In This Issue: Talanoa I Measina 01 Graffiti: Paste Ups 02 News, Events & Workshops 02 at the Galleries 03 the Den: New

Home , Antigua Boat Sheds, Grace Butler, Scribe (rapper)

Issue 25 Exhibitions Ōtautahi www.artbeat.org.nz February 2021 Galleries Christchurch Studios Waitaha Street Art Canterbury Art in Public Places ARTBEAT In this issue: Talanoa I Measina 01 Graffiti: Paste Ups 02 News, Events & Workshops 02 At the Galleries 03 The Den: New Artist-Run Initiative 05 Discover Map 06 Reviews 08

Talanoa I Measina – Sharing our Stories

It is a living room modelled on a home in Ōtau- flamboyant version of real life’, but it is also the tahi Christchurch that places Pacific culture reality with the numerous family photographs centre stage. Curated by artist and Pasifika and leis hanging over the frames. ‘They might Librarian in charge of Pacific programming put plastic mats or fine mats down to protect and collections in Tūranga, Nina Oberg the floor and the exhibition is about getting as Humphries’ assemblage of photographs, much in as possible.’ films, books, quilts, floor mats and more, ‘Education and any kind of achieve- make up the immersive installation,Talanoa ment are always celebrated in the Pasifika I Measina - Sharing our Stories , a platform community. It doesn’t matter how small it → to celebrate Pacific culture and its achieve- is. It might be that you get a certificate from Talanoa I Mea- sina – Sharing ments and presence in Ōtautahi. preschool or have a graduation ceremony, our Stories, The exhibition has its origins in 2018 when any form of achievement is celebrated and installation the Library's Pacific Staff network Va Pasifika people are proud.’ photograph. put forward an exhibition to celebrate Ōtau- Since Talanoa I Measina opened in Photograph: Nina Oberg tahi’s Pacific community. Oberg, a member November 2020, the interest from churches Humphries of the collective, wanted to emphasise the and youth groups has escalated and the importance of archiving Pasifika histories photographs and objects continue to arrive. →→ Talanoa I Mea- and the group requested photographs from ‘We have been getting many people almost sina – Sharing the local Pasifika community for the digital every week saying, “I want to put my grand- our Stories, Discovery Wall in Tūranga’s foyer. Oberg parent on the wall.” We want people to come installation put out a call, asking the public to bring their in and add to the stories, and we are still photograph, includes Jan- photographs to become part of the discovery sitting down with them and going through the hai Te Ratana’s wall but she was not really getting any from the process to get as many images as possible Women's Rugby Pasifika or multi-cultural communities. into our digital heritage repository.’ World Cup 2006 jersey She maintains that the problem was We were also given a number of home and a painting essentially about who uses libraries or see videos, which are really cool because they of rugby player themselves in those spaces, as well as the range from White Sunday (a national holiday Tala Kele, from former Warners idea of archiving history, as Pacific cultures in Samoa) to performances and fundraisers. Hotel in Cathe- have oral traditions. ‘We went and asked We also have beautiful ones given to us by dral Square, The Tala people and at first we didn’t get a lot of images. Tamapua Pera, a Cook Islander, where she titled Kele Corner. In fact, we only had two people come into the runs a Tivaevae workshop and talks about its Photograph: library to give us an image each. Fortunately, history, how to make all its different segments. Nina Oberg for us, we then had lockdown, so people were That is not something you can get from a book. Humphries at home going through their photographs and We see these as special and very important we went through our own networks to get as resources and we hope to make them more many as possible. We really wanted the room accessible. It is information that wasn’t here - to celebrate our people, those that have had a but also isn’t [until now] found anywhere.’ real impact on the community. You can see on Talanoa I Measina is also an idea about the wall their listed achievements; everybody how an exhibition can make important has a Queen's Service Medal or some kind of community connections with visitors. Oberg their love for Elvis.’ with the library and what would you like to recognition.’ asks; ‘What would it look like if it was a Fili- A tourist souvenir depicting a traditional see?’ Oberg singles out photographs of those pino kitchen and there was a dining table? The home in Samoa is also on display, loaned Oberg is adamant that all communi- that have ‘moved and shaken things’ in Ōtau- exhibition is a good model for engaging with by Oberg and much loved. ‘You find a lot of ties want to see themselves represented in tahi: Pacific Underground, Ladi6 and Scribe different communities and then celebrating things in Pasifika homes that are tourist items public spaces. ‘We have a place here and we and influential community leaders such as and giving them a public place, reinforcing and it reminds them of home. You belong to have a community and our numbers are only Tufuga Lagatule (1938 – 2016) who spent belonging in our city’ this other place but you don’t necessarily growing. In the last five years we have gone seventeen years as the Pacific representative Talanoa I Measina’s themes and subjects need to be there.’ from 11,000 Pacific people to nearly 20,000 on the District Parole Board and held office encompasses Christianity, rugby league, ‘The cushions in the exhibitions are made in Ōtautahi. So what does the next five years as an elder of the New Zealand Presbyte- tourist memorabilia and quilt making. ‘We in China but are based on Cook Islands Tivae- look like? No matter what migrant commu- rian Pacific Island Council. He was made an asked people for religious items, paintings vae. In Samoa you weave mats but we don’t nity you come from, we have all moved to Officer of the NZ Order of Merit in 2008. And and prayers and books. Religion and Chris- have the materials here [in Aotearoa]. The Aotearoa in the hopes of better lives, educa- Lemalie Tuia, nee Siataga (1927 – 1996) who tianity is very important to Pacific peoples. mats from China serve that purpose. They tion for our families and opportunities for arrived in New Zealand from Samoa in 1950, Church is life, so we have got our “Last are bright, colourful, and relatively inexpen- employment. This is a reality in Christchurch settling in Christchurch in 1955. She was a Supper” as well and we have a Bible.’ sive. Less people in the Islands learn how to and as our Pacific population grows, so do our founding member of St Paul's Trinity Pacific The religious statues are in close proxim- weave mats these days, it is time consuming multicultural communities. Our public places Presbyterian Church and a tireless Polyne- ity to an album cover of Elvis Presley. ‘Pacific and people just don’t have as much time.’ and our civic spaces need to reflect that.’ sian social worker and councillor, as well as people have a real affinity for country music Talanoa I Measina extends its invitation a community support teacher and ‘fearless and storytelling. So naturally, Elvis is popular. to all visitors. ‘People come in here and they Talanoa I Measina – Sharing our Stories leader and advocate for all Polynesian and I have a group of fifteen Samoan Matua that may just sit and read and they have also been Te Pito Huarewa / Southbase Gallery, Tūranga, Pacific people to succeed.’ come in every week. They made all the leis in having meetings in here. We had a consulta- 60 Cathedral Square, Oberg describes the recreation of the the exhibition located above the family photo- tion a few years ago with our Pacific commu- 12 November 2020 to 28 February 2021. Pasifika living room in the exhibition as ‘a graphs and they all had stories to tell about nity and asked how do you want to interact

Artbeat 01 Paste Ups

writer Reuben Woods It started with pencils, cartoon characters and spoons, but soon there were gnomes, sandwiches and retro-woollen cardigans, even Icelandic pop star Björk arrived. This motley collection has been steadily taking over Christchurch walls for several months, gathering in visible locations and capturing the attention of the passing audience. Paste ups by Slap City artists have added a fun new element to the city’s urban art scene. Slap City, established by Lyttel- ton-based artist Teeth Like Screwdrivers, began as a monthly sticker making and swapping event but has since become something more adventurous, as its eclec- tic members have taken to the streets with posters and buckets of paste. Their cacoph- onous urban additions have become ubiqui- tous around the central city, representing an interesting lineage within street art culture as they fill cinder block walls and wooden hoardings with recognisable but always unique compositions. Paste ups are a specific, yet broadly defined element of post-graffiti street art derived from historical instances of urban postering, while also offering both tactical and thematic possibilities. Paste ups are simply works on paper applied to urban ↑ artist JR. They are also viewed by some of experience among practitioners, serv- for attention, playing off each other in shouts A collection surfaces using a variety of adhesives, of paste ups as less aggressive and vandalistic due to ing as a perfect gateway for those seeking and whispers as the viewer scans across the although traditionally home-made wheat featuring their shorter legacy and the absence of the a creative outlet. Indeed, the backgrounds plastered surface, echoing the competing paste. The technique is favoured by some Vez, Cape of dreaded spray can. of the Slap City collective range from graf- advertising and signage that dominate urban Storms, Vermin, due to its less enduring presence, their Your Alright You While paste ups are not beholden to fiti and street art to decoupage and cross- space. Even viral post-graffiti networks and quicker deterioration viewed as an echo of Are and Diva any stylistic or thematic consistency, there stitch, or those with no prior experience, with communities are revealed as work is shared the wear and tear of urban environments, a Dog. is an inherent subversive and political link, imagery equally as wide-ranging, from inten- and pasted via posted packages or digital quality perhaps most eloquently exemplified informed by the ghosts of punk posters, tionally meaningless to personally political. files, adding a cosmopolitan element to the in the work of American artist Swoon, whose political fly posters and other forms of visual While the much-loved post-quake works occurring across the city, with interna- beautifully rendered life-sized woodblock communication, as in the propaganda-in- Band-Aids by Dr Suits and Jenna Ingram tional artists present despite vast physical prints on paper gained adoration for their fluenced work of Shepard Fairey. Although were a touching addition to the specifics distance. fleeting beauty. Paste ups are also easier to in many cases this influence is less explicit, of that period of time and provide a local While murals garner headlines and apply in a guerrilla manner, with a significant primarily suggested in an anarchic sense of paste-up precedent, the diversity and graffiti is more tightly defined, paste ups portion of work completed off-site before humour or DIY aesthetic. Similarly, there is no smaller scale of the Slap City works are an provide a layered wrinkle to the city’s urban a relatively expedient public execution, as technical expectation, images can be hand- apt fit in the current environment, with its art culture, an accessible wallpaper unre- evident in the global campaigns of French drawn or digital collaged, allowing any level returning bustle. Overlapping works battle stricted by convention.

