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Home , Chris Knox, Jane Dodd, Julia Morison, Ronnie van Hout, Sneaky Feelings, Straitjacket Fits

Issue 31 Exhibitions Ōtautahi www.artbeat.org.nz August 2021 Galleries Studios Waitaha Street Art Canterbury Art in Public Places ARTBEAT In this issue: The Art of Flying Nun 01 Being an Urban Artist 02 The Den 03 At The Galleries 03 Place in Time, Tūranga 05 Reviews 08 10

Hellzapoppin’! The Art of Flying Nun writer Warren Feeney The opening of Hellzapoppin’! The Art of → Flying Nun in August 2021 at the Christchurch Be My Friend Art Gallery Te Puna o Waiwhetū is no coinci- 1982. 7-inch dence. It celebrates to the month, forty years single, designed by Ronnie van ago that Roger Shepherd, then a record Hout store manager in Christchurch established →→ Flying Nun, its first ten years of recording the Slug- predominant subject of a survey exhibition of buckethairy- the original artwork, record covers, posters, breathmonster videos, photographs, design and paintings by 1984. EP Designed by members of the labels’ various bands, musi- cians and associated designers and artists. While debate still fires up among music critics and musicians in Aotearoa about the critical role that Flying Nun played in the post-punk music scene in the 1980s, while Wellington and saw the emergence of bands that included Beat Rhythm Fashion and The Mockers, (both from Wellington) the anchor of a record label with a distinct attitude and personality has seen Shepherd’s Flying Nun remembered as the sound of that period. Certainly, , and are high on the list of bands contributing to such perceptions and memories. Curated by Peter Vangioni from the Christchurch Art Gallery, he admits that he to communicate with, its band members And although Flying Nun is often described these are related her silkscreened posters made the decision to move to Christchurch and their records, and the artists who have as representing a DIY attitude (do it yourself) for . in the late 1980s to study at the University of brought their music to visual life: Chris Knox, , van Hout identifies it as ‘more BYO than DIY’. ‘A lot of the musicians were doing beau- Canterbury, based on the premise that the Lesley Maclean, Ronnie van Hout, Robert Vangioni is also impressed by the number tiful art. Up to about number 83 of the Flying city was the centre for many of Flying Nun’s Scott, Alec Bathgate, John Halvorsen, John of records that Shepherd released for his Nun records, each of them had their own bands and venues. Bringing together the Collie, , Martin Phillipps and many Flying Nun label in Christchurch. ‘The Clean’s label, done by artist-friends or members of album covers and associated objects, films more’. Boodle, Boodle, Boodle, 1981, provided the the band. They were creators using whatever and works of art, making up over 300 objects The punk music scene that dominated a model. There is a modesty and unassuming was available. By the late-1980s there was for Hellzapoppin’!, he comments with signif- ↓ number of pubs and bars in the early 1980s, strength about them. They are the less of the hand production and less of the Builders icant pleasure that the exhibition is ‘more c.1985. that included The Gladstone and Hillsbor- band, being pre-digital and hands on in their DIY’. Poster, de- work than your standard art exhibition. Each signed by Lesley ough saw them evolve into regular venues recording and album art’. In 1987, Flying Nun bands stopped doing band involved has been an absolute treat Maclean for Flying Nun Bands, and it is important to ‘Hellzapoppin’! goes to the mid-1990s their own labels for their records and Vangioni note that the involvement of artist Ronnie van but the period from 1981 to 1988 is dominant. highlights this shift, acknowledging a phil- Hout, a student at the Ilam School of Fine Art, The exhibition is made up of some original osophical change in thinking. He notes that during that period and contributor to record paintings used on records, and that includes Montgomery’s The Pin Group were anti-mar- covers and singles for The Pin Group and John Collie’s Bird-Dog painting for The keting, releasing a single with virtually no Sneaky Feelings, was part of a wider associ- Verlaines' LP of the same name in 1987 and identifiable details. ation between the music and the SFA in the beautiful original prints by Michael Morley for Vangioni also notes that Christ- early 1980s that also included a transitioning . Ronnie van Hout did all three church-based designer Alec Bathgate has punk scene into experimental sound music. covers for the records by Roy Montgomery’s designed the book for Hellzapoppin’! and like (Student/sculptor Graham Snowden’s group The Pin Group, 1981-82 and 25 Cents,1982. all aspects of the exhibition’s realisation, he And Band’s continuous noise performance Designed by Matthew Campbell Downes and is also closely associated with Flying Nun. in 1980 at the repre- Stuart Page Ballon D’Essai, This is the Level ‘Bathgate went through art school in Dune- sented a that drove all those Crossing, 1982, also included a comic book’. din and joined The Enemy with Chris Knox, initially wishing to attend from the venue). ‘Lesley Maclean was a student at CPIT went to Auckland, formed and then Vangioni says that with Flying Nun, Chris School of Art and Design and she did posters Tall Dwarfs–and being involved with the label Knox is everywhere. ‘He was a musician, for Flying Nun, including The Builders, 1985, Flying Nun has also led musicians to become sound engineer, song writer, and he did album using a series of mylar sheets and cutting out designers’. art for himself, his own records and for other the shapes by hand with a swivel knife, differ- bands, making posters, making video ( he did ent sheets for different colours, like a screen The Clean video for Tally Ho) and little adver- print. She got to see and know all the bands. tisements that would go in Rip It Up maga- Michael Reed was teaching print making at zine. Ronnie van Hout also features large in CPIT at that time and he taught her’. the exhibition. In addition to his design of the ‘The exhibition has original artworks Hellzapoppin’! The Art of Flying Nun publication accompanying Hellzapoppin’! and relating to specific record covers including Christchurch Art Gallery Te Puna o Waiwhetū a limited edition poster, van Hout’s observa- Rolling Moon by The Chills - The original draw- Cnr Worcester Blvd and Montreal St tions about Flying Nun, are enlightening. He ing for it. Martin Phillipps was self-taught and 21 August to 28 November 2021. observes;‘hanging out with those artists at he liked comic books in particular. Jane Dodd, Hellzapoppin’! will launch with a free open- that time was more important than going to who was also in The Chills and The Verlaines ing party with performances from some of art school.... It came out of a period of high is now a contemporary jeweller represented Aotearoa's best musical acts. unemployment and many of us had gone in Christchurch by The National. Self-taught 7pm Friday 20 August through a utopian education system that left , she did the labels on side one and side two Exclusive to Artbeat, Ronnie van Hout’s The us ill-equipped for the emerging dystopia’. for their single, Death and the Maiden, and Pin Group Coat / Jim, poster, page 10

Artbeat 01 So, you want to be an urban artist?

question of how much to charge and whether to compromise on price to gain opportuni- ties, or what stylistic and thematic conces- sions you might be willing to make when producing a legal work. In contrast to the freedom of hitting the streets, a commis- sioned mural will often require an under- standing of what is deemed acceptable or appropriate, which may mean adopt- ing a more fluid style. However, in a world where recognisable and original aesthet- ics are valued, this becomes a problematic proposition. This line of thought leads to another question that surrounds the transition to muralism; should you have a body of un-commissioned work before seeking larger opportunities? Are you somehow less authentic if you have not ‘put in work’? This is part of a broader discussion around the evolution of urban art and its participants. If ↖ graffiti and street art’s rebellious roots were Jessie Rawcliffe works on her mural supporting The Marriage of Figaro. The step into muralism can mean facing a raft of challenges, from the ability to once definitive, that has changed as these work with briefs to the practicalities of accessing a wall forms have become mainstream and have found increasingly supported platforms. ↑ Dr Suits art work on a mural in New Brighton. Stepping into muralism, and Artists range from teenagers to parents (and street art more generally, raises a range of questions in some instances grandparents), and span writer all walks of life, including doctors, scientists, Reuben Woods teachers and, of course, professional artists. In recent weeks I have been posed a and styles and intentions as there are tools to use (although murals have predom- This diversity means people must come recurring question: ‘How do I start paint- participants. While graffiti is a more coher- inantly been painted with brushes or spray to terms with their motivations, their comfort ing murals?’ In one case this question was ent subculture where a network of histories, cans, today artists produce work with fire levels and the potential implications of their reframed from an initial: ‘How do I become a rules, and expectations (both stylistically extinguishers, by carving into walls (in the actions. Night-time missions inside aban- street artist?’ While the two incarnations of and behaviourally) frame membership, case of Portuguese artist Vhils) or by compil- doned buildings won’t suit everyone, nor will this question may seem quite different, they post-graffiti street art is much more open- ing refuse into colourful wall sculptures (the more purely disruptive actions, and as such, are also closely intertwined. While the first ended and to join the ranks the only requi- technique of another Portuguese artist, it is important to think about what approach version is in many ways a practical enquiry, site is a willingness to act. Whether you paint Bordalo II),to the process of working at a suits your constitution and situation. The the potential responses to the latter are walls, paste posters, install sculptures, stitch larger scale, both in terms of design and how advantage of contemporary urban art is that somehow both straight-forward and more yarn or apply any other technique, it is the to practically scale up work (ever operated there are numerous niches to occupy within layered. act of doing so in the streets and as such a scissor lift?). Then there is the challenge each branch. The answer to both questions Ultimately, to become a street artist you subverting the expectations of that setting of actually finding walls and commissions, that inspired this article is to understand need to take your art to the streets, driven that becomes your entry point. itself an art of self-promotion that can be what you want to accomplish and where you by the motivation to reach an audience in The question of how to get into paint- challenging for the more introverted and may see your work fitting within that scope. Once the most direct manner possible, essen- ing murals is also more interesting to reflect require a thick skin. you understand that, the rest will surely fall tially by-passing institutional frameworks. upon than it might seem at first. There are There are a number of additional issues into place. Importantly, there are as many approaches several practicalities to consider; from what that manifest, such as the challenging

