Exhibitions
Events
On display
Artist Talk: Peter Bauhuis
Peter Bauhuis GRAND BLOB CHAIN–necklace 2014; copper, silver, gold, bronze, 13 elemtents, ø 30 - 72mm. Photo © Peter Bauhuis
Talk
Past event
Philip Carter Family Auditorium
Free
Munich-based jeweller and object-maker Peter Bauhuis gives a public talk about his practice in conjunction with his solo exhibition opening at the National in Christchurch on 23 November 2018.
Peter Bauhuis’s work consists of jewellery and objects, but his oeuvre is not limited to these genres. In his challenging exhibitions, both the exhibit and exhibition concept are autonomous artworks; his numerous books must also be seen as independent art productions and form part of a network of making and its perception.
Bauhuis was born in Germany and lives and works in Munich. He trained as a jeweller and studied at the Munich Academy for Fine Arts, finishing with the prestigious title „Meisterschüler“. He has exhibited worldwide since 1999 and won numerous awards and prizes, including the highly esteemed International Silver Triennial in Hanau, Germany, in 2013. His work can been seen in public collections in Europe, the USA and Australia. Bauhuis taught at Alchimia, Contemporary Jewellery School in Florence, Italy for ten years, and is a much sought after guest professor and lecturer in universities and institutions around the world. His solo exhibition opens at the National, Christchurch, 23 Nov 2018.
Bauhuis is in New Zealand courtesy of the National and will be teaching workshops in Auckland, Wellington and Dunedin.
Related reading: Talk, Jewellery, Artist Talk
Event
Beam Me Up
Professor of Art History at the University of California, John C. Welchman discusses the impact of psychoactive drugs in popular culture during the 1970s and 1980s as seen in the work of two of the most influential American artists of the last quarter century, Jim Shaw and Mike Kelley.
Artist Profile
Lisa Walker: 0 + 0 = 0
It might be tempting to say that Lisa Walker makes jewellery out of any old thing – but it isn’t true. The eclectic objects that form her distinctive necklaces, brooches and other body-adornments are meticulously selected and shrewdly modified before they see the light of day. She salvages her materials from an unlikely cornucopia of sources – re-presenting objects such as car parts, animal skins and even kitchen utensils through the frame of body adornment’s long history. Tiny Lego hats, helmets and hairpieces – of the kind that clog vacuum cleaner nozzles in children’s bedrooms around the world – are strung on finely plaited cords like exotic beads or shells; trashy gossip magazines are lashed together to yield a breastplate befitting our celebrity-obsessed culture; dozens of oboe reeds donated by a musician friend bristle round the wearer’s neck like the teeth of some unimaginable deep sea leviathan.
Article
The pleasure of making: objects taking centre stage in the space of the art gallery
Was it serendipity that the opening of Christchurch Art Gallery's Burster Flipper Wobbler Dripper Spinner Stacker Shaker Maker coincided with that of Slip Cast, a group exhibition at the Dowse Art Museum that also focused on the pleasure that artists take in manipulating materials in the process of making art?
Notes
Aotearoa
A texture-rich new exhibition at Oxford showcases the considerable talents of six Canterbury artists.
Notes
Host a brooch
A number of Gallery staff are planning to take part in the final Host a Brooch event this weekend.
Exhibition
Talisman
Twelve New Zealand jewellery artists have made new work responding to the theme of talismans in culture. A selection of rare Oceanic talismans from Canterbury Museum are also included.
Exhibition
Simplicity and Splendour
An overview of the much-loved Arts and Crafts movement in Canterbury from 1882.
Collection
Fiona Pardington Mauria mai, tono ano
The seven heitiki (pounamu pendants) in these photographs are now held by the Auckland Museum, but they came originally from Te Waipounamu / the South Island and all are connected to Fiona Pardington’s Kāi Tahu iwi. Traditionally worn close to the heart, heitiki are sacred symbols of fertility with great spiritual significance. In Te Ao Māori, the Māori world, clear divisions are not made between past, present and future, and ancestors are considered actively present. With Mauria mai, tono ano (which means to bring to light, to claim again), Pardington wanted to not only record the appearance of these old and precious taonga (treasures), but to draw out their sense of powerful connection with the past.
(Now, Then, Next: Time and the Contemporary, 15 June 2019 – 8 March 2020)