Mo’Ju will be joined by a full band, plus combined orchestral backing from the Tasmanian Symphony Orchestra and Orchestra Victoria. It’ll be like fireworks, but indoors.

Federation Concert Hall

Moju + TSO

Mo’Ju + TSO + OV

A casual summery showcase for a wide range of musicians and performers. Watch and listen. Eat and drink. Dance. 

Royal Park, Launceston

Royal Park

Launceston: 21 January

Launceston Mofo Sesh

Mofo Sessions

Launceston: 22 January

A casual summery showcase for a wide range of musicians and performers. Watch and listen. Eat and drink. Dance.  

[Don't drive. Book your transport here.](https://buy.monafoma.net.au/add-transport "Mona Foma Transport")

Mona Lawns

Mona Lawns, nipaluna / Hobart

nipaluna / Hobart: 30 January

Hobart Mofo Sesh

nipaluna / Hobart: 29 January

Friday 21 + Saturday 22 January  
Two-hour lock-ins between 8pm–3am nightly  

Your grandma's having a house party and it's going to be lit. You and a few of your closest strangers are invited to two hours of heaven and hell in the share-house kitchen that is the new world order. Wear sneakers, wear your apron, bring a plate, and prepare your Zoom face. Secret location so it doesn't get gatecrashed by anti-vaxxers (it’s in the city so don’t freak out).  

Line-up is currently secret. Watch this space.

Albert Hall, Launceston

Secret Location

A three-dimensional computer rendering of the frame of a very basic house sits on top of what look to be architectural drawings.

Launceston

Faux Mo Laun

Faux Mo / House Party

Friday 28 + Saturday 29 January,  
Two-hour lock-ins between 8pm–3am nightly  

City Hall

nipaluna / Hobart

Faux Mo Hob

Unfortunately this event will no longer take place

__This event has been cancelled.__

Performers endure four hours in a sulfur-hazed space, evoking the apocalyptic atmosphere of 2019–2020 Australian bushfire season. The title references the Air Quality Index: the international system for monitoring airborne pollutants, and a timely reminder—here, now, mid-pandemic—of the perils of climate change.

31–33 Bathurst Street, Hobart

31–33 Bathurst Street, nipaluna / Hobart

Three performers stand dramatically in an orange-hued box. There are—among other things—a yoga mat and a couple of camp chairs on the floor.

AQI2020

Alicia Frankovich

Friday 28 January, 3–8pm  
Saturday 29 + Sunday 30 January, 12–6pm

A massive computer generated work celebrating two musical moments of loss and humanity from history: the creation of Olivier Messiaen's [*Quartet for the End of Time*](/program/qfteot), which was written and first performed by Messiaen in a POW camp during the Second World War; and the story of Ronald McNair, one of the few black astronauts, and a professional saxophonist. McNair planned to perform and record the first original piece of music in space aboard the Space Shuttle Challenger—which exploded seconds after take-off, killing everyone on board.

Princes Wharf 1

A record on a record player, so close you can see the texture of the vinyl and the tiny nib of the needle.

Time No Longer

Anri Sala

*Free durational performance*  
Sunday 23 January, 11am–3pm  

*Ticketed show*  
Sunday 23 January, 5–6pm + 7–8pm  

Two dancers and the audience engage with a brutalist pile of concrete bricks over a long durational performance and two shorter choreographed pieces.

Produced by Stompin as part of their Fertile Ground / [Rival Planes](/program/rival-planes-laun) mentorship program.

Objects Gallery QVMAG Inveresk

Object Gallery, QVMAG Inveresk

Two dramatically-lit nude figures—a man and a woman—lie on their sides, posed dramatically among concrete bricks.

Stompin–Fertile Ground

Fertile Ground Laun

Ashleigh Musk + Michael Smith

*Free durational performance*  
Sunday 30 January, 11am–2pm  

*Ticketed show*  
Sunday 30 January, 5–6pm + 7–8pm  

Two dancers and the audience engage with a brutalist pile of concrete bricks over a long durational performance and two shorter choreographed pieces.

