Museum of Old and New Art
The Museum of Old and New Art is an art museum located within the Moorilla winery on the Berriedale peninsula in Hobart, Australia. It is the largest funded museum in the Southern Hemisphere. MONA houses ancient and contemporary art from the David Walsh collection. Noted for its central themes of sex and death, the museum has been described by Walsh as a "subversive adult Disneyland."MONA was opened on 21 January 2011. Along with its updated indoor collection, MONA hosts the annual MOFO and Dark MOFO music and arts festivals which showcase large-scale public art and live performances; the precursor to MONA, the Moorilla Museum of Antiquities, was founded in 2001 by Tasmanian millionaire David Walsh. It closed on 20 May 2006 to undergo $75 million renovations; the new museum was opened on 21 January 2011, coinciding with the third MOFO festival. The afternoon opening party was attended by 1,350 invited guests. 2,500 members of the public were selected by random ballot for the evening event which included performances by The DC3, True Live, The Scientists of Modern Music, Wire and The Cruel Sea.
The single-storey MONA building appears at street level to be dominated by its surroundings, but its interior possesses a spiral staircase that leads down to three larger levels of labyrinthine display spaces built into the side of the cliffs around Berriedale peninsula. The decision to build it underground was taken, according to Walsh, to preserve the heritage setting of the two Roy Grounds houses on the property. Walsh has said that he wanted a building that "could sneak up on visitors rather than broadcast its presence...'a sense of danger' that would enliven the experience of viewing art". Most visitors approach by ferry up the River Derwent. There are no windows and the atmosphere is intentionally ominous. On entering the museum, visitors descend a "seemingly endless flight of stairs", an experience one critic compared with "going down into Petra". To see the art, the visitor must work back upwards towards the surface, a trajectory, contrasted with the descending spiral that many visitors follow in New York's Guggenheim Museum.
Katsalidis's architecture for the museum has been praised as not only fulfilling its function as a showcase for a collection, but succeeding as it "extends and magnifies into an experience... There is a sense that the work, the lighting, the space and the materiality have been choreographed with subtlety and skill into a singular if hugely idiosyncratic whole." Operational costs of A$8 million per annum are underpinned by the winery, brewery and hotel on the same site. In May 2011, it was announced that the museum would end its policy of free entry and introduce an entry fee to interstate and overseas visitors while remaining free for Tasmanians. MONA offers an unusual membership program called "Eternity Membership", which not only includes lifetime free admission but notably earns members the right to be cremated and their remains housed in the MONA Cemetery; the museum houses over 1,900 artistic works from David Walsh's private collection. Notable works in its inaugural exhibition, included Australia's largest modernist artwork, Sidney Nolan's Snake mural, displayed publicly for the first time in Australia.
The collection was valued in 2011 at more than $100 million. The curators of MONA are Nicole Durling for Australian contemporary art and Olivier Varenne for international modern and contemporary art; the artworks on display are without museum labels. Instead, visitors are given the option of using free headphones and an iPod-like device called the'O', which has an in-built GPS that senses where its holder is located and displays information about artworks nearby. Users of the O can select different interpretations of any given piece:'Summary'. Walsh commissioned Damian Cowell, frontman of satirical Melbourne band TISM, to write and record songs about certain works for the O device, they were released as Vs Art, with MONA's 2010 book Monanisms. Michael Connor of the conservative literary and cultural magazine Quadrant said that "MONA is the art of the exhausted, of a decaying civilisation. Display lights and taste and stunning effects illuminate moral bankruptcy. What is highlighted melds with contemporary high fashion, architecture, cinema.
