Issue 28 Exhibitions Ōtautahi www.artbeat.org.nz May 2021 Galleries Studios Waitaha Street Art Canterbury Art in Public Places ARTBEAT In this issue: Let’s Take This Online 02 Art Chemist 04 Tribute to Grant Lingard 05 Reviews 08 Artists Continue to work in Difficult Conditions 09 Wild-Taste Walk 09

Hang in There Mate – Saving Ng Building

Property owners Roland Logan and (Land Information , handling Sharon Ng both emphasise that they land titles), stating that they wanted to are just here to save their building at 212 purchase the Ng Building and the land Madras Street. ‘The last thing we want to was later followed by the Christchurch City do is hold up the stadium’. Council inferring that NG Building could 212 Madras Street is the last remaining be incorporated into the stadium design. Edwardian warehouse building in Ōtautahi In April 2020, the Crown announced Christchurch and has been the recipient that Ng Building could not be incorpo- of several heritage awards over the past rated, even though plans for the project still decade. Acquired in 2005 by Logan and depicted its incorporation within its design. Ng, for the past sixteen years it has been Then, in March 2021, a compulsory notice a multifaceted centre for contemporary of acquisition was sent to Logan and Ng, art and design in numerous and varied and new plans were released which now manifestations. On its ground floor, Ng showed that the Ng Building could not be Boutique, a distinct and unique cloth- incorporated. Not surprisingly, writing in ing and design store with an integrated at that time, journalist Steven gallery space and upstairs, artists’ studios Walton commented that the outcome of and office spaces representing various this sequence of events ‘has had massive creative practices, tenanted by designers, implications for its owners, who are now architects and artists. trying to convince the government to save Logan and Ng had first discovered the 115-year-old building by moving it’. that the site on which their building was Earthquake strengthened and fully located was to become part of the loca- tenanted, Ng Building was among the very tion for a new public stadium, watching the first businesses, retail spaces, galleries ↑ 212 Madras Street in 1913. Premises of Cotton Brothers announcement on the evening television and a cluster of artists’ studio to reopen Ltd., importers, Christchurch. Alexander Turnbull Library, news in June 2012. Central government in the city late in 2011. As one of the few ref: 1/1-005614-G. Webb, Steffano, 1880-1967: Collection agency CERA (Canterbury Earthquake remaining heritage buildings in Ōtautahi of negatives Regional Authority) had identified the site in 2021, Logan and Ng are resolute in their as key to its ten anchor projects for the determination to ensure that it is saved. recovering city. And they are not alone. Prominent However, three days later following among the initial expressions of support this public announcement Logan and for the building’s preservation a decade Ng received an unanticipated and very ago is the voice of artist welcome letter from CERA’s chief execu- (1931 – 2013). A good friend of Roland tive stating, “the Ng Building was feasible to Logan and Sharon Ng, the artist gifted be incorporated into the stadium design”. them “Hang In There Mate” in 2013, with his ← Ralph Hotere, It represented an assurance from CERA specific instructions that it be used in the “Hang in There that the building could be accommodated service of protecting the building. Logan Mate,” 2013, oil and integrated within the stadium’s plan- recalls: ‘Ralph was a strong supporter of stick on paper ning. (A decision at the time that it is worth the campaign to save the NG Building, he noting is even more surprising when 70% was very sympathetic towards our situa- ↙ its preservation that will be offered for and furnishings represented through- of then-standing buildings under lockdown tion as he had gone through a very similar Philip Trusttum, Wove To auction 20th May 2021. The auction is out Ng Building. Among the artists are in the central city were demolished, among situation with his studio at Port Chalmers , 1989 – 2002, acrylic on being organised on a voluntary basis by Brooke Georgia, Tim Main, Nathan Pohio, them 151 with heritage status). several years earlier. He made and gifted canvas a group of friends/artists and people who Mary McFarlane, Paul Maysek, Tatyanna Yet, by 2017, this commitment to us a work to be used in support of saving wish to see the building retained. Meharry and Nichola Shanley. Indeed, saving the building had become embed- the building, and the auction is named after ↓↓ Former Ng Boutique manager, Donna there is, as both Hughes and Park main- "Hang in There Mate" Marie Le Lievre, ded within a series of contradictory state- it Scoper (Tray), Hughes and artist/designer and marketing tain, a definite and overarching vision for ments from central and local government. It is one of 50 works of art from artists 2021, oil on person for Ng Boutique, Steven Junil Park all the spaces. canvas An approach to Logan and Ng from LINZ who are friends of the building supporting are managing the auction to raise funds Moreover, following immediately after towards saving the building either in its the February 2011 earthquakes when the current site or its relocation. heart of the central city was cordoned From its opening as Ng Boutique off and 212 Madras Street bordered the in 2005, Logan and Ng have fostered a very edge of CERA’s boundary line for its strong exhibition programme with senior demarcated red zone, Ng Boutique was and emerging New Zealand artists that among the very first businesses to reopen. have taken place in gallery spaces, artists’ With the Te Puna studios and installations throughout the o Waiwhetū ‘s building occupied at that building. Hughes observes that the exhi- time by CERA as an operation-centre, bition spaces were a progressive devel- the gallery launched its Outer Spaces opment: ‘Whilst the gallery spaces were programme, a series of art in public spaces never formalised as such, visitors and projects and temporary exhibitions in artists have consistently come to experi- off-site spaces. ence them and the exhibitions as central The first floor of Ng Building became to Ng Building’. central to the Christchurch Art Gallery’s The programme began in 2005 with Outer Spaces in an exhibitions series that a series of changing exhibitions of paint- ran from February 2012 to January 2013. ings by Philip Trusttum. The association with him and many other artists has seen a programme as distinct as the clothing continues on page 3

Artbeat 01 Let’s Take This Online…

← A stencil at the giant cans on the corner of Lichfield and Manchester streets in the East Frame draws attention to the popu- larity of NFTs. Photograph: Reuben Woods

→ Do NFTs have the potential to change the way we consume art or will they see culture continue to be owned by the rich? Photo- graph: Reuben Woods writer Reuben Woods Since the turn of the year, my social media file that is stored on the Ethereum block- In a world of infinite reproduction, NFTs of monetisation, the rebellious outsider feeds have been overrun with artists chain and allows ownership to be traded add authenticity and scarcity to the market. forms becoming part of the art market in announcing new NFT drops and article and verified. There is also the potential for artists to various ways, from commercial projects headlines asking variations of “What is Online artist Beeple became a central gain royalties from on-sales of their work, to exhibitions and auction house sales, an NFT?” Although they have apparently figure in the emergence of NFTs after his a long-standing problem in the traditional the extreme being the extraction of pieces existed since 2017, NFTs have exploded digital collage Everydays: The First 5000 art world. From a process point of view, the from the streets for personal gain. in popularity in recent months, with signif- Days sold for almost 70 million dollars at willingness of artists to explore pan-dis- This is tough to reconcile with the initial icant sales attracting artists and the poten- major auction house Christies in Febru- ciplinary approaches may grow and facili- impetus of urban art to operate outside of tial impact on the art world, and indeed how ary. But it is not just visual artists, Twitter tate new modes of creation, expanding the the art market and is symptomatic of the we consume art, ensuring wide-ranging founder Jack Dorsey sold his first tweet, possibilities of creative work. Of course, desire for art and culture as a symbol of commentaries. As a development in the while musicians such as Kings of Leon there have been numerous concerns power and status. Will NFTs and digital realm of crypto-currency, NFTs connect are releasing albums as NFTs, and the raised as well, notably the environmental art face similar challenges and resulting the tech and art worlds in an unprece- sports world has embraced the potential impact of the Ethereum blockchain, which changes? Digital artists may not share the dented manner. of highlight GiFs and digital trading cards reportedly consumed the same amount outsider desire of early urban artists, but Admittedly, I am not an expert on as tokens. NFTs seem to be shifting the of electricity as Iceland for much of 2018. the online realm does present an intriguing this topic. In fact, reading dozens of arti- concept of digital creativity and what we But there is something more nagging space for the democratisation of culture. cles and opinion pieces has caught me value as art. about NFTs. Perhaps it is simply a remnant Although purchasing an NFT will not stop between believing the entire thing is pretty Some have lauded NFTs as a way to of my connection to the physical world, a piece of digital art from being freely straightforward, and a nagging sense that I re-imagine the art world, perhaps most or perhaps it is based on the cautionary accessed and disseminated online, is it just don’t get the whole picture. For those importantly by creating a way for artists example of urban art, a topic I am more simply another way for the highest bidder unfamiliar, an NFT is a Non-Fungible Token, who work primarily in the non-physical comfortable discussing. Graffiti and to ‘own’ culture? Or will they change the essentially a unique identifier for a digital digital realm to be paid for their creations. street art have been through the process power dynamic of art consumption?

