Ursula Christel
Chess
Roman Mitch Roman Mitch, Queen’s Gambit Declined*, 2020 1 A Show With Everything
okopōpaki, K Road setting M nd the city don’t know what the city is getting A he crème de la crème of the art world TIn a show with everything but Marcel Duchamp
ime flies doesn’t seem a minute T ince the Brown Room had some Chess art in it S i! Ha! HĀ–TEPE! H hen you W lay at this level P t’s no ordinary venue i t’s MoMA or the Tate IOr Te Papa or this place!
t 454 the board is clear A nd the time-clock sound a ou’ll find some Good in every high-stud corner Y nd if you want it, this Good is Brown A hould one space seem very like another S hen your head’s down over your pieces, Wbrother ave courage Friend, move smart, move steady H hink for yourself Tand have your checkmate ready 2 e feel an Angel standing next to you WYes we do
okopōpaki is a sure-fire witness M o this ultimate test of cerebral fitness T rt as sport, art as Chess A match between equals AT he best of the best And here we are supporting it
ut we don’t see Collections rating B he kind of game we’re contemplating T e say play, we do invite you WBut the Queens we choose would not excite you
A Show With Everything* reworks One Night in Bangkok, from the 1986 West End musical Chess, by Benny Andersson and Björn Ulvaeus of the Swedish pop supergroup ABBA, with lyrics by Ulvaeus and Tim Rice.
Set during the 1980s, Chess the musical reflected on the lingering tensions of the Cold War and was loosely based on The Match of the Century (1972), played in Reykjavík, Iceland, where American Grandmaster Bobby Fischer (1943—2008) defeated his Soviet opponent Boris Spassky to become the undisputed World Champion. Chess the musical satirises the manipulative game playing of Cold War politics, critiquing the hostility permeating culture, art, and sport of that time.
3 Tournament Etiquette
e polite, and get off to a good start. Greet your opponent Bin a pleasant but Covid-Conscious way. You may say, “Hi, my name is…” or “Kia ora. It’s a pleasure to meet you, ko... tōku ingoa” or something similar.
Don’t boast, talk trash, or try to intimidate your opponent. Some players brag about their ratings, comment on their opponents’ ratings, or play psychological games. Don’t. Do not say anything that may offend your opponent. Avoid expressions, body language or gestures that may offend.
Don’t argue with your opponent. If your opponent does not correct a move when asked, or there is a disagreement about the move, ask the arbiter or tournament director to make a ruling on the situation. Handling conflict this way increases the chance that the dispute will be resolved peacefully without anyone wasting emotional energy.
Don’t use outside materials. Violations may result in a time penalty or forfeiture of the game.
Don’t give or ask for advice. You may not ask for advice on a move. Similarly, do not accept unsolicited advice: you may regret it.
4 Don’t be annoying. It can be annoying and distracting to talk to your opponent during a game. Other annoying behaviours include pencil tapping, touching of artwork, table kicking, humming, muttering and singing or generally talking to yourself. Should your opponent be exhibiting any of these behaviours and does not stop when you ask them, seek the assistance of the tournament director.
Stay at or near your game when it is in progress. You may of course leave to use the bathroom, and at most tournaments you are permitted to watch other nearby games while your opponent is making their move. However, long absences from a game in progress are not allowed unless you have permission from the tournament director. If you wish to leave the game because you are resigning, you will need to make this decision clear to your opponent.
Do not discuss your game in progress with anyone. When other games are still in progress, discussing or analysing the outcome of the game you have just concluded can be distracting. Find a quiet place in the Gallery away from other players to engage in conversation.
Don’t talk with anyone in the playing room. Except to say “nice move” (optional) or “checkmate”, or to offer a draw, or to talk with a tournament director.
Don’t try to trick your opponent by pretending to have made a bad move (gasping or faking dismay) or making false announcements.
Do not rush your opponent by saying “hurry up!” “go!” “move now!” or something similar.
