Tjalling de Vries. Tjalling is Innocent (detail) 2012. Paper collage. A Christchurch Art Gallery Outer Spaces project in Association with CoCA. Reproduced with permission
Tjalling de Vries. Tjalling is Innocent (detail) 2012. Paper collage. A Christchurch Art Gallery Outer Spaces project in Association with CoCA. Reproduced with permission
Tjalling de Vries. Tjalling is Innocent 2012. Paper collage. A Christchurch Art Gallery Outer Spaces project in Association with CoCA. Reproduced with permission
This exhibition is now closed
An ambitious paste-up work by local artist Tjalling de Vries on CoCa's back wall (viewable from Worcester Boulevard), Tjalling is Innocent is an Outer Spaces project presented in association with CoCA.
The next instalment of Christchurch Art Gallery's Outer Spaces programme rolls out with Tjalling is Innocent, an ambitious paste-up project by local artist Tjalling de Vries on the back wall of the CoCA building. The 13 metre wide, 9 metre high work has been built up using layers of printed paper, which the artist has torn back into and painted over, creating a collage-like surface that recalls the peeling, weather-beaten images gradually revealing themselves on the walls and bollards of Christchurch's Red Zone. Viewable from Worcester Boulevard, Tjalling is Innocent is an Outer Spaces project presented in association with CoCA.
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Date:
21 August – 29 October 2012 -
Curator:
Felicity Milburn -
Exhibition number:
910 -
Part of
Related reading: Outer Spaces
Exhibition
Miranda Parkes / Tjalling de Vries: Keep left, keep right
27 October – 18 November 2012
Sharing an interest in expanding the idea of abstract painting beyond its traditional borders, Miranda Parkes and Tjalling de Vries explore the creative possibilities of commercial billboards in an exhibition that combines painting and projection to obstruct and intrigue in equal measure.
Exhibition
The Inner Binding
10 July 2012 – 20 September 2018
Laden with associations, but buoyant with possibility, this large-scale window commission by renowned New Zealand artist Richard Killeen features a richly-layered composition that hints at systems of knowledge and classification.
Exhibition
Here are the people and there is the steeple
May 2012 – April 2017
A big bright mural inspired by the challenges of rebuilding a city. Kay Rosen turns the word 'people' into the foundation for an unexpected 'steeple'.
Exhibition
Jae Hoon Lee: Annapurna
November 2010 – December 2012
An immense and oddly surreal landscape glowing out from the Springboard over Worcester Boulevard is the latest addition to the Outer Spaces programme.
Exhibition
Julia Morison: Aibohphobia
June 2011 – May 2013
Julia Morison has turned the Gallery's squat grey bunker into a dizzying vision in dayglo green.
Exhibition
Reconstruction: Conversations on a City
23 June – 14 October 2012
In acknowledging architectural heritage loss in this city's present and past, this visually rich outdoor exhibition unfolds the ways in which dreams and values have been given form in our built environment.
Notes
Unruly, unexpected and oblique images
Combining unexpected detours, unruly surfaces and oblique viewpoints, the artists in Keep left, keep right invite viewers to slow down and take notice of the city that surrounds them.
Notes
Putting the temporary back into contemporary art
When we started working with Tjalling de Vries on his super-sized wall collage Tjalling is Innocent, we knew it wouldn't last forever...
Notes
Round up
Life has been very hectic here at Christchurch Art Gallery over the past few weeks so here's a quick round up of our latest Outer Spaces offerings.
Notes
Almost there...
The final paper sheet has been glued and the sealant is being applied on our newest Outer Spaces work, Tjalling is Innocent.
Notes
Going up...
We got a break in the weather so it's full steam ahead on the installation of Tjalling is Innocent - Tjalling de Vries' epic paste-up on the rear wall of CoCA.
Notes
The kind of 'liquefaction' we love
Painter Tjalling de Vries dispenses some of the good goo in his Christchurch studio. For more of the runny stuff, see the Rolling Maul feature in our new Bulletin.
Notes
The ghost of studios past
In preparation for the next issue of Bulletin, Gallery photographer John and I have been out photographing some of the local artists who will be taking part in Rolling Maul when we reopen.
Notes
Holloway Press 1994-2014
Last chance to view the Holloway Press exhibition at Central Library Peterborough this week so if you are in the neighbourhood and like beautifully printed, designed and hand-crafted books then make sure you head along.
Notes
Sian Torrington Call Out
Christchurch Art Gallery is excited to be working with Wellington-based artist Sian Torrington on a site-specific sculptural installation that will combine ideas, images and materials that relate to living in Christchurch now.
See below for a message from Sian to find out how you can get involved.
Notes
Outer Space programme sees Canterbury arts graduate exhibit work in Showhome
The Gallery's latest exhibition in the Outer Spaces programme, Showhome, has opened in Christchurch, featuring the disconcertingly 'perfect' works of recent University of Canterbury graduate Emily Hartley-Skudder.
Notes
Worcester Boulevard exhibition extended as publication developed
The popularity of Reconstruction: Conversations on a City has led to the exhibition being extended until 14 October, and the development of a publication.
Notes
The inner binding now on display at the library
If you've not been down to the Central Library Peterborough yet now's a good time to do it.
Notes
(Way Out)er Spaces
We're pretty pleased with what we're achieving with our Outer Spaces programme, but it's always good to see what else is out there. And I do mean 'out there'...
Interview
Silent Patterns
When we asked Tony de Lautour to produce a new work for the Bunker—the name Gallery staff give to the small, square elevator building at the front of the forecourt on Montreal Street—he proposed a paint scheme inspired by Dazzle camouflage. Associated with the geometric near-abstraction of the vorticist movement, Dazzle was developed by British and American artists during the First World War to disguise shipping. It was a monumental form of camouflage that aimed not to hide the ship but to break up its mass visually and confuse enemies about its speed and direction. In a time before radar and sonar were developed, Dazzle was designed to disorientate German U-boat commanders looking through their periscopes, and protect the merchant fleets.
Senior curator Lara Strongman spoke with Tony de Lautour in late January 2016.
Article
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Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.
My Favourite
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.