Whakaaturaka
Exhibitions
Taiopeka
Events
E Whakaaturia ana Ināianei
On display
The Art of Climate Conversation
Conor Clarke
Prof James Renwick (CRSNZ)
Sacha McMeeking
Talk
Wednesday 15th October, 12.45–1.20pm
Philip Carter Family Auditorium
Free event, bookings required
Conor Clarke in conversation with Prof James Renwick (CRSNZ) and Moderator Sacha McMeeking.
How can art and science inform each other to communicate compelling information about the climate crisis? This series of talks brings together climate scientists and artists to discuss their practices, communities, and narratives around climate change.
Conor Clarke (Waitaha, Ngāti Māmoe, Ngāi Tahu, Irish, and Welsh) is an artist and lecturer in photography at Ilam School of Fine Arts, the University of Canterbury Te Whare Wānanga o Waitaha. Her practice explores our relationship with the living world, ecology, landscape, and more recently, the endemic and endangered Kaikōura tītī (Hutton's shearwater). This unique, mountain-dwelling seabird informs and enriches her ancestral connection to place and approach to knowledge gathering and art-making.
James Renwick is a leading climate scientist from New Zealand who works on atmospheric physics, weather and climate at Victoria University Wellington. In 2019, he won the Prime Minister’s award for science communicator of the year, and will explain why he's invested the prize money into bringing artists and scientists together.
Sacha McMeeking (Ngāi Tahu, Ngāti Mutunga) is an academic, lawyer, activist, and strategic consultant, who has worked on diverse tribal projects nationally and with the UN and NZ Treasury, and has co-led a Deep South Science Challenge supporting Indigenous youth in a changing climate.
Related reading: Enviromentalism
Commentary
Pauline Rhodes: Blue Mind
Painted blue and patterned with rust, the thin plywood panels and screens lean nonchalantly around the walls of the gallery and form a skyline of sorts. Across the floor sculptures intersect the space, with groupings of tall rods, waist-high enclosures, clusters of plywood shapes and a small kayak frame on salvaged seaweed and driftwood. Islands for the audience to navigate. The forms are roughly human in scale and relative to the body, generating an intensity and making this an immersive installation to wade through.
Commentary
The Edge of the Sea
A vision of New Zealand’s past from 1995:
Europeans first imagined New Zealand as “a garden and a pasture in which the best elements of British society might grow into an ideal nation”... When the smoke of the colonists’ fires cleared at the end of the 19th century, New Zealand had become a different country. Māori had lost their most precious life-support system. Only in the hilliest places did the forest still come down to the sea. Huge slices of the ancient ecosystem were missing, evicted and extinguished. Our histories, however, have had neither the sense of place nor ecological consciousness to explain what has happened.
Interview
Power Play
In November 2017, Simon Denny’s The Founder’s Paradox opened at Michael Lett Gallery in Auckland, the first solo exhibition Denny had made specifically for New Zealand audiences in several years. His starting point for the project was local: the news, broken by New Zealand Herald journalist Matt Nippert in early 2017, that the billionaire tech investor and Donald Trump supporter Peter Thiel was in fact a New Zealand citizen.
Commentary
Of Braided Rivers and Hydro-Traders
“With 14,000km of coastline, over 180,000km of rivers, and 3,820 lakes, there’s more to the land of the long white cloud than land…” So began an advertisement in a recent Sunday Star Times. It might have been the opening gambit for a campaign devoted to water conservation but was, in fact, a promotion for the latest model jet ski: “And all you need to unlock it is the all-new Yamaha Waverunner FX HO… SAME PLANET, DIFFERENT WORLD. Yamaha-motor.co.nz.”
Commentary
The Lines That Are Left
Of landscape itself as artefact and artifice; as the ground for the inscribing hand of culture and technology; as no clean slate.
— Joanna Paul
The residential Red Zone is mostly green. After each house is demolished, contractors sweep up what is left, cover the section with a layer of soil and plant grass seed. Almost overnight, driveway, yard, porch, garage, shed and house become a little paddock; the border of plants and trees outlining it the only remaining sign that there was once a house there.
Collection
Ralph Hotere Dawn/Water Poem
For the exhibition Untitled #1050 (25 November 2017 – 14 October 2018) this work was displayed with the following label:
“There are very few things I can say about my work, that are better than saying nothing.”
—Ralph Hotere, undated