5 After your game, be a good winner or loser. Either way, thank your opponent. If you win, do not celebrate in front of your opponent, nor belittle your opponent. If you lose, consider your loss a learning opportunity and think about what you might have done differently. Win or lose, immediately after the game, analyse your moves with your coach. This is more productive than becoming emotional or upset. You learn more from a loss than a win, and when you learn, that’s when you really win.
Be as polite, as clear, and as calm as possible when talking to the tournament director. This will make you more effective in making your point. Keep in mind that tournament directors, although specially trained, are doing their best to make just, forward-thinking decisions.
Black normally has the choice of equipment, unless White’s equipment is more standard. A digital clock with appropriate time delay is the most standard clock. A standard tournament set has Staunton-style pieces with a King 33/4 inches in height. A standard board has 21/4 inch squares and algebraic characters on the sides to assist in notation.
If you’re late, your opponent may begin the game and start the clock at the beginning of the round. If Black is late, White has choice of equipment. 1
6 Artist & Player Rankings
dept at adapting, Ursula oman Mitch (ign Chess) is AChristel has fast hands. Ra big, mobile go-to, don’t- Quick around the ruck, she is a say-no-to Utilitarian No. 8 proactive community-catalyst on the local international with a well-earned reputation scene. Agile on the blindside, for fierce. Able to lead from the Mitch is a formidable master front, Ursula’s 2018 turnout of the tight-head scrum and for Mokopōpaki in the Shop frequent runner-up in the Window Club Competition, logistical game of shoe, drink was a triumph. Antique chess bottle, lunchbox and schoolbag table under her arm, she took preparedness. On the openside, to the field to captain the Mitch is regarded as a cerebral Lego minifigures Outsiders playmaker, pocket painter, and XVI against the Bureaucratic friendly interdisciplinarian. Barbarians in a hard- Celebrated for his 4.9 star Uber fought but as yet unresolved rider rating and remarkable match. Ursula connects dots, hair, Mitch is co-founder highlights discrepancies and of ACAS (Auckland Cone focuses on inclusion. Something Appropriation Society), an of a daydreamer, she has associate ITP, a researcher at a passion for art, history, the Technology & Innovation sustainability and conservation. Research Group and member Ursula spends way too much of Te Mana Raraunga (Māori time on the computer, avoids Data Sovereignty Network). the kitchen where possible, Watch the pitch from Mitch, and enjoys forest-bathing people. An artist in and on the when she can. chequerboard floor.
7 TOURNAMENT MOKOPOPAKI
Crème de la Crème: Round 1 Pairing List, Page 1
Player Colour/Board Opponent
Christel, Ursula (WW) W2 Mitch, Roman (4, 2.0, WTK, 1300)
Duchamp, Marcel (FRA) B4 Tautahi, Marcel (1, 0.0, WTK, 1555)
Man, Vitruvian (ITA) W1 Natalia, Ngaroma (3, 0.0, WTK, 1800)
Ursula Christel, Caramel Crème de la Crème*, 2020 8 Shop Window utlook for Thursday: OLANDSCAPE_ SHIFT with Roman Mitch (2020), reflects Ursula Christel on the year that has been. Outlook for Thursday*: Taking its cue from HĀTEPE LANDSCAPE_SHIFT with (2019), Roman’s tape-pattern Roman Mitch, 2020 that marks out the knight’s Painted archival tape, string, zigzag chess moves, this new bungee cords and straps, work is a 2020 ‘‘portrait of keyrings, padlocks, keys, plastic a shifting landscape’’. The cord, framed mesh panel elastic, changeable, criss-cross 180 x 90 x 11 cm markings mirror the perpetual (aperture 5 x 5 cm) fluctuations of the