It is expensive and tense decay."Richard Dorment, art critic for the UK newspaper The Daily Telegraph, said that Walsh "doesn't collect famous names. He likes art, fun and grabs your attention, that packs a sting in the tail or a punch in the solar plexus." MONA hosts the annual outdoor MONA FOMA music festival in summer, its wintertime counterpart, Dark MOFO, with extensive public art exhibitions amid a fairground setting of food and drink, live music and entertainment. Past headliners at MONA FOMA include Nick Cave and the Bad Seeds, John Cale, Godspeed You! Black Emperor, Swans, PJ Harvey and David Byrne, while Dark MOFO line-ups have featured musical acts such as Einstürzende Neubauten, Sunn O))), Laurie Anderson, Ulver and Merzbow. In 2012, Lonely Planet ranked Hobart as one
Sydney Conservatorium of Music
The Sydney Conservatorium of Music is a heritage-listed music school in Macquarie Street, New South Wales, Australia. It is one of the most prestigious music schools in Australia. Located adjacent to the Royal Botanic Gardens on the eastern fringe of the Sydney central business district, the Conservatorium is a faculty of the University of Sydney, incorporates the community-based Conservatorium Open Academy and the Conservatorium High School. In addition to its secondary, post-graduate and community education teaching and learning functions, the Conservatorium undertakes research in various fields of music; the building was added to the New South Wales State Heritage Register on 14 January 2011. The land belonged to the Aboriginal people who lived around Sydney coast called the "Eora", they lived off the land by relying on its natural resources including the rich plants, birds and marine life surrounding the Harbour within what is now the City of Sydney local government area the traditional owners are the Cadigal and Wangal bands of the "Eora".
There is no written record of the name of their language spoken and there are debates as to whether these people spoke a separate language or a dialect of the Dharug language. Governor Arthur Phillip arrived in 1788 with a pre-fabricated building, assembled as his Government House, now on the current site of the Museum of Sydney and under Bridge Street. In its varied additions and permutations, it survived as the Sydney residence of the Governor until completion of the new Government House. Governor Lachlan Macquarie took control of the colony in 1810 using that building as his Sydney residence. On 18 March 1816, he reported that he had postponed any changes to convert Sydney Government House into adequate accommodation, he noted the poor condition of the building saying that "All the Offices, exclusive of being in a decayed and rotten State, are ill Constructed in regard to Plan and on Much too Small a Scale. No private Gentleman ion the Colony is so Very ill Accommodated with Offices as I am at this Moment, Not having Sufficient Room in the to lodge a Very Small Establishment of Servants.
He noted that he wished to erect a new Government House and Offices in the Domain as soon as the Barracks was complete at the expense of the Police Fund. Bathurst soon responded writing on 30 January 1817 that he needed to see a plan and estimate of costs before he could approve the erection. In 1817, Macquarie resumed the sites of a mill on the proposed site. On 4 July 1817, he instructed former convict, Francis Greenway to prepare plans of offices and stables. Work commenced on the stables on 9 August 1817. Macquarie replied to Bathurst on 12 December that he was disappointed with the lack of approval but claimed that no construction had commenced due to heavy rains. Macquarie laid the foundation stone for the stables on 16 December 1817. Though Francis Greenway was the designer, it was not his work. In December 1819, Greenway noted that Macquarie saw the elevation before work began but that Mrs Macquarie gave him details of the number of rooms needed so that he could make a suitable plan. By 1819, according to Greenway, the stables were planned though the barn in the range had become a stable.
It held 30 horses plus the stallions in the octagonal Towers. He estimated the cost of the stables to be £9,000. In a letter to the Australian of 28 April 1825, he identified Thornbury Castle as his model. A relative of Mrs Macquarie, Archibald Campbell had been a pioneer of the Gothic architectural style in the late eighteenth century when he erected Inveray Castle and it may have had a greater influence on the design by Greenway, yet on 7 February 1821, Major Druitt reported that Governor Macquarie had not liked the ornamentation of the towers and the rich Cornish around the battlements. It was not until 24 March 1819 that Macquarie informed the Colonial Office that he had commenced building the stables, in contravention of a firm order from Bathurst. "I had so long Suffered such great Inconvenience from the want of a Secure Stables for my Horses and decent sleeping places for my Servants, that I had been under the Necessity of building a regular Suite of Offices of this Description in a Situation Contiguous to and sufficiently Convenient for the present Old Government House, in one that will suit and New Government House that my Successors may he hereafter Authorised to Erect.