NEWS EVENTS & WORKSHOPS

The Christchurch Art Show returns to Working studio and exhibition at A bold vision, new name, brand, website The Air Force Museum of NZ, Wigram: Pūmanawa: In February, artists Maxine and chapter for Te Ūaka The Lyttel- Last year The Christchurch Art Show was Burney, Jenny Longstaff, Helen Steven- ton Museum: Its collections are safe in an online show only. Covid -19 made it son and Jenny Taylor will be working in a storage but Lyttelton’s historical museum, impossible for the show to run. This year temporary studio and gallery at The Art struck by the 2011 earthquakes, is gone and it is on at The Air Force Museum of NZ, Centre’s Pūmanawa Gallery. The exhibition the Lyttelton Museum Historical Society’s Wigram, April 8 – 11. This will be the 8th features paintings by Burney, photographs Committee is launching a fundraising Christchurch Art Show and the directors and paintings by Longstaff, woven baskets campaign in February for its new purpose-

↑ Kate and John Morrison, are excited and containers by Stevenson and realistic built museum designed by Warren & Joanne Webber, Kokako’s Song, paint on MDF board. Webber is one of ap- to have a live show for artists in Christ- and quirky animals by Taylor. Inspired by Mahoney in collaboration with Ngāti proximately 200 artists participating in the Christchurch Art Show in 2021 church again. Many are Canterbury based Nature. The Arts Centre Te Matatiki Toi Ora, Wheke and the wider community. The new and come to Christchurch from all over 2 Worcester Boulevard, until 7 February, museum will be next door to the library in Aoteoroa. Artists are at the show with their 10 – 5pm London Street on a site granted to it by the artworks to talk directly with the public. The Christchurch City Council. Its new name, show claims that it has “art for everyone” Fiksate relocates to 54 Hawdon Street, Te Ūaka has been gifted to the Museum by and it does. There is a huge variety of art Sydenham: Fiksate has a new home in Te Hapū o Ngāti Wheke. Te Ūaka can refer on site. The show operates on a cash and Ōtautahi Christchurch, moving its artists’ to a landing place, a place of arrival, or a carry basis, once art is purchased you can studios and gallery to Sydenham operat- berthing or mooring place for a watercraft, take it home to enjoy. Visitors get to have ing with more studio spaces. Studio artist connecting all arrivals to this location, their say and vote for their favourite artwork Reuben Woods comments: ‘While the Māori and Pākehā and crews of the Antarc- – you can vote for one out of ten top works Gloucester Street location played a big role tic Heroic era, marking the beginning of a in The Lawson’s Dry Hills People’s Choice in Fiksate's growing profile, the move to new era for whomever has landed here. Award 2021. The exclusive opening night Hawdon Street also brings with it new possi- begins at 7:30pm the 8th April. Early bird bilities. The Fiksate crew is excited about the Naomi Goto Garrett’s Forest Garden at tickets are available from 18 – 31st January. potential new gallery layout with the natural Pūmanawa: Naomi Goto Garrett’s career Show days are 9 – 11th April. For informa- light in the warehouse-like space, while the started with landscape design and then as tion: www.chchartshow.co.nz ability to expand studio productivity means a magazine and book illustrator in Japan. new events and projects are already in the In her exhibition, Forest Garden, plants, pipeline for 2021 and beyond.’ insects and birds are the themes of life. During the exhibition she will be drawing one picture in the gallery so everyone can observe her as she paints. The Arts Centre

↑ Te Matatiki Toi Ora, 8 February to 14 Febru- Te Ūaka The Lyttelton Museum. Image: Warren and Mahoney ary, 10am to 5pm

02 Pauline Rhodes, Blue Mind AT THE

↘ Artists Debbie Bishop, Amanda Greenfield, Infuse - An exploration Gwen Parsons and Tatyanna Meharry have of how artists shared a workspace for the past 2 years, influence each each working in a different field of object other in collab- Infuse orative studio art. In they work with the vessel and workspaces. creation of a confabulation of infusion tools to represent the action of creative ↘↘ Tori Hartill, Vita- infiltration. min Sea, 2016, Form Gallery, 468 Colombo Street, mixed media. 10 to 27 February Blue Mind opened in November 2020 at ↑ sense of movement in an installation that is ↘↘↘ Installation Janneth Gil, Inspired by my love of the sea, this is my the Christchurch Art Gallery Te Puna o largely still. They make me think of the white Widow in prayer view (detail) of logbook of a week, cruising the coast. My Waiwhetū , its candid narrative an appro- Pauline Rhodes caps of the waves, or the froth that washes up - A martyr's Blue Mind absence gives work is inspired by colour, texture, pattern priate and poignant commentary about the at on the shore, or the flight of the birds over the Christchurch Art way to his eter- and form in the natural environment. Of colour and state of the planet, earth and sea. The small blue glass ovals do the same nal presence. Al Gallery Te Puna o late, my interest is piqued by a myriad of sky, an encounter with a myriad of materi- Waiwhetū, 2020. thing, shifting with the light and moving slightly Noor Mosque, Christchurch environmental concerns and a fascination als, surfaces, forms and tonalities that seem Photograph: John in the light current of the air conditioning. Collie. New Zealand. with connections to "place.” like a first-time experience on each occasion WF: Blue Mind has a surprisingly rich narra- Printmaker and object artist Tori Hartill it is visited. tive. ↘↘↘↘ on her practice. Print Council of New The project began with an approach to FM: Pauline described this as one of the Issy van der Thinking Unfolding Leden, Cabin Zealand, , Ashburton Rhodes from lead curator Felicity Milburn to most literal works she has made, and I Fever . Art Gallery, West Street, until 21 February develop an installation project for the public would certainly agree with that. One of the gallery. Warren Feeney asked Milburn about things that she was trying to do was connect ↘↘↘↘↘ Darkness into Light Grace Butler, aims to make a contri- its development and place within Rhodes’ viewers with something quite specific - our Heathcote bution to our community by encouraging practice. relationship to the ocean and its connected- River, c.1930, the viewers of the final work towards consid- WF: Where did the idea for Blue Mind orig- ness to the land. So she is drawing on some Aigantighe Art Gallery ering their unconscious biases that leads inate? visual clues that speak quite clearly – boat- Collection, towards racism and discrimination, thereby FM: I think it was something that Pauline had like shapes, the marks that could be waves or Accession no. encouraging dialogue, tolerance and inclu- been kicking around for a while, and then birds, and all those deep blues. That said, for 1971.4, courtesy of Aigantighe sivity and maintaining an informed, empa- saw the opportunity to use it. It’s very much a me, her use of space is distinctive, a signa- Art Gallery. thetic and socially conscious society. work about her life-long relationship with the ture that is quite unlike any other artist I know. Janneth Gil describes her exhibition, Dark- sea, and her increasing concern about how She is able to transform and energise a ↘↘↘↘↘↘ ness into Light Liv O’Callaghan, . PGgallery192, 192 Bealey we are failing to protect all the life-forms that room with a series of very subtle alterations; Untitled , 2020, Avenue, 23 February to 19 March depend on it – ourselves included. She had creating something that is both modest and acrylic ink on an idea of the kinds of materials she wanted ordinary, but which can take your eyes and 300gms watercolour paper. Issy van der Leden graduated last year to use – many recycled over a number of imagination on a real adventure. from Ilam School of Art and has made new earlier installations. When Pauline arrived WF: Blue Mind looks like a work only a senior work for this exhibition. for the installation, she had a basic plan, artist could have realised. Issy van der Leden, DOG DAY, Instagram: and then the work evolved in response to FM: Yes. Pauline’s work is by nature an accu- @paludal_chch, Carlton Mill Corner, the space. She worked with the assistance mulative practice – many of the materials in Papanui Road of our exhibitions and conservation team, Blue Mind have had other lives in other indoor and her process was incredibly efficient – it and outdoor installations. But she also accu- Rather than her ‘trademark’ alpine vistas was immediately obvious that she brought all mulates ideas, and I had the strong sense in of Arthur’s Pass, for which she is well those years of working with different spaces watching her install Blue Mind that she was known, Grace Butler’s Heathcote River, and environments with her. She was easily drawing on all those years of experience. Blue is a Christchurch scene, yet a work that able to respond to how the materials were Mind is really just one part of a long continuum possesses the same depth of feeling. working together in the space and make of practice, and not too long from now these Butler has painted the banks of the Heath- adjustments. It was amazing to watch it all materials will be packed up again and go on cote River on a warm sunny day, depicting come together. to live other lives in other works. a leisurely couple meandering their way WF: What about her choice of materials. One of Pauline’s hopes for the show is along its winding path. Butler was passion- Where did they come from? that it will prompt people to do some long, ate about, and committed to, painting en FM: Pauline has had the plywood panels for deep looking. That really is the best way to plein air, where she could observe, sense many years. She got them from a salvage yard approach her art. Don’t come in expecting and capture her surroundings. in the 1980s. They were the sides of crates that it to mean just one thing, and don’t worry Petrena Fishburn, curator, Aigantighe were used to bring car parts from overseas. about getting it wrong – let your eyes and Art Gallery on Grace Butler’s Heath- She liked them because they were light and mind wander and soon it will start to speak cote River. My Beloved... (Works from cheap. She painted them the deep indigo blue to you. You might be surprised what you start the permanent collection), 49 Wai-Iti Rd, that is such a signature of the show – a refer- ↓↓ thinking about. Maori Hill, Timaru 20 February to 18 April ence to all things ocean, but also to the sky Installation view (detail) of and to a particular state of mind and mood – Pauline Rhodes Christchurch based tattoo artist Liv thoughtful and slightly melancholic. Then she Blue Mind at O’Callaghan is back with her second pressed them between wet steel plates to Christchurch Art Pauline Rhodes, Blue Mind Gallery Te Puna o solo exhibition. Specialising in old school create unpredictable, and I think, very beau- Christchurch Art Gallery Te Puna o Waiwhetū Waiwhetū, 2020. traditional tattoos Better Liv-ing Every- tiful rust marks. She made the white marks by Photograph: John Corner Worcester Boulevard and Montreal Street one showcases a selection of Liv’s bright dripping paint from a brush and they add a real Collie. 28 November 2020 to 7 March 2021 and bold tattoo style paintings. Liv O'Callaghan, Better Liv-ing Every- one, Absolution, Arts Centre Te Matatiki Toi, 2 Worcester Boulevard, 5 February to 1 March.