NEWS EVENTS

&← WORKSHOPS The Creative Communities Scheme (CCS): The Creative Cottage August Workshops: Amelia Fauchelle and Women in Photog- P O O L S I D E, Somatic a community provides funding to local communities so The Stoddart Cottage is hosting a series of raphy: Ameila Fauchelle’s exhibition, choreographic New Zealanders can be involved in local arts creative workshops at the historic property in is a series of large scale photographic works project by Olivia activities. Diamond Harbour. No previous experience exploring ideas around women's position Webb (compos- er and artist) in Applying for the Creative Communities required for any of the sessions, which are within the realms of photography. Aiming to collaboration Scheme: CCS supports a wide range of arts supported by Creative Communities funding. challenge ideas around the exploitation of the with Julia Har- projects under the following art forms; craft/ Exploring Eco-Dyes Workshop: Sunday 1 female figure while simultaneously drawing vie (contem- porary dance object arts, dance, inter-arts, literature, Māori August, 1-5pm, $45+bf A hands-on natural reference from the impact women photogra- choreographer). arts, multi-art form (including film), music, dye and ink making with Blue Gum Fibre’s phers have made upon the medium and the Photographer: Pacific arts, theatre and visual arts. Your appli- Arina Terekhova using plants foraged on the tools at their disposal. Somatic explores ideas Anastasiya Korzh. (funded cation will go to an assessment committee of day. Participants will take home their own dyed around concealing and revealing through through Christ- people from the Christchurch area. They are fabric wrap and ribbons. Booking essential at: abstractions, ephemerality and makeup of church Creative appointed for their knowledge and experience https://www.eventbrite.co.nz/e/exploring- the body, expectations of immediacy, and the Communities Scheme) of the arts and local communities. You will be eco-dyes-workshop-tickets-159049428121 female voice. notified of the outcome of your request within Clay Cup Workshop: Saturday 14th August,1- Details: Amelia Fauchelle, Somatic at Art ←← three months of the fund closing There are 3pm, $25+bf Make a pottery cup using clay Hole, 336 St Asaph Street Opening event: Arina Terekho- no exceptions to the closing dates. Only fully slab handbuilding technique with award-win- Tuesday 31st August, 5:30p, 10-2, Wednes- va, Blue Gum Fibres - hands- completed applications submitted before the ning ceramic artist, Jane McCulla. The cup day, Thursday, Friday, and Sunday (Closed on natural dye closing date will be processed. Go to: https:// can be painted and includes firing. Booking Saturday) and ink making, ccc.govt.nz/culture-and-community/commu- essential at: https://www.eventbrite.co.nz/e/ Margaret Stod- dart Cottage in nity-funding/creative-communities-scheme craft-a-clay-cup-tickets-159579246823 CoCA - Artist Trustee Vacancy: Are you August For assistance please contact a Community Felting Flowers Workshop: Sunday 29th a practicing artist in Otautahi Christchurch Funding Adviser or email creativecommuni- August, 1.30-3pm, $20+bf Acquire felting who would like to contribute to the success ←←← Amelia Fau- [email protected] skills using wool from sheep and alpacas of Toi Moroki, the Centre of Contemporary chelle, right through felting a flower under the guidance Art? We are seeking an artist Trustee who is hand , 2021, of wool-craft tutor, Rowena MacGill. Booking well connected in the arts community and Sx-70 film, from the artist’s exhi- essential at: https://www.eventbrite.co.nz/e/ will bring fresh perspectives to the Board. bition Somatic felting-flowers-tickets-159580408297 CoCA is run by a dedicated team of staff and at Art Hole in Further details and how to book at https:// volunteers and you would be joining a Board August www.stoddartcottage.nz/events of people from diverse backgrounds. Candi- dates without previous governance expe- rience are encouraged to apply as Board induction will be provided. For more information: www.coca.org.nz/ opportunities If you’re interested, contact Board Chair, Anna Ryan: anna.ryan@lanene- ave.co.nz

02 THE DEN: Building the Art Scene in Ōtautahi AT THE

↘ Andy Leleisi’uao was born in in Andy Leleisi’uao, 1969 and grew up in Mangere, South Auck- Umbilical Brown land. He coined the term “Kamoan”, “Kiwi-Sa- II (cropped moan”, to describe himself and other Samoan image), 2021 acrylic on New Zealanders who exist in the Va (the space) canvas between the two identities while not quite fully identifying with either. It is the question- ↘↘ Tim Cheese- ing around this hybridity that fuels much of his borough, Sky imagery across a wide range of media. High Scaf- Andrew Paul Wood backgrounds folders, 2021, photograph Andy Leleisi’uao’s art. eyecon- tactmagazine.com/2017/09/ ↘↘↘ wallace-winner-in-christchurch Clare Logan, Shallow Hol- Andy Leleisi'uao and Sefton Rani, PGgal- lows, 2021, oil lery192, 192 Bealey Avenue, until 20 Aug. on board