These Stables are built on a Commodious tho" not expensive Plan, I expect they will be Completed in about three Months hence.' Horses were prized possessions and valuable. They needed to be made secure from thieves. Early in 1819 Lt John Watts was sent from England with plans and estimates but these do not appear to have serviced. On 26 September 1819, Commissioner John Thomas Bigge arrived in the colony to report the effectiveness of transportation to NSW as a publishment for criminals, he was soon examining Macquarie's programme of public works and his policy of fostering former criminals to fill positions of authority. Bigge objected to the construction of the stables in October 19819 but noted that the work was so far advanced that to halt it would be a waste. An 1820bplan held at the Mitchell Library is not a construction plan, but seem to show it in its finished state, it depicted the towers as accommodation for servants, plus a dairy next to one of th
Ian Cugley was an Australian composer. He was born in Melbourne in 1945, he gained early prominence with two orchestral works, the Lake and Prelude for Orchestra, which were performed by the Sydney Symphony Orchestra in 1967 and subsequently recorded on EMI. His career after was less spectacular, he had a propensity for hiding away and concentrating on composition without seeming overly concerned with performance, he attended performances of his music unless they happened to be close at hand. He lectured in Music and Computing at the University of Tasmania for many years, including a period in charge of the small Music department there, was a percussionist with the Tasmanian Symphony Orchestra and the Melbourne Symphony Orchestra. During his time in Tasmania he wrote chamber music on commission for bodies or performers outside Tasmania. A notable exception is the Violin Concerto commissioned by the Tasmanian Conservatorium of Music for Jan Sedivka, soloist at the first performance in 1980. Cugley left Tasmania in the early 1980s to go to the United Kingdom and disappeared into the Dorset countryside, gaining a meagre income by selling his watercolour paintings, as a part-time lecturer in computing in Bournemouth and London.
Unable to work for many years because of illness, he broke his silence and returned to composing only in the last years of his life. Since he was forgotten in his own country, unknown in the UK, performances were few, he regarded this as an advantage, not only because he resented the work involved in preparing for performance as a distraction from composing itself, but because he was acutely shy and hated being present when his music was performed. He claimed to hear only the wrong notes. In 2010 he was working again on a set of symphonies first started in 1973, his stated ambition was to die before they were complete, to save all the fuss associated with performance. He died in November 2010, aged 65. Three Fragments for cello flute and piano Pan the Lake Prelude for orchestra Three pieces for chamber orchestra Aquarelles, four pieces for piano Chamber Symphony String Quartet No. 1 Nocturne for Two Guitars Miscellaneous Pieces in Imitation of The Fall of the Flowers Kinderspiel Gloria Tibi Trinitas Alma redemptoris mater for recorders, instrumental ensemble, Female choir This is the Truth sent from Above: for recorder, oboe and baritone Creation: contemporary dance Sea Changes: one-act opera Fanfare Three little pieces for clarinet and piano Little Suite for Brass Concerto for violin and orchestra Chaconne for orchestraCugley won the 2006 Accomplished Composer prize in the Notion Realize Music Challenge for Earth Ritual.
A realisation of the work made with Notion software is to be found on the competition web site. Ian Cugley official website
Nikola Tesla was a Serbian-American inventor, electrical engineer, mechanical engineer, futurist, best known for his contributions to the design of the modern alternating current electricity supply system. Born and raised in the Austrian Empire, Tesla received an advanced education in engineering and physics in the 1870s and gained practical experience in the early 1880s working in telephony and at Continental Edison in the new electric power industry, he emigrated in 1884 to the United States. He worked for a short time at the Edison Machine Works in New York City before he struck out on his own. With the help of partners to finance and market his ideas, Tesla set up laboratories and companies in New York to develop a range of electrical and mechanical devices, his alternating current induction motor and related polyphase AC patents, licensed by Westinghouse Electric in 1888, earned him a considerable amount of money and became the cornerstone of the polyphase system which that company would market.
Attempting to develop inventions he could patent and market, Tesla conducted a range of experiments with mechanical oscillators/generators, electrical discharge tubes, early X-ray imaging. He built a wireless-controlled boat, one of the first exhibited. Tesla became well known as an inventor and would demonstrate his achievements to celebrities and wealthy patrons at his lab, was noted for his showmanship at public lectures. Throughout the 1890s, Tesla pursued his ideas for wireless lighting and worldwide wireless electric power distribution in his high-voltage, high-frequency power experiments in New York and Colorado Springs. In 1893, he made pronouncements on the possibility of wireless communication with his devices. Tesla tried to put these ideas to practical use in his unfinished Wardenclyffe Tower project, an intercontinental wireless communication and power transmitter, but ran out of funding before he could complete it. After Wardenclyffe, Tesla experimented with a series of inventions in the 1910s and 1920s with varying degrees of success.