predictive, data-collecting charts and Evening, love, how’s your day? volatile graphs that tracked I’m bringing you the weather cases of COVID-19. from the satellite jigsaw Today was fine, tears at times A weak ridge from pressure The work also responds to the from the hinter to the sudden adjustments forced heartland on our lives during 2020. Adaptability and flexibility Who knows what it’ll be? became the key to coping. A briny breeze Collars on the upturn, a nod Our wellbeing depends on towards the winter the ability to adjust, let go and discard unnecessary And Monday is a Monday attachments. Although the Tuesday’s a thunder day fragility of this situation might With a wind that chills you to the bone be apparent in the overloaded Wednesday, don’t mention cords and connecting devices Wednesday! stretched to the max, the Not a good one at all! artist has not removed the WARNING labels from any Otherwise fine . . . 2 of these items. Here, Ursula reminds us not only of our 9 global precariousness, but depending on the choices also of our personal tensions. made in the opening”. One more “shift” and “things However, always be mindful could snap — and so can we”. that the opening is only one In this instance, our reaction to aspect of the game of chess. emotional uncertainty is just a In order to be truly successful, guess. Like a weather forecast, a player must also understand where no prediction or data- middlegame positions, have driven projection can ever be a solid endgame technique, 100% sure or safe. and be able to anticipate strategic move-making across the board. Ursula Christel Window Level, 2018— Vinyl flooring Roman Mitch New Folder (untitled folder), Black and white, chequered 2020 vinyl flooring. Plexiglass, film 26 x 29 x 30 cm
Roman Mitch Queen’s Gambit Declined*, Roman Mitch 2020 New Folder (Corsair), 2020 Anti-slip tape on plastic cone Plexiglass, caution tape, 44.9 x 26.5 x 26.5 cm powder coated perforated steel, acrylic he Queen’s Gambit 22 x 44.5 x 26.5 cm TDeclined is “one of the best openings for beginners”. Playable for both white and Roman Mitch black colours, The Queen’s Hikurangi, 2018 Gambit Declined can lead Chromed bronze to either a “slow, positional 16 x 12 x 10 cm or a sharp tactical game 10 Grey Room a safe space”, Ursula says, but for some, it also became a prison, just like the bars of Roman Mitch the old birdcage in her work, a mahi is a mahi plus a mahi, where the view of life is pretty/ 2020 not pretty all at the same Chalk, tape time. Ursula’s metal postcards Installation dimensions are images of ‘‘another place/ variable destination — a dystopia”, she says, we all “visited” whether mahi is a mahi plus a mahi. we wanted to or not. Or rather, A There is no definite article. as the artist cleverly suggests, Grammar sux. ‘‘it came to visit us”.
With the arrival of “double Ursula Christel spacing”, mask wearing, trolley Essential Services*: policing, compulsory hand POSTCARD RACK, 2020 sanitising, and activation of Repurposed birdcage, the tracking app, shopping digital prints on metal, wire for household basics was connectors as tightly controlled as a 59.5 x 77.5 x 2.5 cm military operation. ‘Normal’ was no more. Old hierarchies rsula will tell you most collapsed. Supermarket Upeople usually buy workers became members of postcards when they are the Essential Services, and on holiday. We see them as their collective contribution to a reminder of a place and our national health and safety accessible means of staying acknowledged as vital. in touch. Then, with enforced restrictions, isolation and And all the while, the no lockdowns, suddenly no one contact, door-to-door mail and could travel. “Home became postal delivery system thrived.
