Issue 19 Exhibitions Ōtautahi www.artbeat.org.nz July 2020 Galleries Studios Waitaha Street Art Canterbury Art in Public Places ARTBEAT In this issue: Te Wheke 01 Art of Protest 02 News, Events & Workshops 02 At the Galleries 03 Discover Map 04 Reviews 06

Te Wheke Pathways Across Oceania. Our Public Art Collection but not as we once knew It

Polynesia and the Pacific region, and migra- tion and belonging are allocated centre-stage in Te Wheke Pathways Across Oceania, an exhibition that draws from works in the Christ- church Art Gallery Te Puna o Waiwhetū collec- tion. It is exciting and enlightening experience developed by the Gallery’s curators in consul- tation with curator of heritage, Stephanie Oberg. Yet, in many ways Te Wheke Pathways Across Oceania is not entirely unanticipated or without precedent. Since its reopening in December 2015 the Gallery’s perma- ↑ , the Christchurch Art but wide knowledge and a different perspec- nent collection has assumed a new-found contemporary. Milburn comments: ‘We really Not life, rediscovered by its curatorial team who wanted to re-imagine the Gallery’s spaces of This Time Gallery’s had its origins in European works, tive.She helped us to look outside more tradi- seem committed and excited about new and we were also keen to bring in different (Dreamland), particularly British works. The narrative of tional art histories and we found that really ways of thinking about and experiencing perspectives. We were especially conscious 2008. Oil on how those connections shaped our art history valuable.’ canvas. Collec- Te Wheke favourite works. that Māori and Pasifika artists’ work was tion of Christ- and subsequently led to the development of The new, central entrance to Lead curator Felicity Milburn acknowl- under-represented in the collection and church Art a New Zealand style has been told often, and Pathways Across Oceania takes the gallery edges that like previous re-hangs of the we really wanted to address that. Te Wheke Gallery Te Puna we have frequently told it here from a Canter- visitor into a space titled Hawaiki Tautau Te Wheke Pathways Across o Waiwhetū, Atu, Hawaiki Tautau Mai: A Distance Draws collection, became a catalyst for increasing that diversity purchased 2019 bury perspective, with regard to artists like Oceania is about doing something that feels through some really important acquisitions.’ .’ Near. It’s a beginning that Milburn says is very quite different. Gallery director Blair Jackson Throughout this process, Milburn was ‘It’s not the only story we can tell much about honouring ancestral Polynesian gave the curatorial team (Milburn, Ken Hall, aware of the tension between the desire of though, and for Te Wheke we wanted to see homelands and early migrations across the Nathan Pohio, Peter Vangioni and former many Gallery visitors to see change and expe- what would happen when we looked at the Pacific: ‘Migration and a sense of belonging Head Curator Lara Strongman) the chal- rience new works in the collection and the collection from another perspective, starting are themes that occur right across the exhibi- lenge of addressing and rethinking what had expectation of others to see familiar works where we actually are, here in the Pacific. tion. What you bring with you when you travel become a familiar experience of viewing the – “old friends” that they wish to come back How could art help us make connections from one place to another, what you leave collection, beginning with its historical Euro- to. ‘It is always a challenge to do both those right across Oceania?’ behind. What you create when you get here. pean works and working your way towards the things at once. Like most public collections in ‘Over the last few years, we’ve tried hard Many of the artists in this show are creating to unpick some of those very linear narratives hybrid forms that couldn’t have been made about history. For example, anywhere else but in Aotearoa New Zealand ‘ we’ve done that in relation to gender, reinsert- ‘One of the things that was important to ing female artists who played an important our thinking around the show was acknowl- part in the development of our art history, but edging that the Western concept of a separa- have been overlooked in its retelling, perhaps tion between past and present that can exist to make a more cohesive story. When histo- in a Western experience of the world isn’t ries are simplified or considered from only necessarily part of the Māori or Pasifika world one perspective, you can lose a lot. For Te view. Instead, the past walks with you in the Wheke Pathways Across Oceania we wanted present. That’s something artists make real not only to feature those new works, but to all the time,when their works connect past incorporate familiar works people expect to and present on an equal plane – and some see by presenting them in a different context.’ works in Te Wheke do that really explicitly. ‘Like most public art galleries in New ‘We are the Small Axe is a major new Zealand, we don’t have a strong collection acquisition, a huge collaborative bark cloth of customary Māori and Pacific art – tradi- work by Robin White (Aotearoa New Zealand tionally that has been collected by muse- (Ngāti Awa) /Kiribati) and Ruha Fifita (Tonga/ ums, which in itself reflected the attitudes of Aotearoa New Zealand). We are all pinching the time. We saw real value in undercutting ourselves, it’s amazing to have this work in that artificial separation by juxtaposing the Christchurch and in the collection. Robin, a contemporary with the customary. We’ve New Zealand artist of Māori and Pakeha heri- needed the support of private collectors and tage went to Kiribati in the early 1980s where institutions like Canterbury Museum to help she pursued her own arts practice, but was ← us do that by generously lending some very also interested in the art making being done in Grace Ngaputa significant pieces. the villages, particularly by groups of women Pera Matirita [chrysanthe- We were very lucky to be able to work with working together. That’s something that has mum] c.1958. Stephanie Oberg on the exhibition’s concep- continued over her practice in a range of Tivaivaitataura. tual development, configuration and interpre- places around the Pacific. Collection of Pera family, tation. She brought not only her connections Christchurch with Pacific communities within Christchurch, Continues on page 3