Produced by Stompin as part of their Fertile Ground / [Rival Planes](/program/rival-planes-hob) mentorship program.

Goods Shed Stompin

The Goods Shed

Fertile Ground Hob

Saturday 22 January, 6.30am–Sunday 23 January, 12.30am

The organ works of Bach are among the higher peaks of the musical canon. Calvin will be playing every single one of them in one marathon eighteen-hour session, with only a hand-massage therapist to help him.

St John's Anglican Church

A man wearing two gold rings and glasses smiles enigmatically at the camera, his watch slightly askew on his left wrist.

The Complete Organ Works of J.S. Bach

Calvin Bowman

Fresh off an [eighteen-hour marathon of Bach](/program/calvin-bowman), Calvin will bring his virtuosic touch to an hour-long program of old and new works spanning seven centuries of organ music.

St David's Cathedral

Mary - Modernist - Minimalism

Calvin Bowman mmm

*Morning Meditations*  
Sunday 30 January, 10–11am

Improvised drum set solos influenced by traditional Korean rhythms (plus some duets with a shakuhachi).

LongHouse

A woman smiles at the camera, holding crossed drumsticks (the playing kind) in one hand. She has long earrings. There’s a nice-looking tree in the background.

Morning Meditations

Chloe Kim

Saturday 29 January, 9pm (+ Ben Salter and Kat Edwards)  

Sunday 30 January, 4pm (+ Denni and Mangus)

Saturday 29 January, 9pm (+ Ben Salter and Kat Edwards)  
Sunday 30 January, 4pm (+ Denni and Mangus)

A stellar lineup featuring some of Tasmania’s most charismatic and talented songwriters and performers comes together for the first in the *Archive 2022* series: monthly concerts to a live audience that’ll also be broadcast for radio—tune in live on Edge Radio 99.3FM or stream it on [edgeradio.org.au](https://www.edgeradio.org.au/).

Salamanca Courtyard

A moodily-lit man's face. He's wearing a dark, luxuriously-textured scarf and looking at someone just past you, on his way to a smile. She-oak fronds hang behind him.

ARCHIVE 2022

Christopher Coleman and the Great Escape

*Mofo Sessions*  
Saturday 22 January, doors 5pm

__7pm__  

A sizeable ensemble featuring some of Australia and Tassie’s elite musical talents in what Christopher calls ‘a Springsteen-esque Australiana rock thing nodding at The Go-Betweens, Midnight Oil and Paul Kelly.’ Sounds good.

Christopher Coleman and the Great Escape	MSL

*Mofo Sessions*  
Sunday 30 January, doors 5pm

__6pm__

Woodwind-king Danny Healy pays tribute to the late, great Sidney Bechet, playing Bechet’s original tunes as well as those he made famous.

A man is playing a clarinet. We see him front-on. His eyes are closed, and he looks like he's really playing the hell out of it.

Being Bechet

Danny Healy Quartet

*Mofo Sessions*  
Friday 21 January, doors 5pm

__6pm__  

pakana performer Denni Proctor—joined by Greeley, DJ Dameza, and a rotating squad of accomplices—presents pieces from her newest EP: an almost—chaotic collection held together by her colourful voice and storytelling, as well as some older works and whatever fun her special guests bring.

A woman with luxuriously tattooed arms sits with her hands joined beneath her chin, elbows on her knees. She is wearing a brash red beret and large red sunglasses with no frames. There's a red oil barrel in the background.

Growing Pains

DENNI

pakana performer Denni Proctor—joined by Greeley, DJ Dameza, and a rotating squad of accomplices—presents pieces from her newest EP: an almost—chaotic collection held together by her colourful voice and storytelling, as well as some older works and whatever fun her special guests bring.