Artbeat Issue 25, February 2021 GALLERIES Exploring Drawing Telly Tuita, Tongpop in Space Nostalgia

In the 21st century architectural drawings are Tongpop Nostalgia puts forward a convinc- digital propositions with a subtext that may ing argument for nostalgia as a subject not often suggest the promise of a utopian real- to be taken lightly. Arguably, it may simply ity. Drawing Machine represents a different be about sentiment and memories, but the proposition, a monumental aluminium frame very reason for its persistence in our lives installation traversing the space of COCA’s is that it is imbedded in, and fundamental Mair Gallery. Light, space, shadow, mass and to, who we are. Telly Tuita, a Tongan-born volume are mapped and documented as an Pōneke Wellington-based artist knows this amalgam of shifting relationships explored well. In Tongpop Nostalgia, an installation anew through an encounter with the here that reflects upon the life he left behind as and now, reconsidering, in this instance, the a nine year-old migrant and the life that has potential of the Mair Gallery and its occupa- followed, he imagines and makes tangible tion as a public space. the worlds that he remembers. Conceived and realised by director of This is an installation rich in memo- Paterson Architecture, Aaron Paterson, with ries in a way that shares much in common designer at Paterson Architectural Collec- with Turner Prize winner and ceramic artist, tive, Sarish Mulla, and lecturer in architec- Grayson Perry, famous for his love of Coro- tural media at the University of Auckland, nation Street and fish and chips. Tongpop Marian Macken, Drawing Machine’s docu- Nostalgia greets the gallery visitor with a mentation of differing experiences of the Tongpop wolf pack of fifty ceramic dogs, an Mair Gallery are then further transformed in invitation into an opulent and colourful expe- Edge of Shadow ↑ in COCA’s North Gallery in Aaron Paterson, rience that shift between cultures, taking a digital format and unique experience of the Sarosh Mulla in items that include tourist memorabilia, gallery space. It is an unanticipated surprise, and Marian Tongan Tapa cloth (Ngatu) painting and items Macken, Draw- raising questions about the uncharted possi- ing Room, from the $2 Shop. Tuia’s world possesses bilities of a long-serving community space (installation). a constant visual cadence, bouncing from and the nature of our occupation and rela- Photograph: subject to subject in its ideologies and John Collie. tionship with it. iconography, and the notion of the realities and unrealities of all our lives.

Aaron Paterson, Sarosh Mulla and Marian ← Telly Tuita, Macken, Drawing Room Tongpop Telly Tuita, Tongpop Nostalgia COCA Toi Moroki Nostalgia, COCA Toi Moroki 66 Gloucester Street, Christchurch (installation). 66 Gloucester Street, Christchurch Photograph: 28 November to 30 February 2021 John Collie 28 November – 20 February

Melissa Macleod, on an east wind, 2020

In the Awly Building on the corner of Durham and Gloucester streets in Ōtautahi Christ- church, artist Melissa Macleod has installed a precious cargo. Sea air from New Brigh- ton’s coastline captured by an air compres- sor and contained in 144 large dunnage bags (inflatable bags that secure items in containers for transportation), Macleod has stacked them in ordered rows held by aluminium frames in an imagined warehouse. This is not the first time that she has liter- ally brought something from New Brighton to Christchurch. Working across a range of arts practices; sculpture, photography and performance, and encouraging public participation, Macleod’s art is engaged with issues about the politics of community and environment with a particular interest in, and commitment to, the Eastern community of New Brighton. Macleod is a resident in the seaside town and both its proximity and distance, physically and metaphorically, from the city of Christchurch is of concern and importance to her. Typical of her practice, on an east wind is an inviting and captivating experience. Large in scale, it is an art installation that encourages visitors to explore and be part of. Its ordered industrial persona may be without any evidently practical purpose, but it disarmingly raises questions and opens up discussion about wider reasons for its being. In accepting its lack of practical ↑ Macleod created a sizeable sand-sculp- details of pre-European life and settlement of the presence of the unseen air, momen- Melissa intentions, its stored objects row upon row Macleod, on ture, linking locations, one that would, as the for Māori, making it one of the most signifi- tarily conserved and surrounding us. on an and its changing transient light, the visitor’s an east wind, weather and environment eroded it, serve cant locations in Te Waipounamu the South east wind is a monumental work of art, both consciousness of the building as a tempo- 2020, sea air as a temporary opening or door between Island. in its scale and its responsibilities as an act (New Brighton on an east wind rarily vacant public space serves as a start- Coastline) communities, bringing a part of New Brigh- Like there is a shared inter- of enlightenment. ing point to direct attention elsewhere. dunnage bags, ton closer to Christchurch. est in directing attention to the ecosystems In doing so, on an east wind is also antic- aluminium. Macleod also has a precedent for on of the natural environment around us, an Photograph: ipated by an earlier project from Macleod. In an east wind in The Trappings of Ghosts, ironic acknowledgment that we often only Melissa Macleod, on an east wind, 2020 Salt of the Earth Heather Milne, 2017 she developed, , a proj- courtesy of an installation in 2020 at the Ashburton Art become aware of such precious “goods” SCAPE Public Art Season 2020 ect coordinated through The Physics Room SCAPE Public Gallery, where she bagged air from Wakanui when they are brought to our attention The Awly Building, Art. in December that year in the Red Zone. Beach, a home for rare and endangered displaced from their habitat. In this Cnr Durham & Gloucester St Thinking about the area as an abyss between native birds and plants and a site where instance, relocated into containers and Saturday and Sunday, 11am – 3pm, the city and the sea, like two distinct worlds, recent archaeological finds have revealed housed in public spaces, making us aware until 21 February

04 The Den: A new artist-run initiative opens in Ōtautahi

writer Orrisa Keane 2020 has seen a full year’s programme of exhibitions from Paludal, the establishment of Hot Lunch and now the opening of The Den – call it three for three. The Den is a new artist-run initiative (ARI) in central Ōtautahi directed by Jamie TeHeuheu, Sophie Ballan- tyne and Rupert Travis, with Tessa McPhee acting behind the scenes. I met with the newly dubbed directors to ask them how they saw The Den operating in the Ōtautahi arts scene and what they hoped they could provide for their artists and audience. The Den differs from other Ōtautahi ARIs by being primarily a space for selling work with aspirations to be a hybrid dealership/project space. The directors spoke in earnest about wanting to offer a space for both commercial and non-commercial work – a seemingly organic model whereby the gallery will sway to meet the needs of the arts community. Specif- ically interested in supporting emerging prac- ↑ exposure to be a big part of their support of board (of fellow new artists I would urge) for the sets up a warped understanding of intellectu- The Collective, titioners, The Den seeks to be an intermediary the inaugural artists. Comparatively low priced work by new selection process. Reading this in February, alism and its relationship to (and suggested before dealer representation and a space to exhibition and artists offers an opportunity for peers or inter- there is a chance that The Den will be having reliance on) wealth. Selling art is not selling out, continue exhibiting after art school. The Den’s ested parties to start buying art; emerging to find a new location. just as making non-commercial work does not opening night Taking a modest 20% commission artists for emerging collectors. TeHeuheu, Ballantyne, Travis and McPhee show an ignorance of capitalism. It takes all 1 December The Collec- from sales, this covers promotion, food and 2020, photo- The directors acknowledge their limita- featured in their own opening show kinds etc. drink for the opening, and overheads. For the graph: Jamie tions as they all have the same educational tive. They don’t pay themselves a wage or take I’m interested to see how The Den navi- TeHeuheu and exhibitions, including performance or less The Den background, equipping them with no more a cut from the commission so, being realistic, gates the tricky space it occupies and who and marketable installation work, the surplus from knowledge than the next recent grad artist showing and selling work is the only way to what will be compromised or prioritised along commission fees will stretch to cover costs, about running a gallery or curating. The team make it worth their while on a financial level. the way. creating an ecosystem where previous exhib- hopes to learn through experience and seek Increasingly, I’m becoming aware of a itors support future ones. The Den hopes to external help where possible. The plan is to rhetoric around the “dealer versus project engage a student audience as well as any have an open call for proposals when a perma- space”, distilled, in my understanding, as a The Den, 181 High Street artists, collectors, dealers or public, believing nent site is confirmed and establish a curatorial privileging of money or ideas respectively. This facebook.com/thedenartistproject/