NEWS EVENTS

&The Art of the Allowing WORKSHOPS Workshop at Explore the Wildlife in Ōtautahi Christ- Pottery Classes at General Pottery in Stoddart Cottage: Enrol for an intro- church in Sensing Art Creative Work- May: Two 4 week glazing workshops: Learn ductory painting workshop led by art shops: Surround yourself in nature with how glaze is created with a variety of materi- therapist and painter Damiet Loor at the Wild Ōtautahi exhibition based on als. You will learn what materials do and why Stoddart Cottage. The workshop is an writer and illustrator, Gavin Bishop’s they come together to make a glaze. This four intuitive approach to making art in which Wildlife of Aotearoa at Te Pito Huarewa / week course will take you through the basics of the artist’s playful engagement through Southbase Gallery, Tūranga, 60 Cathedral glaze making so that you feel more confident paint and movement prioritises attention Square, and explore what nature means to in your pottery studio and understanding what upon acting on the impulses from within you in two workshops designed to engage glaze is. You will make test tiles, experiment for magic to happen. The canvas becomes with your artistic processes, language and with materials, and learn how to put good work a mirror and transformations occur, from skills. This is a space to be inspired by practices around exploring glaze. All other

↑ abstract landscapes to more definite nature, converse or quietly reflect while materials and firing are included in the pricing, Damiet Loor, Untitled, acrylic and mixed media on canvas (Stoddart Cottage) images. Loor states that all attending will you create with a variety of mediums and just bring an apron, a pen and heaps of energy! be working on small canvases with acrylic techology at Tūranga. Exploring Materials in Glazes: 1.45 hrs each ↓ Candle Holder class at General Pottery in May paints and mediums and no previous These workshops are best suited for Tuesday 4, 11, 18 and 25 May from 5.15 – 7pm, experience is necessary. The cost is $60 adults and are taking place Saturday or: Each Wednesday, 5, 12, 19, 26 May, 7.15- and booking is essential through Damiet 22 May and Sunday 29 May, 1-4pm 9pm. $165 to attend. at soulsisterart.com/contact (people attend both workshops) $30 Candle Holders: Come and create your Workshop details are: Sunday 16th May incl. booking fee. To book online, visit own set of candle holders. We will guide you 9.30am - 1 pm. Venue: Stoddart Cottage christchurchcitylibraries.com. through using a creamy white clay sprinkled Gallery, 2 Waipapa Avenue, Diamond with local sand from the Birdlings Flat to create Harbour Hours: Friday-Sunday plus most Ralph Hotere Floor Talk: Marian Magu- these simple modern shaped holders. Create public holidays, 10am-4pm. ire, in her role as master printer, collab- the feelings of gentle contentment of Danish orated with Ralph Hotere over a 24 year Hygge in your home. You will make 3 pieces, 2 period. In this talk she will background the for standard candles and 1 for a tea light. This lithographs by the artist that came from is a one-off class. Once your items are dry and her studio and talk about her working fully fired they will be glazed in a rich glossy process with Ralph. white glaze and you will be able to be collect PGgallery192, 192 Bealey Avenue, Tues- them at General Pottery. day 25 May at 12pm Candle Holders: 1.45 hours, Thursday 27 May only, 7.15 – 9pm. $65 to attend. General Pottery Workspace Studios, 49 Ferry Road, Christchurch 8011, open Wednesday -Saturday, 10am-4pm. Class Enquiries and enrolments: generalpottery- [email protected] and facebook.com/ WorkspaceStudioChristchurch

02 Hang in There Mate – Saving Ng Building

Continued from page 1 Throughout 2012 the Ng Boutique and its gallery spaces were welcome evidence of ↘ AT THENon-binary artist and filmmaker Martin the visual arts, its artists, audiences and Martin Sagadin, Untitled, 2021, Sagadin creates a series of relics in ink, the wider community of Ōtautahi progres- ink, pencil and pencil and acrylics on paper-heavy appli- sively recovering. Recently returned from the acrylic on pa- cation of paint and wax of their past work, per/paint/wax Venice Biennale in 2011, Michael Parekow- giving way to simple brush strokes with Chapman's Homer, hai’s (a larger than life bull ↘↘ a minimalist but meticulous attention to and grand piano sculpture) made a significant Gaby Montejo, eye4eye detail and a particularly Slavic murk. contribution to the Outer Spaces programme. , 2021, collage The artist details the subject and materi- Located on a site on Madras Street, Parekow- als of his current exhibition. Chapman’s Homer hai’s attracted more than ↘↘↘ Martin Sagadin, Heavy Clay, Absolution, 50,000 visitors, many among them returning Susan Badcock, Arts Centre Te Matatiki Toi Ora, 2 Worces- to the central city for the very first time since Still Life (Blue ter Blvd, until 31 May February 2011. Peonies), 2021, Hughes recalls that after the earth- Hand-coloured photograph. Back when the primary job of the album quakes, many artists lost their studio spaces cover was to sell the “image” of the sound, and the city’s galleries were closed. ‘People ↘↘↘↘ that good looking hair and winning smile were interested in coming back to the city Vic Mangan, Lichen trouble was mostly the thing that made us want to but they were nervous about what and how and Left leaves, engage and connect in some way. We only it would be. There was a lot of apprehension Emma Fitts, Euan Macleod, Helen Calder, ↑ monoprint/ dry- shop like that with wine labels nowadays. Jason Greig, point etchings and when we initially reopened Ng Building Jason Greig, , Lonnie Hutchin- Courier 1, 2020, oil on Fabriano Ro- That worn, scratched, second-hand face at that time they had to come in through the son, Marie-Louise Brown, Marie Le Lievre, on board saspina paper. now sells for less than $.50; sometimes back door as it took quite a while for Madras Paul Maysek, Mary McFarlane, Miranda it’s even given away for free. Street to open. Ng Building was where the Parkes, Nathan Pohio, Philip Trusttum, Ralph ↘↘↘↘↘ Ralph Hotere, The artist on the subject of his arts community came to and the broader Hotere, Rebecca Harris, Russell Moses and Round Midnight collage, eye4eye. – October community came as well for Michael Pare- Sam Harrison , The Associates, A Stone to Strike and kowhai Chapman’s Homer. That was huge. It In 2021, saving one of the few remain- 2000, litho- a Rock to Stumble Over graph, edition , Ashburton Art was very powerful moment.’ ing heritage buildings in the central city of 24 Gallery, 327 West Street, Ashburton, In 2012, visitors to Ng Building were still standing in the heart of Ōtautahi that is until 18 June entering central city premises that had earthquake resilient makes it difficult to argue ↘↘↘↘↘↘ Auck- already been earthquake strengthened. against its future. Park maintains that ‘saving land-based Taking on a new twist with her ever popular Logan was probably the first property owner this historic building from being needlessly street artist Peonies, Susan Badcock’s Still Life (Blue in central Christchurch to respond immedi- demolished when so much has already been Benjamin Work Peonies) painting his belongs to a small new collec- ately to the earthquakes, strengthening Ng lost forever in Christchurch makes it a pristine 330 square tion of works - Pops of colour and play- Building to get it up to standard. He recalls: example of heritage craftsmanship that we metre floor to ing with negative spaces and bringing ‘Within a day of the first earthquake I was will never see again if we lose it.’ wall mural in the Level 1 Exhi- together digital photography with tradi- buying steel, hundreds of thousands of bition Hall of tional hand-colouring methods. dollars of steel were put into the building to the Canterbury The artist on her most recent series of work Auction: Ng Building, 212 Madras Street, Museum strengthen it. There are crossbeam bracing Susan Badcock Gallery, Old Post Office Christchurch, 20th May, doors open 6pm. the building and the walls and these were Building, 47 Talbot Street, Geraldine installed after the February earthquake.’ Auction begins 7.00pm. Auctioneer: Phil McGoldrick. Logan and Ng also maintain that the I am a painter who also uses printmaking Tickets to attend through Eventbrite. $20 + auction/fundraiser is not anti-stadium. ‘It is methods to discover ways of looking at the booking fee about saving the building whether this means often overlooked, instead focusing on the Complimentary nibbles and drinks from incorporating it into the stadium’s plans or tension between line and gestural mass. Lizzies Cuisine, The Bone Line and Three Boys moving it. This current series uses liminal spaces Brewery. Park notes that the artists involved in the such as kerbs and path-edges as subjects To support the cause: Sign the online petition auction encompass those who have shown in to explore ideas around unobserved (Petition of Roland Logan: Save the Heritage the gallery spaces both downstairs and upstairs temporal moments. By finding ways to NG Building). as part of the Christchurch Art Gallery’s 2012 retreat from the conventional aesthetics of Use #SaveNgBuilding on social media channels. exhibition programme, as well as artists exhib- the mimetic through the painterly applica- Join the Facebook group: Save Ng Building iting regularly in the gallery’s spaces. tion and removal of the medium, the eye is Follow the twitter: Save Ng Building (@ng_save) Approximately 40 works will be auctioned focused on the places between the organic Follow the instagram: @ngspace\ and the list of artists includes: Bing Dawe, and the constructed, where the ground is abstracted and the passages between also become the subject of the work. Vic Mangan on her current paintings. Ilam Group Show, Chambers Gallery, 80 Durham Street, Sydenham, 5-22 May