Artbeat Issue 19, July 2020 01 The Art of Protest

writer Reuben Woods As protests have spread across the United calls for action (“Defund the Police”), civil ↑ here in Christchurch, messages such as increasingly, street art as it is framed so Messages in States and the globe in response to the death rights iconography, such as the raised fist support of the ‘George Floyd Rest in Power,’ and ‘All Power often by now has for many become about the of George Floyd and the long history of police symbol, and portraits of victims of police current protests to th[e] People’ have been sprayed on walls. shiny, and ultimately palatable, act of beau- brutality against black lives, there has been a brutality. But perhaps most reflective of the sparked by In the wake of the earthquakes and the tification, even when conveying an import- the death of notable visual aspect alongside the crowds urgency and anger of the protests has been George Floyd March Terror Attacks, messages of a simi- ant message. Of course, the relationship of people: the art of protest. While there have the graffiti marking protest sites. Rather appeared in lar nature appeared, voices of dissent in between muralism and gentrification has been a number of legally produced projects, than the identity-centric hieroglyphic tags Christchurch, times of upheaval. The tactical use of graf- been a discussion point for some time, but such as this such as the memorial mural painted at the or dynamic pieces, this graffiti has been one on Colom- fiti in such a way recognises the potential of now it seems even more important. Murals site of George Floyd’s death in Minneapolis, concerned with legible political declarations bo Street in the writing on walls to endure beyond the dissi- can raise meaningful issues, but their means Minnesota, and the giant yellow text painted over style and aesthetics. central city. pation of vocal cries, as well as the need to of production often place them in a compro- directly upon the newly named Black Lives In various scenes, backdrops have disrupt deeply entrenched systemic issues mised position, especially in relation to the Matter Plaza in Washington DC, guerrilla been covered with slogans such as ‘Black by attacking the façade of their control. In direct discourse of wall writing. Sometimes it graffiti and street art interventions have Lives Matter’, ‘ACAB’, ‘RIP George Floyd,’ stereo, the chants, signs and graffiti form a takes a jarring urgency of voice, as an image also appeared in streets around the world, ‘Say Her Name: Breonna Taylor’, and more, swelling voice, refusing to be ignored. of graffiti recently posted by international including a train painted with graffiti reading creating iconic images that capture the Graffiti and street art have always had street art festival Nuart that declared: ‘We ‘Please, I Can’t Breathe’ by the 1UP crew. In poignancy of this time in history. The plinths the potential to make meaningful state- want change, not a ‘mural’’. addition, in a more immediate accompani- of monuments, many with ties to the injus- ments, either specifically, or through their ment to the protests, alongside the physi- tice of colonialism and slavery, have been method of intervention, questioning public cal presence of chanting bodies calling for transformed by layers of paint, a reminder and private space and declaring presence change, placards and banners have featured of the potential to change the world. Even and identity in the face of neglect. However,

NEWS EVENTS

& WORKSHOPSArtbeat Art Expo 2020: Rekindle Workshops for children and Each copy of this month’s A virtual exhibition replacing the annual adults: Arts Centre Te Matatiki Toi Ora includes a risograph poster from Posters Kaiapoi Art Expo cancelled due to the Covid- Spoon-carving 4 July 10.30 – 1pm, Carve for BLM a resource for images in support 19 lockdown has been greeted with enthu- a spatula, 4 July, 2.30-4.30pm and 7 July, of the movement for change (follow @ siasm by Waimakariri artists. Sponsored by 6-8pm, Brush making, 11 July, 9am-12pm posters_for_blm on Instagram for more Corcoran French Lawyers and supported by and 1-5pm, Spoon carving, 12 July, 10am- information). As an open source project, the Waimakariri Arts Trust, the Expo is held 2pm, Spoon Club, 14 July, 6-9pm, String posters can be downloaded and printed each year in July with over 5,000 visiting to & rope making, 19 July, 10am-11.30am, for fly-postering and protests for free. see work by more than 100 artists. The virtual Basket weaving, 19 July, 12.30-4.30pm, Please also consider contributing to the Kaiapoi Art Expo has been engineered by Hand darning, 23 July, 6-7.30pm. many charitable organisations supporting Martyn Cook, Business Manager of Kaiapoi New workshops being added in July: the Black Lives Matter movement. The Promotions Association who set up the www.rekindle.org.nz/collections/ posters were designed by Roydon Missel- online information guide to North Canterbury, resourceful-workshops dine, Stephen Powers and Sara Froese. the Waimak App. The Expo section, found on Posters printed by MK Press. the App’s home screen, provides exhibition The Teece Museum of Classical Antiq- details and a signup form for artists. It went uities. A Digital Update in 2020: live 1 June with visitors able to browse and The Teece Museum now has an online purchase works. blog, Potted Histories teecemuseum.nz/ It runs until 31 July: www.waimakapp.nz blog/. Audio descriptions are included, providing new ways to experience the Open House. An Artist in Residence Proj- artifacts in the Logie Collection and ect at Arts in Oxford make the collection more accessible, In July and August Arts in Oxford Gallery is having been developed specifically with hosting a residency project, beginning with the needs of the vision impaired in mind. an evolving look at a print studio in action. Led by UC graduates Amy Boswell-Hore Jo Ernsten is an expatriate artist recently and Natalie Looyer, this project is part returned from 20 years of arts teaching and of a move to increase accessibility and practice in Sydney. She has teamed up with ensure The Teece reaches a diverse Arts in Oxford to promote contemporary audience. ideas about creativity and community arts. Listen online at the Museum’s Youtube Visit Arts in Oxford and see prints in prog- channel or the Museum’s web-pages ress, guest artists at work, ask questions and teecemuseum.nz/collection/audio-de- perhaps join in some of the processes. Part scriptions/. Produced with the assistance installation/exhibition and demonstration, of Christchurch City Council Libraries ↑ Plaster cast copy of the Kritios Boy works produced and displayed will evolve as Tūranga AV staff and voiced by Naomi . After an original statue by sculptor Kri- tios, Athens Acropolis Museum (Inv. 689), ca 478 BCE. JLMC CC15 the project develops. van den Broek. ←← See: artsinoxford.com Kaiapoi Art Expo in 2018

