Event Type: Exhibitions

This event is part of Winter Light 2022 and the Australian Antarctic Festival 2022 and is presented by Salamanca Arts Centre

11 – 28 August 2022
Tuesday – Sunday
11am – 4pm

Last Dance Orange Roughy depicts the final Australian voyage of the RSV Aurora Australis to the Antarctic continent. The Aurora Australis has been carrying expeditioners and resupply to Antarctica for over 30 years. This final voyage was special in many ways. It departed with COVID-19 just a whisper and returned to a fundamentally changed world. The extra protocols instituted on the ship in response to COVID-19 reinforced the interdependency and collaborative actions of such a tightly knit microcosm, already essential for survival in Antarctica, but with a renewed sense of urgency in the emerging emergency. At that time Antarctica became the last COVID-19 free continent and we had a duty to preserve that status.

Using laser and photogrammetry scans and ambisonic sound recordings of the ship, crew and expeditioners, Last Dance Orange Roughy  presents a virtual experience depicting the intricate choreography of ship and expeditioners. Using an artistic rendering of the ship along with choreographed impressions of the crew and expeditioners, Last Dance Orange Roughy portrays the final voyage as an intricate dance sustaining life.

Last Dance Orange Roughy is an immersive visual and sonic feast of three-dimensional environments and spatial sound visualising and sonifying the last grand Antarctic dance of the Aurora Australis, crew and expeditioners. John McCormick and Adam Nash (Wild System) were the 2020 Australian Antarctic Arts Fellows on the final Australian voyage of the icebreaker Aurora Australis to the Antarctic continent. 

Antarctic Art Fellows: John McCormick, Adam Nash
3D Artists: Casey Richardson, Casey Dalbo
Choreography: Kim Vincs, John McCormick
Dancers: Valentina Dillon, Wendy Feng
Ambisonic Sound: Adam Nash
Antarctic Arts Program: Sachie Yasuda, Tiffany Brooks
Drone Filming: Simon Payne, John McCormick
3D Stereo development: Joshua Reason
Ambisonic sound consultant: Simon Maisch

John and Adam would like to extend their thanks to all the crew and expeditioners aboard the final voyage of the RSV Aurora Australis to the Antarctic Continent.

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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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Artists

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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

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.

Consisting of paintings and a musical composition, Notation by Hann Pärssinen
is a loosely woven abstract diary of contemplation and dialogue with loved ones over a period of 5 years.

The paintings are figurative. Oil on canvas and timber.

when the world feels it has ended the equator is in prayer

with love

grief

continue

still like trees, living

under the one sun

The works have been a language in the dialogue with family, before and after the death of a parent in 2021.

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