11 Ursula Christel improved the lives of many Hard Times Come Again No people with disabilities. “Online More*: LEVEL IV, 2020 communication very quickly Panel board, acrylic, masking became more available and tape, paper, mirror, glass widely acceptable”, she says. chess board, straps, metal “The ground level determining holder, caution tape roll accessibility shifted”. Here, 70 x 46 x 15.5 cm the artist’s use of black and yellow caution tape assertively Let us pause in life’s pleasures and reminds us of how fragile our count its many tears, regular lifestyles really are, and While we all sup sorrow with the poor; how, in an instant, everything There’s a song that will linger forever can change. in our ears; Oh! Hard times come again no more. Hard Times Come Again No More: LEVEL IV also references ‘Tis the song, the sigh of the weary, Ursula’s previous work Hard Times, hard times, come again Vitruvian Angel Man with no more. Spirit Level (2018) and the Many days you have lingered around “inclusive” geometry of New my cabin door; Space/Takawaenga (2020). Oh! Hard times come again no more. 3 Installed at a height suitable for someone to stand and use hen just like that, all of a bathroom mirror, the circular us were on the same T reflection becomes pixelated page. Ursula says the abrupt by the glass chess board, suddenness of Level 4 creating a distorted reality, or lockdown meant that everyone glitch in the matrix. Another had an unexpected experience “invisible” interface/layer that of becoming “disabled”, needs to be negotiated. Ursula isolated, and restricted. As observed how the abrupt an advocate for the disability arrival of Level 4 lockdown community, Ursula saw how triggered major anxiety. Panic the lockdowns ironically set in, values shifted, and the 12 “level” of common sense (and 4. (noun) long clouds, stratus — cloud decency) plummeted, as the forming a continuous horizontal grey sheet. desirability of toilet paper 5. (noun) centre of the star-like escalated. In Hard Times Come pattern for mū tōrere. 4 Again No More: LEVEL IV, the black and yellow caution tape, ūtahi: Star Board (2020), hung on the toilet roll holder, Pobserves the rapid echoes the uncertainty and integration of technology into the COVID-19 announcement pandemic policy, and considers graphics. “Who knew that how this swift, digital response good old loo paper was going brought brand new visuals to be a crucial priority for so right into our homes, on a daily many?” asks the artist. “Here basis. Television news updates was another, sudden inversion constantly explained how of value”, she says. “There was such graphs and charts were always enough toilet paper to necessary to facilitate targeted go around — but when anxiety testing, contact tracing, the and panic trigger greed, imposition of quarantine, balance is tipped”. clinical management, and ultimately, the containment of COVID-19. But these visuals Ursula Christel also communicated mixed Pūtahi*: Star Board, 2020 messages. As the stock market Panel board, tape, cork, reacted, graphs on Wall Street paper, push pins, stickers, sparked images of the evening acrylic sealant, wooden frame, star symbol to predict the resistors, cotton mesh bag, sudden downturns in financial dried sea stars trends. Much closer to home, 76 x 40 x 13 cm where coping strategies and decision making tend to be pūtahi intuitively driven, increasing 2. (noun) confluence, intersection. 3. (noun) meeting place, centre. use of mechanical data to objectively map projections
13 and track the virus, meant traditional Māori board game the appearance of ‘clusters’ known as mū tōrere. Like suddenly became a fearful chess, a strong, strategic event. “Even so”, Ursula player is able to visualise up suggests, “the stars in our night to forty moves ahead, which sky shone more brightly than means that the winner of the ever before”. match is often the contestant who can not only anticipate In Pūtahi: Star Board, the most moves, but who can Ursula says her three dried also sustain this advantage starfish can be understood by making the least mistakes. as either being “trapped” It is known that Ngāti in a net, hanging on a hook, Hauā chief Wiremu Tamihana or, when the cotton string Tarapipipi Te Waharoa (1805— bag is detached and opened 1866), once offered a game of outwards, “suspended” in a mū tōrere to Governor George soft, woven grid like the Milky Grey (1812—1898), with control Way, where starfish are also of the whole country going to known as Asteroids. With the winner. Grey declined his multiple arms, starfish are seen invitation, possibly because as a metaphor for computer Māori exponents of mū tōrere networks, companies had already won large wagers and software tools. Starfish, put up by pākehā players or sea stars, are a symbol for entirely new to the concept of regeneration, renewal, and native chess. self-sustainability. This is most probably because