MOTION: Opening

MOTION: Opening

MOTION is a group exhibition exploring movement.
At the same time, the seasonal winds of October shift seeds of flowers and trees to create new life. Amongst an ever-moving world, our artists attempt to interpret motion through the process of creatio.

Sterolab

Jason Alexander

After selling out his last Australian tour, Jason Alexander is returning Down Under in February 2020 and he’s ready to reveal everything you have wanted to know about the hit series Seinfeld…..serenity now!!

Jason Alexander – The Master of His Domain is an evening of comedy, music and conversation with the award winning star of stage and screen where you, the audience get to determine what you want to know the most. Alexander will present a variety of topics for the audience to pick and choose from, culminating in behind the scenes story of his life and his brilliant career. Ask him anything!

In addition to his hit role on Seinfeld, he has appeared in five Broadway shows, has been nominated for six consecutive Primetime Emmy Awards, three Golden Globe Awards and appeared in hit films like Pretty Woman and Shallow Hal. He’s an actor, director, producer, writer, kids book author, award winning magician, semi-pro poker player and social/political activist. You’ll feel more inadequate than George Costanza once you’ve heard all the amazing things Jason Alexander has managed to achieve in his career.

The Village Festival

Since its inception in 2005, travelling community arts festival The Village Festival has delighted 55 communities across Australia, programming over 5000 artists and acts, and involving over 150 community groups.

More than 450,000 people across Australia have experienced the unique, welcoming, community space that The Village Festival provides, where creativity rules and vibrant colour, wonder and up-close-and-personal encounters flourish.

With a diverse music line up featuring everything from stomping world music to rock, soaring jazz and surreal electronica, queer delights, the ever popular World Kitchen, theatre and installation art, explorations in alternate reality, a dedicated children’s program, Circus Oz Fanatics, and a new Sunset Ritual featuring Melbourne’s best acrobats and flow artists, this year’s festival is not to be missed.

Charlotte Jane

Mel Searle

Jacobs Run

La Reina

Parental as Anything + Primary Scream

Keiino

Keiino

Kav Temperley

The Seaside Street Food Festival

The Food Truck Park will be setting up camp by the waterfront as The Seaside Street Food Festival returns to Frankston Pier Promenade this Spring for four days of festival fun!
 
From Thursday October 31 to Sunday November 3, some of Melbourne’s most popular food trucks will be serving up a huge variety of cuisines, craft beer, wine and cider, as well as live entertainment, an outdoor cinema and beach themed games the whole family can enjoy.
 
In honour of the spookiest day of the year, the festival will kick off with a Day of the Dead Halloween Party, on Thursday 31st October, with ‘Trick or Treating’, face painting and an outdoor screening of the movie ‘Coco’.
 
A true foodies dream, the four days will offer more food options than you’ll ever be able to chow down with everything from seafood, burgers, pizza, and a selection of desserts to satisfy even the sweetest of tooths. The vendors across the four days include, but are not limited to, The Kraken Squid, Real OG Burgers, Tubbsys Woodfired Pizza, The Gozleme Station, Dos Amigos Catering, Billy Van Creamy, Somsom Candy and Senor Churro.

16 years on, ‘Frank’ is a testament to the brilliance of Amy Winehouse

Sixteen years ago, Amy Winehouse made her explosive debut.

It’s rare that an album which opens with a scat track would become a mainstream smash, but that was the power of Amy Winehouse.

In October, 2003 she made her debut with Frank, a jazz-soul record whose title is both an homage to the influence of Frank Sinatra embedded within it and a reflection on the straight-talking, barb-tongued lyrics it brandishes.

It’s difficult to believe that Winehouse was just 19 when it was released. Not just because her smoky voice evokes the image of an aging jazz bar crooner, but Frank’s revelations on sex and love speak to the wisdom of someone who’s been around the block and seen it all.

Still, lines like “I can’t even remember his name/Why’re you so upset?/Baby, you weren’t there and I was thinking of you when I came” are the musings of a teenage Winehouse.

Yet despite the sheer force of Frank, Winehouse told The Guardian she was “only 80 per cent behind this album”.

“I’ve never heard the album from start to finish. I don’t have it in my house. Well, the marketing was fucked, the promotion was terrible. Everything was a shambles,” she said.

Critical reception was also mixed. The album earned Winehouse nominations for British Female Solo Artist and British Urban Act at the 2004 BRIT Awards as well as being shortlisted for the Mercury Music Prize that year, though it was trashed in reviews by Pitchfork and a myriad of other music rags.

Where Pitchfork chastised the singer for her “self-destructive tortured artist routine” and accused her of imitating her jazz heroes “much too closely” in its scathing review of the record, it peaked at number 13 in the UK Albums Chart in late January, 2004 – later re-entering the charts and reaching number three after her death.

No matter where critics sat, Frank catapulted Amy Winehouse into the limelight, garnering her the fame that would ultimately lead to her demise.

Where ‘Stronger Than Me’ fuses a sax solo with beats that could’ve been lifted straight from a hip hop record, the opening trill of ‘Help Yourself’ harkens the classic sound of a bygone era. All the while, covers of jazz standards ‘Moody’s Mood for Love’ and ‘There is no Greater Love’ sit comfortably among their contemporary counterparts, both a testament to Winehouse’s old soul and her versatility as an artist.

Frank shows Winehouse in all her forms. She’s strong, defiant and definitely not to be fucked with, but she still yearns to be loved and cared for; her wall is up, but she wants someone to knock it down. Still, she paints a complex picture of her relationship with men – one tainted by her father’s infidelity.

