Kā Kaupapa o te Wā
What’s On
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.
He Kapuka Oneone – A Handful of Soil
Exploring the relationship between tākata and whenua – people and land – through Aotearoa New Zealand’s art history.
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Commentary
Morris Dancing in the Modelling Room
Arriving in Ōtautahi Christchurch must have been like arriving on another planet for Francis Shurrock. It was 1924, and he had travelled half-way around the world from England to take up a position as modelling and art craft master at the Canterbury College School of Art. Indeed, one of his pupils there, Juliet Peter, later described him as an “alien”, for the fresh approach to teaching that made him stand out from other teachers at the school. Nevertheless, Shurrock made Ōtautahi his home and never returned to England.
Commentary
Japan circa 1970, Landscape and Chile
In 1951, the Treaty of San Francisco formally ended the war between the Allied Powers and Japan. The United States and Japan also signed the Treaty of Mutual Cooperation and Security (known in Japan as Anpo), in which Japan agreed to host United States military bases. Nine years later a revised version of this treaty further formalising the arrangement between the two nations was negotiated by Japanese prime minister Kishi Nobusuke (the grandfather of future prime minister Abe Shinzo) and President Eisenhower.
Notes
Venice Biennale 2026 Announcement
We are delighted to finally be able to publicly share the very exciting news that the Gallery has been selected as the delivery partner for Aotearoa New Zealand’s exhibition at the 2026 Venice Biennale.
Notes
Creative New Zealand announces La Biennale di Venezia artist and partnership with Christchurch Art Gallery Te Puna o Waiwhetū
Esteemed artist Fiona Pardington MNZM (Kāi Tahu, Kāti Mamoe, Ngāti Kahungunu, Clan Cameron of Erracht) will represent New Zealand at La Biennale di Venezia in 2026.
Artist Profile
Unfamiliars
One size doesn’t necessarily fit all. Amongst other ideas, our current exhibition Dummies & Doppelgängers explores how imagined or altered identities can help artists construct worlds that better accommodate them or others. Here, the exhibition’s curator Felicity Milburn considers how this dynamic plays out in the work of two of the featured artists.
Commentary
For the Price of a Pint of Beer
One of the joys of working at a public art gallery is the opportunity to really get to know an institution’s collection. I still remember, as a newly appointed curator of works on paper at the Robert McDougall Art Gallery, coming across a cache of the brightest, most colourful and energetic prints I had ever seen among the Rex Nan Kivell collection of modern British prints. Given to the Gallery in 1953, the sheer breadth and depth of Nan Kivell’s incredibly comprehensive gift, especially when combined with the works he gave to Museum of New Zealand Te Papa Tongarewa, Auckland Art Gallery Toi o Tāmaki and Dunedin Public Art Gallery, makes this a collection of British linocuts to rival those in major collections throughout the world.
Interview
Practice, Poetry and Precision
Artist Yona Lee has been preparing something very special in her Tāmaki Makaurau Auckland studio – a new commission that honours the history of the Gallery building, Te Puna o Waiwhetū. Lee took some time away from her workbench to speak with lead curator Felicity Milburn about her dream of filling the under-stairs space with water and light.
Interview
Down the Waitaki Awa
Pouarataki curator Māori Chloe Cull talks with artist and designer Ross Hemera (Waitaha, Ngāi Tahu, Ngāti Māmoe) about his life and work.
Commentary
Opening the Archives
Amongst the regular books, artist books and rare books, the Robert and Barbara Stewart Library and Archives also contains a treasure-trove of letters, diaries, photographs, newspaper cuttings, videos and more. These fascinating objects shine a light on the lives and careers of many of the artists in our collection, telling us how they developed their works, how they related to their contemporaries, even where they went on their holidays. They are used a good deal by curators and researchers – and you can see some of them in our current exhibitions He Kapuka Oneone and One O’Clock Jump – but they usually live well out of sight.