Harvest Market

Mofo at Harvest

Opening Thursday 27 January, 5–6pm  
Friday 28–Sunday 30 January, 12–7pm 

Dozens of rescued seventies-era organs are saved from a fate worse than death (which is to say: ending up at the tip), and used for compositions, improvisations, and chance encounters.  

DJ TR!P, Scot and special collaborator Mat Ward will give the organs one final musical fling before they’re released back into the community.


Hobart Town Hall

A close-up of the weathered, grubby keys of an old electric organ. There are pictures of Jesus and Mary in the background, as well as a Polaroid of yet more organ keys.

Organ Donor

DJ TR!P + Scot Cotterell

*Morning Meditations*  
Sunday 23 January, 10–11am

A guided qi gong meditation from teacher, healer and guide Donna, accompanied by a ‘sound journey’ from harpist Emily Sanzaro. No experience required, although some water and a mat are always a good idea.

Riverbend Park

Black-and-white portraits of two women. One is wearing thickish-framed glasses and has her hand raised like she's halfway through a thought. You can't see much of the other, but for some lines at the side of her eyes that show she's smiling.

Donna Mason + Emily Sanzaro

*Morning Meditations*  
Saturday 22 January, 10–11am

Guided meditation in the qi gong tradition (one of the oldest healing practices in the world) led by Donna, alongside guitar from proud Yorta Yorta and Yuwaalaraay man Warren. Bring a mat if you feel like it, and some water.

A man plays an orange hollow-bodied electric guitar, his eyes closed. There is corrugated iron and festoon-lights in the background. He is singing into a microphone and has a capo on the fifth fret of his guitar.

Donna Mason + Warren Mason

A video work of horror, musicals and melodrama from artist Ed Atkins. It features a computer-generated avatar and anti-hero; a voyeur and troll; a graphic performing loss and monstrousness; and perhaps, a version of the artist himself.


114 St John Street

A very close-up quite realistic computer-generated picture of a man's scowling face. The one eye we can see is looking straight at us. The rest of the frame is taken up with what looks like other parts of a body, with tattoos on.

Ribbons

Ed Atkins

Friday 28 January, 5–9pm  
Saturday 29 + Sunday 30 January, 2–7pm

A mid-lockdown phone call between the artist and his mother, digitally recreated from the motion-capture suit he wore for the conversation. It's a meditation on 'contagious, hereditary poison,' but also— as Ed says—on 'love! Tenderness!'

30 New Town Road, New Town

A realistic computer-generated man's face, so close that all you can really see is his nose, eyes, and forehead. His eyes are closed and he's wearing fine-rimmed gold spectacles. Bright light reflects from the glass.

The Worm

*Morning Meditations*  
Thursday 27 January, 10–11am

Pieces for violin and viola written in the depths of caves, in blackened forests, and submerged and surrounded by kelp. Haunting and emotive.

A woman with dark hair plays a violin, her eyes closed. She is in a cave, and there are stalactites behind her.

emily cloud

Friday 21 January, 6–6:40pm  
Saturday 22 + Sunday 23 January, 4–4.40pm + 6–6.40pm

A contemporary harpist—who is also an occupational therapist and therapeutic musician—performs her debut solo album in a darkened planetarium. Expect looped, unconventional harp-tactics and rich, dreamy soundscapes. Perfect for a journey through the sky, or wherever else your mind goes.

Planetarium, QVMAG Inveresk

A woman stands dramatically beside a harp, which is made of pale wood and slightly taller than her. There are clouds in the background, dark and foreboding.

Awaken

Emily Sanzaro

Over a marathon seven-hour performance, seven musicians from FFLORA—an improvisational collective focussed on creating space for women, femme and non-binary artists—each spend an hour guiding a diverse ensemble of musicians (with a focus on the next generation) as they improvise around a different coloured theme.


