Kā Kaupapa o te Wā
What’s On
Edith Collier: Early New Zealand Modernist
A rare opportunity to view the work of one of Aotearoa New Zealand’s most adventurous and experimental modernist artists.
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.
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
Julia Morison Some thing, for example
Julia Morison’s 'Some thing, for example' is like a broken life-support system for the waiting, blob-like entity which, although securely caged, seems more traumatised than dangerous, and without anybody to administer aid.
Like all who experienced the 2010–11 earthquakes in Canterbury, Morison, living near the edge of Christchurch’s cordoned ‘red zone’, was delivered a frequent heightened dose of adrenaline. With this, she encountered new aesthetic possibilities in found, discarded objects; sculptural media of a kind that the physical environment had never previously supplied. From a situation of dislocation and abandonment, she has created work of an unexpected material and formal beauty. (Above ground, 2015)
Notes
Les taureaux en hiver
On Valentine's Day in Paris, He Korero Purakau mo te Awanui o Te Motu Story of a New Zealand River, the third of Michael Parekowhai's pianos from the Venice Biennale, was unveiled to the public.
Notes
In memory of David Cheer 1931–2012
'Still, but never static' is how one writer described the work of local artist David Cheer, who died on 4 February, aged 80.
Notes
Hooked on a feeling
As we're all painfully aware, database searching is not always a straight-forward or precise operation.
Notes
The Burnside Biennale of Contemporary Art
What I fear along with many is that we're seeing the emergence of a so-called 'donut city', where all the social and commercial energy has been spun out to the malls and industrial parks on the edges. And you know where most of our existing public art would end up in a donut city? It would end up 'in the hole' – stuck in an empty centre.
Notes
Stripes and checks
Adding labels to the works in our collection – so that you know what a painting depicts, describes or evokes – continues full steam ahead while we are closed.
