B.215
Various
ISBN: 1176-0540
Magazine
In this issue of Bulletin Simon Gennard responds to works in the Spring Time is Heart-break exhibition by Wendelien Bakker, Madison Kelly (Kāi Tahu, Kāti Māmoe, Pākehā) and Lucy Meyle. Isaac Te Awa (Ngāpuhi, Kāi Tahu, Kāti Māmoe, Waitaha) provides an introduction to Encountering Aotearoa by Cora-Allan (Ngāpuhi, Ngāti Tumutumu, Niue—Liku, Alofi), which opens in Ōtautahi later this quarter. Homing in on one element of his Out of Time exhibition, Ken Hall looks at a selection of European portraits that can all be traced back to the collecting of former Robert McDougall Art Gallery director Brian Muir in the 1970s. Our My Favourite comes from librarian and poet Mike Moroney (Taranaki Tūturu, Te Atiawa), who picks a drawing by Toss Woollaston that takes him rudely back to his formative years in the shearing sheds of the Wairarapa. Our first Pagework for the year is provided by Joy Auckram (Ngāti Maniapoto), who reflects on what it is to be takata tiriti in Aotearoa.
Author: Various
Pages: 52
Dimensions: 265 x 215mm
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Exhibition
Spring Time is Heart-break: Contemporary Art in Aotearoa
A major exhibition featuring works that tell stories about personal and collective histories, communication, distance and relationships to our environment.
Exhibition
Cora-Allan: Encountering Aotearoa
A major body of new work that considers the whenua from the vantage point of the moana.
Director's Foreword
Director's Foreword
It feels a bit strange to be writing the foreword for the autumn edition of Bulletin on one of Ōtautahi Christchurch’s hottest days. However, here I am, welcoming in a new year and enjoying an amazing summer, while signalling a change in seasons and a range of new exhibitions and programmes here at Christchurch Art Gallery Te Puna o Waiwhetū. It has been a fantastic, bustling summer for the Gallery so far, and we have welcomed over 60,000 visitors between 1 December 2023 and 31 January 2024.
Commentary
Encountering Aotearoa: Whenua, Place and Practice
I stand staring at a painting of Motupōhue Bluff Hill. Being from the far south myself, its shape is instantly recognisable, its silhouette painted in vibrant colours that mirror the way light reflects on the real Motupōhue. The paint used to create this familiar scene is made from whenua, and includes pukepoto, the rich blue pigment that comes from the land near the hill: my whenua. There’s a resonance between the work and its materials that makes it special, layered with connections that reflect my own identity and experiences, reaffirming memories and a sense of belonging.
Commentary
Channelling
In this issue of Bulletin we invited writer and curator Simon Gennard to respond to the exhibition Spring Time is Heart-break. Simon delves into works by artists Wendelien Bakker, Madison Kelly (Kāi Tahu, Kāti Māmoe, Pākehā) and Lucy Meyle, which each examine complex entanglements across species and human/non-human relationships. Looking to the dynamic thinking of writer Ursula Le Guin, Simon offers another way of looking at these artistic practices, as a process of making kin within our contemporary world.
Commentary
Abandoned Ancestors
Between 1971 and 1978, a selection of twelve early oil portraits came into the collection – a finely painted lineup of mostly British sitters, some named and some unidentified, whose arrival can be seen in a number of different ways.
My Favourite
![Toss Woollaston: Untitled [Quentin (Kin) Woollaston Shearing]](/media/cache/89/81/89813389f1be4baa3817a7260a3b0cc7.jpg)
Toss Woollaston: Untitled [Quentin (Kin) Woollaston Shearing]
“Teddy you fucking mongrel! Stay in your place, so help me you fuzzy prick!” my four-year-old self shouted at my hapless toy bear during Christmas lunch in 1981.