Having spent most of his money, Tesla lived in a series of New York hotels, leaving behind unpaid bills. He died in New York City in January 1943. Tesla's work fell into relative obscurity following his death, until 1960, when the General Conference on Weights and Measures named the SI unit of magnetic flux density the tesla in his honor. There has been a resurgence in popular interest in Tesla since the 1990s. Nikola Tesla was born an ethnic Serb in the village Smiljan, Lika county, in the Austrian Empire, on 10 July 1856, his father, Milutin Tesla, was an Eastern Orthodox priest. Tesla's mother, Đuka Tesla, whose father was an Orthodox priest, had a talent for making home craft tools and mechanical appliances and the ability to memorize Serbian epic poems. Đuka had never received a formal education. Tesla influence. Tesla's progenitors were near Montenegro. Tesla was the fourth of five children, he had three sisters, Milka and Marica, an older brother named Dane, killed in a horse riding accident when Tesla was aged five.
In 1861, Tesla attended primary school in Smiljan where he studied German and religion. In 1862, the Tesla family moved to the nearby Gospić, Lika where Tesla's father worked as parish priest. Nikola completed primary school, followed by middle school. In 1870, Tesla moved far north to Karlovac to attend high school at the Higher Real Gymnasium; the classes were held in German. Tesla would write that he became interested in demonstrations of electricity by his physics professor. Tesla noted that these demonstrations of this "mysterious phenomena" made him want "to know more of this wonderful force". Tesla was able to perform integral calculus in his head, which prompted his teachers to believe that he was cheating, he finished a four-year term in three years, graduating in 1873. In 1873, Tesla returned to Smiljan. Shortly after he arrived, he contracted cholera, was bedridden for nine months and was near death multiple times. Tesla's father, in a moment of despair, promised to send him to the best engineering school if he recovered from the illness.
In 1874, Tesla evaded conscription into the Austro-Hungarian Army in Smiljan by running away southeast of Lika to Tomingaj, near Gračac. There he explored the mountains wearing hunter's garb. Tesla said that this contact with nature made him stronger, both mentally, he read many books while in Tomingaj and said that Mark Twain's works had helped him to miraculously recover from his earlier illness. In 1875, Tesla enrolled at Austrian Polytechnic in Graz, Austria, on a Military Frontier scholarship. During his first year, Tesla never missed a lecture, earned the highest grades possible, passed nine exams, started a Serb cultural club, received a letter of commendation from the dean of the technical faculty to his father, which stated, "Your son is a star of first rank." During his second year, Tesla came into conflict with Professor Poeschl over the Gramme dynamo, when Tesla suggested that commutators were not necessary. Tesla claimed that he worked from 3 a.m. to 11 p.m. no Sundays or holidays excepted.
He was "mortified when father made light of hard won honors." After his father's death in 1879, Tesla found a package of letters from his professors to his father, warning that unless h
MONA FOMA is an annual music and arts festival held in January in Hobart, Australia, curated by Violent Femmes member Brian Ritchie. It is billed as Tasmania's largest contemporary music festival and showcases the work of artists in a broad range of art forms, including sound, dance, visual art and new media. A wintertime version of the festival, Dark MOFO, is held annually in June, its events are shown at nighttime. MONA FOMA was established in 2008 by the Museum of Old and New Art and the Salamanca Arts Centre; the first festival was headlined by Nick Cave and the Bad Seeds. In 2010, Ritchie initiated EAR program and John Cale became the festival's first EAR and the second festival headliner. Other musical acts to appear at the festival include Swans, PJ Harvey, Philip Glass, Godspeed You! Black Emperor, Peaches and Mike Patton. Dark MOFO is the winter version of the MONA FOMA festival. With many of its events taking place at night, it celebrates the darkness of the southern winter solstice and features many musical acts, large scale light installations and a winter feast.