Musical instruments and amplifiers crowd the floor of a carpeted room. There's someone playing the drumkit but only their lower body is visible. Someone is sitting crosslegged and playing a trumpet in the corner.

Make Some Noise

FFLORA

__8.30pm__

You’ve never had so much fun. Sydney’s iconic profane punks are coming down for what’ll surely be a sweary headbanging hoot.

Frenzal Rhomb

__*Regrettably—due to pandemic-related travel restrictions—we have had to cancel PRIMORDIAL. All tickets will be refunded in full. Ticket holders have been sent an email with further instructions.*__

A time-travelling marriage of science and sound, PRIMORDIAL begins with the tectonic grindings that formed the Flinders Ranges, before moving through to the appearance of the Ediacara fossils—among the first forms of multicellular life on earth.  

The ‘time machine’ used for this journey looks suspiciously like a piano (with some additions) to be plucked, stroked and hammered by Gabriella Smart.

Farrall Centre

Farrall Centre, Friends School

A woman stands over the open top of a grand piano, looking down towards the strings. She's holding things in her fingertips and appears to be doing something to the piano with them.

PRIMORDIAL For Piano and Diverse Media

PRIMORDIAL

Foundation IHOS Amsterdam (Cancelled)

*Mofo Sessions*  
Saturday 29 January, doors 5pm

__9.30pm__  

A Cornish fishing community struggles with the transformative effect of interloping holidaymakers... We're presenting *Bait*—shot in black and white on 16mm film—with a live score by Cornish-Welsh musician Gwenno Saunders, joined by Australian experimental musician Sia Ahmad.

Bait with live score

Gwenno

__8.15pm__  

Welsh-Cornish musician Gwenno returns to Australia—this time performing an intimate electronic solo set of Cornish and Welsh-language songs.

Gwenno MSL

__6pm__

Launceston-local and jazz-rock savant Jason Whatley presents a tribute to the incomparable genius of Thelonious Monk.

A Monk Tribute

Jason Whatley Quartet 

Saturday 29–Sunday 30 January, 11am–7pm

Two huge figures—one stretching across the ground, the other towering into the air—represent humanity in a reaction to the catastrophic earthquakes in Jeewan’s home of Nepal in 2015 where the artist lost his father, and a call to ‘touch our feet on the ground and return to mother earth’.

Rear of Hobart GPO

Listen To The Earth

Jeewan Suwal

__7.15pm__

A funky, soulful and uplifting song-cycle about water (with a side-order of visuals). Rain, rivers, floods: the power and potential of H2O are the stars of the show. 

When Water Falls

Jay Jarome, Sabine Bester + The When Water Falls Ensemble	

Four silhouetted scenes inspired by the 1830s government propaganda placards known as ‘Governor Arthur’s Proclamation to the Aborigines’, and thousands of years of culture and Country. You’ll see them set in the land between Launceston and nipaluna / Hobart, along the Midland Highway.  

Follow the map below to hear Julie speak about her work.  

__[Audio map >](https://www.monafoma.net.au/the-missing-map "The Missing Audio Map")__  

Julie writes:

*In 1830 George Arthur, Lieutenant-Governor of Van Diemen’s Land, followed the advice of surveyor George Frankland and issued illustrated timber placards to apparently communicate with the Aboriginal inhabitants of this island. While the artist is unknown, the intent was clearly governmental subterfuge. After almost thirty years of murderous colonisation of Lutruwita / Van Diemen’s Land / Tasmania by the shoot-first British, these panels were part of a campaign after the fact by the colonial leadership to cover up the rapidity and illegality of the near annihilation of the original landholders.*

*Described as ‘Governor Arthur’s Proclamation to the Aborigines’ these now infamous and priceless panels, of which only seven have surfaced in collections internationally, purportedly aimed to demonstrate, affixed to trees, that equal justice would be meted out to whoever killed an Aboriginal person, or a colonist.*