↘↘↘↘ One of Christchurch’s oldest public build- Hamish Allan, ings is at last getting its repairs, more than a Off the Deep decade after the earthquakes… Development End, 2021, acrylic on company Box 112 is leasing the old municipal writer canvas building, and under a partnership arrange- ment is also undertaking the restoration and Warren Feeney ↘↘↘↘↘ strengthening…. Box 112 director Sam Rofe ↑ Tiffany Thornley, THE DEN is an artist-run space located on Sophie Ballantyne also notes the critical Frida THE DEN, inau- , intaglio said they were “excited to get in there and start the ground floor of 181 High Street. Open- role of the city’s galleries in acknowledging gural exhibition, print the restoration process”. ing in December 2020 it was established career development. ‘The whole idea for Collective, De- Liz McDonald, ‘Ten years on from quakes, by four graduates/ post-graduates from the THE DEN came around when we were at cember 2020. ↘↘↘↘↘↘ From left; work Molly Halpine, work starts on damaged Christchurch heri- Ilam School of Fine Arts: Sophie Ballantyne, art school as very few people are picked In Motion by Sophie Bal- , 2021, tage building.’ The Press, 3 May 2021 Tessa McPhee, Jamie TeHeuheu and Rupert up by galleries leaving art school. Sharing lantyne, Tessa oil on canvas Diamond Harbour Camera Club, Rebuild Travis. Its exhibition programme comprises studio spaces at the School of Fine Arts and McPhee, Jamie Refocused TeHeuheu and , Stoddart Cottage Gallery, 2 the agendas of both an artist-run space and spending those years together with other Rupert Travis. Waipapa Ave, Diamond Harbour, 6 to 29 Aug dealer gallery, characterised by an attitude students was central to THE DEN opening. Photograph: about the bigger picture of how the visual All our meetings about the gallery were in James Te- Heuheu The idea of thinking in the margins is quite arts function, encompassing emerging our studio. We talked about it for a year and interesting to me. [Thomas] Ligotti believes artists, curators and writers. then it happened’. that fiction can put us in touch with that sense Over the past three years artist-run Rupert Travis sees THE DEN as an of things unseen that can create an encounter spaces have gained in presence and signif- encouraging space for an artist’s work to be with a state that combines terror and enchant- icance in Aotearoa, with Auckland the initial represented in. ‘Artists need to work out how ment. And I think that – the enchantment, that centre for their revitalisation. THE DEN they are going to enter this field and part of heightened emotional state, I love that. describes itself as ‘one of a network of small the idea is in allowing them to sell, and an Clare Logan discussing her work with galleries helping to build the art scene within artist’s installation can allow them do that Cameron Ralston, City Art Reader, Aug 2020 Ōtautahi Christchurch’, and fundamental to as well. We allow artists to exhibit without Clare Logan Lacuna, City Art Depot, 96 its presence is also the city’s ongoing regen- charging them a fee, permitting them to put Disraeli Street, Sydenham, 3 to 23 Aug eration, noting that High Street connects up their work without having to empty their them to popular assumptions about the pockets’. Off the Deep End is part of a series of 5 paint- ‘innovation precinct’. Travis also notes that although they are ings, a reflection and interpretation of the Jamie TeHeuheu recalls that THE DEN ‘still getting there’, their regular visitors are recent two year period surveying and living is the outcome of them all needing some- part of a community of supporters, and there in my local landscape - Ōtautahi and Te where to display their work. ‘Rupert knew the is further room for projects like THE DEN in Whakaraupō. The dramatic landforms and landlord and we were close to the end of our Ōtautahi. ‘What is amazing is going around the associated flora and fauna interacting in degrees. They gave us the space for three and asking for spaces. There is a slump in ↓ and on that space are worthy of quiet thought weeks. We moved in and as painters, we are retailing and a lot of opportunity for artists Group exhi- bition, Daisy and careful rendition. interested in the commercial side of the art to give things a try’. TeHeuheu agrees, and Chain, 15–26 Hamish Allan on his recent paintings. world and its accompanying challenges as further maintains that THE DEN and other June 2021. Par- Hamish Allan, Angst at the Edge of the Plea- a graduate. In many places where artists artist-run spaces are essential, addressing ticipating artist: Alice Alva, sure Garden, Chambers Gallery, 80 Durham exhibit, commissions are high and rents are wider concerns about ‘the need for systemic Sophie Ballan- Street, Sydenham, 18 Aug to 4 Sep as well. Many young artists question what to change in the arts community’. tyne, Saskia display to cover this cost and not be out of Bunce-Rath, Kara Burrowes, When I do the etching process things happen, pocket, and if the gallery is fulfilling its duties, Jay Hutchinson, but the plate gives a structure. With painting doing it yourself can be rather empowering. Lizzy Leckie, and drawing things happen too, but with the With an artist-run space we can keep our THE DEN, Hannah Phillips, Karen Rubado plate things happen that you can’t control. And overheads low. I strongly believe that all 181 High Street Christiane although they say you should never overdraw, many young artist need is a sale, an oppor- Wednesday – Saturday, 10am to 4pm or by Shortal and never overwork, I reckon you should. It’s much tunity to display or supportive feedback from appointment Georgina May Young. Photo- better for you if you overdraw, work it to the full…. outside their peer group to justify what they https://thedenproject.com/contact graph: Sophie If you stop you never know how far you could go, are doing’. [email protected] Ballantyne that’s the same in life, isn’t it?’ The artist on etching and life. Marian Evans, Bridie Lonnie and Tilly Lloyd, A Women’s Picture Book, Wellington: GP Books, 1988, p. 18 Tiffany Thornley , Jane Zusters and Robyn Webster, Dredging - a new history - three women printmaking, Eastside Gallery, 388 Worcester St, 9 to 28 Aug

… to move, change and progress. Molly Halpine, has an interest in capturing figures in these moments. Barriers are stripped down to form a sense of vulnerability, highlighting human experience. Absolution on Molly Halpine’s In Motion Molly Halpine, In Motion, Absolution, Arts Centre Te Matatiki Toi Ora, 2 Worcester Blvd, 29 Jul to 30 Aug

Artbeat Issue 31, August 2021 GALLERIES Takaaki Sakaguchi’s Ceramics: Getting to the Essence of his Subjects

writer Warren Feeney An internationally renowned fashion designer ↗ Why the shift and change in arts prac- the day the shop or boutique has control over the symbolism of Australian painter Sydney Takaaki Sakagu- turned ceramic artist, Takaaki Sakaguchi is tices? Sakaguchi says that his success as your work’. Nolan’s Ned Kelly Series (1946 – 1947). Saka- chi, Ned Kelly, Ned Kelly holding his first solo exhibition at Form Gallery 2021, cerami a fashion designer in Aotearoa happened Exhibiting his ceramics from 2017, Saka- guchi’s reduces all to the content of in tandem with fellow ceramicist Andrew quickly. In 2003 he started showing his cloth- guchi’s recognition as sculptor and object the outlaw’s masked armour, enriched by his Carran in August. Emigrating from Osaka, ↗↗ ing with Ng Design and Barbara Lee. ‘Suddenly artist has been almost as immediate as his attention to the potential of his manipulated Takaaki Saka- Japan in 1996 to live in Auckland, he moved to guchi, from left: I had people wanting to stock my work. People success as a fashion designer: The recipient of clay surfaces. As he states: ‘You can tell my Ōtautahi in 1998. It is a city that he maintains Genbu, Koya were picking up on my label. Every designer is the Avice Hill Memorial Prize at the Canterbury finger print is there’. he appreciates because, like Osaka, it shares series(in Jap- hoping to do that but I was really lucky with my Potters’ Association 44th Annual Exhibition There are other works that further anese means a noticeable shift in its weather over the four Barn) and Ned work. It was in the best shops in Sydney and in in November 2017, his work acquired for the consider the essence of their subjects, in seasons of each year. Kelly, 2021, as well. But working in fashion and Canterbury Museum’s collection in 2018, a New Zealand artists’ paintings, including Colin Sakaguchi was head-designer for ceramic retailing, I started to have so much pressure on finalist in the Waiclay Ceramics Award 2019 at McCahon’s Tomorrow will be the same, but Ayako Koshino fashion house in Osaka, later me. Shops expecting a new look every time. the Waikato Museum, and a featured artist at not as this is, 1958 – 1959, and W. A. Sutton’s establishing his own business, Sakaguchi in There is a limit to fashion design. I want to be The Arts Centre: Sculpture Festival Exhibition Plantation Series, 1988. And there is Kyureki, Aotearoa with outlets throughout the coun- more ‘Avant-garde’, than the fashion indus- in 2020. a series of twelve geometric abstract ceram- try, and in Australia and Japan. He created a try could accommodate. ‘I like black clothes Sakaguchi’s described his ceramic ics on Form Gallery’s walls, representing the significant presence in the fashion world in – (black is Avant-garde) and fashion is a very objects and sculptures as the presence of an months of the year. Sakaguchi has given each Australasia, involved regularly in New Zealand hard business. You can’t create anything that idea. The works in his exhibition, Revisions at a name for each month. Fashion Week and for the past decade with you would like to. The shops have to sell and a Form Gallery acknowledge a history of West- his fashion design store, Sakaguchi Couture in label needs to be popular. I was in that group, ern art and modernism and traditional Japa- Merivale. In 2017 he became a member of the but I was trying to make my look by fitting it nese painting. Acknowledging that as an artist Revisions – Andrew Carran and Takaaki Sakaguchi Canterbury Potters Association and ceramics into to my clients needs, buying my clothes. his work is about the essence of his subjects, Form Gallery, 468 Colombo Street, Sydenham have become a passion that he describes as I wanted more freedom, where you can do Revisions includes, Ned Kelly a minimalist Opening: Saturday 7 August, 2pm - 5pm, 7 to rivalling his previous fashion interests. anything that you want to do and at the end of geometric ceramic object that respond s to 28 August

