Kā Kaupapa o te Wā
What’s On
Made in the Pacific: A Collection of Tāoga
A selection of Pacific tāoga from the Canterbury Museum in conversation with contemporary artworks that highlight the continued strength in culture and traditional art forms.
Mark Adams: A Survey | He Kohinga Whakaahua
A comprehensive survey spanning the artist's career.
Ana Iti: Ngahere Behind a Pile of Metal
An immersive installation considering the legacies of deforestation and significance of kauri trees.
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
Collection
Margaret Dawson Consuming the Veneer
Margaret Dawson has lived and worked in Ōtautahi Christchurch since the late 1970s. Her work uses photography as a means to explore identity and gender roles through carefully constructed images of herself and others. This work is from the Marg N L Persona series, using her own body as way to show the mutability of the self and representation. Here, a woman bites down hard on the auto-release cable for the camera. Snap. In the background we can just make out the headlands and Lyttleton Harbour, as seen from Governors Bay wharf. Other works in the series show the same woman, yet she is wildly unrecognisable. Margaret suggests that the images we see of others are similarly fleeting and unreliable; that we can all be seen in many different lights and perspectives.
(Perilous: Unheard Stories from the Collection, 6 August 2022- )
Collection
Bridget Reweti 4836 SPOT ON
Te Rua-o-te-Moko Fiordland and Kā Puna-karikari-a-Rākaihautū Southern Lakes of Te Waipounamu South Island have been popular tourist destinations since the mid-nineteenth century. Commercial photographers of the time, such as the Burton Brothers, relied heavily on views of these iconic landscapes to make commercially attractive photographs to sell to customers. In this selection of photographs from Bridget Reweti’s Summering on Lakes Te Anau and Manapouri series, she responds to the Burton Brothers’ 1889 photographs from Wintering on Lakes Te Anau and Manapouri. Reweti reclaims them through a different lens informed by the awareness that these sites hold significance and memories for mana whenua, Kāi Tahu. She hand-coloured each photograph with whenua given to her by locals in each location, reconnecting her images with the experience of being present in the land, rather than ‘snapped and trapped’ views separated from their physical and cultural context.
mana whenua ~ Māori with authority over particular land or territory
Kāi Tahu ~ tribal group of much of Te Waipounamu South Island
whenua ~ ground, soil
He Kapuka Oneone – A Handful of Soil (from August 2024)
Collection
Bridget Reweti 4902 VISTA VOLLEY
Te Rua-o-te-Moko Fiordland and Kā Puna-karikari-a-Rākaihautū Southern Lakes of Te Waipounamu South Island have been popular tourist destinations since the mid-nineteenth century. Commercial photographers of the time, such as the Burton Brothers, relied heavily on views of these iconic landscapes to make commercially attractive photographs to sell to customers. In this selection of photographs from Bridget Reweti’s Summering on Lakes Te Anau and Manapouri series, she responds to the Burton Brothers’ 1889 photographs from Wintering on Lakes Te Anau and Manapouri. Reweti reclaims them through a different lens informed by the awareness that these sites hold significance and memories for mana whenua, Kāi Tahu. She hand-coloured each photograph with whenua given to her by locals in each location, reconnecting her images with the experience of being present in the land, rather than ‘snapped and trapped’ views separated from their physical and cultural context.
mana whenua ~ Māori with authority over particular land or territory
Kāi Tahu ~ tribal group of much of Te Waipounamu South Island
whenua ~ ground, soil
He Kapuka Oneone – A Handful of Soil (from August 2024)
Collection
Bridget Reweti 4893 DREAM GOOD DREAMS
Te Rua-o-te-Moko Fiordland and Kā Puna-karikari-a-Rākaihautū Southern Lakes of Te Waipounamu South Island have been popular tourist destinations since the mid-nineteenth century. Commercial photographers of the time, such as the Burton Brothers, relied heavily on views of these iconic landscapes to make commercially attractive photographs to sell to customers. In this selection of photographs from Bridget Reweti’s Summering on Lakes Te Anau and Manapouri series, she responds to the Burton Brothers’ 1889 photographs from Wintering on Lakes Te Anau and Manapouri. Reweti reclaims them through a different lens informed by the awareness that these sites hold significance and memories for mana whenua, Kāi Tahu. She hand-coloured each photograph with whenua given to her by locals in each location, reconnecting her images with the experience of being present in the land, rather than ‘snapped and trapped’ views separated from their physical and cultural context.
mana whenua ~ Māori with authority over particular land or territory
Kāi Tahu ~ tribal group of much of Te Waipounamu South Island
whenua ~ ground, soil
He Kapuka Oneone – A Handful of Soil (from August 2024)
Collection
Bridget Reweti 4877 NO BAD ANGLES
Te Rua-o-te-Moko Fiordland and Kā Puna-karikari-a-Rākaihautū Southern Lakes of Te Waipounamu South Island have been popular tourist destinations since the mid-nineteenth century. Commercial photographers of the time, such as the Burton Brothers, relied heavily on views of these iconic landscapes to make commercially attractive photographs to sell to customers. In this selection of photographs from Bridget Reweti’s Summering on Lakes Te Anau and Manapouri series, she responds to the Burton Brothers’ 1889 photographs from Wintering on Lakes Te Anau and Manapouri. Reweti reclaims them through a different lens informed by the awareness that these sites hold significance and memories for mana whenua, Kāi Tahu. She hand-coloured each photograph with whenua given to her by locals in each location, reconnecting her images with the experience of being present in the land, rather than ‘snapped and trapped’ views separated from their physical and cultural context.
mana whenua ~ Māori with authority over particular land or territory
Kāi Tahu ~ tribal group of much of Te Waipounamu South Island
whenua ~ ground, soil
He Kapuka Oneone – A Handful of Soil (from August 2024)
Collection
Bridget Reweti 4870 LIVING THE DREAM
Te Rua-o-te-Moko Fiordland and Kā Puna-karikari-a-Rākaihautū Southern Lakes of Te Waipounamu South Island have been popular tourist destinations since the mid-nineteenth century. Commercial photographers of the time, such as the Burton Brothers, relied heavily on views of these iconic landscapes to make commercially attractive photographs to sell to customers. In this selection of photographs from Bridget Reweti’s Summering on Lakes Te Anau and Manapouri series, she responds to the Burton Brothers’ 1889 photographs from Wintering on Lakes Te Anau and Manapouri. Reweti reclaims them through a different lens informed by the awareness that these sites hold significance and memories for mana whenua, Kāi Tahu. She hand-coloured each photograph with whenua given to her by locals in each location, reconnecting her images with the experience of being present in the land, rather than ‘snapped and trapped’ views separated from their physical and cultural context.
mana whenua ~ Māori with authority over particular land or territory
Kāi Tahu ~ tribal group of much of Te Waipounamu South Island
whenua ~ ground, soil
He Kapuka Oneone – A Handful of Soil (from August 2024)