Kā Kaupapa o te Wā
What’s On
Tīrama Mai 2025
Tīrama Mai is back this winter to celebrate Puanga Matariki with an array of artistic lighting and cultural displays in the heart of Ōtautahi Christchurch.
Disruptive Landscapes: Contemporary Art from Japan
Quietly powerful and immersive video works revealing the politics behind our view of landscape.
John Vea: Ini Mini Mani Mou
Powerful new work examining the complexities of the immigration process in Aotearoa New Zealand.
E tuwhera ana te wharetoi i kā rā e 7 o te wiki, 10am - 5pm
Ka tuwhera ki te 9pm i kā pō Wenerei
Open 7 days, 10am - 5pm
Late night Wednesday until 9pm
Uruka utukore, ahokore utukore
Free entry, free wifi
Jenny Harper
Postcard From...
Jenny Harper, Riga, Latvia
I’ve been conscious of Riga since the 1980s when I organised an exhibition of the work of Australian artist Imants Tillers for the former National Art Gallery in Wellington. Although born in Sydney, Latvian was spoken at Tillers’s home and the city’s name features from time-to-time in his work, including the large multiple-canvas board painting bought for the NAG collection – Diaspora (1992). But my awareness of Latvia’s politics and past history was minimal until my visit.
Director's Foreword
Director's Foreword
Welcome to Christchurch Art Gallery’s first Bulletin of 2018, B.191.
In this issue, Roger Collins looks at the Pacific etchings of eighteenth-century French artist Charles Meryon, who sailed around New Zealand on the Rhin, visiting the French settlement of Akaroa in 1843. Meryon continued to create images of the South Pacific throughout his life as exemplars of a possible alternative to the ‘social hell of a great European city’.
Director's Foreword
Director's Foreword
As I write this, I’m still smiling with pleasure and pride at the huge success of the Gallery Foundation’s fundraising drive for our own work by Ron Mueck. Wonderful in its own right, it’s amazing to finish the 2017 calendar year knowing a sculpture by Mueck is now on its way to join the other four ‘great works’ for Christchurch.
Director's Foreword
Director's Foreword
However cold or wet it is as I write this (and certainly it’s raining at present), our September Bulletin heralds the coming of spring, and with it, the promise of growth, renewal and hope.
Director's Foreword
Director's Foreword
Sometimes I feel inordinately proud of this gallery and especially of my colleagues. I wonder if it’s unreasonable or otherwise questionable. However, as I write, I don’t think so.
Director's Foreword
Director's Foreword
Welcome to 2017! We’ve all bounced back to work at our favourite gallery – and we’ve loved seeing a range of familiar faces at our exhibitions and events as well as the many new visitors enjoying what we have on display.
Commentary
Anticipation and Reflection
This is a time of considerable anticipation at the Gallery: Bridget Riley’s new work for Christchurch is due for completion in late May 2017. A wall painting, it’s the fourth of five significant works chosen to mark the long years of our closure for seismic strengthening following the Canterbury earthquakes of 2010–11. It has been paid for, sight unseen, by a group of wonderful women donors, with further support for costs associated with its installation secured by auction at our Foundation’s 2016 gala dinner.
Director's Foreword
Director's Foreword
It is exactly ten years since I wrote my first foreword for Te Puna o Waiwhetū Christchurch Art Gallery’s Bulletin. Then, the shadow of an elongated sculpture by Swiss sculptor Alberto Giacometti featured on the front cover of B.147, as we heralded the arrival of Giacometti: Sculptures, Prints and Drawings from the Maeght Foundation in November 2006. Toured by the Art Gallery of New South Wales, it was memorable and moving, and looking its very best here in our high-ceilinged and relatively new gallery spaces.
It’s hard to fathom just how much has happened since, both in and around our inner-city art gallery. In particular, I look back on our five years of closure with a mixture of wonder and disbelief.
Director's Foreword
Another Big Step Forward
Since mid July we’ve been enjoying the first major exhibition change downstairs. While it was difficult to say goodbye to Unseen and Op + Pop – and to be rid of the colourful castor sugar (some 600kg were required) with which Tanya Schultz made Pip & Pop’s Newest New World – it’s now so rewarding to be the final venue for City Gallery Wellington’s exhibition of Kāi Tahu photographer Fiona Pardington’s A Beautiful Hesitation. Designing the display and augmenting the content of this show for our audiences feels like another big step towards being fully operational.
Director's Foreword
Reopening, Redesigning and Returning
When I wrote my foreword for B.182, we were edging closer and closer to reopening; still anticipating this major milestone after almost five years. Having made the vaguely reckless decision to open our doors, come what may, at 10am on 19 December 2015 – a mere week after project completion – we stuck to that deadline.