“Emulate all the shit my mother hated/I can’t help but demonstrate my Freudian fate,” she ruminates on ‘What Is It About Men’, an inner tug-of-war between head and heart. It’s impossible to imagine the love life of an adolescent inspiring such woeful and wise words. She harbours the hurt of a heart that’s lived and loved twice as many years.

Though her 2006 follow-up Back To Black is considered her magnum opus, drawing from girl groups of the ‘50s and ‘60s in place of Holiday and Sinatra, Frank is a raw display of Winehouse’s blinding potential. It screams, ‘take me as I am or not at all’.

With only two albums released in her too-short life, there’s no telling what Winehouse would have achieved. Though with a debut like Frank to go off, it’s safe to wager she could’ve rivalled the greats she admired so deeply.

Never miss a story. Sign up to Beat’s newsletter and you’ll be served fresh music, arts, food and culture stories three times a week.

Review: ‘A Thousand Thoughts’ is a poignant reminder to live in the moment

This week the Kronos Quartet — David Harrington (violin), John Sherba (violin), Hank Dutt (viola) and Sunny Yang (cello) — revisited their career through a collection of songs designed to evoke happiness and remind us to grasp each moment.

The two A Thousand Thoughts concerts at Melbourne Recital Centre as part of the Melbourne International Arts Festival were directed and written by Sam Green and Joe Bini. A far cry from your typical performance, this recital is a product of Green’s recent interest in making ‘live documentaries’.

Green’s narration of the Kronos Quartet’s success and ethos is supported on screen through a series of footage, images, and testimonies from the quartet and their colleagues.

Amongst stories of how the quartet came to be, we hear traditional pieces from Philip Glass and Terry Riley as we’re eased into a false sense of this simply being another strings performance. Then the quartet show us what they are really capable of.

We hear selections from George Crumb’s Black Angels where the musicians transform the calming tone of their instruments into wails and screeching. It’s refreshing to see an orchestral performance explore so far beyond classic techniques. Take the use of wine glasses, for example – a highlight along with the demonstrations of both vibrato and bow expression.

The most fascinating and well-executed idea is the mix of live performance supporting a recorded video of composers Tanya Tagaq, Fodé Lassana Diabaté and Wu Man. These songs display Kronos Quartet’s admiration for their peers while also showcasing their own immaculate skill.

The message of the story Green, Bini and the Kronos Quartet present is to live your life in the moment, experience all you can. Not only do they show this through the inclusion of the many people who have helped them across their career, but in the format of the show itself. Unlike a regular documentary, this performance has the ephemeral experience of a live crowd and we are reminded to “be in the moment”.

A well deserved standing ovation for this performance. The only complaint is that they don’t currently have any more gigs booked in Australia. Let’s hope they return soon.

Melbourne International Arts Festival runs until Sunday October 20.

El Vito Chamber Group

El Vito Chamber Group featuring Nicholas Young, Internationally acclaimed, Award Winning concert pianist and ‘Young Steinway Artist’ and Internationally renowned 10-string virtuoso Spanish Classical and Flamenco Guitarist Matthew Fagan continue their ground-breaking tour collaborations including SOLD OUT show at the Sydney Opera House, and are joined by special guest Flamenco Dancers Laura Uhe and Fernando Mira and world percussionist Marek Podstawek combining musical passion and innovative dance choreography in an exciting new performance.

Fernando has recently starred in Baz Luhrmann’s production of Strictly Ballroom the Musical from 2013-2018 in the UK and USA and in Don Quixote with The English National Opera and with Opera Australia productions of Othello and Carmen in Melbourne in Taiwan.

Laura Uhe has performed flamenco dance in Opera Australia productions of Carmen. Laura also appeared in Vic Opera’s international production of Carmen in Sydney and Melbourne.
Featured music includes Spanish classical to flamenco and Tango to Modern Jazz, infusing the exhilarating traditional flamenco elements of Spanish Guitar with classical masterworks from Bizet’s classic opera CARMEN, Concierto de Aranjuez- J Rodrigo, Ritual Fire Dance – M De Falla, Asturias Issac Albeniz into stunning new arrangements accompanied with Laura and Fernando’s unique fusion of Flamenco and Classical Dance. The group captures the raw, authentic combination of flamenco dance and music, creating an intimate connection with the audience through their superb technical ability and emotionally fiery execution.

Sounds Of Africa Festival

‘Sounds of Africa Festival’ , is an interactive, family friendly, community festival designed to be the central
hub for African Culture in Melbourne. It is not just a festival, it is an African Experience, Unique and Authentic
where we showcase the bright Africa through live Music, Food, Arts, traditional activities, workshop and games
for everyone (including kids).

The festival features a blend of all African Culture – East, North, South, West and provides a platform for
African migrants to “tell their stories”. Professional performing artists have been selected from those living in
Melbourne, with many having Australian-wide following and recognition, performing regularly throughout top
venues in Australia.

A truly unique event, with artists/musicians/ performers/ and stallholders, all coming together from many
different African Countries, such as South Africa, Kenya, Tanzania, Ghana, Zimbabwe, Liberia, Mauritius,
Sierra Leone, Senegal, Gambia, Congo, Uganda, Guinea, South Africa, and many more to be announced.

Monster Mash Ball

Do you dare to enter into the grand ballroom at Rippon Lea Estate in your finest scare wear and be immersed into our Monster Mash disco for a night not to be forgotten?

Rolling Vinyl beats by DJ Dan Beck (Revolver)  for the night, liquid flows by the mixologist crew will cast in a spell to dance on into the night.

Take a walk through the mansion in the dead at night with renowned Paranormal Prospectors  to see who still lurks behind the doors.
Limited ticket entry only.

Prizes for best fancy dress costume and dance moves!

A night that can’t be missed.