02 AT THE

↘ Though they look naïve and spontaneous, Miranda Parkes, Mary Parkes’ paintings stem from a close study Magdalene of art history. At university she studied the Approaching interface between painting and sculpture the Sepulchre, from the Later – particularly the installations of Cana- Italian Painting dian artist Jessica Stockholder, which are series of col- like exploded paintings the viewer can lages, 2019-20, mixed-media walk around in. on book pages. Virginia Were on Miranda Parkes’ paint- ings in Art News. ↘↘ Nigel Buxton, artnews.co.nz/spring-2007-profile/ Mars Red, Jonathan Smart Gallery, Miranda Parkes, Te Wheke Pathways Across Oceania 2020, oil on Relationship Status, until 1 August gesso on Continued from page 1 mural, Te Tāhū o ngā Maunga Tūmataka- ↑ board, 240 x huki Also featured in 200mm Nigel Buxton expresses 'interiors' or 'still ‘In recent years, Robin did a series of is on the outer east wall of the Gallery Te Wheke Path- Te Wheke Pathways Across ways across life' with a strong sense of his presence. collaborations with Ruha, a young Tongan as a welcome to ↘↘↘ Oceania His gestures and his positioning in the artist who grew up with the Tongan tapa tradi- Oceania] talks about customary work and is Rus- Keren Oertly, sell Clark’s View Soft Landscape room and time spent are all very evident tion, ngatu. They are both interested in creat- its symbolism and that is one of the things from the Pier Series/That , and in Drape he presents paintings in ing a new, hybrid form, honouring not only that we have lost in the narrow colonial 1964, grouped Which the in the section: Mountain Gives, the tradition of trompe l'oeil, works that the physical technique involved in this kind reading of those customary practices, that I Tawehiti Rā 2020, Hand persuade us to accept their illusions. of art making but also that sense of work- depth inside them and their richness. The Anō From woven rug Distant Shores Paint modelled on flat surfaces trick us ing communally and the idea that culture is people who were documenting them in the . with donated, into believing we see draped fabric in passed down, not in big conversations, but 19th century were looking from outside the ‘The seas of salvaged or Oceania are like swapped three dimensions. Drapes have long in little, intimate ones. Tapa of course is often culture and so they recorded things like vast pathways; materials been props within his studio and in these made for special occasions – a wedding or a as patterns rather than as objects ever present from Õtautahi, large-scale works they claim a deliberate really important meeting – so that sense of that had important meanings embedded in reminders of Aotearoa distant shorts.’ presence in their own right. connection and communal purpose is intrin- the shapes that were chosen.’ Russell Clark, ↘↘↘↘ Not of this Time (Dream- View From Printmaker Marian Maguire on Nigel sic. This work has many domestic references ‘John Pule’s Elfi Spiewack the Pier, Buxton’s paintings. Nigel Buxton, Drape, [teapots, jars and jandals] but also relates to land), is an abstraction of forms, something 1964. & Doc Ross, Collection of Untitled, collab- PGgallery192, until 17 July migration – the eels are the kind that travel we’re familiar with seeing in contemporary We are the Small Christchurch orative work. vast distances. The title, work but often miss in customary works. Art Gallery Artist Eve Barlow invited fellow artists Axe, relates to a song by Bob Marley and the (page 1). The blue spaces in Not of this Time Te Puna o ↘↘↘↘↘ Small Axe (Dreamland) Waiwhetū; pur- Component, to complete, amend, paint over, re-ar- Wailers, “ .” It brings in the idea of can be an ocean, with islands, Leopard chased 1986 , 2020, range or otherwise “rectify” unfinished grass roots protest, ‘we are the small axe, but John has also talked about it being stencil print. or unresolved works by the artist within sharp and ready, ready to cut you down’.’ like clouds forming a huge big sky and as ↘↘↘↘↘↘ the parameters of their own practice or Grace Ngaputa Pera’s Matirita [chry- a space of imagination. What is particu- santhemum] Fiona Tunni- explorations. Barlow says: "It has been is an amazing tivaevae work larly lovely about John’s work is it is often cliffe, Waifs and Strays three years since I first broached the on loan from a local collection. One of the about this sense of connection. Vine-forms , 2020, ceramic. ideas with various artists I know and it has lovely things about Te Wheke Pathways connect across the work, linking people and been a really interesting process to see Across Oceania is that it will unfold in several places across time. That’s an idea that goes the different approaches and different iterations. There are lots of works on paper right through Te Wheke Pathways Across responses to the whole notion of rectify- that we will swap out, and the tivaevae will Oceania.’ ing one of my works.” Rectify This Painting be changed so we will see different works is accompanied by a catalogue and short come in.’ video clips of contributing artists.” ‘We wanted to undercut the idea of Te Wheke Pathways Across Oceania, Rectify This Painting, City Art Depot separation between customary practices in Christchurch Art Gallery Te Puna o 14 July to 3 August the Pacific and the conceptualism that we Waiwhetū often mistakenly attribute only to a Western Cnr Worcester Boulevard and Montreal Street The exhibition Unearthed is my response idea of art making. Kelcy Taratoa, [whose Until 23 May 2022 through my jewellery to Doc Ross’s atmo- spheric documentary photographs. Elfi Spiewack describes the collabora- tion between both artists. Elfi Spiewack & Doc Ross, Unearthed, The National, until 18 July Kara Burrowes, Lockdown Series 25320201159 Widely respected as one of New Zealand's leading street artists, New works from Kara Burrowes at Cham- connected to the histories of the artist’s Component has over twenty years of bers Gallery in July touch upon the visible found materials. experience in the world of urban art, influence of time, place and circumstances Where previous works asserted a phys- perfecting the craft of layered stencil in Lockdown Series 25320201159, a title ical presence in the space of the gallery artwork. Born and raised in , that needs no explanation. Yet, although a through Burrowes’ latticed orchestration his themes often draw on issues of shift in terms of materials and the working of reclaimed wood, works in the current social justice and community, but also of surfaces, in Burrowes' attention to the exhibition are more outwardly subtle and revel in technical details and process, surfaces she manipulates and refines, there refined. as evident in the intricately hand-cut ↓ remains a heightened awareness about If previous works sometimes appeared to stencil Leopard. Kara Burrowes, abstraction as a language that broaches be mischievously loud in reaching out for Wood II, 2020, Reuben Woods on Component. Stock the line, structure and visual weight of attention, in Lockdown Series 25320201159 recycled timber Room Hang with new editions from Dr. and spray paint each image and its potential for narratives they are no less welcoming, just more Suits, Tom Gerrard (AUS) and Compo- reserved about the invitation that they are nent (Auckland), Fiksate, until 31 July making. Burrowes comments that mark making is equally at the forefront of these I obviously had a misspent youth drag- new works. ‘White panels were etched and ging my family around zoos, aquariums drawn into using multiple layers of plaster, and anywhere that I could observe and sanded and etched to reveal a history of photograph animals. There is still a lot marks…. Wanting to make use of existing to learn, both about form and clay, and reclaimed materials from my garage, I cut I love the evolution that happens when and assembled, using the same neutral you combine them. The properties that white tones but accenting with colours cause clay to warp and crack and move seen from the deck of my house every day, in response to heat make it my favourite in particular, the sunrises.’ medium to work with. Fiona Tunnicliffe on her work. Waifs and Strays, Form Gallery, 8 – 28 July