Xgaleri- Artist’s Studio and Gallery in the Central City of Ōtautahi

writer Warren Feeney Opening in March 2021 in the Guthrey single value, but came up with this concept Centre, Cashel Street, and Xgaleri is both of tyranny, the overpowering. The materials an artist’s studio and art gallery. Artist are important. I am showcasing this thick and contemporary Jeweller, designer and dense medium of paint, but also the paint multi-media artist, Max Brown makes use as clear translucent blue water - The point of the gallery as the studio for his painting being to question these contrasts’. and jewellery, and his mother, Sheila Brown, Sheila Brown has been painting full- is represented by her paintings. Both are time as an artist for the past fifteen years, owner/operators of Xgaleri and their commit- the subjects of her works are the birdlife ment to its establishment in the central city of Aotearoa and the relationship of her ↑ is grounded in their intentions to be part of subjects with her paint and palette knife on A Welcome Home Sheila Brown, , 2021, acrylic on canvas the Cashel Street precinct, representing a canvas. She describes the fragmented, yet ← commitment and example, encouraging connected imagery of her artwork as ‘like Max Brown, Tyranny, 2021, acrylic on canvas other artists and galleries into the city centre. a photograph that has been folded and Both are equally conscious of the creased over time. All of my work begins with demands of retail space but are grateful for the palette knife and the story is told through the dedication the landlord has for the Guth- the paint brush’. In Welcome Home, Godwits, rey Centre which they both believe has huge Sheila comments that she was ‘very much potential and are enthusiastic for what the thinking about Spring and the arrival of the future holds within this area. godwits, the godwits represent the traveller Studying in industrial design at Victoria returning home’. University, Wellington Max Brown’s design background plays an important part in his practice, supporting his work as a painter. Currently, he is working on a series of mini- malist abstract paintings with a specific interest in reconciling opposites, positive and negative shapes and relationships, part of the overriding influence of his background in design and architecture. ‘Tyranny is a black painting and I have been looking at the dark Xgaleri minimalism of ’s paintings. It Guthrey lanes, 126 Cashel Street is difficult to achieve such depth within a Central City, Christchurch

04 Place in Time: The Ōtautahi Christchurch Documentary Project is at Tūranga

↑ ↑↑ Janneth Gil, New Brighton Janneth Gil, Bishopdale

writer Warren Feeney Place in Time has opened a new documen- As the subject of their interest for the exhi- ↑ Students went door knocking or walked the captured intimate moments in many photo- Mitchell Bright, tary exhibition in Ōtautahi’s central city library, bition, students populated images of Cathe- Halswell streets photographing buildings, or historic graphs, highlighting her enormous interest in Tūranga’s, Te Pito Huarewa/Southbase Gallery dral Square with activities, objects and ideas site or major road works, and they met people people and social groups as the subjects of curated by Place in Time project manager that they would love to see happen, creating on the side of the road. Those casual interac- her work. and Senior Lecturer in Photography at the new possibilities for the site in an ‘aspirational tions helped open doors’. ‘At the end of each year’s internship, the University of Canterbury School Of Fine Arts, city’ that they would feel proud to call ‘home’ . Veling observes that Covid19 didn’t help, students would have an exhibition of work Tim Veling. The exhibition, We Stand Here: (Visitors to the exhibition at Tūranga are also especially after the Mosque attacks, students that they had selected. They selected roughly Celebrating five years of the Christchurch invited to answer the question: What do you were anxious about greeting people who were ten each that they felt best represented their Documentary Project is the outcome of a part- think a liveable central city looks like? All are strangers. ‘The area assigned to students in experience of the area. On top of that however, nership between Christchurch City Libraries asked to respond by creating their vision in a 2019 was Woolston and because of what had they could submit up to 200 other images for and the University of Canterbury, School of free, drop-in activity). happened they found it a tough task. They went posterity and library records. That is the nature Fine Arts. Veling says that We Stand Here is a collab- to The Tannery and photographed people and of this internship. It is a professional photogra- Place in Time was conceived and estab- oration that came about following an approach businesses, but to break in on a deeper level phy project that is practical, making work that lished in the late 1990s by Glenn Busch, Senior from senior manager of Christchurch Librar- was tough, capturing the life of people in their spans archive research and journalist or docu- Lecturer in photography at the School of Fine ies, Sam Luderman to work ‘with the University homes proved difficult.’ mentary photography practice. They were all Arts, documenting the people, communities of Canterbury School Of Fine Arts, its staff and ↓ ‘What emerged from suburbs and regions young students in their early twenties, being We Stand Here, and environment of Ōtautahi with a long-term interns to make a project within the boundary New Cathedral that were photographed? Mitchell Bright sent out as the photographer on the spot’. Place in Time vision of a systematic record in photographs of of to go into the library’s archives Square, panel 2 photographed the Selwyn district with an inter- the life and values of its inhabitants. and have it posted on the library’s website: of 6. A collabo- est in the extended motorway construction, Projects to date include My Place, docu- https://canterburystories.nz (This online ration between later developed substantially towards into an Christchurch We Stand Here: Celebrating five years of the Christ- menting local residents in the place of most resource consists of digitised material from East School independent exhibition Cultivated, at CoCA Toi importance to them, exhibited at CoCA Toi Christchurch City Libraries archives; publica- and Place Moroki. Photographs of New Brighton revealed church Documentary Project in Time: The 10 July to 27 September Moroki in 2003 and attracting 10,000 visitors tions, newspapers and donors). Christchurch the life and activity in the main shopping area over three weeks. We Stand Here: Celebrating 'The current exhibition is me closing off Documentary with images that included Colombian groups Hapori | Community, Level 1, Tūranga, 60 five years of the Christchurch Documentary on that five-year period. I was asked to curate Project. dancing and ‘grass roots stuff’. Janneth Gil Cathedral Square Project is the 29th project Place in Time has a selection of images produced with contribu- undertaken, researched and realised as all tions from the community from 2015 to 2019 previous project have been, by staff, students as well as celebrating what the interns had and post-graduates at the SFA. It has taken five achieved, but also to thank the many people years with over 1,500 images by University of who generously welcomed them into their Canterbury internship students focused on five homes. While it is a Place in Time project, it Christchurch communities: Bishopdale, the was made for the libraries and the complete city centre, the East (New Brighton), Halswell, archive over that five year period is now held and Woolston. within that archive. The exhibition, We Stand Veling has selected the photographs for Here itself is a tight selection of images the exhibition and also developed its outreach from the larger archive that connect the five education programme, Children’s Vision of communities’. their Ōtautahi. While the past five years of life in ‘The exhibition also acknowledges, various suburbs of Ōtautahi are covered in the Sydenham-based photographer Doc Ross exhibition, Veling wanted to consider the city’s and his decision to donate 17,000 images of youngest residents, and their thoughts and his photographs to the library, many of them a vision of our future. He decided to approach history of the city over the past two decades. Christchurch East School, commenting that ‘it It is a substantial and invaluable resource with has a high proportion of students with English photographs of Christchurch and Sydenham, as a second language. In conversation and pre and post quake. holding workshops, he asked students to ‘The library and Depree-Ludemann consider ‘their connection to the central city provided the directive for the documentary area and ideas that would make it feel like their project. They wanted a good cross-section place. What does this place mean to you? Is of the city’s communities represented, along it grey and boring? What does home smell with key sites or people. Regardless of the and taste like? What would your perfect home assigned area, the Library asked: ‘Who is living look like? One student responded saying: “I in Christchurch and is part of our community? am from Nepal and I wish there was an exotic What is our cultural/social make up and what fruit stand in the square”. That idea is captured do people of that area find important? That in the exhibition in a collage/photograph of was a challenge for some of the more intro- Cathedral Square ‘. verted students, but they rose to the challenge.