Using only the most basic elements of painting — dark, light, horizontal, vertical — Hotere created works which are charged with potential significance… Hotere respects the independence of viewers to form their own conclusions. He invites us to see ourselves, literally and metaphorically, in his works. The Govett-Brewster Art Gallery on works by Ralph Hotere in their collection. Ralph Hotere, Round Midnight & other lithographs. PGgallery 192, 192 Bealey Avenue, 11 May-4 June

Benjamin Work is a member of TMD Crew, Aotearoa’s foremost collective of internation- ally-acclaimed street artists. He hopes the floor to wall mural he has completed for the Museum will act as a conduit between the Museum’s Tongan collection and Ōtauta- hi’s Pasifika communities, reviving an aspect of kupesi (motif) that has disappeared from today’s Tongan visual language. “‘Akau tau were sought after by collectors in the colo- nial era, particularly for the beautifully carved icons on their surfaces.” The artist and Canterbury Museum comment on its new street art mural. Benjamin Work’s mural and street art from Rise, 2013-14. Canterbury Museum, Rolleston Avenue, until 6 June

← Rebecca Harris, (Dubious Flowers), 2021, oil on Board

Artbeat Issue 28, May 2021 GALLERIES Audrey Baldwin has opened the Art Chemist

Performance artist and events facilitator, participation in the arts and its potential for Audrey Baldwin has opened her own unique well-being, Art Chemist reaches out across chemist shop in Cathedral Junction prescrib- all arts disciplines. Baldwin is encouraging ing cures and remedies to raise levels of engagement with numerous arts organisa- wellbeing and heightening awareness of the tions; galleries, theatres, venues and arts visibility of the arts in in Ōtautahi Christchurch. resources. She describes it as a directory She describes Art Chemist as an inter- which her chemists and her can draw ingre- active space where the public can meet with dients from. ‘Our prescriptions may include a consultant who will advise them on an arts particular artworks, events, classes or exhibi- activity/event that they should attend to cure tions. I'll be focusing on artworks which people their needs. As an interactive event in Ōtautahi, can see locally, in the flesh, as opposed to Art Chemist has its origins in The loss Adjust- pixels of “great works' on a screen”. The jour- ers back in November 2012, a project from the ney and action of actually being physically near immediate post-quake period in which artists the works is key’. Art Chemist ↑ Aaron Hawkins, Jed McCammon, Jamie ‘ has a broad reach to Audrey Baldwin, Hanton, Clarke Hegan and Damian Smith met schools and the city’s galleries who will be Scripts , 2014, ‘clients’ seeking solutions to the challenges on the list of recommended things to visit. part of the to and fro exhibi- that they confronted. For Baldwin, there are The Christchurch Art Gallery Te Puna o tion at Artspace, also personal and professional precedents: Waiwhetū is involved and also indie theatre Auckland. Pho- Cup of Tea and a Lie Down Clinic at CoCA in group, Little Andromeda, and a number of tograph: Peter 2017 and as mystic and bureaucrat, in Gallery performance artists.’ Jennings Guide at the Christchurch Art Gallery Te Puna ‘A key aim is also to encourage engage- ←← o Waiwhetū in 2019. ment and support of our arts community. Audrey Baldwin, Baldwin’s says that Art Chemist will be We'll be acting as somewhat of an encyclo- Stretch Snood. Two figures ‘made out like a chemist shop with pill bottles pedia of arts organisations and resources from Cup of Tea with messages and recommendations in with brochures and info on site as well as and a Lie Down them. I'll be working with about a dozen fellow prescriptions.’ Clinic as part of Making Space artists and performers from Ōtautahi who will I'm interested in taking bureaucratic at CoCA Toi act as 'chemists' and prescribe artworks and processes and making them more human Moroki, 2017. arts events to the public. It will be free to take and/or highlighting their absurdity. Art Chem- part, and people can either pick up an off-the- ist is definitely about hope and connection shelf prescription or get a one-on-one consul- in a world where we've all been isolated and tation with the chemist for a custom made one.’ affected by a global pandemic and more.’ ‘Art Chemist draws on global research about the value of “art on prescription” when Audrey Baldwin, Art Chemist it comes to mental wellbeing and community Cathedral Junction, 113 Worcester Street/corner building. I was thrilled to have letters of support of New Regent and Gloucester streets from the Canterbury District Heath Board’s All Until Sunday 16 May Right? for this project. Ideally I'd like to take it to Thursday-Sunday 11am – 4pm and Friday different cities and help people re-discover the 5-7pm: Free arts event taking place each week arts treasures within their own communities.’ Art Chemist is made possible by the CCC Enliven In its commitment to encouraging Places Project Fund and supported by LIVS. Artist Catherine Brough on Painting as an Extreme Sport

writer Warren Feeney Catherine Brough has been painting ‘en through numerous questions from Brough plein air’ for more than six decades and and quotes from artists she respects and her autobiography Landscape Experi- admires. Tellingly she confesses: ‘I was to enced 1947 – 2013, traces a history of her find as I engaged in art... that it was not for arts practice. Predominantly working in oil the faint- hearted.’ on paper and canvas from her beginnings Brough also brings life and reality to in Northland in 1968 and then Canterbury the various artists and art groups she has and the West Coast of Te Waipounamu worked and shared time and conversa- the , Landscape Experienced tions with, and a fondness for the galleries reveals the depth of her sixty-six years that have represented her work, as well ↑ And then there are Brough’s paint- that Brough’s paintings occupy is one through an objective and confessional as buyers, friends, art school tutors (Don Catherine series of short essays. Peebles, Quentin Macfarlane and W. A. Brough, The ings, the land as subject in Northland, the persistently analysed and dissected by her, Plains In addition to an essay heading Sutton are singled out) and those that she , 2001, oil Catlins, Chatham Islands, Canterbury (the responding to and seeking out its essence on canvas, 800 Craigieburn Range in particular) and the and the limitless potency of her materials. describing ‘Painting as an Extreme Sport’, has shared many ‘art conversations’ with. x 1000mm she announces: ‘Yes, I think I’m a Painter’, Certainly, Landscape Experienced is a West Coast, almost 70 years of the artist establishing the tenacity of her convictions particular art history about a network and seeking for that essential experience of and reservations in the dilemma of assum- community of artists. It details a critical her subjects, the shifting light, its geog- ing such a role. In doing so, she establishes aspect of the making of art that is infre- raphy, geology, scale, vegetation and a presence throughout Landscape Expe- quently its subject in print. For Brough, atmosphere. It comes as no surprise that rienced, as an engaging writer; humorous, the significance of personal and group she states: ‘A sense of place is not a static witty, informed and insightful in her reflec- associations are there from the begin- condition’. Neither is it coincidence that tions upon, and appraisal of, her strengths ning at Te Kopuru in Northland. A ‘plein her work has been featured in group exhi- and limitations. air’ painter, she reflects on the impact that bitions with artists that include M. T. Wool- Catherine Brough, Landscape Experienced This is the ideal art publication for this had in the mid-1960s on other local laston, Colin McCahon, Euan Macleod and 1947 – 2013 anyone seeking the reality of the expe- Northland painters, later discovering that . Designed by Wayne Lorimer rience of what it might be like being a she had been credited with the formation Pegasus Bay, the Port Hills and West Published by Donald Brough 2021 professional artist and answering that of the Dargaville Art Group in 1972. She Coast possess a particular presence in Printed by Benefitz question: Why am I doing this? Land- reflects upon her influence asking: ‘Was her practice, the subjects of ‘tight rope Contact: [email protected] scape Experienced delivers its answers art contagious?’ stuff’ for her painting. The landscape