starfish have For Ursula, Pūtahi: Star Board the ability to grow new limbs is a confluence of ideas based should one of their five arms on stars. In this work, the artist that radiate out from a central refers to the relationship she disc, be lost. has with anonymous sister and brother collaboration, Yllwbro, Pūtahi: Star Board also and how her subsequent references the two-player introduction to Mokopōpaki 14 seemed to be “written in the as trap”, as discussed by stars”. Here, the constellations British social anthropologist Ursa major and Ursa minor not Alfred Gell (1945—1997), and only tell the story of the White his interest in the relationship Spirit Bear of the North, and between language, symbolism, her disabled child, but also of and ritual, can be helpful. Ursula’s ongoing relationship Fly traps, crayfish traps, with a critical and intelligent wasp traps, spiderweb traps, contemporary Māori space. whatever traps. Gell argues there is no such thing as a one-sided trap, no singular Roman Mitch trap. What is interesting is Tīpakopako, 2020 that a trap produces a two- Pine, linseed oil, techniclad way diagram. “Two images bronze on aluminium, fixings emerge”, he says. First, there 240 x 9 x 8 cm is an image of the animal or creature the traps want to īpakopako (2020) is a trap. But animals and creatures Twork that “picks up the have a world. Their world is a idea of picking up ideas”. built way of looking. They have After an encounter with the environment, territory, Marcel Duchamp’s well-known desires, habits, reproductive readymade Trébuchet (Trap) codes, sensitivities, reactivity (1917/1964) the artist imagines and blind spots. These codes himself bending down to pick often spill out of this world. up the object. Tīpakopako “And then”, Roman says, “there encourages exactly this kind is also an image of the trap of selective process, where designer. Sensitivities, desires, many of the ideas Roman asks territories, perceptions and his audience to pick up are skills”. This means, according difficult to understand, or to Gell, a tiger carved into annoying, or both. These ideas a shield provides not a require mahi. Work. Roman comparison opportunity. Not also says thinking about “art a representation of tigers 15 among a network of tiger blue. representations. But an opportunity to know who the For the artist, this work also tiger carving captures. “flowed” intuitively. Where her initial concept was interested in the charts illustrating Ursula Christel “flattening the curve” and Fairy Falls*: Wave Chart, the anticipated “waves” of 2020 COVID-19, Ursula found herself Panel board, tape, cork, seeing waves of water. She newspaper, acrylic sealant, then needed an image to fit wooden frame, canvas board, into a vertical wooden frame, acrylic, rubber band having previously referenced 46.7 x 40 x 7.3 cm the work of Colin McCahon (1919—1987) in her painting redictions and forecasts ísos (2017), she saw his “I” Pwarned us about a first and as a reference to inclusion. second wave but, as Ursula Ursula knew that she had also says, “no one was sure if this seen an image by McCahon was a “real thing””. Visuals that reminded her of a curve showing the epi curves hit graph — his legendary watery home and overnight, toilet rolls curve from the 1964 series of disappeared from supermarket waterfalls painted at Fairy shelves. . . For the Ministry of Falls in the Waitākere. Attached Health, the mantra was ‘flatten to a discussion of these images, the curve and raise the line’. ardent forest-bather Ursula The question was, whose found a quote by McCahon curve? What line? that she instantly recognised as a match-winning move by a When the world as we knew Grandmaster of New Zealand it stopped, and the stream of Chess art: ‘I only need black petrol-powered traffic came and white to say what I have to an end, rivers began to flow to say. It is a matter of light clear and the sea sparkled and dark.’ 5 16 Te Poho/Office a graffiti artist with a loose and energetic application of paint from spray cans. Ursula Christel “The painting on cardboard With Eyes That Know*: Between I deliberately left behind on the Stars, 2020 the floor of the studio. For Spray paint on framed me, the mesh captures only mesh panel a brief impression or memory 90 x 180 x 1.6 cm of where Van Gogh’s bright (aperture 5 x 5 cm) swirling stars were positioned. This is merely a mechanical Starry, starry night remnant of a dynamic process Paint your palette blue and grey Look out on a summer’s day that acknowledges the With eyes that know the darkness in enduring impact of Van Gogh’s my soul 6 revolutionary gesture”, says Ursula. ith Eyes that Know: WBetween the Stars (2020), uses Van Gogh’s The Starry Night (1889) as a background template, where Ursula’s work operates as a metaphorical filter to remove the noise, turmoil, and unrest of the night sky, by serenely marking out the calm spaces in-between.