Artbeat Issue 31, August 2021 05 W Tribute to Fire 1 6 Graham Bennett, Absolution Artbox Gallery Fighters, 2002, Kilmore and Molly Halpine, In Motion, 29 1/16 Loftus Street, Papanui, Madras street corner Jul-30 Aug, Arts Centre Te Christchurch, Tue-Fri 11-4pm, Matatiki Toi Ora, 2 Worcester Sat 11-2pm Street Art Murals Blvd, CHCH, Mon–Sun 10–6pm 7 Arts in Oxford X 2 Askew One (Elliot O’Donnell) Aigantighe Gallery Nigel Borell, Artist in Residence, Public Art in the Four Avenues (NZ) – Kristen, 2013, 162 Ann Shelton, the missionaries, Exploring Māori Creation Nar- DISCOVERP Raise the an- ratives Through Painting Nathan Pohio, Gloucester Street until 15 Aug Whiria Te Tāngata, , until 15 chor, unfurl the sails, set course Weaving People Together, until Aug, Main St, Oxford, Thu-Sun to the centre of an ever setting Y Untitled Rone (Aus), , 2013, 15 Aug, 49 Wai-Iti Rd, Maori Hill, 10-4pm A H E Noho Ra De sun! Thomas Woolner, (founding Paul Dibble, 2015, Harper Avenue 105 Worcester Street Timaru, Tue–Fri 10–4pm, Sat– Chirico 8 member of the Pre-Rapha- , 1995, Robert Mc- Sun 12–4pm Ashburton Art Gallery John Robert Godley Q Under Con- Z Untitled (Giving Duration elites) Dougall Art Gallery, Botanic Peter Atkins, Adnate (Aus), Gaylene Barnes, , Statue struction – Chaos and Order Hands) 3 , 1867, Cathedral Gardens , 2015, 132 Kilmore Arca Gallery 2-27 Aug, Elizabeth Thomson, Square (Re-imagined), 2014/19, 148 Street 127a Hackthorne Rd, CHCH, Cellular Memory, 15 Aug-24 Oct, I Nucleus Cinéma of the Phil Price, , 2006, cnr Gloucester Street Tue–Sat 11–4pm Mark Soltero, B Citizen’s AA Untitled Rorschach William Tretheway, High and Manchester streets ROA (Belgium), , , until Oct, West St, War Memorial R Te Tāhū o ngā 4 , c. 1936, Kelcy Taratoa, 2013, Canterbury Museum, Art Hole Ashburton, Mon–Sun 10–4pm, J Flour Power Maunga Tūmatakahuki Cathedral Square Regan Gentry, , , 2020, 11 Rolleston Avenue Dee Chisholm, Maria Lee and Wed to 7pm 2008, cnr High and Colombo Christchurch Art Gallery Te Jillian Wordsworth, Paper Paint C BB Organic Matters Rock 9 George Frampton, (Arts and streets Puna o Waiwhetū’s outer east Chimp (NZ), , , 3 – 8 Aug, Craig Barrett, Bryce Gallery Crafts movement 19th cen- wall, Worcester Boulevard 2018, Justice & Emergency Paul Barrett, Maree Dillon, 84 Vicenza Dr, Ohoka RD2 Industry and Concord K Passing Time tury), , Anton Parsons, , Services Precinct, 44 – 52 Henry Sunderland, James Ford, Kaiapoi, Fri–Sun 10–5pm, Mon– S Stay c. 1882, cnr Oxford Terrace 2010/11, High Street entrance Antony Gormley, , 2015/16, Lichfield Street Kimberly Barrett, Brian Morris, Thu by appointment and Worcester Boulevard to Ara Institute of Canterbury Northern Quadrangle Arts By Tomorrow and The New CC Untitled Bubbling Under, 10 Centre, Ōtakaro-Avon River Jacob Yikes (NZ), Geneticists, Canterbury Museum D Poupou L Tree Houses for (Alice in Videoland) Emerging Artists Coming out of Galileo: Scientist, Astronomer, Riki Manuel, , 1994, , between Worcester Boulevard , 2017, 201 Victoria Square Swamp Dwellers, 2013, Ōta- and Gloucester Street Tuam Street the Shadows, 10 Aug – 13, 14 and Visionary, until 31 Oct, AXIS karo-Avon River, cnr Colombo 15 Aug, Ellie Waters, Janneth Gil + AXES: Graham Bennett E Rainbow Pieces T DD Whero This is to re- Experimental Works Pat Hanly, , and Kilmore streets Sēmisi Fetokai Potauaine, Kevin Ledo (Canada), and Moana J. Lee, , until 24 1974, Christchurch Town VAKA 'A HINA, 2019, Rauora O Te Rangi Bailey, 2017, 128 mind you where you came from, Oct, Rolleston Ave, CHCH, M Diminish Hall Foyer David McCracken, Park, 115 Lichfield Street Armagh Street 24 – 29 Aug, Amelia Fauchelle, Mon–Sun 9–5pm and Ascend, 2014, Kiosk Lake, Somatic, 31 Aug- 1, 2, 3 and 5 F U Hoa EE 11 Monument / Sculpture Lady Botanic Gardens Lonnie Hutchinson, Wongi ‘Freak’ Wilson (NZ), Sep, 336 St Asaph St, CHCH Rangiora Chamber Gallery Kathleen Scott (wife of Robert Kōhine (Girlfriend), 2018, Christ- Rauora Park, 2018, Rauora Victoria Bennett, A Tribute to Scott Statue N Call me Snake 5 the Poetry of Gerard Manley Falcon Scott), , Judy Millar, , church Art Gallery Te Puna o Park, 214 Manchester Street Art on the Quay 1917, cnr Worcester Boulevard 2015, cnr Manchester and Waiwhetū, Gloucester St Joanne McDougall and Ruby Hopkins, 1 Aug – 1 Sep, 141 FF Untitled Opposites Attract and Oxford Terrace Armagh streets Ampparito (Spain), , Whitty, , 26 Percival St, Rangiora, Mon–Thu V Reasons for Graham Bennett, 2017, 30 Allen Street Aug-7 Oct, 176 Williams St, 9–5pm, Fri 9–7pm, Sat 10–2pm, G O Solidarity Voyaging Coalbrookdale Foundry, Mischa Kuball, , 2007, Christ- Kaiapoi, Mon–Wed, Fri 9–5pm, Sun 1–4pm Peacock Foun- Grid GG Untitled Shropshire, , 2013/15, Park Terrace, church Art Gallery Te Puna o Tilt (France), , 2015, Thu to 9pm, Sat 10–2pm, Sun tain, 1911, Botanic Gardens entrance to Hagley Park Waiwhetū, forecourt 51 Victoria Street 1–4pm