*These visual vignettes of encounter between Aboriginal people and white colonists present an unlikely goal of peaceful co-existence between Aboriginal and colonising families, framed after an agreement or treaty delineated as a handshake between the Governor and an Aboriginal leader. These follow from the bottom image of a colonist shooting an Aboriginal man, and being executed for his actions, above which is depicted an Aboriginal man spearing a colonist, and also being executed.*

The Missing *(reiterating the work’s initial manifestation as full-size plywood maquettes in 2011) extracts as silhouettes two pairs of figures, a colonist and an Aboriginal man, shooting or spearing the Other. The  form of a lone woman holding a baby speaks both to the hundreds of Aboriginal children taken from their families, and the resultant servitude expected of them.*

*These government-commissioned illustrations perfectly represent everyday colonial cross-cultural interactions, which continue to haunt this island—shadows of the silenced past. Truth Telling to expose what happened across Lutruwita is now promised by the successor of that same colonial government with a particular focus on presenting the details of the displacement and death of Aboriginal people from their Country, and each other. Our horror. Towards Treaty and recompense.*

*A silhouette of an Aboriginal man walking with firestick aloft honours 50,000 years of sustainable cohabitation with Country.  These silhouettes offer an opportunity for the suppressed to surface and for cross-cultural histories of the regions they inhabit to be actively excised and shared.*

Midland Highway

The Missing

Julie Gough

Saturday 22–Sunday 23 January, 11am–1pm

Two musicians with backpacks full of mystery instruments (but expect some possible medieval fun/oddness) serenade walkers along the pathway from King’s Bridge up into the heart of the Gorge, playing fresh compositions inspired by the tiny ecosystems spotted along the way.

King’s Bridge Path, Cataract Gorge

Pathway T(w)o

Karlin Love + Jon Addison

Friday 21–Sunday 23 January, 10am–6pm   

Kartanya and Vernon reclaim a colonial park with an installation of sound and text recalling island songs from Cape Barren, the pain of displacement, and the lies told to hide the truth in the wake of colonisation. It’s an exploration of the many layers of forced assimilation palawa people have had to endure in lutruwita, and how in spite of this, culture continues and thrives.  

Kartanya writes:

*waranta takamuna in palawa kani means ‘we rise’. Through the years and the darkest of times we have always risen above our oppressors and forced assimilation.*

*Assimilation comes in many forms and many stages. It first began in lutruwita (Tasmania) during initial invasion and the Black War when many of our people were forcibly removed from our homelands to tayaritja (the Bass Strait Islands). Many of our women and young girls were stolen by sealers and taken to the islands to be ‘wives’ while the rest of our people endured the atrocities of the Black War, only for it to end by them being removed to the wybalenna settlement on Flinders Island. These were dark times but as we always do, we survived and created thriving communities. It wasn’t as it once was and it was far from perfect, but it was ours; we had our own way of talking, we sang our own songs, and we were all together. This of course couldn’t be, and we were again forced from the islands we now called home. Mainland lutruwita had been changed by our invaders and we were outnumbered. We processed our loss and chose to rise; we continued to practice our culture and be ourselves. Prince’s Square, a space dripping in colonialism, is now situated between two cultural hubs in Launceston: the Tasmanian Aboriginal Centre and the Elders Council. We will reclaim this space and explore these numerous attempts at assimilation and how it only added to the richness of our culture. The islands once represented loss and now they represent our home away from home.*

Prince's Square

waranta takamuna!

Kartanya Maynard + Vernon Ah Kee

Wednesday 26 January, 1.30–6pm  
Thursday 27—Sunday 30 January, 10am—6pm 

Kartanya and Vernon activate the space outside parliament with language and sound, palawa kani and calls of protest. The project celebrates the first palawa resistance fighters, who walked along Elizabeth Street to parliament at the end of the Black War, honouring a ‘treaty’ resulting in removal from their own land and displacement to Flinders Island. These same resistance fighters are honoured by the annual Change the Date march on 26 January, which will happen [online this year](https://www.facebook.com/events/1376550039451067/ "Online Invasion Day Rally 2022 - Lutruwita/ Tasmania"), and coincide with the launch of this work at Mona Foma.  