Kara Burrowes, Lockdown Series 25320201159 Chambers Gallery, 241 Moorhouse Avenue 23 June - 11 July

Artbeat Issue 19, July 2020 GALLERIES T 1 6 Sēmisi Fetokai Potauaine, Absolution Arts in Oxford VAKA 'A HINA, 2019, Rauora Highlights from Garden City Vantage Point, until 5 Jul, Open Park, 115 Lichfield Street Vol 1 - Various Artists, Arts House - Artist in Residence Centre of Christchurch, 2 Project, 10 Jul - 13 Sep, Arts in Street Art Murals Worcester Boulevard, CHCH, Oxford Gallery, Main Street, Mon–Sun 10–6pm Oxford, Tue-Thu 11am-2pm, U Askew One (Elliot O’Donnell) Fri-Sun 10-4pm. Closed Mon Kristen 2 (NZ) – , 2013, 162 Aigantighe Gallery & Public Holidays DISCOVER Distant Lands Gloucester Street Sue Tennent, , Insights 7 until 26 Jul, , gallery Ashburton Art Gallery V Untitled Once a Wilder- Rone (Aus), , 2013, collection, ongoing, 49 Ben Lysaght, 105 Worcester Street Wai-Iti Rd, Maori Hill, Timaru, ness, Anthony Davies, Dis- Tue-Fri 10-4pm Sat-Sun rupted Space, until 31 Jul, 327 W Untitled (Giving Public Art in the Four Avenues Adnate (Aus), 12-4pm West St, Ashburton, Mon-Sun Hands), 2015, 132 Kilmore 10-4pm Wed to 7pm A G N Call me Snake 3 Thomas Woolner, (founding Coalbrookdale Foundry, Judy Millar, , Street Arca Gallery Peacock Foun- 8 member of the Pre-Rapha- Shropshire, 2015, cnr Manchester and Bespoke jewellery and Bryce Gallery John Robert Godley tain X Untitled elites) , 1911, Botanic Gardens Armagh streets ROA (Belgium), , small-scale artworks, until 31 Artists include: Paintings by Statue, 1867, Cathedral 2013, Canterbury Museum, Jul, 127a Hackthorne Road, Don McAra and Clare Wilcox, H E Noho Ra De O Solidarity Square Paul Dibble, Mischa Kuball, 11 Rolleston Avenue Cashmere, CHCH, Tue–Sat, 84 Vicenza Drive, Ohoka RD2 Chirico, 1995, Robert Mc- Grid, 2013/15, Park Terrace, 11–4pm Kaiapoi, Mon-Fri 10-5pm, Sat- B Citizen’s Y Organic Matters William Tretheway, Dougall Art Gallery, Botanic entrance to Hagley Park Chimp (NZ), , Sun 11-4pm War Memorial 4 , c. 1936, Gardens 2018, Justice & Emergency Art Hole P Raise the URBAN 9 Cathedral Square Nathan Pohio, Services Precinct, 44 – 52 Simone Bensdorp, Canterbury Museum I Nucleus anchor, unfurl the sails, set EARTH Moana Currents: Dressing Phil Price, , 2006, cnr Lichfield Street , (textiles), 8 – 11 Jul, C course to the centre of an Aotearoa Now An- George Frampton, (Arts and High and Manchester streets 10am - 4pm, Heather Milne, , until 6 Sep, ever setting sun! Z Untitled Routine Isolation: Pictures in cient New Zealand: Squawkzil- Crafts movement 19th cen- 2015, Harper Jacob Yikes (NZ), Industry and Concord J Flour Power (Alice in Videoland) Small Towns la and the Giants, tury), , Regan Gentry, , Avenue , 2017, 201 , (photographs), prehistoric c. 1882, cnr Oxford Terrace 2008, cnr High and Colombo Tuam Street 14 - 18 Jul, 10am-2pm, Irenie New Zealand, Luke Jerram Q Under Con- The Quality of Ordinary Our and Worcester Boulevard streets Peter Atkins, How, and Hannah Beehre, struction – Chaos and Order AA Whero Life Moon: Then, now and beyond Kevin Ledo (Canada), , 21 – 25 Jul, 10am – 5pm , D Poupou K Passing Time (Re-imagined), 2014/19, 148 O Te Rangi Bailey Riki Manuel, , 1994, Anton Parsons, , , 2017, 128 22 – 25 Apr, 336 St Asaph opens 3 Jul, Rolleston Avenue, Victoria Square 2010/11, High Street entrance Gloucester Street Armagh Street Street, CHCH CHCH, Mon–Sun 9–5pm to Ara Institute of Canterbury Rainbow Pieces R Conduct BB 5 10 Pat Hanly, , Seung Yul Oh, Wongi ‘Freak’ Wilson (NZ), Art on the Quay Catalogue L Tree Houses Cumulus Rauora Park Life’s When I’m not E 1974, Christchurch Town , , 2017, Southern , 2018, Rauora Russ Campbell, Irenie How, Hall Foyer for Swamp Dwellers, 2013, Quadrangle, Arts Centre Park, 214 Manchester Street Journey, until 8 Jul, Sacred Sleeping, TBC, Penny Lane, Ōtakaro-Avon River, cnr Light by students of Nemesh, 430 Colombo Street, Mon–Fri F S CC Untitled Monument / Sculpture Lady Colombo and Kilmore streets Antony Gormley, , 2015/16, Ampparito (Spain), , 9 Jul – 12 Aug, 176 Williams 8am–5.30pm, Sat 9am– Kathleen Scott (wife of Robert Northern Quadrangle Arts 2017, 30 Allen Street Street, Kaiapoi, Mon–Wed, 5.30pm, Sun 10am– 5pm Scott Statue M Diminish Falcon Scott), , David McCracken, Centre, Ōtakaro-Avon River Fri 9–5pm, Thu to 9pm, Sat and Ascend DD Untitled 11 1917, cnr Worcester Boulevard , 2014, Kiosk between Worcester Boulevard Tilt (France), , 2015, 10–2pm, Sun 1–4pm Chamber Gallery Rangiora and Oxford Terrace Lake, Botanic Gardens and Gloucester Street 51 Victoria Street Anjie Connon, ‘I Do’, 5 Jul –

