour artist who has been producing, exhibiting and selling work for the past 20 years.

Brush Strokes and Blooms (beginner) //  Tuesday 24 May, 6–8 pm
Deborah Conroy will take participants through the various stages in creating a painting with acrylic on canvas inspired by our natural treasures.

Drawing with Charcoal (all levels) //  Wednesday 25 May, 6–8 pm
June Wilson will lead participants in a still life drawing class using charcoal and erasers. Participants will improve your observation skills and learn new drawing techniques working with limited materials.

June Wilson is a pastel artist whose focus is on conveying a sense of beauty, time and place through the exploration of light and colour in her work. She has been a member of the North West Art Circle since 2002.

Bookings essential: 6424 8296 or .(JavaScript must be enabled to view this email address)

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Devonport Regional Gallery ... last week to see Katherine Hattam ...

Devonport Regional Gallery
02.05.16 7:08 am


Read more HERE

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Devonport Regional Gallery: City of Devonport National Art Award

Devonport Regional Gallery
30.04.16 10:22 am


Read more HERE

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Theatre Royal Backspace: Wheeler’s luck

Paula Xiberras
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

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Moonah Arts Centre: How To Hold Your Breath, Pay What You Want ...

Katie Robertson, Marketing and PR Manager, Loud Mouth Theatre Company
28.04.16 7:15 pm




By Zinnie Harris


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.


“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


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 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 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



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.



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Theatre Royal: What’s On ...

Theatre Royal
28.04.16 4:52 pm


Learn everything you need to know, HERE

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Grand Poobah, Fresh on Charles: Tinpan Orange

Paula Xiberras
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.

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Moonah Arts Centre, Thursday April 28, 6pm: On Albatross Island

Kylie Eastley, Glenorchy City Council
28.04.16 4:55 am


Thursday April 28, 6pm ...

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Devonport Regional Gallery: May upcoming workshops and events

Devonport Regional Gallery
27.04.16 7:25 am


Read more HERE

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Emma Wiking
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. 


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 *


# The Bennies Only
* The Bennies & Axe Girl only

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Kate’s uncluttered Creativity

Paula Xiberras
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.

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Cressy, Granton, Ranelagh: Four TSO string players will bring you two quartets

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.

String Quartet

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 for further details.

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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




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Dean of Drama at Haunted Heights

Paula Xiberras
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

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Triabunna: The Man Who Was Drowned

Robert Thompson
21.04.16 6:41 am



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.

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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

Tickets $5,-

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.

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:

Level One
15 Castray Esplanade
.(JavaScript must be enabled to view this email address)

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Gormanston Rd, Moonah: Packing Shed, new omnibus performing arts event

Alan Whykes
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.

Food and bar available. Entry by donation. Doors open 7pm, performances from 7.30. Get there early and register for the open mic. Any enquiries about the evening, please contact MC Alan Whykes via .(JavaScript must be enabled to view this email address).

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.

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5000 Poppies Project - Chelsea Garden Show Vista of Respect

Carolyn McDowall, Muse News, The Culture Concept Circle
20.04.16 12:12 pm


Read more HERE

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Entrants encouraged to be bold and brave ahead of 2016 RACT Insurance Tasmanian Portraiture Prize

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 like the RACT Insurance TPP page on Facebook.

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Long Gallery: Gaze ...

18.04.16 11:39 am

Binalong Bay



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.

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Devonport Regional Gallery ... Katherine Hattam and Jessie Pangas

Ellie Ray, Dianne Sheehan
18.04.16 9:08 am

Katherine Hattam, The doctor’s dilemma 2007

Deakin University Touring Exhibition

DATE & TIME: Opening Friday 18 March 6pm. Exhibition runs until Sunday 8 May
ARTIST TALK: 4:30pm, 18 March
COST: free

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.

RSVP to opening ESSENTIAL: (03) 6424 8296 or .(JavaScript must be enabled to view this email address)

• Jessie Pangas: TRANSform

DATE & TIME: Opening Friday 18 March 6pm. Exhibition runs until Saturday 16 April
COST: free

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.
RSVP to opening ESSENTIAL: (03) 6424 8296 or .(JavaScript must be enabled to view this email address)

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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.

Read more HERE

Gadfly (Richard Ackland) The Saturday Paper:  Grand Theft Otto ...

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.

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Art From Trash: Entries close May 2

Lucinda Toynbee Wilson
15.04.16 6:05 pm



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.


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.


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
community engagement.

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

Re-use Arts
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.

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Hobart Town Hall, May 1, 2.30pm: God is Gone Up ...

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

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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.

Visit for further information and to download the application form, or contact the Gallery on 6424 8296 or .(JavaScript must be enabled to view this email address)
E. .(JavaScript must be enabled to view this email address) P. 6424 8296

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Ellie Ray, Dianne Sheehan, Devonport Regional Art Gallery
13.04.16 3:36 pm

Karin Chan, Far away I came, 2016, Giclée print   


DATE & TIME: Opening SUNDAY 17 APRIL. Exhibition runs until Sunday 8 May
COST: free

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.

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Troubadour Tommy

Paula Xiberras
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:





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