04 TRUE LOVE: a Tribute to Grant Lingard Continuum - John at Ilam Campus Gallery Parker

Although relatively well represented by his Aotearoa New Zealand lost an artist and art A New Zealand-based ceramic artist influ- work in the collection of the Christchurch Art activist of significance too soon, his legacy enced by European design and art from the Gallery Te Puna o Waiwhetū, Grant Lingard left barely revealed. Perhaps this is a failure to early 20th century, John Parker is an Arts (1961-1995) is an artist whose arts practice is acknowledge “queer art heroes”, or because Foundation Laureate acknowledged for impossible not to associate with the 1980s. the 1980s are easy to forget, or because his his contribution to contemporary pottery. Yet undoubtedly it also transfers that decade work had ephemeral, feral qualities that make Continuum is a survey exhibition of his work even in just the nature of the materials of his its collection and preservation difficult. opening at Form gallery in Sydenham in May. work in mixed media, painting, sculpture and While TRUE LOVE cannot fill the void, 25 He details the work that will make up Contin- assemblage. years later, we hope to contribute to an ongo- uum, both archival and recent works: Born in Greymouth and a graduate ing discussion about this wonderful person. ‘My practice involves making bodies of from the School of It is our (im)provisional response to Grant, his work in series, which are usually shown in the Fine Arts, the Ilam Campus Gallery opens memory, his artwork. ← context of an exhibition in which I continue TRUE LOVE: a Tribute to Grant Lingard TRUE LOVE Grant Lingard to run features Grant’s art along- with Box of to evolve new ideas, while revisiting and throughout May. Reflecting on Lingard’s art side that from Bronwyn Takle, Diane Miller, Birds. Photo- reinterpreting familiar themes. The exhibi- graph: Stuff and life, artist Richard Reddaway discussed Gary Freemantle, Gina Ferguson, Graham Pty Ltd tion of current work shown alongside past the artist’s life and art: McFelin, Jeremiah Boniface, Jessica Doug- works is intended to show such thematic Grant Lingard was many things: from a las, Julian Holcroft, Grant Takle, Michael → development.’ John Parker, West Coast mining family, he was a snappy Armstrong, Paul Dew, Paul Johns, Paul Red-White Pen- ‘The works from my archival collection dresser, an avid collector of everything from Rayner, Peter Derksen, Richard Reddaway, etration, 2021, include historical, pivotal, experimental oddi- action-toy figurines to records, a Punk Disco Ruth Watson, Sara Ayad, Sandra Bushby, porcelain ties as well as Widows and Orphans, Waifs dancer, a storyteller, an instigator of the Seraphine Pick, Simon Morris, Teri John- and Strays, which refer to the few pieces Christchurch Artists’ Collective, compan- son, Terry Urbahn and Trevor Fry. Catalogue remaining from a show which no longer have ion to his black cat Black Cat, a graduate of essays by David Herkt and Peter Derksen. their larger exhibition context but which may the School of Fine Arts programme, and, of fill a gap within your collection.' course, a gay man at a moment when atti- 'My working methods and glaze infor- tudes towards homosexuality, and the law, mation and videos explaining my work are were changing. on my website’. If he has the distinction of being consid- ered one of our leading gay visual artists, he TRUE LOVE: a Tribute to Grant Lingard Continuum – John Parker was also a victim of the tragedy that struck the Ilam Campus Gallery, Off Clyde Road Form Gallery, 468 Colombo St, Sydenham community in the 1980s: AIDS. With his death April 30 - May 28 8 – 28 May

Olivia Chamberlain Spare room at City Art Depot

writer Cameron Ralston For her exhibition Spare room at City Art her pieces, she takes into consideration how Chamberlain, demonstrate her command Depot, Olivia Chamberlain continues to the pieces play off one another. The paintings of the saturation of tones and overlaying of explore how form, colour and composition invite the viewer to meditate on their precisely watery colour. They also act as affirmations of interact upon the picture plane. She creates constructed contours and bold shapes. her carefully balanced compositions, guiding natural compositions through a methodical Chamberlain exhibits great control over us around the shapes to the sharp touching process of drawing, cutting and organizing the darkening edges of the paint, where it points. Like blocks that can be assembled shapes, focusing her attention on the rela- dries and picks up the colours beneath. There and rearranged, shapes are introduced, tionships between the forms and how they is a certain intrigue in following these subtle merging with each other on the surface. are arranged. variations along the contours of her forms. Spare room is a settled and confident Chamberlain finds commonality between Coming close to the canvas, Chamberlain’s series of new works with Chamberlain asking her works and those by Sonia Delaunay, paint forms crisp textures where the paint us to listen to the way her paint talks and the Sophie Taeuber-Arp, and meets the raised surfaces of the cotton she companions of shapes converse. Etel Adnan – all artists who juxtapose blocks paints on. The structures appear as almost of colour to create harmonious compositions. perfect casts or stamps, her hand only ↑ Olivia As with these constructivist artists, Cham- revealed by the slight ripple along an edge as Chamberlain, berlain takes cues from the world around her brush passes over a ridge in the material Sidewalk 2, her to form her colour palette; ‘combina- or in the tones that modulate with the trans- 2021, acrylic Olivia Chamberlain, Spare Room and flashe on City Art Depot, 96 Disraeli Street tions I’ve seen in other artworks, on walks, lucency and weave of the painted surface. cotton people’s outfits and in nature.’ In configuring Works on paper, a new addition for Opens Tuesday 11th of May, 5.30 to 31st May.

SCAPE - Ceremonial entranceway for new convention centre

Commissioned by Ōtākaro Limited and Matapopore Trustee, Lynne-Harata Te Aika. produced by SCAPE Public Art in collabo- Rachael Rakena says the commis- ration with Matapopore, Te Aika (‘the home sion was very much a collaboration with people’) has been designed by artists Ngāi Tūāhuriri and their aspirations. ‘It was → Rachael Rachael Rakena and Simon Kaan and will important for us as artists to ensure that the Rakena & be central to formal cultural ceremonies to outcome reflected their mana and whaka- Simon Kaan, Te Aika be welcomed into the venue through the papa of place.’ Fellow-artist Simon Kaan , 2021 commissioned entranceway. ‘The ngutu design is based on acknowledged that it was’ a privilege to work by Ōtākaro Lim- the whare of Aperehama Te Aika which was on such a prominent public artwork for Ōtau- ited, produced located at near where the former tahi, which we hope Ngāi Tahu whānui and by SCAPE Pub- Te Aika lic Art in col- Kaiapoi Woollen Mills site is today and the public of Aotearoa can embrace.’ laboration with sketched by Charles Haubroe in 1855,’says is likely to be installed mid-year. Matapopore.