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06 12 22 36 Chambers Gallery Thornley, Jane Zusters and Jonathan Smart Gallery Madras St, CHCH, Mon–Fri Teece Museum Not Pictured in Map: Hamish Allan, Angst at the Robyn Webster, Dredging, 9-28 Sam Harrison, inside out, until 21 10–5pm, Sat 10–4pm of Classical Antiquities 2. Aigantighe Gallery Edge of the Pleasure Garden, August 2021, Eastside Gallery Aug, , Aug-Sept, Myths and Mortals: Life 4. Arca Gallery 29 in Ancient Times new works by Donna Marie at Linwood Arts, 388 Worcester 52 Buchan St, CHCH, Wed–Sat NZ Artbroker , until 5. Art on the Quay Patterson , 18 Aug-4 Sep, 80 St, CHCH, Wed–Sat 11–5pm 11–5pm New works by Sofia Minson, Neil Nov 2021, Arts Centre of 6. Artbox Gallery Durham Street, Sydenham, Dawson and Seraphine Pick, 2 Christchurch, 3 Hereford St, 7. Arts in Oxford 17 23 Tue–Thu 11–5.30pm, Fri to 5pm, Fiksate LEstrange Gallery Kingsley Street, Sydenham CHCH, Wed – Sun 11am– 3pm 8. Ashburton Art Gallery Sat to 2pm New works by Xöe Hall, Ghost- 17 Marriner St, Sumner, CHCH, 9. Bryce Gallery Unofficial 30 37 cat and Joel Hart, Tue–Fri 11–5pm, Sat–Sun Orion Powerhouse Art Gal- The Central Art Gallery 11. Rangiora Chamber Gallery 13 Group Hang Ruruhira Christchurch Art Gallery , 54 Hawdon 12–5pm lery Akaroa Asher Newbury, , 29 18. Fo Guang Yuan Art Gallery Te Puna o Waiwhetū Street, Sydenham, Tue-Wed 1 Rue Pompallier, Akaroa, Mon- Jul-29 Aug, Arts Centre of 21. Ilam Campus Gallery Hellzapoppin’! The Art of Flying 24 10-2.30pm, Thu 10-5pm, Fri Little River Gallery Sun 10-5pm Christchurch, 2 Worcester 23. LEstrange Gallery Nun Lonnie Hutchinson, Ahu 10-8pm, Sat 11-4pm Vashti Johnson, Authentic Blvd, CHCH, Wed–Sun 24. Little River Gallery Tīmataka/Trace Element Whispering 31 , until , 31 Jul-24 Aug, Paludal 10–4pm 26. McAtamney Gallery Postcards 18 31 Oct, , until 1 Nov, Fo Guang Yuan Art Gallery Christchurch Akaroa Rd, Mon– Julian Hooper, 30. Orion Powerhouse Art Gallery Te Wheke: Pathways Across Magnificence 38 Hong Ying Yao, Sun 9am–5.30pm instagram: paludal_chch The National 34. Stoddart Cottage Gallery Oceania, until 23 May 2022, Cnr of Embroidery, until 29 Aug, 2 5/2 Papanui Rd, CHCH Manon van Kouwsijk, Making 35. Susan Badcock Gallery 25 Faces Worcester Blvd and Montreal Harakeke St, CHCH, Tue–Sun Maxine Burney Artist's Studio , 21 Jul-7 Aug, 249 32 St, CHCH, Mon–Sun 10–5pm, 9–4pm New work, Maxine Burney, fibre PGgallery192 Moorhouse Ave, CHCH, No Current Listings: Wed to 9pm artist, Dave Shephard, photog- Andy Leleisi'uao and Sefton Tue–Sat 10.30–5.30pm 42. Dilana 19 Canterbury Scenes Form Gallery rapher, , 29 Rani, until 20 Aug, Katie 43. The Den 14 39 City Art Depot Andrew Carran and Takaaki Jul-29 Aug, The Arts Centre 28 Thomas and Maurice Lye, 24 The Physics Room 44. The Great Hall Clare Logan, Lacuna, 3-23 Aug, Sakaguchi, Revisions, 7-28 Worcester Boulevard, Mon- Sun, Aug-17 Sep, 192 Bealey Ave, Emily Parr, Surfacing, 31 45. XCHC Nick Harte, new works, 31 Aug- Aug, 468 Colombo St, CHCH, 10am - 5pm, 1-31 Jul CHCH, Tue–Fri 10.30–5pm, Sat Jul–5 Sep, 301 Montreal St, 20 Sep, 96 Disraeli St, CHCH, Tue–Sat 10–5pm 10.30–2pm The Arts Centre Registry Artbeat is a monthly arts newspaper 26 Mon–Fri 8.30–5pm, Sat 10–2pm McAtamney Gallery Additions Building, Tue-Fri with news, reviews, commentary and 20 33 Hot Lunch Paintings by Austen Deans, 1 – 31 Pūmanawa 11-5pm, Sat-Sun 11-4pm listings of exhibitions and events in 15 Hot Girls with CoCA Toi Moroki Claudia Kogachi, Aug, 40A Talbot St, Geraldine, The Arts Centre Te Matatiki Toi Ōtautahi Christchurch and Canterbury. The Near IBS 40 Hannah Watkinson, , 6 Aug, 227 High St, CHCH, Mon, Tue, Thurs by appointment, Ora, 2 Worcester Blvd, Tue–Fri Tūranga We cover all aspects of the visual arts, Future, Nathan Pōhio and Luke Tue–Sat 10–5pm Wed, Fri-Sun, 10-3pm 10.30–5pm, Sat 10.30–2pm Tim Veling, We Stand here: inform existing audiences for the arts Shaw, The Mist and the Horizon, Celebrating five years of the and develop new ones 21 27 34 Christchurch Documentary Raukura Turei, Julian Hooper & Ilam Campus Gallery  NMG Stoddart Cottage Gallery Krystina Kaza, Areta Wilkinson, akin: Anna Welham and Legacy: Four Decades of Con- Diamond Harbour Camera Project, until 27 Sep, 60 For news/advertising and Hannah Melissa Wong, 4-6 Aug, Inside, temporary Art. Exhibition online: Club, Rebuild Refocused, Cathedral Square, Mon–Fri email: [email protected] Beehre, Mark Work, until 28 outside and in-between: Moana www.nadenemilnegallery.com, 6-29Aug, 2 Waipapa Ave, 8am–8pm Sat–Sun 10–5pm Aug, Ella Sutherland, House Lee, Ellie Waters and Janneth Wynn Williams House, Dec, 47 Diamond Harbour, Fri-Sun and Painting I + II Found Bearings: 41 , until 31 Dec, 66 Gil, 11 – 13 Aug, Hereford St, CHCH, Wed–Sat most public holidays, 10-4pm Windsor Gallery Gloucester St, CHCH, Tue–Fri Ali Nightingale, Rachel Sleigh 11–5pm Works by Matthew Williams, 35 10–5pm, Sat 10–3pm and Sam Towse, 18-20 Aug, Susan Badcock Gallery Andris Apse and Kees Bruin, 28 Oli Perkins and Luke Shaw, Ng Space John Badcock + Susan Bad- 386 St Asaph St, Mon–Fri 16 Held Sway Foraging Eastside Gallery 27 Aug- 24 Sep, Fine Arts Ln, Brooke Georgia, , cock, , Aug, 47 Talbot 9–5pm, Sat 10–1pm Keith and Trish Morant, The off Clyde Rd, CHCH, Mon–Fri Scott Flannagan, The Waiting St, Geraldine, Tue–Sat 10–2pm Morants, until 7 Aug, Tiffany 9–4pm Room Suite, Aug, Level 1/212 Artbeat: ISSN 2624-2664 Areta Wilkinson, Warwick Freeman, Hannah Beehre Raukura Turei, Julian Hooper, Krystina Kaza, Mark Work 28 August 12 June –

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REVIEWS www.artbeat.org.nz

Ahu tīmataka / Trace elements

writer Andrew Paul Wood Lonnie Hutchinson (Ngāi Tahu, Sāmoan) The plants connect to Hutchinson’s world and the human one, Te Pō and Te Ao. is a mixed- and multi-media artist with a cut-out works upstairs in the gallery in Even without a contextual understand- unique ability to weave together striking black construction paper, acrylic, metal, ing of the imagery, the work is sheer retinal forms and motifs; history, and contem- and intricately folded vintage wallpapers. pleasure – an experience at which Hutchin- porary life, the personal and political, in Most of the work has a monochrome son excels in creating. It is wonderful to formats ranging from paper cut-outs to and formal austerity that seems to suggest see Hutchinson have so much space to architectural design. the great and monumental tradition of toi stretch her wings in with this installation. Hutchinson’s work is always graceful whakairo (Māori carving). In complement, Truly it is one of her finest creations to date. and delicate, but never retiring or shy of the bold patterns and colours of the wall- confrontation. Her exhibition Ahu tīmataka paper in particular evoke feelings of nostal- / Trace elements is no exception, delving gia, home, sentimentality, and sanctuary, a into rongoā (traditional Māori medicine) hint of the Sāmoan part of her heritage and as a metaphor for healing a traumatised the motifs of siapo (tapa). community. After a decennium horribilis Consistent with the artist’s concern of natural disasters and violence, Christ- for female experience from indigenous, church certainly counts as a traumatised Pacific and feminist viewpoints, there is community, and right now in the midst of ↑ important of native medicinal plants used a maternal and nourishing aspect, the Lonnie the Covid pandemic, Aotearoa and the Hutchinson, by Māori. In Hutchinson’s schema these creation of safety and protection: home. entire world is in desperate need of healing Ahu tīmataka / represent manaakitanga – kinship, hospi- With Hutchinson’s cut-outs, the shad- Lonnie Hutchinson Trace elements and understanding. , tality, kindness, generosity – but also heal- ows cast are as much part of the substance Ahu tīmataka / Trace elements (installation). Christchurch Art Gallery Te Puna o Waiwhetū, It is an installation in two parts. In the Photograph: ing and reparation. Kawakawa also plays an of the work as its material reality: the dark- CAG forecourt are plantings of kawakawa John Collie important role in tangi (funerals) symbolis- ness that naturally contrasts the light, in cnr Montreal Street and Worcester Boulevard (Piper excelsum), one of the most ing loss and grief. history and life, yin and yang, the spiritual 19 June - 31 October 2021