This image was made by placing a wire mesh panel on top of a large sheet of cardboard lying on the floor. Ursula then recreated Van Gogh’s The Starry Night, working like Drawing by Ngaroma Natalia, 2020 17 Rose/Shower Cubicle hazardous barbs do not stick out or protrude from the form itself, but have been painted Marcel Tautahi directly onto the surface of It’s not a game, 2020 the object instead. Where Prints on paper Mahi (2020) might look like a Two pieces standard piece of four-by-two, 29 x 21 cm each piece if anyone were to “tīpakopako” or “pick up the artwork”, the Ngaroma Natalia significantly lighter weight of Nga, 2020 the object would be totally Acrylic on paper obvious. 21 x 14.5 cm
Marcel Tautahi & Brown Room Ngaroma Natalia Mahi, 2020 Gouache on balsa wood Roman Mitch 6 x 10.8 x 90.9 cm Pocket Painting, 2020 1000 hours ccording to Marcel and Fabric dye on paper on linen ANgaroma’s father, the 140 x 140 x 4.1 cm artist, catcher of tigers and player of chess, also known oman says Mokopōpaki as Roman Mitch, the coloured Ris one of the few places plank of balsa wood in the where his Pocket Paintings shower cubicle refers to (2007—ongoing) have been Marcel Duchamp’s horizontal accurately presented. The floor work Trébuchet (Trap) artist wants to correct the (1917/1964). In this instance, assumption that he only the children’s 21st century makes pocket paintings while Māori version is without overt at work and “on the job”. hooks, given that the deviously Roman says he identifies
18 with Billy Apple who argues record of time embedded in that being an artist is a the folds and planes of the 24/7 occupation. For Roman, material overtook the written there is an important blur record”, Roman says. between art and work and play. He sees no distinction Sometimes, a Pocket Painting between what he is doing is offered as a gift from either at “work” or at “play”. the artist for an individual The concept simply reduces recipient to perform. As the to the idea: the least amount performer walks, waits and of physical work (“hold on to works, the folded sheet of this piece of paper”) over the paper in the performer’s longest duration the artist pocket transforms the paper could comfortably imagine and changes it from a once holding in his head (in this functional document into an instance 1000 hours). aesthetic event producing a reconfigured subjectivity Roman then wondered, what for the duration of the is the lightest possible performance. This process workload over the longest changes how time is felt. possible time? The artist also suggests, Pocket Painting was a “Performing a Pocket proposition that almost made Painting can have subtle itself, when a handwritten positive effects on the timesheet marked with the performer/artist/wearer. hours worked by the artist There may be those who wish was folded, and in a denim to perform the work in order pocket, carried against the to let go of something, or body until the ink on the perhaps there are those who paper mixed with the dye in want to hold on to something the artist’s jeans, to a point new. Equally, there could also where the document became be those who Pocket Paint unreadable. Here, the “parallel for fun, or aesthetic interest, 19 or boredom”. Whatever the Roman Mitch case may be, Roman’s Pocket Tīpakopako, 2020 Paintings have an ephemeral Pine, linseed oil, techniclad quality that, contingent upon bronze on aluminium, fixings the strength of textile dye, Two pieces quality of paper, and levels of 387 x 9 x 8 cm light in the exhibition space, have the potential to fade īpakopako (2020) within a time frame of more Tappropriates the form or less the same duration that of school bag and raincoat it has taken to produce the racks outside primary school work in the first place. classrooms. Tīpakopako reconfigures the grandfather- In Chess (2020), Roman of-the-readymade’s no-longer- makes a new move with his on-brand-for-2020 attitude Pocket Painting by attaching towards the dual role of artist/ 1000 hours of wearing to parent. The vertical orientation a white linen canvas, hung of the rack is a lift and double diagonally on the wall of rotation of the trap. the Brown Room. Roman says, “Canvasses afford and Starting with a feeling about signify motility”. Here, this Duchamp’s Trébuchet (Trap) idea has an impact on the (1917/1964), Tīpakopako artist’s decision to use the realigns this sense at least diagonal and a square of twice. Count them. equal sides, given that more options are instantly open to interpretation of this shape.