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04 12 Aug, 141 Percival Street, Terry, SIDEWAYS, until 16 Aug, Hamish Allan, until 31 July, CHCH, Tue–Fri 10.30–5pm Ekelen, Fiona Van Oyen and Not Pictured in Map: Rangiora, Mon–Thu 9–5pm, 66 Gloucester Street, CHCH, 53 Nayland Street, Sumner, Sat 10.30-2pm Pete Wheeler, Sustaining the 2. Aigantighe Gallery Fri 9–7pm, Sat 10–2pm, Sun Tue–Sun 10–5pm, Sat–Sun Christchurch, Tue-Fri 11-5pm Local, until 19 Jul, Arts Centre 3. Arca Gallery 28 1–4pm to 4pm Sat/Sun 12-5pm Stoddart Cottage Gallery of Christchurch, 2 Worcester 5. Art on the Quay Diamond Harbour Painting Boulevard, CHCH, Wed – Sun 6. Arts in Oxford 12 16 22 Group Unlocked: Free Expres- Chambers Gallery Fiksate Little River Gallery 10-5pm 7. Ashburton Art Gallery Andrew Craig and Kara Stock Room Hang with new Ashley Smith, Islands, sions, 4 - 26 Jul. Weekends 8. Bryce Gallery 33 Burrowes, until 11 Jul, Ellie editions from Dr. Suits, Tom 4 – 29 Jul, Christchurch only, 10am-4pm, 2 Waipapa The National 11. Chamber Gallery Gray, Rudolf Boelee and Sarah Gerrard (AUS) and Component Akaroa Road, Mon–Sun Ave, Diamond Harbour, Fri– Elfi Spiewack & Doc Ross, 17. Fo Guang Yuan Art Gallery Garland, 14 Jul – 1 Aug, 241 (Auckland), 165 Gloucester 9am–5.30pm Sun 10–4pm Unearthed, 23 Jun -18 Jul, Lisa 19. Ilam Campus Gallery Moorhouse Ave, CHCH, Street, CHCH, Tue–Wed Walker, new works, 22 Jul-16 21. LEstrange Gallery 23 29 Tue–Thu 11–5.30pm Fri–5pm 10–2.30pm, Thu 10–5pm, Fri  McAtamney Gallery Studio 125 Gallery Aug, 249 Moorhouse Avenue, 22. Little River Gallery Sat–2pm 10–8pm, Sat 11–4pm 40A Talbot Street, Geraldine, 7th Annual Exhibition, Heather CHCH, Tue-Sat 10.30-5.30pm 23. McAtamney Gallery Wed, Fri, Sat, Sun 10-3pm & Brown, In the Stillness, solo 26. Paludal 13 17 34 Christchurch Art Gallery Fo Guang Yuan Art Gallery by appointment exhibitions by Simon Kaan The Physics Room 28. Stoddart Cottage Gallery Te Puna o Waiwhetū Toney Su, Treasure of Nature and Josh O'Rourke, and a Daniel Shaskey, Luke Shaw, 29. Studio 125 Gallery Gathering Clouds Enlighten You 24 Dom- , until 7 Sep, , until 26 Jul, 2 NMG group exhibition, until 31 Jul, and Phoebe Hinchliff , 30. Susan Badcock Gallery Uncomfortable Silence, until 19 Harakeke Street, Riccarton, Judy Millar, Eleven, until Dec, 125 Aikmans Road, Merivale, ino Domino, until 5 Jul, Eddie Jul, Louise Henderson, From CHCH, Tue–Sun 9–4pm Wynn Williams House, 47 Wed- Sat 11am - 5pm and by Clemens, Kiosk: Directors' No Current Listings: Life, until 11 Oct, Te Wheke: Hereford St, CHCH, Tue-Sat appointment. Commentary, 11 Jul– 23 Aug, 37. Dilana Pathways Across Oceania 18 , un- Form Gallery 10 – 5pm 301 Montreal Street, Registry 38. Eastside Gallery Waifs and 30 til 23 May 2022, cnr