Abby Cunnane is The Physics Room’s New Director

Writer and former curator at St Paul Street cally in the context of Aotearoa. Perhaps a WF: I note that in 2020 you were studying at Gallery AUT in Auckland, Abby Cunnane reflection of this can be found in two events, Te Wānanga o Aotearoa (Tē Rōnakitanga ki discusses with Warren Feeney the influ- Ako mai, Ako atu (2016) and Ipu ki uta, ihu ki te Reo Kairangi) in Tāmaki Makaurau. How ences of St Paul St on her practice as cura- tai (2017), which I worked on with Charlotte, has that been? tor, her recent visit to The Physics Room and Balamohan Shingade and Desna Whaan- AC: Learning te reo Māori in a full-time learning te reo Māori. ga-Schollum. Two St Paul St exhibitions that immersion environment over the last two I loved working on, and learned a lot from, years has been a life changing experience, WF: What was the background to your work are Ngahuia Harrison: E takarae ki te muri i and influenced my understanding of cura- at St Paul St Gallery in Auckland? raro mata raranga mai kaewa ki te rangi ko au torial work and research in the context of AC: St Paul St is a part of Auckland Univer- ki raro whakaaro rangi ai and Beatriz Santi- Aotearoa. These are things I have thought sity of Technology, and the educational ago Muñoz: Their movements retain the about for a long time, but learning te reo has context was fundamental to the programme. light of the sun (2017). Though very differ- in some way made this thinking more solid, While the exhibition programme was varied, ent, both these projects considered the role and personal, and challenging. At heart, it we were consistently thinking through the of language, the natural environment and has changed the way I think about language relationships that underpin all forms of intergenerational narrative in holding and itself, as a series of relationships rather knowledge, about access to knowledge, strengthening identities. They were also a than as a container of information. This about research practices and ethics, about significant part of the reason I went on to is something that I think often art makers learning and listening, language, and who study te reo Māori for the last two years. already intrinsically understand. Being in gets to speak. a learning environment with some of the These questions are still very import- WF: How familiar are you with The Physics same students and kaiako over two years ↑ ant to me. I was lucky to work with Char- Room, its history and its programme? has also meant a lot. As much as anything Abby Cunnane, photograph: lotte Huddleston as Director, building on AC: I’ve been familiar with The Physics else, learning in a group over this duration Ralph Brown the gallery’s ongoing response to the New Room programme over a number of years, allowed for more risk and vulnerability as Zealand Education Act’s statement that though from afar. I was really interested in part of the process. I feel very lucky to have the university’s role is to act as ‘critic and the recent project Room to breathe: Ka tau had this opportunity and am looking forward conscience of society,' and what that could hā te mauri by Martin Awa Clarke Langdon, to bringing it back into curatorial practice. I’ll mean in the context of the gallery’s wider which engaged with the history of The Phys- continue studying (one weekly night class) community. ics Room site through a number of collabo- through Te Wānanga o Aotearoa in Ōtautahi. The series of St Paul St Curatorial rations. I was glad to be able to visit recently Symposia hosted by the gallery during the and see the kōhatu Martin has placed at the time I was there (and prior and since) have front of the gallery during that exhibition. been influential on my thinking about art, I look forward to working alongside them. research and exhibition making, specifi-

Artbeat Issue 25, February 2021 05 W 1 7 Graham Bennett, Tribute to Fire Absolution Arts in Oxford Fighters, 2002, Kilmore and Liv O'Callaghan, Better Life of Ron. Photographs from Madras street corner Liv-ing Everyone, 5 Feb-1 the 60s & 70s by Ron Hazle- Mar, Arts Centre Te Matatiki hurst, 28 Jan-14 Mar, Main St, Street Art Murals Toi Ora, 2 Worcester Blvd, Oxford, Thu-Sun 10-4pm CHCH, Mon–Sun 10–6pm X 8 Askew One (Elliot O’Donnell) Ashburton Art Gallery Kristen 2 Public Art in the Four Avenues (NZ) – , 2013, 162 Aigantighe Gallery Printing Council of Aotearoa DISCOVERP Raise the an- Eleven Thinking Un- Nathan Pohio, Gloucester Street Judy Millar, , until 21 New Zealand, chor, unfurl the sails, set course Feb, Elizabeth Thomson, folding, until 21 Feb, Lakiloko to the centre of an ever setting Y Untitled Cellular Memory Fafetu Rone (Aus), , 2013, , 27 Feb -9 Keakea, , until 12 Feb, A H E Noho Ra De sun! My Beloved... Te Thomas Woolner, (founding Paul Dibble, 2015, Harper Avenue 105 Worcester Street May, (works Mount Hutt students, member of the Pre-Rapha- Chirico, 1995, Robert Mc- from the permanent col- Pakeketanga o Te Whakaao, John Robert Godley Q Under Con- Z Untitled (Giving elites) Dougall Art Gallery, Botanic Peter Atkins, Adnate (Aus), lection), 20 Feb-18 Apr, 49 until 8 Apr, Jennifer Harrison, Statue, 1867, Cathedral Gardens struction – Chaos and Order Hands), 2015, 132 Kilmore Wai-Iti Rd, Maori Hill, Timaru, Weather Beaten: Atmosphere Square (Re-imagined), 2014/19, 148 Street Tue–Fri 10–4pm, Sat–Sun & Experience, until 21 Feb, I Nucleus Phil Price, , 2006, cnr Gloucester Street 12–4pm West St, Ashburton, Mon–Sun B Citizen’s AA Untitled William Tretheway, High and Manchester streets ROA (Belgium), , 10–4pm, Wed to 7pm War Memorial R Te Tāhū o ngā 3 , c. 1936, Kelcy Taratoa, 2013, Canterbury Museum, Akaroa Art Gallery J Flour Power Maunga Tūmatakahuki Southern Splash 9 Cathedral Square Regan Gentry, , , 2020, 11 Rolleston Avenue , 14 New Bryce Gallery 2008, cnr High and Colombo Christchurch Art Gallery Te Zealand Watercolourists, 30 84 Vicenza Dr, Ohoka RD2 C BB Organic Matters George Frampton, (Arts and streets Puna o Waiwhetū’s outer east Chimp (NZ), , Jan-21 Feb, 1 Rue Pompalli- Kaiapoi, Fri–Sun 10–5pm, Crafts movement 19th cen- wall, Worcester Boulevard 2018, Justice & Emergency er, Akaroa, Mon-Sun 10-5pm Mon–Thu by appointment Industry and Concord K Passing Time tury), , Anton Parsons, , Services Precinct, 44 – 52 S Stay 4 10 c. 1882, cnr Oxford Terrace 2010/11, High Street entrance Antony Gormley, , 2015/16, Lichfield Street Arca Gallery Canterbury Museum and Worcester Boulevard to Ara Institute of Canterbury Northern Quadrangle Arts Bespoke jewellery and House of Treasures: Ngā CC Untitled Taonga Tuku Iho Centre, Ōtakaro-Avon River Jacob Yikes (NZ), small-scale artworks, until , until 13 Jun D Poupou L Tree Houses for (Alice in Videoland) Wildlife Photographer Riki Manuel, , 1994, Julia Morison, between Worcester Boulevard , 2017, 201 28 Feb, 127a Hackthorne Rd, 2021, Victoria Square Swamp Dwellers, 2013, Ōta- and Gloucester Street Tuam Street CHCH, Tue–Sat 11–4pm of the Year, Natural History karo-Avon River, cnr Colombo Museum, London, until 28 E Rainbow Pieces T DD Whero 5 Mosque: Faith, Culture, Pat Hanly, , and Kilmore streets Sēmisi Fetokai Potauaine, Kevin Ledo (Canada), Art Hole Mar, 1974, Christchurch Town VAKA 'A HINA, 2019, Rauora O Te Rangi Bailey, 2017, 128 336 St Asaph St, CHCH Community, until 2 May, M Diminish Hall Foyer David McCracken, Park, 115 Lichfield Street Armagh Street Rolleston Ave, CHCH, Mon– and Ascend 6 , 2014, Kiosk Lake, Art on the Quay Sun 9–5pm F U Hoa EE This or That – Monument / Sculpture Lady Botanic Gardens Lonnie Hutchinson, Wongi ‘Freak’ Wilson (NZ), Ivan Button. Kōhine (Girlfriend) Rauora Park the two worlds of Ivan Button 11 Kathleen Scott (wife of Robert , 2018, Christ- , 2018, Rauora , Catalogue Scott Statue N Call me Snake Falcon Scott), , Judy Millar, , church Art Gallery Te Puna o Park, 214 Manchester Street until 11 Mar, 176 Williams Penny Lane, 430 Colombo St, 1917, cnr Worcester Boulevard 2015, cnr Manchester and Waiwhetū, Gloucester St St, Kaiapoi, Mon–Wed, Fri CHCH, Mon–Fri 8–5.30pm, FF Untitled and Oxford Terrace Armagh streets Ampparito (Spain), , 9–5pm, Thu to 9pm, Sat Sat 9–5.30pm, Sun 10–5pm V Reasons for Graham Bennett, 2017, 30 Allen Street 10–2pm, Sun 1–4pm G O Solidarity Voyaging 12 Coalbrookdale Foundry, Mischa Kuball, , 2007, Christ- Chamber Gallery Rangiora Peacock Foun- Grid GG Untitled Raise the Shropshire, , 2013/15, Park Terrace, church Art Gallery Te Puna o Tilt (France), , 2015, Nathan Pohio, tain, 1911, Botanic Gardens entrance to Hagley Park Waiwhetū, forecourt 51 Victoria Street anchor unfurl the sails, set