20 Ursula Christel the destabilising effect of Victory Over the Sun*: global “fake news” and how, Maquette for MALWARE, hidden by the smoke and 2020 mirrors of primetime political Vinyl flooring, metal hanger, illusion and drama, this lack of hi-vis fabric, pins, metal transparency operates as a computer side panel, bungee form of malware. cords, metal hooks, cable ties, birdcage elements, aluminium The term “malware” refers to carabiners, plastic chain, malicious software intentionally framed mesh panel designed to cause damage and 180 x 90 x 12 cm chaos. Historically, malware (aperture 5 x 5 cm) has always been there, admittedly in different guises, rom first appearing in the but lurking in the background FBrown Room as Ground as an abusive, powerful Level (2018), in 2020, the presence, able to engage not black and white chequerboard only in clandestine attacks, flooring has climbed the wall. but also in the more pervasive Trapped by a cage-like frame, and insidious establishment of the white and black squares social constructs, deliberately suggest a kind of “different designed to create barriers level” with no apparent front obstructing others. or back. This metal framed wall piece operates like a stage During installation to complete set or a prop screen, where her “motherboard”, Ursula attachments can be removed, decided to attach a black replaced, or rearranged square panel as a spontaneous — quickly and with ease — Chess response to Roman backstage, behind the scenes. Mitch and his earlier work, Uptown Panel (2018). Later, Inspired by her experience she realised the black square in theatre design and set added references not only construction, Ursula explores to the field of play in a game 21 of Chess, but also to Kazimir Mokopōpaki Malevich’s (1879—1935) ‘zero The Arbiter*, 2020 point of painting’. As it happens, Analogue chess clock, Malevich was also the set vintage doll, folding vinyl chess designer for the Futurist/ board, plastic chess pieces, Cubo-Futurist opera Victory card table, chairs Over the Sun (1913), where Installation dimensions variable his commanding ‘Black Square’ made its first appearance as part of a theatre curtain design.
Roman Mitch & Shivam Sharma Huri, 2020 Antec Torque Case, i5 8400k, EVGA GeForce RTX 2060, tech componentry 62 x 64.5 x 28.5 cm
Roman Mitch Queen’s Gambit Accepted, 2020 Reflective tape on plastic cone 44.9 x 26.5 x 26.5 cm
Placed in the Mokopōpaki Shop Window at night. Queen’s Gambit Declined (2020), retires and returns during the day. Drawing by Marcel Tautahi, 2020 22 Roman Mitch, Schoolbag Preparedness*, 2020 23 Footnotes Text by Mokopōpaki unless otherwise attributed. Published by Mokopōpaki to 1 accompany Chess* (19 November—19 il-chess.org/sportsmanship-and-etiquette December 2020). 2 Songwriter: Dave Dobbyn, band: DD Smash, * Denotes title by Mokopōpaki. released: 1983 3 Ka nui te mihi ki a: Sophia, Marcel, Ngaroma, First published in 1854, Hard Times Come Pam, Kohine, Rangi. Again No More is an American parlour song by Stephen Foster (1826―1864). Still Authorised and approved by the performed to this day, Hard Times Come Mokopōpaki Exhibitions Committee (MMPK). Again No More speaks up and asks the fortunate to consider the plight of the less ISSN 2537-8783 fortunate. 4 maoridictionary.co.nz 5 christies.com/lotfinder/Lot/colin-john-mcca- hon-1919-1987-waterfall-5007600-details. aspx 6 Artist: Don McLean, album: American Pie, released: 1971. Vincent was written in 1971 by songwriter Don McLean as a tribute to Dutch painter Vincent van Gogh. Often erroneously titled after its opening refrain, Mokopōpaki Starry Starry Night, McLean’s lyric refers to Van Gogh’s moody but evocative Ground Floor painting The Starry Night (1889). 454 Karangahape Road Auckland 1010 New Zealand Sources Wednesday to Friday wikipedia.org 11am–5pm ichess.net Saturday 11am–3pm or by appointment
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