Worcester Fiona Tunnicliffe, Susan Badcock Gallery Building, Arts Centre Te Mata- 39. Pūmanawa Community Gallery Strays 25 The Last Sup- Boulevard and Montreal , 8-28 Jul, 468 Colombo Ng Space John Badcock, tiki Toi Ora, Tue-Fri 10-5pm, 40. XCHC Street, CHCH, Mon–Sun St, Sydenham, CHCH, Tue-Sat Group exhibition: Scott per, John Badcock, Douglas Wed to 9pm 41. NZ Art Broker 10–5pm Wed late to 9pm 10–5pm Flanagan, Brooke Georgia, Badcock, Susan Badcock, 35 Georgina May Young and ongoing, 47 Talbot Street, Ger- Tūranga Artbeat is a monthly arts newspaper 14 19 The Labyrinth City Art Depot Ilam Campus Gallery Steven Junil Park, until 27 Aug, aldine 7930, Tue-Sat 10-2pm Robyn Webster, , with news, reviews, commentary and Francis van Hout, The Rolling Kim Lowe, The Silence of the Level 1/212 Madras St, CHCH, (harakeke installation), until listings of exhibitions and events in Moon Brush 31 , until 8 Jul, Eve Barlow , (Olivia Spencer Bower Mon–Fri 10–5pm, Sat 10–4pm Teece Museum 2 Aug, 60 Cathedral Square, Ōtautahi Christchurch and Canterbury. and friends (Jason Ware, Clare recipient), 17 Jul – 14 Aug, of Classical Antiquities Mon–Fri 8am–8pm Sat–Sun We cover all aspects of the visual arts, 26 Fantastic Feasts: dine with the Logan, Doc Ross, Rebecca Fine Arts Lane, off Clyde Rd, Paludal 10–5pm inform existing audiences for the arts Stewart, Sharnae Beardsley, Ilam, CHCH, Mon–Fri 9–4pm Exhibition details and hours, ancients, until 30 Aug, Arts and develop new ones 36 Jacquelyn Greenbank, Kim instagram: paludal_chch Centre of Christchurch, 3 Here- Windsor Gallery 20 Lowe, Shannon Williamson, Jonathan Smart Gallery 2 Papanui Road, CHCH ford Street, CHCH, Wed – Sun Contemporary Gallery: 35 For news/advertising Alexandra Porter and others) , Miranda Parkes, Relation- 11am – 3pm artists including Joel Hart, email: [email protected] Rectify This Painting ship Status 27 , 14 Jul – 3 , 2 Jul – 1 Aug, 52 PGgallery192 Matthew Williams, Cornelius Drape 32 Aug, 96 Disraeli St, Sydenham, Buchan Street, Sydenham, Nigel Buxton, , and The Central Art Gallery (KEES) Bruin, Svetlana Orinko, CHCH, Mon–Fri 8.30–5pm, CHCH, Wed–Sat 11–5pm Marian Maguire, Squeeze Emma Camden, Bing Dawe, Andris Apse, Mike Glover Sat 10–2pm & Meander, 30 Jun -17 Jul, , Simon Edwards, and Anneke Bester, 386 St 21 LEstrange Gallery Opening Mon 29 Jun 5:30, Larisse Hall, Michael Hight, Asaph St, Mon–Fri 9–5pm, Sat 15 Container Artists 8th annual AFTER SHOCK CoCA Toi Moroki Grant Takle, , Jon Jeet, Kulimoe’anga 10–1pm Westfarbe, (touring group group exhibition includes: 21 Jul - 14 Aug, Opening Mon Stone Maka, David Murray, exhibition), until 19 Jul, Malcolm Nigel Brown, Alison Erikson, 20 Jul 5:30, 192 Bealey Ave, Asher Newbery, Charrette Van Artbeat: ISSN 2624-2664