Due to its pagan influence and darker themes, it has been aligned with the Tasmanian Gothic aesthetic in literature and art. The first Dark MOFO festival was held in 2013 and featured Ryoji Ikeda's 15-kilometre-high light installation Spectra, now a permanent fixture at MONA; the first year introduced the now annual nude solstice swim that sees over one thousand people dunk in the River Derwent at dawn on the shortest day of the year. The nude swim was banned by police, however the support of politicians and the general public ended with it proceeding and Hobart's mayor Damon Thomas taking part, it has been speculated that this was in fact part of a complicated bet by MONA owner David Walsh, who made his fortune gambling. Past Dark MOFO line-ups have featured musical acts such as Sunn O))), Laurie Anderson, Einstürzende Neubauten, Ulver and Merzbow; the event has courted controversy since its inception, interstate visitors have noted how different it is to health and safety-obsessed mainland festivals, with one writer calling Dark MOFO "the festival Sydney wouldn't allow."
During the inaugural festival, seven people were hospitalised after suffering seizures during Kurt Hentschlager's ZEE, a light installation described as "psychedelic architecture". The exhibit was shut down by the Hobart health authorities. In 2016, a series of artworks were taken down. 2017 saw animal rights activists protest Hermann Nitsch's 150. Action performance piece during which participants writhe in the entrails of a slaughtered bull; the controversy continued in 2018 with petitions from the Australian Christian Lobby and the local Coptic Bishop Anba Suriel calling for the removal of inverted crosses situated around Hobart. Official website 2011 Review - Beat Magazine
Constantine P. Cavafy
Constantine Peter Cavafy was an Egyptiot Greek poet and civil servant. His consciously individual style earned him a place among the most important figures not only in Greek poetry, but in Western poetry as well. Cavafy wrote 154 poems, while dozens more remained incomplete or in sketch form. During his lifetime, he refused to formally publish his work and preferred to share it through local newspapers and magazines, or print it out himself and give it away to anyone interested, his most important poems were written after his fortieth birthday, published two years after his death. Cavafy was born in 1863 in Alexandria, Egypt, to Greek parents, was baptized into the Greek Orthodox Church, his father's name was Πέτρος Ἰωάννης, Petros Ioannēs —hence the Petrou patronymic in his name— and his mother's Charicleia. His father was a prosperous importer-exporter who had lived in England in earlier years and acquired British nationality. After his father died in 1870, Cavafy and his family settled for a while in Liverpool.
In 1876, his family faced financial problems due to the Long Depression of 1873, so, by 1877, they had to move back to Alexandria. In 1882, disturbances in Alexandria caused the family to move again, though temporarily, to Constantinople; this was the year when a revolt broke out in Alexandria against the Anglo-French control of Egypt, thus precipitating the 1882 Anglo-Egyptian War. Alexandria was bombarded by a British fleet, the family apartment at Ramleh was burned. In 1885, Cavafy returned to Alexandria, his first work was as a journalist. He published his poetry from 1891 to 1904 in the form of broadsheets, only for his close friends. Any acclaim he was to receive came from within the Greek community of Alexandria. In 1903, he was introduced to mainland-Greek literary circles through a favourable review by Gregorios Xenopoulos, he received little recognition because his style differed markedly from the then-mainstream Greek poetry. It was only twenty years after the Greek defeat in the Greco-Turkish War, that a new generation of nihilist poets would find inspiration in Cavafy's work.
A biographical note written by Cavafy reads as follows: I am from Constantinople by descent, but I was born in Alexandria—at a house on Seriph Street. Subsequently I for a short period of time. I have lived in France. During my adolescence I lived over two years in Constantinople, it has been many years. My last employment was as a clerk at a government office under the Ministry of Public Works of Egypt. I know English, a little Italian, he died of cancer of the larynx on his 70th birthday. Since his death, Cavafy's reputation has grown, his poetry is taught in school in Greece and Cyprus, in universities around the world. E. M. Forster knew him and wrote a memoir of him, contained in his book Alexandria. Forster, Arnold J. Toynbee, T. S. Eliot were among the earliest promoters of Cavafy in the English-speaking world before the Second World War. In 1966, David Hockney made a series of prints to illustrate a selection of Cavafy's poems, including In the dull village. Cavafy was instrumental in the recognition of Greek poetry both at home and abroad.