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06 course to the centre of an ever II 23 30 36 , until 31 Dec 66 Gloucester Jonathan Smart Gallery Paludal The Central Art Gallery Not Pictured in Map: setting sun! 141 Percival St, St, CHCH, Tue–Fri 10–5pm, Charrette van Eekelen, Dar- Issy Van Der Leden, DOG Michel Tuffery, new works, 2. Aigantighe Gallery Rangiora, Mon–Thu 9–5pm, Sat 10–3pm holm v Shivlok, (mulit-media DAYS, 12-21, Feb, instagram: 5 Feb-Mar, Arts Centre of 3. Akaroa Gallery Fri 9–7pm, Sat 10–2pm, Sun collage), 12 Feb-6 Mar, 52 paludal_chch 2 Papanui Rd, Christchurch, 2 Worcester 4. Arca Gallery 17 1–4pm Eastside Gallery Buchan St, CHCH, Wed–Sat CHCH Blvd, CHCH, Wed–Sun 6. Art on the Quay 20 + Ōtautahi Christchurch 11–5pm 10–4pm 7. Arts in Oxford 13 31 Chambers Gallery artists interpret the theme: PGgallery192 8. Ashburton Art Gallery Pan-Pan 24 Rotating summer stock show 37 Kara Burrowes, Edwards + Jo- , (all inclusive, collec- LEstrange Gallery , The Den 9. Bryce Gallery hann, Jason Grieg, Ross Gray, tive), 4-20 Feb, Artists from Jason Greig, Bryan LEstrange, until 19 Feb, Janneth Gil and works by Jamie TeHeuheu, 12. Chamber Gallery Rangiora Kara Burrowes and Padraic The White Room Creative Kees Bruin and Hannah Kidd, Viv Kepes, 23 Feb-19 Mar, 192 Paige Elder and Michaela 19. Fo Guang Yuan Art Gallery Ryan, From the Studios, 80 Community Space Ōtautahi, until 28 Feb, 53 Nayland Bealey Ave, CHCH, Tue–Fri Woolf, 181 High St, 27 Jan-6 22. Ilam Campus Gallery Durham Street, Sydenham, Our Life, 23 Feb-13 Mar, East- St, Sumner, CHCH, Tue–Fri 10.30–5pm, Sat 10.30–2pm Feb, Wed-Sat, 10-4pm 24. LEstrange Gallery Tue–Thu 11–5.30pm, Fri to side Gallery at Linwood Arts, 11–5pm, Sat–Sun 12–5pm 25. Little River Gallery 32 38 5pm, Sat to 2pm 388 Worcester St, CHCH, Pūmanawa The National 33. Stoddart Cottage Gallery 25 Thieves' Market Wed–Sat 11–5pm Little River Gallery Community Gallery Areez Katki, , 34. Susan Badcock Gallery 14 Nick of Time Christchurch Art Gallery Lisa Grennell , , Maxine Burney, Jenny Long- 3 – 27 Feb 249 Moorhouse 18 Te Puna o Waiwhetū Fiksate 30 Jan-23 Feb, Christ- staff and Helen Stevenson, Ave, CHCH, Tue–Sat No Current Listings: Graham Bennett: Seeking a Stock Hang, until 28 Feb, 54 church Akaroa Rd, Mon–Sun Inspired by Nature, until 7 Feb, 10.30–5.30pm 42. Dilana Balance, until 21 Feb, Areta Hawdon Street, Sydenham, 9am–5.30pm Naomi Goto Garrett, Forest 43. The Great Hall Moa-Hunter Fash- Garden 39 Wilkinson, Tue-Wed 10-2.30pm, Thu 10- , 8-14 Feb, The Arts The Physics Room 44. XCHC ions 26 Monitor 3.1 , until 8 Feb, Conor Clarke, 5pm, Fri 10-8pm, Sat 11-4pm NMG Centre Te Matatiki Toi Ora, , Qianye Lin Emma Fitts, Oliver Perkins, Hannah Beehre, New Works, 2 Worcester Blvd, Tue–Fri and Qianhe 'AL' Lin, (new Artbeat is a monthly arts newspaper Touching Sight 19 , until 21 Feb, Fo Guang Yuan Art Gallery 19 Feb-12 Mar, Wynn Williams 10.30–5pm, Sat 10.30–2pm commission), 30 Jan–21 Feb, with news, reviews, commentary and Te Wheke: Pathways Across Wen-Jung HSU, After a Thou- House, Dec, 47 Hereford St, 301 Montreal Street, The Arts listings of exhibitions and events in Oceania sand Miles 33 , until 23 May 2022, , Sculpture World CHCH, Wed–Sat 11–5pm Stoddart Cottage Gallery Centre Registry Additions Ōtautahi Christchurch and Canterbury. Pauline Rhodes, Blue Mind, Exhibition Tour, until 28 Mar, 2 2 Waipapa Ave, Diamond Building, Tue-Fri 11-5pm, Sat- We cover all aspects of the visual arts, 27 until 7 Mar, Cnr Worcester Harakeke St, CHCH, Tue–Sun Ng Space Harbour, Weekends only, Sun 11-4pm inform existing audiences for the arts Blvd and Montreal St, CHCH, 9–4pm Scott Flanagan, The Waiting 10am–4pm and develop new ones Room Suite 40 Mon–Sun 10–5pm, Wed to , until 28 Feb, Level Tūranga 20 34 Talanoa I Measina: Sharing 9pm Form Gallery 1/212 Madras St, CHCH, Mon– Susan Badcock Gallery For news/advertising Debbie Bishop, Amanda Fri 10–5pm, Sat 10–4pm Vashti Johnstone, new our Stories, curated by Nina email: [email protected] 15 City Art Depot Greenfield, Gwen Parsons paintings, 28 Feb - 21 Mar, 47 Oberg Humphries, until 28 SUPPLY Infuse 28 Christiane Shortal, , and Tatyanna Meharry, , NZ Art Broker Talbot St, Geraldine, Tue–Sat Feb, 60 Cathedral Square, 16 Feb-8 Mar, 96 Disraeli St, 6-27 Feb, 468 Colombo St, Graham Sydney, drawings, C. 10–2pm Mon–Fri 8am–8pm Sat–Sun CHCH, Mon–Fri 8.30–5pm, CHCH, Tue–Sat 10–5pm F. Goldie, painting and Holly 10–5pm 35 Sat 10–2pm Zandbergen, new paintings, 2 Teece Museum 21 41 Hot Lunch Kingsley Street, Sydenham of Classical Antiquities Windsor Gallery 16 Myths and Mortals: Life in CoCA Toi Moroki 227 High St, CHCH, Tue–Sat David Woodings, Joel Hart, 29 Ancient Times Aaron Paterson, Sarosh Mulla 10–5pm 013 Gallery , until Nov 2021, Ivan Clarke (Lonely Dog & Marian Macken, Drawing 123 Victoria St, CHCH, Wed– Arts Centre of Christchurch, 3 Series) and sculptures by Matt Room Tongpop 22 , Telly Tuita, Ilam Campus Gallery Sun, 10–4pm Hereford St, CHCH, Wed – Sun Williams and Anneke Bester, Nostalgia, until 20 Feb, Ella Fine Arts Ln, off Clyde Rd, 11am– 3pm 386 St Asaph St, Mon–Fri Sutherland, House Painting I + CHCH, Mon–Fri 9–4pm 9–5pm, Sat 10–1pm Artbeat: ISSN 2624-2664

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Artbeat Issue 25, February 2021 07 For extended reviews and content visit:

REVIEWS www.artbeat.org.nz bromide photograms in documenting taonga Areta Wilkinson tūturu in museum collections. The photogram makes an object without mediating or interfer- Moa-Hunter Fashions ing with the agency of taonga. Artefacts imprint themselves in a singular instance. From these ghostly emanations, forms such as Wilkinson’s moa vertebrae are cast writer in Ōtākou and Te Tai Poutini gold and beaten Tessa McPhee silver. Other works trace the biomorphic lines Esteemed object artist Areta Wilkinson brings of stones and shells, early tool cultures and a contemporary mahinga kai (customary site cultural adornments, recalling artefacts from for gathering or making practices) to the Christ- historical sites of production. Local clays, church Art Gallery Te Puna o Waiwhetū with kōkōwai (red ochre) and flax bailing twine Moa-Hunter Fashions . This imagined maker’s alongside fine metal working lend an allur- space considers concepts of whakapapa and ing tactility, finding a compelling tension with connections to local whenua, through a jewel- conversations of preciousness and collec- lery practice grounded in Ngāi Tahu method- tion. These mediums undergo a transforma- ologies and worldviews. tive process, an alchemy from pure object to Moa-Hunter Fashions foregrounds the conceptual space, textured by successive intimate nature of worn objects in carrying layers of narrative and embodied process. personal narratives, as touchstones for gene- No part of the exhibition is left uncon- alogical connection, meaning and memory. cultural material; revisioning taonga from Te ↑ by mark making – echoing peak and braided sidered. Moa-Hunter Fashions is a complete Installation Pieces explore the histories and transmission Waipounamu dislocated by colonial research view of Areta river in the ebb and flow of the installation, work of art, combining whakapapa narrative of wearable taonga and collective mātauranga, and acquisition. The contemplative atmo- Wilkinson: Moa softly punctuated, trailing. Objects retain their and objects grounded in mātauranga Ngāi Hunter Fash- with an eye to present relationships and ques- sphere of Moa-Hunter Fashions resonates relationship to body and site: pieces drape a Tahu,that yet poses more questions than it ions showing tions of the future. with the artist’s experiential studies, a reflec- Whakapapa I maunga of white cubes, alongside a riverbed answers. For Wilkinson, jewellery-making acts as tive practice enriched by personal identity and and Whakapapa of Waimakariri and Rakahuri hammer stones, IV a record of learning, a way to orientate one’s community insight. . Photograph: drawing the landscape of Wilkinson’s home Areta Wilkinson, Moa-Hunter Fashions John Collie self in the world through critical personal expe- Moa-Hunter Fashions conjures a moment into the gallery. Christchurch Art Gallery Te Puna o Waiwhetū rience. Her practice comments on diverse of quiet, opening the door to new readings The artist’s collaborations with photogra- Cnr Worcester Boulevard and Montreal Street knowledge systems and the exchange of and understandings. The space is informed pher Mark Adams explore the potential of silver 18 September 2020 – 8 February 2021

Myths and Mortals: Life in Ancient Times writer Margaux Warne Myths and Mortals is the latest exhibition at with the draped figure of a woman. with his horse, while four mourners holding the Teece Museum and it brings together The exhibition places a particular focus various funerary gifts surround him. Despite aspects of art history, Greek and Roman on women and the roles they played within its visible signs of age, this volute-krater is history, literature and mythology. Through a their homes, families, and communities. They elaborately decorated and commands close variety of objects including drinking vessels were subservient to the men in their lives and viewing. and sculptures, it focuses on the daily lives were expected to behave like the virtuous Another highlight is local artist Marian of the ancient Greeks and Romans, their female characters portrayed in myths. An Maguire’s Penelope Weaves and Waits communities, and the ways in which the gods Apulian red-figure bell-krater, ca. 360BCE, (2017), a beautifully constructed wooden fire- informed their belief systems and rituals. The portrays Princess Andromeda who has been place featuring Odysseus’ resourceful wife exhibition is organised into specific themes sacrificed to a sea monster. Here Androm- Penelope working away at her loom. Magu- and each theme and object are accompanied eda is tied to a shrine and is looked on by her ire has long been inspired by mythology and by text panels that have been meticulously father King Cepheus and future husband, ancient Greek vase painting and the inclusion researched. Many of the objects on display Perseus, who fell in love with Andromeda. of her work brings a contemporary touch to have been drawn from the impressive James Nearby, an Apulian red-figure stamnos, ca. this long-awaited and enriching exhibition. Logie Memorial Collection. 4th century BCE, portrays women who are The gods were central to ancient life and probably preparing for a wedding. The stam- several items in the exhibition feature the nos was a traditional marriage vessel and the great hero Heracles and his Twelve Labours. details and fold lines in the figures’ drapery → Also included are plaster casts of Apollo and are particularly impressive. Volute Krater, \ Hera, as well as a bronze statuette of Aphro- One of the most extraordinary items in James Logie Myths and Mortals: Life in Ancient Times, Myths and Mortals Memorial Col- curated by Terri Elder and Natalie Looyer dite. The male-dominated world of athletics is a large Apulian red-fig- lection 158.75, also played a central role in the lives of the ure volute-krater, ca. 330-320 BCE, attributed © Teece Muse- Teece Museum of Classical Antiquities ancient Greeks. A Lucanian red-figure bell- to the Ganymede Painter. Intended as a grave um of Classical The Arts Centre Te Matatiki Toi Ora Antiquities, 3 Hereford Street, Christchurch krater (ca. 420-410 BCE) portrays two naked marker, or to hold the ashes of the dead, it University of and muscular male athletes in conversation depicts on one side a young athletic warrior Canterbury. 31 October – November 2021

Conor Clarke, Emma Fitts and Oliver Perkins, Touching Sight writer Warren Feeney Touching Sight is a joyful experience, one spans Russian Constructivism, (1915 – 1920), for the visual arts as an experience also about of those exhibitions where the gallery visitor British artist Victor Pasmore (1908 – 1988) sound, smell, feeling and touch. can enter without the necessity to begin by and in Aotearoa, the wall-relief works of Don And if this review of Touching Sight began reading those texts on the wall, reflecting Peebles (1922 – 2010). Although described by acknowledging its strength as an experi- upon and shedding light on various themes as works that challenge contemporary read- ence that allowed visitor to disregard those and agendas. Instead, it has a feeling that, ings of abstraction, Perkins art is anchored accompanying gallery wall texts, Clarke’s at last, the artworks have been allowed to in a history of Western painting. Yet, on this reconsideration of photographic practices speak for themselves. occasion it is given voice through an attitude is a highlight thanks to its accompanying text, Emma Fitts' enquiry into the qualities of about making in which the artist’s materials quoting blind and low vision outdoorsman, her materials and her orchestration of colour get to liberally share the same stage, Perkins’ Steve Delaney’s description of Huka Falls - It and its counterpoints all in conversation with canvases, paint, supports and frames, all is a marvellous collaboration between Clarke one another are a cumulative treat. Work- democratic components in a series of formal- and Delaney. Indeed, Clarke currently seems ing with acrylic and flashe on canvas, Fitts’ ist abstract objects. unstoppable, asking timely and serious ques- geometric abstract images broach a history If Perkins art seems conscious of a tions, not only about her practice as a photog- of painting and fabric design and a presence history of Western art, Conor Clarke’s pinhole rapher but also the very currency of Western somewhere between both. They are also the camera “landscapes” are even more so. art and culture. perfect counterpart to Oliver Perkins’ wall-re- ← Working with Ōtautahi’s blind and low-vision Emma Fitts, lief paintings/sculptures. Brushed communities, Clarke’s photographs seek out Conor Clarke, Emma Fitts and Oliver Perkins: As three-dimensional objects, rais- Mélange, a more generous response than photogra- Touching Sight ing questions about the nature of three-di- 2020, acrylic phy’s preference for images founded within Christchurch Art Gallery Te Puna o Waiwhetū and flashe on Crr Worcester Boulevard and Montreal Street mensional objects, Perkins’ works belong canvas, private the documentation or romanticism of their to a history of 20th century abstraction that collection subjects, instead arguing a convincing case 31 October 2020 – 21 February 2021

08 Fafetu celebrates Arts in Oxford Gallery: Ron Hazlehurst’s Tuvalu’s Heritage photographs from the '60s & '70s and Homeland at the Ashburton Art

Gallery Ron Hazlehurst grew up in suburban and the rise of rock and roll, Bob Dylan, the Linwood through the great social and musi- Stones and Woodstock. Mix this in with cal era of the 1950s and '60s. His mother anti-apartheid demonstrations, the Vietnam Take your shoes off and enter Fafetu at the Morag introduced him to photography early, protests and the rise of the Women’s Move- Ashburton Art Gallery, and prepare to be and as a teenager at Boys High School he ment. Christchurch was a city undergoing won over by the brightly coloured woven started processing and enlarging his prints, significant social change. During his univer- pattern star-shapes on the walls by Tuvaluan At the heart of Fafetu is an acknowledg- ↑ anything to avoid the cross country running sity student flatting years Ron carried his Lakiloko master artist Lakiloko Keakea, as you feel the ment and celebration of Tuvalu’s commu- Keakea, Fafetu, events and compulsory school cadets. Minolta SRT101, photographing his friends, warmth on your feet from the woven papa nities and the presence of their culture in installation Elvis Presley and the Cuban missile companions and environs. He captured (mats) on the floor. All created by West Auck- Aotearoa, as well as an understanding of who photograph of crisis merged into the Beat generation the atmosphere of the changing political Keakea’s woven land-based women’s group Fafine Niutao i Keakea and Fafine Niutao i Aotearoa are, and stars and and cultural landscape of Canterbury. The Aotearoa, of which Keakea is also a member. their strong connection to their heritage and mats by Auck- images in this exhibition are from the early Fafetu is a touring exhibition from Auck- homeland through their art forms of kolose land-based '60s through to mid-'70s. (Text courtesy of women’s group land’s Objectspace, encompassing five and weaving and their revitalisation. Fafine Niutao i Arts in Oxford Gallery) decades of work which include 40 new works Aotearoa. Pho- from 2016 to 2018 by Keakea. Composed tograph : Shirin Khosraviani with a mix of natural and fabricated mate- Life of Ron. Photographs from the 60’s & 70’s by rials; wool, synthetic ribbon, cloth ribbon, Fafetu. Curated by Malama T-Pole and Ron Hazlehurst Arts in Oxford, 72 Main Street, Oxford and plastic cargo ties, each work is a unique presented by Objectspace, Auckland. → Ashburton Art Gallery Ron Hazlehurst, Thursday – Sunday 10am – 4pm six or seven pointed star, seemingly floating Cheviot 1965 Exhibition opening: 3pm, 30 January from the wall in a raucous harmony of colour 21 November - 12 February David on white and intricate patterns. Open daily: 10am-4pm, Wednesday to 7pm pony 28 January – 14 March