T A T T O O

WANTHRDOUGH NEEW WORRLDS P I E R C E artist designed handcrafted rugs O T H E R

archinedes garden series (square) by Chiara Corbelletto visit dilana online promotion www.dilana.info/dilana-promotion

102 Buchan St | 3665866 BNZ Centre l 120 Hereford Street l 3792882

An Update: Subscribe & Support ARTBEAT Visual Arts Newspaper in July 2020 Launched in June the request for Participating galleries kindly an annual subscription of $30 to providing a monthly gift are: support Artbeat was delayed due Absolution, Ashburton Art Gallery, to the online set-up process. It is Canterbury Museum, Chambers now in place. Gallery, City Art Depot, Fiksate Go to the homepage artbeat.org. Gallery, Jonathan Smart Gallery, nz and to PayPal to subscribe PGgallery192, the Physics Room and support Artbeat and enter a and SCAPE Public Art. monthly draw for a gift valued at $100.00 from a local gallery.

The monthly gift for Artbeat subscribers in July is from Fiksate Gallery artist, Jen Heads, Lockdown Thoughts, 2020, risograph print, 1/50, 420 x 297mm.

Artbeat Issue 19, July 2020 05 For extended reviews and content visit:

REVIEWS www.artbeat.org.nz

→ Te Wheke Pathways Across Oceania Robin White and Ruha Fifita, We are the small axe writer 2015. Natural dyes Andrew Paul Wood and pigments on bark-cloth. A rehanging of the bread and butter display is a distinctly didactic, mediated feeling to Collection of of the permanent collection is always going the layout. Connections tend to be made for Christchurch to be an event. It’s fascinating to see how you rather than allowing you to make them Art Gallery Te Puna o the old (and new) favourites will be reinter- for yourself. Waiwhetū, pur- preted for the Zeitgeist, what gets retired and There is also the question of why some chased 2019 what’s brought out again. Te Wheke Path- artists seem to be highlighted with their ways Across Oceania is unusual for such a own space and multiple works – Gretchen hang in that it has opted for a distinct overall Albrecht, Russell Clark and Phil Culbert theme of culture(s) defined and connected loom large. Not that I’m mad about that, by the Pacific – perhaps inspired by Epeli the selection of Clark’s works is wonderful Hau’ofa’s idea of islands connected rather and the 1958 mural, included because of its than separated by ocean. “Te wheke” means engagement with Pacific forms, a revelation, “octopus”, an intelligent and resilient crea- and Albrecht’s colourful stain works from the ture that is familiar to all Pacific cultures, 1970s are delicious. symbolic of voyaging. At its heart this is an It is also fantastic to see so many women exhibition that seeks to bypass a Eurocentric artists collectively given their due: a gener- model of art history entirely. ous helping of Lonnie Hutchinson, Cath Rather strikingly for a New Zealand Brown, , multiple Fiona Pard- gallery, if you take the most direct route from ingtons, Edith Munnings, Margaret Stoddart, the stairs and elevators, you enter the exhi- Olivia Spencer Bower, Pip Culbert, Evelyn bition through a room of work by contempo- Page, Ivy Fife, Doris Lusk, Vivian Lynn, to rary Pasifika artists – Grace Ngaputa Pera, drop just a few of the names that caught the Edith Amituanai, Sione Monu, , eye. There is a really good gender and ethnic John Pule, Fatu Feu’u, Michel Tuffery, and a balance to the entire exhibition that feels like tapa collaboration between Robin White and it honours everyone appropriately with the Ruha Fifita – as well as historical artefacts by right amount of awhi. unknown creators, before you pass into the Nor does Te Wheke shy away from chal- rest of the hang. It’s an unexpected initiation, lenging us with how fragile the ocean can be, but a logical one. and how dangerous. There are three photo- The experience is loosely thematic graphs from Kentaro Yamada’s exquisite but not in a constraining way, flowing from Tsunami series, reproducing screenshots Māori whakairo made for Pākehā markets of television news reports showing the 2011 I also recommend the accompany- Te Wheke Pathways Across Oceania and Goldie and Lindauer portraits, Europe- tsunami striking Sendai, Japan, ing publication; a solid, nuggety little book Curated by Ken Hall, Felicity Milburn, Nathan ans in the Pacific and Pākehā modernists Aramoana paintings protesting a proposed which will help you make sense of the overall Pohio, Lara Strongman and Peter Vangioni to Māori artists working within an interna- aluminium smelter and Connie Samaras pattern and act as an adjacent resource of with Stephanie Oberg tional modern or contemporary aesthetic. beloved 2005 video of a seal breaching the a images for memories of a thoroughly enjoy- Christchurch Art Gallery Te Puna o Waiwhetū Unlike more traditional hangs it is a bit diffi- hole in the Ross Ice Shelf and just breathing able experience. Corner Worcester Blvd and Montreal St cult to just float around browsing as there – perhaps the furthest fringe of the Pacific. 30 May 2020 – 23 May 2022