Artbeat Issue 28, May 2021 05 W Tribute to Fire 1 8 Graham Bennett, Absolution Ashburton Art Gallery Fighters, 2002, Kilmore and Martin Sagadin, Heavy Hamish Coleman, On Return- Madras street corner Clay, 29 Apr-31 May, Arts ing, until 16 May, The Associ- Centre Te Matatiki Toi Ora, ates, A Stone to Strike and a Street Art Murals 2 Worcester Blvd, CHCH, Rock to Stumble Over, until 18 Mon–Sun 10–6pm Jun, Glenn Jowitt and Andrew X Faka-Tokelau: Living Askew One (Elliot O’Donnell) Matautia, Kristen 2 with Change Public Art in the Four Avenues (NZ) – , 2013, 162 Aigantighe Gallery , 10 May-18 Jun, DISCOVERP Raise the an- Cellular Cinéma of the Nathan Pohio, Gloucester Street Elizabeth Thomson, Mark Soltero, chor, unfurl the sails, set course Memory, until 9 May, 49 Rorschach, until Oct, West to the centre of an ever setting Y Untitled Rone (Aus), , 2013, Wai-Iti Rd, Maori Hill, Timaru, St, Ashburton, Mon–Sun A H E Noho Ra De sun! Thomas Woolner, (founding Paul Dibble, 2015, Harper Avenue 105 Worcester Street Tue–Fri 10–4pm, Sat–Sun 10–4pm, Wed to 7pm member of the Pre-Rapha- Chirico, 1995, Robert Mc- 12–4pm John Robert Godley Q Under Con- Z Untitled (Giving 9 elites) Dougall Art Gallery, Botanic Peter Atkins, Adnate (Aus), Bryce Gallery Statue struction – Chaos and Order Hands) 3 , 1867, Cathedral Gardens , 2015, 132 Kilmore Arca Gallery 84 Vicenza Dr, Ohoka RD2 Square (Re-imagined), 2014/19, 148 Street 127a Hackthorne Rd, CHCH, Kaiapoi, Fri–Sun 10–5pm, I Nucleus Phil Price, , 2006, cnr Gloucester Street Tue–Sat 11–4pm Mon–Thu by appointment B Citizen’s AA Untitled William Tretheway, High and Manchester streets ROA (Belgium), , War Memorial R Te Tāhū o ngā 4 10 , c. 1936, Kelcy Taratoa, 2013, Canterbury Museum, Art Hole Canterbury Museum J Flour Power Maunga Tūmatakahuki House of Treasures: Ngā Cathedral Square Regan Gentry, , , 2020, 11 Rolleston Avenue 336 St Asaph St, CHCH 2008, cnr High and Colombo Christchurch Art Gallery Te Taonga Tuku Iho, until 13 Jun C BB Organic Matters 5 Mosque: Faith, Culture, George Frampton, (Arts and streets Puna o Waiwhetū’s outer east Chimp (NZ), , Art on the Quay 2021, Crafts movement 19th cen- wall, Worcester Boulevard 2018, Justice & Emergency Nature Photography Society Community, until 2 May, Industry and Concord K Passing Time Colours of Spiritual Edifices of tury), , Anton Parsons, , Services Precinct, 44 – 52 of New Zealand, Al-Hariri, S Nature Islam c. 1882, cnr Oxford Terrace 2010/11, High Street entrance Antony Gormley, , 2015/16, Lichfield Street , until 2 June, 176 Wil- , until 2 May, Rolleston and Worcester Boulevard to Ara Institute of Canterbury Northern Quadrangle Arts liams St, Kaiapoi, Mon–Wed, Ave, CHCH, Mon–Sun 9–5pm CC Untitled Centre, Ōtakaro-Avon River Jacob Yikes (NZ), Fri 9–5pm, Thu to 9pm, Sat D Poupou L Tree Houses for (Alice in Videoland) 11 Riki Manuel, , 1994, Julia Morison, between Worcester Boulevard , 2017, 201 10–2pm, Sun 1–4pm Rangiora Chamber Gallery Victoria Square Swamp Dwellers, 2013, Ōta- and Gloucester Street Tuam Street Roger Hickin, Fifteen Works 6 (1989-2008) from the Collection karo-Avon River, cnr Colombo Artbox Gallery E Rainbow Pieces T DD Whero of Jilly and Christopher Marshall Pat Hanly, , and Kilmore streets Sēmisi Fetokai Potauaine, Kevin Ledo (Canada), Featured artists in May, 1974, Christchurch Town VAKA 'A HINA, 2019, Rauora O Te Rangi Bailey, 2017, 128 Nigel Wilson, Rachel Hira- QSM, until 6 May, Thomas M Diminish Beyond the Glass Hall Foyer David McCracken, Park, 115 Lichfield Street Armagh Street bayashi, Galina Kim and Nic Heaphy, , and Ascend, 2014, Kiosk Lake, Dempster, 1/16 Loftus Street, 10 May-3 Jun, 141 Percival St, F U Hoa EE Monument / Sculpture Lady Botanic Gardens Lonnie Hutchinson, Wongi ‘Freak’ Wilson (NZ), Papanui, Christchurch, Tue- Rangiora, Mon–Thu 9–5pm, Fri Kathleen Scott (wife of Robert Kōhine (Girlfriend), 2018, Christ- Rauora Park, 2018, Rauora Fri 11-4pm, Sat 11-2pm 9–7pm, Sat 10–2pm, Sun 1–4pm Scott Statue N Call me Snake Falcon Scott), , Judy Millar, , church Art Gallery Te Puna o Park, 214 Manchester Street 7 12 1917, cnr Worcester Boulevard 2015, cnr Manchester and Waiwhetū, Gloucester St Arts in Oxford Chambers Gallery FF Untitled Heaven Draw- and Oxford Terrace Armagh streets Ampparito (Spain), , Henry Turner, Thomas Hancock +Gareth V Reasons for ings Graham Bennett, 2017, 30 Allen Street , until 2 May, Oxford Area Brighton + Michaela Irvine, un- G O Solidarity Voyaging FOLIO Coalbrookdale Foundry, Mischa Kuball, , 2007, Christ- School students, , til 1 May, Vicki Mangan, Monica Peacock Foun- Grid GG Untitled Shropshire, , 2013/15, Park Terrace, church Art Gallery Te Puna o Tilt (France), , 2015, 6-23 May, Main St, Oxford, Wang, Richard Elderton, Ja- tain, 1911, Botanic Gardens entrance to Hagley Park Waiwhetū, forecourt 51 Victoria Street Thu-Sun 10-4pm mie TeHeuheu+ Olivia Smith,

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06 Ilam Group Show, 5-22 May, 21 artists, First Steps 2021, 18 and , 29 Orion Powerhouse Art Times, until Nov 2021, Arts Centre Not Pictured in Map: Recent Photographs 80 Durham Street, Sydenham, May–4 Jun, Eastside Gallery at , until 22 Gallery Akaroa of Christchurch, 3 Hereford St, 2. Aigantighe Gallery Tue–Thu 11–5.30pm, Fri to Linwood Arts, 388 Worcester May, Sanjay Theodore and 1 Rue Pompallier, Akaroa, CHCH, Wed– Sun 11am–3pm 4. Arca Gallery 5pm, Sat to 2pm St, CHCH, Wed–Sat 11–5pm Leigh Martin, May-Jun, 52 Mon-Sun 10-5pm 5. Art on the Quay 36 Buchan St, CHCH, Wed–Sat The Central Art Gallery 6. Artbox Gallery 13 17 30 Picturesque Christchurch Art Gallery Fiksate 11–5pm Paludal Simon Edwards, , 7. Arts in Oxford Te Puna o Waiwhetū Ghostcat, Shadow Town, until Heidi Brickell, 14 - 30 May, insta- until 16 May, Ann Robinson with 8. Ashburton Art Gallery 23 Steve Carr, In Bloom, until 23 8 May, new works Component, LEstrange Gallery gram: paludal_chch Kistin Carlin, Lonnie Hutchinson, 9. Bryce Gallery May, Larence Shustak, air gun?, Dr. Suits, and Bols, 54 Hawdon 53 Nayland St, Sumner, 5/2 Papanui Rd, CHCH Hannah Kidd, Miranda Parkes, 11. Rangiora Chamber Gallery until 6 Jun, Ralph Hotere, Ātete Street, Sydenham, Tue-Wed CHCH, Tue–Fri 11–5pm, Sat– Elizabeth Thomson and more, 18. Fo Guang Yuan Art Gallery (to resist) 31 , until 25 Jul, Olivia 10-2.30pm, Thu 10-5pm, Fri Sun 12–5pm PGgallery192 20 May-20 Jun, Arts Centre of 21. Ilam Campus Gallery Webb: Anthems of Belonging, 10-8pm, Sat 11-4pm Simon Ogden, Digging in the Christchurch, 2 Worcester Blvd, 23. LEstrange Gallery 24 until 11 Jul, Te Wheke: Pathways Little River Gallery dirt for diamonds, until 7 May, CHCH, Wed–Sun 10–4pm 24. Little River Gallery Across Oceania 18 Hidden Round Midnight & , until 23 May Fo Guang Yuan Art Gallery Christine Maynard, Ralph Hotere, 25. McAtamney Gallery Cities of Essence other lithographs 37 2022, Cnr Worcester Blvd and Aotearoa Quilters, , 1-25 May, Christ- , 11 May-4 Jun, The Den 29. Orion Powerhouse Art Gallery Montreal St, CHCH, Mon–Sun the World, (Aotearoa, France church Akaroa Rd, Mon–Sun 192 Bealey Ave, CHCH, Tue–Fri Min-Young Her and Orissa 33. Stoddart Cottage Gallery 10–5pm, Wed to 9pm and Japan), until 2 May, 9am–5.30pm 10.30–5pm, Sat 10.30–2pm Keane, Art Seconds, 11-29 May, 34. Susan Badcock Gallery Hong Ying Yao, Magnifi- 181 High St, Wed-Sat, 10-4pm 25 14 City Art Depot cence of Embroidery, 15 McAtamney Gallery 32 Pūmanawa No Current Listings: Through the Harry Trerise, Philip Trust- May-29 Aug, 2 Harakeke St, Simon Schollum, Community Gallery 38 The National 42. Dilana Looking Glass tum, Martin Whitworth, CHCH, Tue–Sun 9–4pm , until 31 May, Art of the Record, 17-23 May, Music 249 Moorhouse Ave, CHCH, 43. The Great Hall Trerise, Trusttum, Whitworth, 40A Talbot St, Geraldine, Photograph: From the Pit, 25-30 Tue–Sat 10.30–5.30pm 44. XCHC 19 until 3 May, Olivia Chamber- Form Gallery Mon, Tue, Thurs by appoint- May, The Arts Centre Te Matatiki Spare Room Continuum 39 lain, , 11-31 May, John Parker, , ment, Wed, Fri-Sun, 10-3pm Toi Ora, 2 Worcester Blvd, Tue–Fri The Physics Room Artbeat is a monthly arts newspaper 96 Disraeli St, CHCH, Mon– 8-28 May, 468 Colombo St, 10.30–5pm, Sat 10.30–2pm Emerita Baik, Maia McDonald, with news, reviews, commentary and 26 Fri 8.30–5pm, Sat 10–2pm CHCH, Tue–Sat 10–5pm  NMG and Nââwié Tutugoro, Bed- listings of exhibitions and events in 33 rock Wynn Williams House, Dec, Stoddart Cottage Gallery , until 30 May, 301 Montre- Ōtautahi Christchurch and Canterbury. 15 20 Canvas CoCA Toi Moroki Hot Lunch 47 Hereford St, CHCH, Ruth Willis and John Barry, al St, The Arts Centre Registry We cover all aspects of the visual arts, A Short Run: A Selection of New 227 High St, CHCH, Wed–Sat 11–5pm and Clay, until 2 May, Damiet Loor, Additions Building, Tue-Fri inform existing audiences for the arts Zealand Lathe-Cut Records, Tue–Sat 10–5pm The Journey Inwards, 7-30 May, 2 11-5pm, Sat-Sun 11-4pm and develop new ones 27 curated by Luke Wood, until 22 Ng Space Waipapa Ave, Diamond Harbour, 21 May, Ron Te Kawa (with com- Ilam Campus Gallery Brooke Georgia, new works, Fri-Sun and most public holidays, 40 Tūranga For news/advertising In a munity groups), Hīnatore, until Grant Lingard, TRUE LOVE, and Nathan Pohio’s 10-4pm Gavin Bishop, Wild Ōtautahi: Ex- email: [email protected] dream of Natasha Von Braun 22 May, Ella Sutherland, House 30- Apr-28 May, Fine Arts , ploring the Wildlife in our City, until 20 Painting I + II 34 , until 31 Dec, 66 Ln, off Clyde Rd, CHCH, auction, Level 1/212 Madras Susan Badcock Gallery Jun, 60 Cathedral Square, Mon–Fri Gloucester St, CHCH, Tue–Fri Mon–Fri 9–4pm St, CHCH, Mon–Fri 10–5pm, Esther Dean, Glass Houses, until 8am–8pm Sat–Sun 10–5pm 10–5pm, Sat 10–3pm Sat 10–4pm 9 May new photographs from Su- 22 41 Jonathan Smart Gallery san Badcock, 10-31 May, 47 Talbot Windsor Gallery 16 28 Eastside Gallery Conor Clarke, , NZ Artbroker St, Geraldine, Tue–Sat 10–2pm Work by Gillie and Marc, Lonely Group exhibition, Ka Awatea: Megan Jenkinson, Nathan New works from Anna Dog, Diana Peel, Joel Hart, Ngā Reo Hou - New voices 35 Pohio, , Rob Dalzell, Lucy Dolan-Kang, Teece Museum Andris Apse and Matthew Wil- from Ōtautahi Creative Spaces, Hood, Sanjay Theodore, Neil Sam Mahon and others, 2 of Classical Antiquities liams, 386 St Asaph St, Mon–Fri