The Near Future

writer Harriet Litten Confronted by images of our near future, ← Watkinson centres these disruptions, while are subject to ‘planned retreat’. The Earth Hannah Wat- Hannah Watkinson urges viewers to removing those responsible - humans. fights back. kinson, Holcim The consider what humans have, and continue Cement plant What is a cement plant without At the conclusion of this journey into to do to our planet. The Near Future makes main entrance, humans? What about a basketball court or Near Future, Watkinson breathes a sigh of branding clear the challenges our world faces; a skate-park? Us humans have persisted hope into the story. The Large Matai Tree removed in fog, ‘Large Matai Tree’ yellow AA road sign, extreme weather, degradation of what was Cape Foulwind, with our mission to be productive and to ( intended to be everlasting, human retreat 2020. Image develop our society, but to what end? In Karamea Highway, 2016) bursts through courtesy of from inhabited spaces and fundamental Hannah Wat- presenting the aftermath of human inter- sunshine, grounded on a wall of forest changes in our values of ‘productivity’ and kinson vention with seemingly no humanity intact green and encroaching into the greyness ‘development’. Watkinson asks why. Do the destructive of the gallery space. A final comment by Watkinson’s images are formally effects of our collective means render our Watkinson as if to say: This is what we have composed, clear narratives, reflecting ends futile? Will we ever meet these ends, to lose. traditions of documentary photography. and importantly, do we even know what The Near Future disrupts this vernacu- we find ourselves, referred to as the Anthro- ends we desire? lar which often purports to present ‘real’ pocene, is founded in human disruption; Watkinson’s images highlight that no information to the viewer. These scenes land cleared for factories which pollute matter what we do now, one day we will describe a time yet to occur, Watkinson the environment, farmland, state highways be gone and nature will take it all back in looking to the future; a consideration, a and basketball courts taking precedence one way or another: buildings decay, metal Hannah Watkinson, The Near Future, concern, a warning. over native forests, the outputs from our rusts, sea levels rise, weather becomes so CoCA Toi Moroki, 66 Gloucester Street The ecological zeitgeist within which so-called productivity littering the earth. severe and unliveable that entire regions 12 June – 28 August

The Mist and the Horizon

writer Orissa Keene The Mist and the Horizon is a collabora- sound work installed in the two voids of the sonically. Without the impact of a doorway to tion between Luke Shaw and Nathan Pōhio North Gallery. The work features variations on flick that necessary cognitive switch I find I’m (Waitaha, Ngāti Mamoe, Ngāi Tahu), curated octaves of F and B-flat performed on Shaw’s often still trying to make connections within by Jamie Hanton for the North Gallery at CoCA broken electronic organ. one exhibition before I register being in an Toi Moroki. The sound changes shape based on my entirely different one. The Mist and the Horizon Pōhio’s illuminated sculptures in The Mist movements in relation to the speakers and the unobtrusively permeates the Mark Work exhi- and the Horizon may appear atypical of the architecture but it’s hard to tell to what extent bition in the Mair Gallery which reciprocates by artist. However, from what I know of Pōhio’s my perception is changed by tuning in or out extending the broad framework of mark-mak- practice, care and intentionality are consis- of attentiveness; lulled into complacency by ing to the works of Shaw and Pōhio. The North tently visible through the artist’s treatment and listening to seemingly the same tones. Still, Gallery can be an awkward exhibition space; presentation of subjects, whether that be an I anticipate some dramatic development the low ceiling, the stairwell and elevator shaft archival image, a mountain or atua (gods). Te which never really arrives. The complexities – it feels, sometimes, like a transitional liminal Maku and Māhoranuiātea and Kohora draw of the sound, whether imagined or performed, space before reaching the voids which default from a Ngāi Tahu creation narrative, repre- maintain a continuous beginning, interrupted to containing the 'main' features. The Mist and senting a constellation of figures; Te Maku by its own duration. The differing lengths of the Horizon does a lot to fill but not overwhelm – the mist, and Māhoranuiātea – the horizon each track means that they overlap in subtly the impressionable North Gallery. Despite who meet on the gallery floor while a Kohora different ways. Inevitably, there is a point at spilling out, the exhibition still feels whole and ↑ figure, lightning, pauses on the wall. These which both tracks end at once and there is an Nathan Pōhio contained in the space. sculptures provide the only light in the space abrupt silence. and Luke Shaw, The Mist and the and, with little else for the eye to be drawn to, I saw once – in a church – a sign for “Organ Horizon, 2021. the details are easy to linger on. In this comfort- Donations”. CoCA Centre of able state of lingering, attention rests on the The Mair and North Gallery spaces have a Contemporary Nathan Pōhio and Luke Shaw, The Mist and complexities of the otherwise simple forms strained relationship. With there being no clear Art Toi Moroki. the Horizon, CoCA Toi Moroki, 66 Gloucester Image: John Street – much in the same way as with Shaw’s sound threshold between them, one space will often Collie courtesy work. Like pushing air around is a two-channel leak into the next either conceptually, visibly or of CoCA 12 June – 28 August

08 Another View Architecture and Our Remodelled City and Region: Stoddart Cottage Gallery

writer Tessa McPhee Recent immigrants from Latin America, Este- Abstracts by Argentine Nanenko Olmos ↑ Estefania Mon- fania Mondaca and Nanenko Olmos bring new also explore concepts in layering and revi- daca, The day interpretations and perspectives to Art Hole. sions. Richly pigmented impasto engages I came back to my home Another View documents a year of practice with materiality and surface, constructing , 2021, oil and charcoal since the pair’s arrival in Ōtautahi, delving unknown or ambiguous spaces in the inter- on paper into ideas of identity and location and staging play of reveal and obscure. Line and symbol compelling dialogues on concepts of ‘home’. are drawn through thick wet paint, placehold- Chilean artist Estefania Mondaca ers for associative meaning carving a bodily sketches pools of thought with a series of topography of scores, cultural iconography painted studies. Pieces are dreamily inscribed and geometry. with evocative titles such as The day I came Some gestures pierce or tear the surface. back to my home, imagining pasts, environ- These organic incisions offer windows ments and mythopoetic scenes at the meet- through the ground, recalling early spatial → ing of Avonhead and Mondaca’s hometown concepts of mid-century Latin abstractionist Glenda Coquimbo. True to the nature of memory, Lucio Fontana. Such allusions are however Cheesebrough, Colours of BNZ departure points in this body of work morph complicated by the attentive repair of each , 2021 and fade; information is alternately drawn out canvas wound. It is the implied action of this or obscured, captured in fine veils of charcoal mark-making - by turns careful or carnal - Every year members of Diamond Harbour Diamond Harbour Camera Club cele- and oil, or worn into soft-grained impressions which arrests the viewer. Framed narratives Camera Club make a field trip into Christ- brates its 25th Anniversary this year with a on paper. are guarded, yet the sculptural struggle implicit church, witnessing and recording the membership of over 40 passionate photog- Against off-kilter horizons, landscapes are in these visceral surfaces hints at the artist’s fast-changing city landscape year-on-year. raphers ranging from enthusiastic amateurs rendered in a luminous tonal quality. Action relationship with place, perhaps positing Through these annual recovery walks docu- to accomplished professionals. Many genres is suspended in a dance or dive; animals and ‘home’ as a raw emotive site, of change, of mented in the exhibition, Rebuild Refocused, of photography are explored at monthly human figures inhabit vignettes of their own hurt and healing. its photographers have discovered hidden meetings with visiting guest speakers, at club remembering. This atmosphere is warm, A conceptual collage of visual languages, alleyways full of colour, emerging onto wide, workshops, and on varied field trips. The club domestic, yet touches upon a sense of discon- Another View brings together multiplicities of paved and planted social spaces flanked by produces an annual calendar showcasing nect or unreality. One can wrap themselves diverse approaches to question shifting ideas new, innovative buildings and the few period images of our stunning harbour surrounds that in the feeling of these pieces, mantled in the of place and formal connection, conjuring an buildings still standing tall. Rebuild Refocused has proved popular with the local community translated experience of Mondaca’s disqui- air of moody consternation and unsettling features images of architecture both new and and beyond. eting scenes. Her works are personal archi- energy within the gallery. old, vivid street art, colourful lit night scenes, tectures, residences which consider the idea and the plantings of the cityscape, providing of ‘home’ as an elastic vessel, resonating with an insight into the progress made over the Rebuild Refocused, family histories and childhood memories, Another View, decade since the earthquakes, cataloguing Diamond Harbour Camera Club yet accommodating uncertainty and new Estefania Mondaca and Nanenko Olmos, the evolution of the urban space into a remod- Margaret Stoddart Cottage directions. Art Hole, 336 St Asaph Street, 6 – 10 July elled city for the future. 2 Waipapa Ave, Diamond Harbour, 6 - 29August

Gallery 329: Colour and Light at Art on the Quay A New Creative Arts Collective Opens in Timaru