Anthony Davies Disrupted Space

writer Warren Feeney An encounter with Anthony Davies’ prints, video stills, and prints from Plight of the Inno- whether in a publication or the space of an cent, I and II, 2015-16, two series of images art gallery, is always a wakeup call. The imag- drawing from Reuter and television news, ery of his work could not be further removed encompassing subjects that include global from popular sentiment or the misnomer that industrialisation and its damage and harm to the visual arts are somehow removed from the natural world and humanity, (with special the reality of life. The English-born print- attention to the young and elderly) crowded maker resident in Aotearoa New Zealand for and constrained in an industrial world that by more than 25 years makes prints that consis- necessity is identified as home. tently confront us, (every time they are expe- Disrupted Space is a timely and import- rienced) about the need for a commitment ant reminder that the visual arts are not the to personal responsibility for the state and voice of accepted opinions, or good-news well-being of others and the planet. announcements and happy endings. Rather, Davies is a master printmaker, (an Davies prints confront us with open-ended esteemed Fellow of the Royal Society of questions, providing a perspective on our Painter-Printmakers) and knows about the ways of thinking and reminding us of who we history and potency of the print in Western are and what we represent. art and its reputation for challenging social and political commentary. Yet, unlike his earliest predecessors, James Gillray (1756 – 1815) or William Hogarth, (1697 – 1764), don’t expect ironic commentary from him, famously Davies’ etchings, lithographs and lino prints do “bleak” rather than witty detached observation. Davies’ art is a reminder that the visual arts, at their best, are not seeking to be popular, rather he sources his imagery from our daily diet of local and international news,

↑ capturing our attention through films and Anthony Davies, Plight of the photographs of natural and human-made Innocent Series II , 2015-16, linocut disasters and tragedies, repositioning our print 1/6 act of regular media consumption to one of considering and taking responsibility. Disrupted Space at the Ashburton Art Gallery is a survey of sorts of his prac- Anthony Davies, Disrupted Space tice, bringing together two series of prints, Ashburton Art Gallery Surveillance, linocuts from 2014 of surveil- 327 West Street lance stills from security cameras and CCTV 11 June – 31 July

06 Kelcy Taratoa: Wānanga. A Space for Deep Philosophical Discussion

The invitation to the Christchurch Art Gallery te Puna o Waiwhetū’s new take on its collec- tion, Te Wheke Pathways Across Oceania is celebrated on the east wall of its building and the wall above the foyer with two new works by Kelcy Taratoa (Ngāi Te Rangi, Ngāti Ranginui, Ngāti Raukawa). On the east wall on Worcester Boule- vard is Te Tāhū o ngā Maunga Tūmatakahuki (voyage and exploration) and above the foyer, Whakatakina te Waiwhetū (to pursue the many stars reflected in the sacred spring). Lead curator Felicity Milburn describes their associated themes: ‘Belonging and connection were a starting point for Kelcy Taratoa, working with the support of mana whenua, including Nathan Pohio, to ground the work in local narratives that relate to discovery and whakapapa.’ As large-scale works that welcome us into Ōtautahi Christchurch’s public gallery they share in the spirit of three earlier murals by Taratoa in Art Gallery’s atrium from October 2019 to welcome visitors to the gallery and its survey exhibition of the artist’s paintings, Who Am I? Episode 001. Collec- tively titled, Te Kore, te-wiwia: A Space Without Boundaries the murals represented possible ways to respond to and address the question in the exhibition’s title. Taratoa acknowledges that he engaged with each gallery’s architecture and the signif- icance of their structures as cultural vessel housing our cultural artefacts. ‘My role is to create a work that connects specifically to Tahiti and beyond. But it is grounded in the ↑ shapes and formulated into patterns.’ who you are. ‘In Māori visual art traditions Kelcy Taratoa, the community, that calls out to and invites local history of the haukāinga, Ngai Tūāhuriri, