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
Commentary
Artists Should Be Giving Business Advice
There has been a healthy debate going in relation to Germany’s Covid-19 emergency fund, which allocated the equivalent of NZ$900 million to artists and freelancers, with extra support from the Berlin municipality, leading some to call it an ‘arts-led’ (as opposed to ‘business-led’) approach to recovery. Some in Germany are claiming this will have better long-term economic outcomes, whilst addressing social and wellbeing recoveries at the same time. Others – without necessarily denying the first claim – fear gentrification and the instrumentalisation of arts, when it’s overtly being used as a tool for the economy.
My Favourite
Pauline Rhodes – Land Extensums, Banks Peninsula
I only have to set a direction towards Horomaka Banks Peninsula, and I feel an energy, a charge. The ritual of a takeaway coffee at Wairewa Little River. A flicker of shadows from the centenary lime trees lining the road at Cooptown. Picking up speed to begin the swinging ascent to the Crater Rim. A rush of air, sweeping up over the summit and along the wide expanse of the Peninsula, hilltops encircling a traveller like comforting arms.
Commentary
Safe Houses, Comfort Zones
In an age of crisis and pandemic, our basic human need to remain safe has seen living spaces transformed into protection zones and shells to pull back into. So it is perhaps unsurprising to see pictures of domestic interiors charging up differently, re-emerging as sites of refuge, confinement and familiar disarray. Here curator Ken Hall looks at two works from the exhibition Persistent Encounters.
Collection
Marcantonio Raimondi, Albrecht Dürer The Presentation of Christ in the Temple, from The Life of the Virgin, after Albrecht Dürer
German painter and printmaker Albrecht Dürer began his Life of the Virgin woodblock print series in about 1500. Italian printmaker Marcantonio Raimondi saw these after moving to Venice in 1506, and began engraving copies. Infuriated by their appearance on the market, Dürer lodged a complaint with the Venetian Senate. In the preface of his completed series in 1511, he still fumed: “Hold! You crafty ones, strangers to work, and pilferers of other men’s brains. Think not rashly to lay your thievish hands upon my works.” Marcantonio had by then established a print workshop in Rome, which he ran from 1513 in partnership with the celebrated painter Raphael. This scene from The Gospel of Luke shows Mary and Joseph dedicating the infant Jesus to the Lord at the Jewish Temple in Jerusalem. The aged Simeon holds the child in fulfilment of the Spirit’s promise that he would live to see the Messiah. Alongside, the prophet Anna gives her thanks and blessing.
(As Time Unfolds, 5 December 2020 – 7 March 2021)
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Marcantonio Raimondi, Albrecht Dürer The Presentation of the Virgin, from The Life of the Virgin, after Albrecht Dürer
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Albrecht Dürer, Marcantonio Raimondi Meeting of St. Anne and St. Joachim at the Golden Gate, from The Life of the Virgin, after Albrecht Dürer
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