What’s On
Robin White: Te Whanaketanga | Something Is Happening Here
A major survey of the career of one of Aotearoa New Zealand’s best-loved artists.
Te Rā: The Māori Sail
Now on display at Te Puna o Waiwhetū!
Ship Nails and Tail Feathers
The stories told by rare, extravagant – and even curiously ordinary – objects.
Open 7 days, 10am - 5pm
Late night Wednesday until 9pm
Free entry, free wifi
Commentary
Cut It Out
Make no bones about it, Ink on Paper: Aotearoa New Zealand Printmakers of the Modern Era is an exhibition I have long wanted to curate. I acquired my first print direct from Ralph Hotere when I was an art history student here in Christchurch many years ago. Hotere was the artist that piqued my interest in printmaking, but it is the Aotearoa New Zealand printmakers of the 1910s through to the 1950s that I love the most. Ink on Paper focuses on a generation of artists that were at the forefront of the medium when, following the printmaking revival in Britain, printmaking in Aotearoa was increasingly becoming accepted as an art form rather than simply a method of reproduction.
Commentary
Something’s Missing
It’s among the best-loved paintings in the Gallery’s collection, celebrated for the connections and conversations it generates between different generations. People who, as children, encountered Petrus van der Velden’s Burial in the winter on the island of Marken [The Dutch Funeral] (1872) in the neoclassical spaces of the old Robert McDougall Art Gallery now bring their own grandchildren to Te Puna o Waiwhetū to see it.
Interview
Ripples and Waves
Melanie Oliver: In the exhibition Ripple, an ocean horizon line locates us geographically and temporally, connecting Aotearoa to your home in Sydney, Australia and also Suva, Fiji. How does the ocean operate in your work?
Salote Tawale: The ocean is a number of places and spaces for me. Physically, I get so much from the energy of the ocean; it helps to centre me and place myself as a small element in a much larger picture. It’s important as a connector, between the horizon, as a way to Fiji.
Almost everyone that I know who has come from elsewhere lives on the edge of the Pacific Ocean. So when I met a First Nations artist from Los Angeles, the first thing that she wanted to do in Sydney was stand in the water and feel that energy.
My Favourite
Leo Bensemann: Seascape with causeway
The four years I spent at Elam as an undergrad straight out of high school ruined art for me. I entered the building on Mount Street in love with painting and wanting to be a painter, and I left in love with nothing.
Interview
Joyful Glitch
Melanie Oliver: I first saw your work in 2016 as part of a one-night-only exhibition, NOWNOW held at 17 Tory Street in Wellington. It was a sculptural installation with fluids dribbling from a hanging form and I was at once delighted and disgusted. It was visceral and bodily, the drips a reminder of saliva, snot, discharge or cum, but also beautiful and joyful. It had vitality. While your more recent work is primarily video, it retains this abject, sculptural, gooey, oozing quality – it’s biological, or ecological. Why are you interested in grossing people out, in a pleasurable way?
Laura Duffy: I like to think I am interested in (my version of) bodily honesty, more than grossing people out, which could be read as the same thing, especially in earlier works...
Article
Things That Happened at Dawn
This new piece of writing was commissioned to accompany Turumeke Harrington: Tātou tātou, nau mai rā, which is on display from 17 December 2022 until 29 January 2023.
Artist Profile
Everythingism
In 2019, the Tate Modern staged a solo exhibition of the work of Russian artist Natalia Goncharova. It was the first time the artist had had a major retrospective in the UK, and the exhibition included her paintings, prints, costume designs and textiles. The exhibition presented reviewers with a twinned challenge: how to talk about an artist who was so little known in the UK, and one who was a woman?
Commentary
Mediating Reality
In the late 1980s, a significant shift for photography in Aotearoa New Zealand was identified in two art publications. The essays and images in these books showed how artists were utilising new strategies, breaking away from the prevailing documentary photography tradition that was, and still is, widespread in Aotearoa. Six Women Photographers (1986) was edited by artists Merylyn Tweedie and Rhondda Bosworth for Photoforum; and Imposing Narratives: Beyond the Documentary in Recent New Zealand Photography (1989) was the catalogue for an exhibition curated by Gregory Burke for City Gallery Wellington. The artists included in both publications questioned in various ways the assumptions and rules of image making, manipulating the media and making a political move from the standpoint of taking a photograph, to making one. No longer was a photograph considered a truthful representation of reality. Instead, photography was seen as a product of, and a participant in, current social and cultural values.
Commentary
James Oram: By Spectral Hands
In the American psychological thriller Severance, the employees of Lumon Industries undergo a surgical procedure that separates their work and non-work memories. The uncanny plot unfolds into what feels like a terrifyingly accurate portrayal of the power that corporations exert over our lives, and the integration of the self into capitalism. In this fictional world Mark and his co-workers willingly join the corporation, blind to what it is they do as part of the Macrodata Refinement team. The series offers insight into how data has become a core part of capitalism, despite the over-abundance of information in a system founded on scarcity. Further, Severance’s data sorters must categorise and file the numbers that appear on their computer screens based on their emotional response to them, rather than applying logic, thereby integrating their feelings to the digital realm.
Article
Christchurch and the New Zealand Wars
It is often assumed that the nineteenth-century New Zealand Wars fought between the Crown and various groups of Māori were exclusively a Te Ika-a-Māui North Island story. But in addition to the violent clash that took place at Wairau, Marlborough, in June 1843, there is a much deeper, if largely unknown, history of southern engagement with these conflicts. Military settlers were recruited from Te Waipounamu South Island goldfields to fight in the Waikato and elsewhere during the 1860s in return for a share of the confiscated lands, and Ōtautahi Christchurch politicians such as Henry Sewell and James Edward FitzGerald were members of colonial governments that were responsible for directing the later military campaigns and land takings, even while they expressed doubts about the justice of what was unfolding.