Kartanya writes:  

*warr is a term used to call attention to the importance of what you’re saying. If you have ever
attended a community protest or rally you would have heard this sound and would know it is
unlike any other.*	

*Since invasion, we as Tasmanian Aboriginal people have fought to continue and reclaim what is rightfully ours. We still have our language, we still have our culture, and we continue our bloodlines and songlines, and will for generations to come. Reclaiming and continuing occupation of our lands has been difficult, but we have done so in our own way. Some of our land has been given back to us by the government but spaces such as parliament lawns have not; we have reclaimed it anyway. It is and has been one of our places of protest, a place to express ourselves and to fight for our human rights and social justice; we saw this during the Black War when our old people marched down Elizabeth Street to show their strength in the face of removal. Now we march alongside their footsteps each year to protest Invasion Day. We have survived, we have reclaimed, and we will continue to do so.*

Parliament House Gardens

warr!

__9.45pm__  

Raw, explorative black metal from a Naarm three-piece influenced by Nusantara and ancient Javanese traditions. Let your hair down.

KILAT

Dreamy, sparkling narrative-driven pop-gems from Darwin singer-songwriter Leah. She’ll play a set of her own work then join Midnight Oil.

Midnight Oil special guest

Leah Flanagan

A lone aerial artist performs—for eight precarious hours a day—atop a sculpted 2.4 tonne block of ice hanging high over the Gorge, as it slowly melts in the sun. It’s an urgent metaphor for the climate change crisis, say the artists, and accompanied by atmospheric sound works from Alaskan composer Matthew Burtner.  

To find out more about Legs On The Wall, and THAW's sustainability journey visit [thaw.org.au](https://www.thaw.org.au/ "Thaw website")

__Face masks required__

First Basin

THAW

Legs On The Wall

Fresh off the release of her latest album—the raw, inward-looking *First Time Really Feeling*—Melbourne-born singer and guitarist Liz brings her emotive and powerful live energy to the stage: first for a solo performance and then with Midnight Oil.


Liz Stringer

Friday 28 January, 10am–10pm (opening event at 6pm)
Saturday 29–Sunday 30 January, 10am–6pm

Sculptures of bull kelp, ochre and steel wool explore and contrast the natural and the colonial, while reclaiming culture through a material that has traditionally been used to scrub things away.


Town Hall Underground

Beyond misty histories

Mandy Quadrio

Saturday 22 + Sunday 23 January, 1pm + 4.30pm  

__Installation__  
Friday 21–Sunday 23 January, 12 - 6pm  

__Performances__  
Friday 21 January, 5pm  
Saturday 22 + Sunday 23 January, 1pm + 4.30pm  


A collection of sonic sculptures created by Quandamooka artist Megan Cope from discarded mining relics, geological samples and piano strings. The sculptures echo their distinctive, haunting song of the endangered yellow-eyed Bush Stone-curlew—a harbinger of death, used here to draw focus to the climate crisis and unsustainable extractive practices.

60 Elizabeth Street, Launceston

Untitled (Death Song)

Megan Cope

Friday 28 January, 8–9.30pm   
Saturday 29 January, 8pm–9.30pm   

Trailblazing classical pianist Michael Kieran Harvey and friends perform Olivier Messiaen's masterpiece, *Quartet for the End of Time*—composed and first performed for an audience of inmates and guards in a Nazi prison camp; and now regarded as one of the most important works of the twentieth century.

The quartet performs alongside Anri Sala's vast artwork *Time No Longer* (Messiaen's composition features here too), which you'll be able to view before the performance.


https://mofo2022.s3.amazonaws.com/Program-Images/01/MKH.jpg

mONa fOma

Search