Renowned Swiss contemporary jeweller Otto Künzli will talk about some of the projects he has undertaken with his students, who are now some of the world’s top contemporary jewellers.
From 1991 until 2014 renowned contemporary jeweller Otto Künzli headed the contemporary jewellery department for the Akademie der Bildenden Künste in Munich. This prestigious school produced some of the world’s most celebrated contemporary jewellers , including Lisa Walker and Karl Fritsch of New Zealand. Over his 23 year tenure, Künzli and his students created over 40 different installations that presented their work to the public in interesting, uncommon and attracting ways. His lecture will reflect on some these projects. Künlzi says:
It is easy to say that jewellery is actually only true jewellery when it fulfils its destiny to be worn. For instance to enhance the presence of a person. But in order to find people who would like to wear our works we have to reach out, we need to go public. This commonly happens by exhibiting our works. For a painting it is natural to be hung on a nail on the wall, for a sculpture to sit on the ground, a video to be projected on a screen etc. What is natural for a piece of jewellery? Is it to rest in a showcase? Is that all we can do?
Künzli is one of the most influential jewellers working today. The Swiss-trained, Munich-based artist is the creator of some of the most iconic examples of contemporary jewellery including 1cm of Love (1995) and Gold Makes Blind (1995). Künzli’s minimalist, yet meticulously crafted work references cultural phenomena, utilising the power of metaphor and iconography with wit and sophistication.
In March 2013 Künzli’s major retrospective titled The Exhibition showcased his extensive oeuvre and was accompanied by The Book, a comprehensive catalogue documenting a career spanning over 40 years.
Join volunteer guide Sara Newman as she discusses Blouse and Trousers for Olivia Spencer Bower on display in We Do This on the first floor.
Join visitor host Karin Bathgate as she discusses Robyn Kahukiwa's Tena I Ruia on display in We Do This on the first floor.
Join volunteer guide June Goldstein as she discusses Milan Mrkusich's Painting 1972 on display on the first floor.
Join volunteer guide Barry Allom as he discusses Top Shelf by Tony de Lautour (in collaboration with Peter Robinson) on display in US V THEM: Tony de Lautour on the ground floor.
On the opening night of the WORD Christchurch festival, Leonard Bell tells the story of the extraordinary group of European artists, writers, photographers and architects who arrived in New Zealand as forced migrants from the 1930s through the 1950s, and examines how their modernism radically reshaped the arts in this country.
We are going all out for KidsFest with a great, FREE family film!
Writer and historian Stevan Eldred-Grigg examines our exhibition Pickaxes and Shovels and explore what it reveals about class and art in colonial Canterbury.
Take a free guided tour of our collection highlights with one of our friendly, knowledgeable guides.
This year’s weekly ArtBite programme is about to start! From Friday 10 February, we will again offer a weekly presentation of a work on display here at Te Puna o Waiwhetū. The aim of these 30-minute talks is to give you an art break in the middle of your day. We know you’re busy, so this isn’t a long lecture meant to take up too much of your time. And they’re free. With a new work presented each Friday at 12.30pm, the information will be fresh so you can impress your friends during your weekend socialising.
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.
The annual exhibition of Muka Studio lithographs by international artists especially for kids is back!
A free, guided art tour especially for parents with babies. Buggies welcome.
Tour the Gallery with our friendly, knowledgeable guides and a sign language interpreter.
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?
A texture-rich new exhibition at Oxford showcases the considerable talents of six Canterbury artists.
A number of Gallery staff are planning to take part in the final Host a Brooch event this weekend.
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.
Simplicity and Splendour
An overview of the much-loved Arts and Crafts movement in Canterbury from 1882.
The title of this work translates from Mâori as ‘to bring to light, to claim again’. Each of the seven silver gelatin photographs depicts a Ngai Tahu heitiki (greenstone pendant) from the Auckland Museum. All from South Island locations, the heitiki are very sacred objects and it took Fiona Pardington 18 months to get permission from hapu (sub-tribes) to photograph them. Traditionally worn close to the heart, heitiki are fertility symbols and so are strongly connected with life and death.
Pardington has used an average of ten flashes for each exposure. This process recalls a Mâori idea that light is held within greenstone, suggesting that what Pardington was doing was not illuminating the heitiki, but releasing a light that was already there.
Pardington was born in Auckland. She is of Scottish and Mâori (Ngai Tahu, Kati Mamoe) descent. Since graduating with a degree in photography in 1984 from the University of Auckland, Pardington has exhibited widely and lectured on photography throughout New Zealand. She lives in Auckland.