until 15 May, Group exhibition, Pardington, Kingsley Street, Sydenham Myths and Mortals: Life in Ancient 9–5pm, Sat 10–1pm Artbeat: ISSN 2624-2664 A Time and Place to Rest Hīnātore: Ron Te Kawa

22 May 13 March –

Art Kaiapoi’son premiumthe artspace Quay Ruataniwha Kaiapoi Civic Centre Follow us on Facebook: Artonthequay 176 Williams Street, Kaiapoi Email: [email protected]

2020. (Detail) The Sacred K Image: Ron Te Kawa, ū mara Garden ,

Artbeat Issue 28, May 2021 07 For extended reviews and content visit:

REVIEWS www.artbeat.org.nz details, yet revel in the spirit of the moment. Steve Carr, , Set against the embroidered wine-stains of linen Tablecloth, these reflect upon food and Jacquelyn Greenbank, Manon artefacts as touchstones for narratives of community and connectedness, a catalogue van Kouswijk, Richard Maloy of hospitality and polished conviviality. Karl Fritsch’s Toaster works call in a distinct & , Over Easy local vernacular in his signature meeting of precious and utilitarian textures. Adorned in writer found stone, the trio engages with New Zealand Tessa McPhee traditions of contemporary jewellery-making, The National brings together six contempo- in patinas evoking an age and steadfastness. rary artists to celebrate the joy of food and The intermittent metallic spring of these pieces company. Over Easy is playful, slippery and punctuated the hum of the March opening, metamorphic; reimagining kiwi breakfast clas- suffusing the gathering with gleeful anticipa- sics and mealtime rituals to consider concepts tion as the audience shared in the activity of of identity and community. toasting sourdough bites-a giddy twist on the The exhibition foregrounds the asso- → ritual of exhibition openings. ciative pleasure of touch and performance, Installation. This exhibition feels at home within the inti- highlighting embodied acts of eating, of wear- From Left: mate atmosphere of The National’s contem- Steve Carr, ing, of sculpting - even that of commonplace Sausages on porary space, so often animated with easy routines like preparing our morning meal. Sticks, 2007, conversation over cups of tea. Over Easy is a Kitty-corner to Steve Carr’s campfire Sausages cherry wood, whimsical yet thought-provoking treat, a study on Sticks Jacquelyn As Many Struc- , comic in cinnamon-toned cherry- Greenbank, transformative materiality in of wearability in its relationship to the body. in snacking and sociability that is both polished wood, Jacquelyn Greenbank’s Sunny Side Up Poached, 2021, tures As I Can Make. Here, matter-out-of-place Stuffed pretzel loops, alight with silk-winged and playful.. eggs pool on the floor, becoming apprecia- mixed fibre, and is alien yet inviting. Playing upon the psycholog- embroideries, settle around the neck with an Lisa Walker, Steve Carr, Karl Fritsch, Jacquelyn Greenbank, tively tactile textile forms. There is a surreal yet Pendant, 2021, ical draw in the gradual ooze and audible squish awkward grace. Generously proportioned, this beguiling logic to each revision; this is break- fabric paint, of this changeful medium, Maloy’s films delight ungainly pendant consumes the wearer in turn. Manon van Kouswijk, Richard Maloy and Lisa fast, but not as we know it. thread and in a perverse sensuality. Absurdly elegant porcelain tablewares Walker, Over Easy stuffing. Pho- Bretzen Pendant The National, 249 Moorhouse Ave Richard Maloy subverts our milk and honey tograph: John Lisa Walker’s is a sensory by Manon van Kouswijk are subtle, cutlery and expectations of butter, toying instead with its Collie experience of another kind, posing questions egg-shaped vessels resonating with heirloom 10 March – 10 April

it appeals on an evolutionary level - strength The romantic Ōtautahi landscape in the Isabella Dampney & and resilience being desirable traits - background and the soft yellow light on although our conversations are supposed to the artists’ faces in the foreground doesn’t Theo Macdonald, have become more nuanced since Darwin. completely eclipse the fact that the perform- A stainless steel scaffold creates quite a ers are freezing cold despite donning their Hardballing it with bizarre but elegant threshold which doubles best beer blankets. as a destination, demarcating a space Dampney and Macdonald’s video works the Big Guys containing the moving image works. Two perch between performance and moving single-channel videos show the artists indi- image; the artists didn’t merely document writer vidually carrying out the Power Hour chal- their performance, it was always intended to Orissa Keane lenge with the backdrop of Godley Head’s be a recording. However, by filming essen- Isabella Dampney and Theo Macdonald bring picturesque landscape. Dampney drinks at tially during the 'install' period, a lot was left to endurance art into Ōtautahi’s contemporary the evening’s golden hour and Macdonald, chance, allocating only enough time and liver discourse with Hardballing it with the Big the morning’s. The monitors are bracketed function for a single take – similar in opera- Guys. Golden hour. Happy hour. 'Power Hour' to the scaffold to face one another, propos- tion to a performance. Aside from the task is a drinking game in which participants have ing competition. Whether deliberate or not, at hand, perhaps the real endurance chal- a shot of beer every minute for an hour. there is a reference to Abramovic and Ulay’s lenge would have been Dampney waking up Hardballing it with the Big Guys critiques Imponderabilia (1977) as the audience is hungover to go film Macdonald’s take next the lingering ideologies of endurance-based funneled through the gallery between each morning, then the two of them carrying on performance by comparing it to lads’ drink- artist performing on the monitors. with install. Both seemed to be taking it easy ing games. Moreover, the artists’ exagger- The artists marry minimalist tropes with on the opening night. ↑ ation of conventions and tropes makes this for your art’ so prevalent in 1970s' American Isabella Damp- the ideological grit of performance; the feel exploration of ideas accessible and humou- endurance art.” Needing to ‘prove yourself’, ney and Theo of the 'too clean' exhibition is suspicious Isabella Dampney and Theo Macdonald, Macdonald, Hardballing it with the Big Guys rous. As Uma Tuffnell writes in the accompa- whether to ‘validate’ your art or to be socially Hardballing it enough that no one may miss the joke. The nying text, “Hardballing it with the Big Guys accepted through alcohol consumption, is with the Big Guys objects and footage feign to take them- Hot Lunch challenges the romanticised notion of ‘dying an outdated yet persistent narrative. Perhaps (installation) selves too seriously, giving way to parody. 227 High Street, Christchurch