The two worlds of Ivan Button at Art on the Quay in Kaiapoi

North Canterbury watercolourist, Ivan Button, opens an exhibition of new works that see a more expressive application of wet-on-wet techniques to his traditional watercolour painting. Involved in art since the 1960s with a background as a graphic artist and illustrator, he is committed to plein-air painting as his starting point, sketching on location and gathering information and references for studio works. He is in good company, his choice of location shared in a history of painting of the Waimakariri by Rona Fleming, Vivienne Mountford and Olivia Spencer Bower. As a watercolourist, Button also facilitates workshops, believing in the value of ‘artists sharing together’. His interests span family, friends, sport, music, good coffee, the opportunity to laugh – and his faith in God. → Ivan Button, This or That – the two worlds of Ivan Button View Over North Waimakariri Art on the Quay, 176 Williams Street, Kaiapoi River, 2020, Until March 11 watercolour

Elizabeth Thomson and Judy Millar at the Nathan Pohio’s Aigantighe Gallery Raise the Anchor in the Art Collection of Waimakariri District Council

Cellular Memory is a touring exhibition Gallery which featured the work of ten paint- Commissioned by the Waimakariri Commu- curated by Gregory O’Brien of recent work ers from Aotearoa, all male and engaged nity Arts Council Trust in 2019, Nathan by Elizabeth Thomson whose career has with contemporary painting and abstraction. Pohio’s Raise the anchor unfurl the sails, spanned more than three decades in which Millar’s retort is evident in its scale and title, set course to the centre of an ever setting the artist has embraced the objectivity of implicitly confirming its representation as sun! is the fourth manifestation of the work scientific observation with an inspired the missing demographic and artwork, and since its commission for SCAPE Public Art’s wonder in the natural world that reveals and in doing so, resonating the politics and plea- 2015 programme in Ōtautahi and as finalist ↑ powhiri, (formal welcome). Dr Te Maire Tau Nathan Pohio surprises. Director of the Adam Art Gallery, sure of its context in 2021. in the 2016 Walters Prize at the Auckland introduces the notes ‘senior members of Ngai Tūhuriri Christina Barton observes that Thomson’s Art Gallery Toi o Tāmaki, and internation- image, which would escort manuhiri visitors from the edge images are ‘at once breathtaking in their ally at Documenta in Kassel in 2017. The now occupies of the Tūhiwi reserve to the Marae for their Raise the Anchor a wall of the accuracy and intriguing in their abstraction. other versions of are in Waimakariri powhiri.’ It is a photograph that Pohio had Her command of her craft is remarkable, as the permanent collections of Mahaanui II District Council immediately recognised the authority of, is her ability to adapt new image-making Elizabeth Thomson, Cellular Memory Marae, Tūhiwi, 2019, The National Gallery chambers in remarking in 2019. ‘That particular image 27 February 2021 - 9 May 2021 Rangiora. Cour- technologies to her vision.’ of Contemporary Art EMST, Athens Greece, tesy of North had been sitting with me for more than a year A contemporary of Thomson’s, Judy Judy Millar, Eleven 2017, and Little Hagley Park, Otautahi Christ- Canterbury or so, knowing one day it would be a project Millar’s Eleven is also at the Aigantighe. At 12 December 2020 - 21 February 2021 church, 2019. News. Photo- that would reveal itself.’ Aigantighe Gallery Raise the anchor… graph Shelley three metres height and over 12 metres long, commemorates the Topp Eleven is open to reading as Millar’s belated 49 Wai-iti Road, Māori Road, Timaru visit of the Governor General and his wife, Nathan Pohio, Raise the anchor unfurl the sails, response to Ten Big Paintings, the 1971 tour- Tuesday - Friday 10am-4pm and Saturday - Lord and Lady Plunket, c. 1905 to Tūhiwi, set course to the centre of an ever setting sun! 2019. ing exhibition curated by the Auckland Art Sunday 12am-4pm depicting the traditional Ngai Tūhuriri Collection of the Waimakariri District Council

Artbeat Issue 25, February 2021 09 Natalie Guy, The Pool. A new public artwork in Ōtautahi

Originally a featured work in SCAPE Public School of Fine Arts. I had been making all Art Season 2019, Natalie Guy’s The Pool will sorts of work and a lot of it was loosely about soon have permanent residence along the modernism. The Pool was the first work I did Ōtākaro Avon River Precinct opposite the in that year and I have continued to address Antigua Boat Sheds. fragments of architecture and pieces that The Pool is a diving board within reach of relate, for me, back to New Zealand. It is not water but not close enough to be functional. just about international buildings or the inter- Conceived by Guy with a history of contem- national style but also how that has influenced porary art and architecture in mind, its subject New Zealand.’ acknowledges British architect Jane Drew ‘I hope that The Pool will resound in the and her modernist 1950s buildings and their memories that people have of pools and utopian ambitions, as well as David Hockney’s swimming from that era. Most New Zealand- early California swimming pool paintings. ers recognise those sorts of architectural Guy maintains that she didn’t want it to be details because they proliferated even a pure replica of Drew’s original work. ‘I am not in small towns. There is some conscious just rebuilding a piece of architecture. That is ↑ ‘I went to Chandigarh in 2017 for a resi- of photos.’ memory of simpler times and all that sort of Natalie Guy, always a big consideration in my work. With The Pool, dency in Varanasi. I looked at an awful lot of ‘Drew was a British architect and urban thing.’ Drew’s board the original has a red top but 2019. Glass Le Corbusier’s work and wandered around planner, so I was really interested that she was ‘I am really pleased it has got a perma- I deliberately changed it to yellow, recalling reinforced the city and noticed that there was a lot of in Chandigarh building things like that diving nent home. At the time The Pool was previ- concrete, gal- David Hockney.’ vanised steel, modernism, little commercial areas and civic board. That certainly wasn’t a time when ously with SCAPE, Deborah McCormick In the 1950s, Drew was employed in powder coated buildings by artists who weren’t Le Corbusier.’ swimming was a social sport or big activity told me there have been architects working the city of Chandigarh in India, design- aluminium, 800 ‘I bought a lot of books of architecture but she had promoted the idea of sport and along this monolithic scale during the 1950s x 3600 x 2600 ing buildings and amenities that included mm. Central and when I got home I noticed one little photo this little civic centre with the pool and board.’ designing homes in Christchurch and that a civic swimming pool. ‘Pools would have City, Ōtakaro of a diving board by Jane Drew. I had a friend ‘I grew up in Whangarei and there is an is a really nice way to make a connection been a rarity in 1950s Chandigarh. Much like Avon River Pre- running a performance residency in Morni Olympic pool there with a very modernistic back to it. Much of Christchurch's modernist cinct opposite the city itself, which is an isolated island of Hills above Chandigarh and asked if he knew looking diving structure and it reminded me history has arguably been lost through the Antigua Boat- The Pool modernist architecture, it harbours a sense sheds (grassed any photographers who might be able to hunt of that as well. So it all came together.’ earthquakes, and I think could have of other-worldliness.’ area). out this object and he did. He sent back a pile ‘I started a doctorate in 2018 at the Elam an interesting conversation with that history.’ NZ artbroker relocates to Sydenham

Gill Hay, Jules Mark and Ron Mottram to offer the opportunity to view a work in a launched NZ artbroker in 2017, an online gallery setting.’ sales and advisory arts service and a plat- The move also accords greater attention form for selling art in the secondary market to the exhibition of large works of art and the from its gallery at 241 Moorhouse Avenue. experience of historical and contemporary Although there is some shared territory works. Among these are a significant Rich- with the auction house market, including ard Adams, a panoramic large screen work valuations and photographing artworks, NZ by Anna Dalzell and two recent stunning artbroker’s commissions are lower and fixed impasto works by Holly van Zandenburg. values are set for resale. Mark says, ‘we seek Mark states, ‘it has been a very exciting to make art more accessible, connecting art year for NZ artbroker with a diverse selec- lovers to facilitate buying and selling works. tion of works coming to the market. This has Our exhibition programme is not that of a culminated with a C.F. Goldie painting, Te gallery. There is a broad diversity of artworks Mutu Haranui, Te Arawa Chief, our last listing and prices and most people would find for 2020. This work was in a private Austra- something that they love.’ lian collection prior to its return home. The Their previous lease expired in Decem- first exhibition and sale of it was at the 37th ber 2020 and their new premises at 2 annual exhibition of the Canterbury Society Kingsley Street is a purpose-fit space. Hay of Arts in Christchurch in 1917.’ ↑ Jules Mark in explains. ‘We have an increasing number of NZ artbrokers’ works on our website so needed additional NZ artbroker showroom, new gallery and storage space, plus a permanent purpose- 2 Kingsley St, Sydenham showroom in Sydenham built area for photography and to be able Wednesday - Saturday – 11am – 2pm Chambers Gallery and Studios relocate to Sydenham

Opening in July 2011, Chambers Gallery and two showrooms and an adjoining workshop about the people who have been in those studios was among a cluster of new galleries in the back, the gallery space being similar studios, it has, for example, also included in the immediate post-quake period. In 2021 to 241 Moorhouse Avenue but a little larger. Simon Edwards, Kristin Hollis, Kim Lowe and it is only one of two from that time (Art Hole ‘Artists’ studio in Christchurch remains prob- Miranda Parkes. It has just been extraordi- at 336 St Asaph Street the other, originally lematic in 2021. It is still almost impossible nary.’ Williams also adds that they are ‘happy opening as Room Four) prioritising the exhi- for an artist to get an affordable studio. High to be in Sydenham with its other galleries: bition of work by local emerging artists. rents are happening all around the central City Art Depot, Dilana, the Jonathan Smart Artists currently leasing Chambers’ city. I spent four months looking for these Gallery, Fiksate and Form.’ six studios are moving with the gallery and new premises.’ co-founder Ron Mottram maintains that this Artists moving to the new studios are is central to the gallery’s shift. ‘We felt that Kara Burrowes, Edwards + Johann, Jason the studios were so much part of Chambers Greig, Ross Gray and Paddy Ryan and that we wanted the artists to come as well. It the new premises will also have space for has been a sort of symbiotic thing. They have framing services. Gallery manager Julie made sales through the gallery and we have Williams says that the studios will be open benefited from that and the studios are also to the public. Although she has their work a draw card. People come into Chambers on the gallery’s walls, people often haven’t because there is that extra side to it. It is not been into the studios which will now serve just a gallery.’ as a selling space and the artists are happy Mottram acknowledges that Cham- about that. Chambers Gallery, 80 Durham Street, Syden- bers was fortunate to find 80 Durham Street Chambers opening exhibition at 80 ham ↑ 10.30am - 5pm Monday to Friday 10.30am – Chambers Gallery’s new space at 80 Durham Street. (corner of Sandyford and Durham streets) Durham Street acknowledges its studio in Sydenham, an ample site and space with artists. Mottram comments: ‘If you think 5pm, Saturday 11am – 3pm

10 Christiane Shortal: Lost and Newfound Artifacts

Opening in February at City Art Depot is colour to her works on paper. ‘I am not natu- Christiane Shortal’s SUPPLY, an exhibition rally a painter and my first exhibition was a of new gouache on paper works, revealing an big learning experience for me because I amalgam of influences; graphic art, manu- never did any formal painting. Gouache has scripts, Eastern and Western art, comic been a great medium for me because of how books and a history of ancient and imagin- vibrant and bold the lines can be. I can kind ery artifacts. of “draw” with it.’ Where previously Shortal’s attention ‘It’s funny that people have such a differ- was upon the animation and anthropomor- ent response to colour. If it’s black and white phic possibilities of domestic interiors and people assume it’s dark and I’m a tortured landscapes, she describes the new works artist, and now that I’m using colour it defi- in SUPPLY as more static, acknowledging nitely comes across as more playful, even that her work has consciously taken on a ‘flat though my subject matter in SUPPLY may be two-dimensional look, implying that you are more aggressive.’ looking at an artwork or an “artifact” rather Working in gouache brings a presence than being invited into a 3D space.’ There is and materiality to Shortal’s work that it is as a sense of being conscious that these new painterly as it is graphic and she acknowl- works may be thought of as lost or imaginary edges the importance of this mix of influ- manuscripts, offering alternate perspectives ences. ‘I have an endless admiration for on the thoughts and behaviours of humanity. talented comic artists, especially because Certainly, there is also good reason to they are often such great storytellers too.’ consider that the subject of art, its histo- ‘A longstanding favourite of mine would ries and contexts are an important aspect have to be Steve Ditko (1927 – 2018). A comic of SUPPLY. Yet, Shortal maintains that her artist in the classical sense, he was the artist new works retain visual elements that have for the Doctor Strange comics during the carried through and remain attractive to her 60s. He manages to create a visual language from her 2018 exhibition, possessing new for something that is invisible - that is so ways to respond to them. She mentions hard to do. You are essentially reinventing Dunedin-based artist Kushana Bush and the wheel! This new exhibition is really an her interest in the iconography and history amalgamation of all the things I love. Doctor → of Eastern and Western miniatures. ‘Bush’s Strange comics, Persian miniatures, Ukiyo-e Christiane Found work introduced me to Persian miniatures, woodcut prints, Lovecraft novels and more. Shortal, object #1, 2020, which has led me down an endless rabbit I see my work as this big pile of samples.’ gouache, acryl- hole of Eastern art. I love how flat everything ic paint pen and is, the composition prioritised over realism.’ fineliner pens. ‘I fully believe anyone can do art if they have an eye for composition. My favourite miniatures are the ones that look primitive and clumsy and I wanted to carry this feeling through to my work (while making it look intentional). I really want each work to feel like an artifact of a lost “civilisation”, with a whole system of hierarchies and politics and social practices implied. Reflecting my own experiences each work contains both dominant and subordinate forces in conflict, indiffer- Christiane Shortal, SUPPLY ences and collaborations with one another.’ City Art Depot, 96 Disraeli Street, Sydenham SUPPLY also sees the introduction of 16 February to 8 March

The Guardian’s Artbeat and Lockdown: Visit its Listing of Andrew Frost 48 Galleries reviews Van Gogh Alive, the Experience.

writer Warren Feeney ‘…the oddness of celebrating the life of a long The lockdown from March 2020 meant that part of the site. Currently 48 galleries are dead painter, who one cannot imagine could for Artbeat, not only was the publication featured on the map. Geographically, these even conceive of the afterlife of his art in a of its June issue solely on its website but extend from the Aigantighe Art Gallery in temporary digital temple, is underscored by also a recognition that its online map page Timaru to Chamber Gallery Rangiora and the semi-anonymity of the audience. People needed to be more accessible, interactive from the Akaroa Art Gallery to 77 Art + Living wander through in family groups, kids play, as a comprehensive experience about locat- gallery in Fairlie. Plus, there are 34 galleries older folk sit on chairs – everyone with their ing all galleries in Ōtautahi Christchurch and detailed in Ōtautahi. phones out, snapping away. And this is the Waitaha Canterbury with a description of Searching for any gallery on the website most profound and slightly upsetting aspect exhibition programmes, artists and agendas. provides an experience of the scale of the of the show. It robs Van Gogh’s work of all In principle, this was also about deliver- region’s arts infrastructure. One that I imag- its physical context, from the intimate scale ing a tangible experience of the quality and ine, many will be unaware of. It has been of his canvases and his incredible use of diversity of galleries throughout the region. welcome news to receive acknowledgment paint and texture, to the choice of subjects, In part, this is conveyed through the regular- of the value of this as a resource and its so real and relatable, all of it becoming grist ity of Artbeat as a monthly newspaper, detail- potential for local residents and visitors from for the spectacle, images for Facebook and ing a changing schedule of exhibitions and Ōtautahi Central City Business Association ↑ on the map has its own red tear – click to find Galleries Instagram.‘ events, yet of equal importance is the acces- Manager, Paul Lonsdale and communica- in Ōtautahi a description of its programme. sibility of where those galleries are. How can tions advisor at Christchurch City Council, with Eastside Van Gogh Alive review – resurrecting the dead in they be rapidly located? What are they about Dean Kilbride. Gallery’s de- a glossy, impersonal blockbuster | Van Gogh | The scription of its and what do they represent? To take the online tour, go to artbeat.org. programme Guardian Van Gogh Alive Air Force Museum With funding from Creative New Zealand nz and click on the large “Galleries” at the top of New Zealand, 19 February to 11 March 45 for Artbeat’s website, and through discus- left. This will take you to “Locate a Gallery” ↑↑ If you know of a gallery that is not listed please Harvard Ave, Wigram, Christchurch 48 Galleries let me know at: [email protected] sions with the website’s developer, Flight- with the full Google maps listings and option in Waitaha dec, Google maps has become an important of going to the “full listing page.’ Each gallery Canterbury https://artbeat.org.nz

Artbeat Issue 25, February 2021 11 ELIZABETH THOMSON Christiane Shortal SUPPLY CELLULAR Opening MEMORY 5.30pm, Tuesday, 16th February Exhibition 16 February – 8 March 2021 05.03.21 \\ 09.05.21

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12 Issue 25, February 2021