His poems are concise but intimate evocations of real or literary figures and milieux that have played roles in Greek culture. Uncertainty about the future, sensual pleasures, the moral character and psychology of individuals, a fatalistic existential nostalgia are some of the defining themes. Besides his subjects, unconventional for the time, his poems exhibit a skilled and versatile craftsmanship, difficult to translate. Cavafy was a perfectionist, obsessively refining every single line of his poetry, his mature style was a free iambic form, free in the sense that verses rhyme and are from 10 to 17 syllables. In his poems, the presence of rhyme implies irony. Cavafy drew his themes from personal experience, along with a deep and wide knowledge of history of the Hellenistic era. Many of his poems are pseudo-historical, or historical, or but quirkily historical. One of Cavafy's most important works is his 1904 poem Waiting for the Barbarians; the poem begins by describing a city-state in decline, whose population and legislators are waiting for the arrival of the barbarians.
When night falls, the barbarians have not arrived. The poem ends: "What is to become of us without barbarians? Those people were a solution of a sort." In 1911, Cavafy wrote "Ithaca", inspired by the Homeric return journey of Odysseus to his home island, as depicted in the Odyssey. The poem's theme is that enjoyment of the journey of life, the increasing maturity of the soul as that journey continues, are all the traveler can ask for. To Homer, to the Greeks in general, not the island, but the idea of Ithaca is important. Life is a journey, everyone has to face difficulties like Odysseus, when he returned from Troy; when you reach Ithaca, you have gained so much experience from the voyage, that it is not important if you reached your goals. Ithaca cannot give you riches, but she gave you the beautiful jour
Matthew Ingvald Dewey is an Australian classical music composer and music producer. Matthew Dewey is an Australian composer and music producer who studied composition with Professor Douglas Knehans at the University of Tasmania and composition/theatrical design/singing with Greek-Australian composer/designer Constantine Koukias, his early years were spent training with the IHOS Music Theatre Laboratory in the creation of new musical-theatrical works, this early exposure led to a career that flourished at a young age. In 2003 he sang the bass role in the Australasian premiere of Hydrogen Jukebox by Philip Glass, he works in concert music and opera/music-theatre and has been involved in the premieres of more than 20 new works as a principal performer and singer, numerous other productions variously as composer, orchestrator and compositional assistant. He works as the Music Director for ABC Classic FM in Sydney. Symphony No. 1, for string orchestra. Commissioned by Damien Holloway. Premiered at the Hobart Town Hall, by the Hobart Chamber Orchestra, conducted by Edwin Paling 17 May 2008.
21'00" Symphony No. 2, ex Oceano, for symphony orchestra. Commissioned by Sue Anderson. Premiered by the Czech National Symphony Orchestra, conducted by Jan Kucera, 2013. 46'00" Orchestral Suite No. 1. Premiered by the Russian Philharmonic Orchestra, conducted by Alexey Osetrov, 2009. 16'30" Ecstatic Visions – double concerto for trumpet and clarinet. Premiered by James Morrison, Julian Bliss and the Queensland Symphony Orchestra, conducted by Johannes Fritzsch, at the Queensland Performing Arts Centre in July 2013. 24' 00" Dewey has worked with a wide variety of materials. The Buzz of the Sea 15 Years on Hold The Death of Chatterton The Priest's Passion; the latter premiered by the Sydney Children's Choir. His chamber works include two pieces written for the Seymour Group: A Dance on Five Claps and Voyage, the latter of, written for the Seymour Group in conjunction with the internationally renowned bass-clarinettist Harry Sparnaay. Dewey's First Symphony dealt with emotions surrounding the Port Arthur Massacre.
The symphony was inspired by Tasmanian playwright Tom Holloway's play Beyond the Neck. He has worked as a singer, premiering a number of roles and new works by Australian and International composers. International Arts Mentorship IHOS Music Theatre and Opera Young Artist Bursary Hobart City Council Don Kay Scholarship for Music Composition Matthew Dewey personal web-site ² Matthew Dewey profile at the Australian Music Centre IHOS Music Theatre and Opera