same creature) highlight the skill, research Elizabeth Thomson, and knowledge fundamental to Thomson’s practice. Cellular Memory And those questions that Thomson asks outlined on the walls of the Aigantighe Art Gallery: ‘How does humanity fit within the writer broader realm of nature and to what extent are Warren Feeney we part of or removed from our environment’, Curated by poet, writer and artist Gregory → are provoked in the experience of visiting. O’Brien, Cellular Memory is a survey of works Elizabeth Thomson’s The fearless Five Hundred, 1989 Thomson, Cel- by -based artist Elizabeth Thomson. lular Memory represents what appears to be 500 small Currently toured by Mark Roach’s Exhibition (diptych), 2016- fish, undulating forward and back from the Services to galleries throughout Aotearoa, it 2017, cast vinyl wall and gallery space, spanning the width encompasses three decades of Thomson’s film, lacquer on of the room that they occupy. Or the diptych, contoured and Celluar Memory work from 1989 to 2019. shaped wood , 2016-2017, its two-dimen- Visually and philosophically, O’Brien’s panel sional surfaces refusing to accept the laws of selection of works uplift and confound. In space and time, eternally oscillating into and Cellular Memory’s almost infinite variety of any relationship or conversations with it loom unreality of the Pre-Raphaelite painters feels retreating from the surfaces that they occupy materials, (oil pigment, sliver leaf, copper, large, and with the gallery’s wall-text detailing somewhere close by.) - I look forward with anticipation to a return visit. acrylic, wood, nylon flock, fibreglass, etc) Thomson’s background over 30 years as an Yet, from the perspective of the present and titles of works (Snake River, Luna Ghosts, artist with a serious interest in micro-biology, day Cellular Memory is equally an unexpected Voyage Sauvage, etc) there is the promise of oceanography and mathematics, Cellular surprise. The scale and diversity of materials, Elizabeth Thomson Cellular Memory mystery in its imagery and objectivity in the Memory could almost be the work of a late, yet heightened range of colours and shifting, Aigantighe Art Gallery making and realisation of all Thomson’s works. curiously, still working, 19th century Victorian evolving experience of spatial relationships 49 Wai-iti Road, Māori Hill, timaru Nature and our relationship, or absence of artist / scientist. (Undeniably, the reality and (foreground and background as one and the 5 March – 9 May

08 Artists Continue to work in Difficult Conditions

writer Jamie Hanton Ten years on from the earthquakes that rallied to address the loss in the creative ecol- devastated Ōtautahi, it’s easy to view that ogy. These projects were excellent in and period immediately following where creativ- of themselves, but they also gave the city a ity flourished amidst adversity and when movement to get behind and be proud of. The resources were made available with rose- Dance-O-Mat, for all of the people who have tinted glasses. In the great majority of cases danced on it, also contributed massively to the the creative practitioners involved in those wellbeing of those who happen to be passing outstanding projects had been involved in the when in full-swing. arts prior to the earthquakes and persisted The moment of rupture also allowed the despite incredible challenges. city to redress some of its misplaced colo- In the intervening years, however, the nial authority with a new statutory partnership day-to-day work of the creative sector has formed with mana whenua. This has led to the drifted to the back of the collective conscious- embedding of Ngāi Tahu stories throughout ness. The ability to adapt and work in difficult the city centre, in particular along the Ōtākaro, conditions is innate to the creative sector, it is as well as installations and sculpture produced an attribute sharpened by constantly working and facilitated by Matapopore. Practice, Fiksate and Chambers Art Gallery. ↑ Michael Parekowhai, Chapmans Homer in Madras Street, in an economically-precarious sector highly Artists and arts organisations were able There are individuals and organisations in the immediate post-quake period, July 2012. Collec- susceptible to market pressures that affect to shape-shift; the Court Theatre moved to that have enriched the city and continue to tion of the Christchurch Art Gallery Te Puna o Waiwhetū. costs of production and operation. So while this Addington, the Christchurch Art Gallery TePuna enrich the city by providing arts and cultural Purchased 2013 with the assistance of Christchurch Outer Spaces City Council through the Public Art Advisory Group, can be admired, this conditioning is not really O Waiwhetū curated a bold experiences week after week, however, post- Christchurch Art Gallery Foundation and Westpac, something to celebrate or champion. programme around the city. These organisa- quake there has been an underlying perceptual IAG, Ben and Penny Gough, Chartwell Trust, Ravenscar Artists used to working in difficult condi- tions and many more found opportunities to problem with the way this work is valued. Often, Trust, Friends of Christchurch Art Gallery, Grant and Sandra Close, Dame Jenny Gibbs, Kevin and Joanna tions, continued to work in even more difficult continue working resourcefully in the city; more the art is held up as an achievement, while those Hickman, Stewart and Nati Kaa, Tony Kerridge, McFad- conditions. New arts, culture, and heritage recently, Little Andromeda is a prime exam- producing it are overlooked. What can we do to den family, Andrew and Jenny Smith, Chapman Tripp, initiatives were started in response to the situ- ple of this, as are those in the second-wave re-capture that celebration—and substantial Colliers, Meadow Mushrooms, MWH Ltd, Pace Project Management, The Press; and with additional thanks for ation: Gap Filler, Festa, The Social, and First of creatives who, in the last six months, have financial support—of creativity that came with contributions from 1,074 other big-hearted individuals Thursdays in Sydenham, to name just a handful, moved to Sydenham including Movement Art that massive upheaval and loss? and companies.

Behind the Glass Door at Chamber Gallery Rangiora Colours of Nature: Art on the Quay in Kaiapoi

West Coast photographer, Thomas Heaphy’s ← Behind the Glass Door Thomas is an exhibition that he Heaphy, For describes as ‘an eclectic collection of images’ B the G, 2021, on archival cotton rag. The pictures are taken photograph from a broader body of work by the West Coast photographer. Loosely landscapes, both big and small, timeless and fleeting, they are paint- erly and ambiguous, creating a feeling of famil- iarity, yet otherworldliness. Heaphy’s landscapes place an emphasis on aesthetic grandeur rather than a recogni- tion of place. The more abstract of his images are everyday microcosms and playful drive-by snippets. They feature natural elements with minimal man-made material and avoid clichéd juxtapositions and irony. Heaphy's intention is to paint with the camera and create a body of original work for contemplation. → R. Baars, Mostly Moss, Bealey Thomas Heaphy, Behind the Glass Door Chasm, 2021, 141 Percival Street, Rangiora, 10 May -3 June photograph

The Nature Photography Society of New The Society currently has over 140 members, Zealand (NPSNZ) has been in existence for mostly from around Canterbury. However, it 27 years, established to provide a non-com- also has membership scattered throughout An Urban Wild-Taste Walk in Central Ōtautahi petitive environment where members could the country, from Auckland to Gore and the share images and advance their photography. West Coast of the South Island, as well as a In 2021, its bi-annual photography exhibition, couple of international members. NPSNZ is Colours of Nature, is being held at Art on the open to anyone who wishes to be a member.

We usually navigate the city using our eyes, Ora, which explores the city with the non-vi- Quay in Kaiapoi. The Photography Society Nature Photography Society of New Zealand, but what if we were guided by our sense of sual senses to answer the question: What endeavours to hold an exhibition of its images ↓ every two years. This year, members were Colours of Nature taste? This walk is an invitation to explore the might we find when we stop looking? Insights Jo Burzynska Art on the Quay, 176 Williams Street, Kaiapoi flavours that can be found within the city, in and edible elements from this walk will be sound record- asked to submit images for an exhibition that ing Colours of Nature 22 April – 2 June which many edible plants grow in the wild. incorporated into the multisensory artworks responded to the theme . This gustatory tour starting from the Arts Jo is making during this residency that will be Centre of Christchurch Te Matatiki Toi Ora is presented at the Arts Centre later this year. led by expert forager, Peter Langlands and Support for the 2021 Arts Four Creative multisensory artist, researcher and wine Residency Programme was provided by writer, Jo Burzynska. Creative New Zealand and Stout Trust.’ Peter will outline how to identify 20 types of wild foods and the key features for accu- Urban Wild-Taste Walk rate identification. Flavours and textures will Saturday 8th May, 2-4pm be explored as well as a discussion on the Price: $10. Booking essential. Details at ecology and field craft to allow you to fully artscentre.org.nz/whats-on/urban-wild- understand and appreciate the foraging taste-walk-with-peter-langlands/ experience. Meet at Christchurch Arts Centre North Jo Burzynska will be sharing tasting tech- Quad. Please wear shoes suitable for walking. niques along the way to aid the sensory appre- Bring your phone camera fully charged to ciation, exploring the ways these sensory and make a photographic record of the species aesthetic experiences can connect us more we find. A water bottle is recommended to deeply with our urban environments. cleanse your palate after trying each species. The walk is part of Jo’s current multisen- A light raincoat and small backpack is also sory art project as an Artist-in-Residence at recommended, along with a few small contain- The Christchurch Arts Centre Te Matatiki Toi ers should you wish to collect some samples.