Timaru resident, Jock Anderson has opened and there is also artist, Peter Winnington, a ↑ Visitors at Gallery 329 in the township’s centre in Stafford well-known watercolour artist who paints local Gallery 329, Street. It is a space for artists, designers and scenes and well-known painter Sue Matthews’. Timaru, Matariki craftspeople across all practices to exhibit with ‘I am not an artist but I am involved in creat- Festival , exhibi- tion opening, no commission on the sale of their work in an ing projects. The gallery works on a non-com- 10 July affordable gallery space. mission basis with artists joining and renting a Anderson’s establishment of Gallery 329 space for $80 a week and the artists are paid is the outcome of a visit in 2019 to the Scottish every month. The gallery space is small and can Design Exchange in Edinburgh, a space for only take 25 artists at a time and we are full. I ↑ 300 local artists and designers to exhibit where have a waiting list of twenty artists. We are all Ruby Whitty, Cornwall, 2021, ‘every penny spent goes directly to those who volunteers who pay the rent and Power bills, acrylic on paper create it’. Like the Scottish Design Exchange, as well as a bit of advertising and stationery artists and arts supporters at Gallery 329 work with a little left over, and the project would have to a roster to keep overheads low. not been possible without a very supportive North Canterbury artists Joanne McDougall the late 1960s and early 1970s that included Gallery 329 opened in Timaru in March landlord’. and Ruby Whitty both acknowledge that ‘paint- artists such as Robin White. Although figura- and is already a success. Anderson says all its Gallery 329 is also sponsored by RSM ing is their saving grace’. As well as being regu- tive, in her summary response to her subjects, spaces were filled immediately. ‘It represents Law through marketing and advertising and lar exhibitors in the highly successful Kaiapoi Whitty’s paintings are informed by a sense of a range of arts practices including painting, this commitment to local support also extends Art Expo held annually in the last weekend of geometry, evident in recent paintings whose sculpture, jewellery, carving, wood-turning, to its arts community, with Gallery 329’s first July, McDougall is exhibiting with Whitty in subjects are industrial pipes bolted together screen-printing, textiles, pottery and more. emerging artist, Emma Greer sponsored for her Opposites Attract at Art on the Quay, open- in formal abstracted compositions. When I came back to Timaru, I spoke to my first three months space by another local artist. ing late in August. McDougall’s meticulous artist-friends in the South Canterbury Art response to the details of her paintings of Society. Their president, Sue Connolly, shoul- flowers is complemented by her modulation der-tapped many artists and I have been able of colour and light, distinct from the imag- Opposites Attract, Gallery329 to get a range of good quality practitioners. ery of Whitty’s paintings, characterised by a Joanna McDougall and Ruby Whitty 329 Stafford Street, Timaru Among the wood carvers are some of the hard-edged regionalism that has its origins in Art on the Quay, 176 Williams Street, Kaiapoi Open Wednesday to Saturday, 10am – 4pm best in New Zealand, including Ken Newbitt a new generation of regionalist painters from 26 August - 7 October

Artbeat Issue 31, August 2021 09 ↗ The Pin Group Coat / Jim (1981) 7-inch single. Designed and hand-screenprinted by Ronnie van Hout. RightSide Gallery: A New Contemporary Space in St Asaph Street

Artist, designer and technician, Don Anderson, Juliet Best, Dr Suits, Crispin Service, is opening a new art gallery in Field, Stef Gray, Joel Hart, Charles Ōtautahi in August, RightSide Gallery at Hannah, Glen Jorna, Kate McLeod, 380 St Asaph Street. Service has been Odelle Morshuis , Rachel Rush and Paula exhibiting and also installing and hanging Petherick works of art in private and public spaces for almost twenty years. His wall-relief sculptures and paintings represent the artist’s response to the landscape and environment in images that shift between abstraction and figuration, drawing their subjects from the South Island Waitaiha, particularly Central Otago and Canterbury. Working with both natural and indus- trial materials, his work considers the small detail and big picture of the natural world, the artist refining various woods, metals and enamels in each work, his imagery paying attention to the qual- ities of materials, their surfaces and possibilities.

RightSide Gallery will also represent ↑ → the work of prominent and emerging RightSide Gallery Don Service, Paula Petherick, tulips & poppies, 2021, printed on archi- Wonder where 380 St Asaph Street val Giclée fine art paper, signed edition of three contemporary artists in its exhibition that goes…? Open by appointment 2021, programme, including painting, prints mild steel and and sculpture by: Sarah Albisser, Hamish or Saturdays 10am – 4pm automotive paint

Victoria Bennett and Gerard Manley Hopkins

Artist and arts tutor, Victoria Bennett’s trib- poetry, shaping the way in which the English ute to Victorian poet Gerard Manley Hopkins language could be lyrically manipulated for its (1844 – 1889) at Chamber Gallery Rangiora sound to give meaning to his verse. acknowledges his far-reaching influence on He defined the numerous manifesta- 20th century literature and poets that include tions of his response to his experience of T.S. Eliot, Dylan Thomas, W.H. Auden and C. the natural world in his poetry as “inscapes”, Day Lewis. writing sonnets rich in their language and Bennett says that her exhibition, A trib- rhythm, the opening lines of The Windhover ute to the Poetry of Gerard Manley Hopkins is his best-known: her response as an illustrator to his poems, I caught this morning morning's minion, and her always wishing to acknowledge his kingdom of daylight's dauphin, sonnets, ‘one of the greatest innovators in dapple-dawn-drawn Falcon, in his riding… the English language and a man of strong Hopkins’ poems are characterised by the personal faith. His poems deconstructed sound of their verse and his personal experi- and recreated language in new and striking ence of nature through echoing phrases and forms’. verses, a tangible encounter in their own right. Hopkins was an English poet and Jesuit Bennett’s response includes The Windhover priest who, although writing and having as one of the model for her paintings where poems published during his lifetime, did ‘whole pictures have been cut up and reas- not became widely recognised or influential sembled to form new images - My goal was until the 1930s, forty years after his death. to capture the intricate beauty of the sonnets’. A Roman Catholic who studied at Oxford Victoria Bennett, A Tribute to the Poetry of University and a Jesuit priest from 1868, he → is most famous today for, The Windhover, Gerard Manley Hopkins Victoria Chamber Gallery Rangiora, 141 Percival Street, Bennett, The 1877, yet not published until 1918. Studying Windhover Rangiora , in theology in Wales he learnt the Welsh 2021, acrylic on language, the sound of which influenced his August – 2 September paper

Valuations for insurance and estate purposes Working Art Studio, Exhibition Space Research 126 Cashel Street, Guthrey Centre, Christchurch

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Artbeat Issue 31, August 2021 11 18-31 AUGUST Clare Logan Lacuna

Opening 5.30pm, Tuesday, 3rd August Exhibition 3 – 23 August 2021 Image | Gaylene Barnes, Pig, video still, 2021. GAYLENE BARNES DURATIONS 2 27 AUGUST 2021

Gallery Artist Stretchers 96 Disraeli St Gallery 96 Disraeli St cityart.co.nzChristchurch 327 WEST STREET, ASHBURTON, 7700 Framing Solander Boxes ASHBURTONARTGALLERY.ORG.NZ Framing Sydenham cityart.co.nz T | 03 308 1133 InstallationInstallation Art ChristchurchTransportation 0303 365 365 3811 3811 PG gallery 192

Jae Hoon Lee, Sunset in Whanganui, 2020, chromira print on matt paper, 1084 x 1100mm, 1/3 Representing leading NZ artists The Song Remains The Same A celebration of Aotearoa New Zealand’s 17 June – 17 July 192 Bealey Avenue, Christchurch longest running photography studio

03 366 8487 Exhibition on now 52 BUCHAN ST SYDENHAM 03 3657 070 www.pggallery192.co.nz

PG_ad_ArtBeat_May2020.indd 1 21/04/20 12:24 PM

Donna-Marie Patterson & Hamish Allan

Exhibition runs 18th Aug - 4th Sept

Opening night 18th Aug 5.15-7pm

80 DURHAM ST SOUTH | CHRISTCHURCH 163 MADRAS ST. CHRISTCHURCH 022 677 2810 | WWW.CHAMBERSART.CO.NZ Instagram: chambers_art | Facebook: chambers WWW.GORDONHARRIS.CO.NZ

12 Issue 31, August 2021