Artbeat Issue 28, May 2021 09 ↑ Michel Tuffery, Sefulu the Dropkick Polynesian Player, 2011, woodblock print, 9/12 Mark Soltero installs Cinéma of the Rorschach - Foyer of the Ashburton Art Gallery writer Reah Somerville Opening in its new building in January 2015 in object, the photograph. During the projection begins with digitally separating data from West Street, the Ashburton Art Gallery’s exhi- of this photograph, a passage of light carries the original image into layers of light. These bition programme also embraced its foyer, the image until striking a surface, making the layers becomelarge, hyper-detailed stencils. featuring the work of leading and emerging second and third copy of the image. The viewer This Warhol-like stencilling process creates New Zealand artists. The Foyer installations, sees the projected image as the fourth copy, tension between the visible and hidden and which span both floors of the building, are now distanced from the original object by four emphasises the separation between layers a highly anticipated part of the gallery’s exhi- separations. Soltero’s work reflects these in how they overlap and bleed. Stencilling bition schedule. layers, physically and contextually alluding to also creates a positive and negative map of Christchurch-based and San Francis- the ever-growing distance between moment each layer. Soltero repurposes the negatives co-born artist Mark Soltero has installed and memory. removed from the stencils across new pieces. Cinéma of the Rorschach, which runs from The silver screen of cinema and the Back in San Francisco, a young Soltero April to October. The painting asks questions gallery wall both act as a blank canvas to be had to attend court-mandated therapy about memory and the multifaceted nature of covered with an artist's works. Artistic insti- sessions where he first saw a book of dark, our encounter with a work of art. tutions such as art galleries have a certain inky-blobs, a Rorschach test. Soltero recalls Cinéma of the Rorschach has influences reverence placed on them, determining the a surge of awe at the moment his eyes caught spanning from Soltero’s childhood. During his objects displayed as having worth and value. the book, the deepest tone of ink he had ever time in San Francisco, the film industry was This resulting dynamic is a reflective, recipro- seen dancing in flowing forms across the thriving and, what we would now consider cal, and ever-rotational relationship between paper. Soltero carried this youthful fascina- ‘boutique’, cinemas embodied the local char- the viewed and the viewer. Soltero builds tion to the present day,encouraging viewers to acter of each neighbourhood. Regular screen- further on this relationship not only by binding search the shapes in his work in a Rorschach- ings of record-breaking and life-altering films the worlds of cinema and art tightly into one like manner and see with a lens influenced by like Star Wars impacted Mark’s life and work. but by closing the distance between viewer their past. Later, these became a significant influence on and artwork by toying with both personal and Soltero embraces this subconscious both his subject matter and process. Soltero collective memory. way of viewing to explore themes of personal believes the theatre is a container for images Soltero built his works upon a found history and memory. He not only incorporates and collective memory and displays this in his image of the Irving Theatre in San Francisco. his own past but allows each viewer the oppor- works both physically and theoretically. Using found images adds further separation tunity to apply their personal experience and Soltero’s work responds to Jewish philos- between the viewed and viewer. Although memory to the work. opher Walter Benjamin (1892 – 1940), empha- he never stepped inside the Irving Theatre, it sising the reproduction and public reception references the theatres in which Soltero had Mark Soltero, Cinéma of the Rorschach, 2021 Foyer of the Ashburton Art Gallery, ↑ of an image. The process of a projected image spent the evenings and weekends of his youth. Mark Soltero, Cinéma of the Rorschach – Silver, 2020, acrylic on unstretched begins with capturing light reflecting off of an Soltero’s intricate and intense process 327 West Street. April – October canvas with aluminium support bar

Request for Expressions of Interest: Mona Vale Gatehouse Lease for Creative Residencies

Christchurch City Council is requesting Organisations will submit a proposal setting → The Mona Vale proposals from creative organisations for a out an anticipated programme across a one, Gatehouse, 1-3 year lease of the Mona Vale Gatehouse two, or three year period. This programme will 2018. Photo- for the provision of creative residencies. include a description of how a lease of Mona graph: Christ- church Daily Located three kilometres from the central Vale will benefit the wider community of Christ- Photograph. city and set in the historic and picturesque church and Banks Peninsula, benefits to the christchurch- Mona Vale Gardens, this two story, generous local arts sector, describe any activation of the dailyphoto.com three bedroom house plus external washhouse Gardens, and what difference it would make to presents a unique opportunity for organisations your organisation. to host artists, and support local arts events and festivals. If you are a not-for-profit arts organisa- tion, tertiary provider, arts funder, or other local creative entity we would love to hear how your organisation would use the Gatehouse Further details are available by subscrib- to further your programmes while supporting ing to the full notice on GETS. Request for arts and creative development in the city and Proposals closes Monday, 7 June 2021 12:00 peninsula. PM Applications to be made via the Govern- The lease for the property will be charged ment Electronic Tender Service (GETS) ID: at $5500 + GST per year. The property comes 23981372 Please note you will need to register unfurnished and the prospective supplier as a supplier on GETS to access this opportu- will be required to pay for power and internet. nity, this requires a RealMe account.

Telephone Mobile 03 980 4972 021 216 7753 CAMPBELL CONSERVATION conservator of works on paper Lynn Campbell is a Fine Art paper conservator and art restorer who works in Christchurch, New Zealand. She has worked at the Royal Scottish Museum in Edinburgh and tutored at Northumbria University and one of the first conservators to go to Antarctica as part of the New Zealand Antarctic programme. B.A. Honours in Fine Art and Post Graduate Certificate in Fine Art Conservation, training in the UK. Valuations for Campbell Conservation are happy to discuss any of your restoration insurance and and conservation needs estate purposes [email protected] Research

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Dr. Warren Feeney — Catherine Brough’s life as an artist and her art 022 176 9272 Over 70 colour images [email protected] Available online at TradeMe.co.nz artcontent.co.nz The Left Bank Gallery, Greymouth Scorpio Books

Artbeat Issue 28, May 2021 11 Olivia Chamberlain Spare room Opening 5.30pm, Tuesday, 11th May Exhibition 11 – 31 May 2021

THE ASSOCIATES A STONE TO STRIKE AND A ROCK TO STUMBLE OVER 18 APRIL 18 JUNE 2021

327 WEST STREET, ASHBURTON, 7700 Gallery 96 Disraeli St cityart.co.nz ASHBURTONARTGALLERY.ORG.NZ Framing Sydenham T | 03 308 1133 Installation Christchurch 03 365 3811

House of Treasures Ngā Taonga Tuku Iho PG Celebrate 150 Years of Your Museum gallery 192

The Ann Robinson Representing leading NZ artists Central Discover ’s fish dish Art Gallery On display alongside and rarely-seen taonga from the collection Kirstin Carlin, Lonnie 192 Bealey Avenue, Christchurch Old Library Building the Arts Centre Hutchinson, Hannah Kidd, 03 366 8487 2 Worcester Boulevard Exhibition on now Christchurch Miranda Parkes, Elizabeth Wednesday - Sunday Thomson and more. 10am - 4pm www.pggallery192.co.nz Phone 03 366 3318 www.thecentral.co.nz 20th May - 20th June 2021

PG_ad_ArtBeat_May2020.indd 1 21/04/20 12:24 PM Sale ends 31.05.2021

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K Ilam Group Exhibition Olivia Smith, Monica Wang, Vicky Mangan Richard Elderton, Jamie TeHeuheu Exhibition runs 5 May - 22 May

80 DURHAM ST SOUTH | CHRISTCHURCH 163 Madras st. Christchurch 022 677 2810 | WWW.CHAMBERSART.CO.NZ Instagram: chambers_art | Facebook: chambers www.gordonharris.co.nz

12 Issue 28, May 2021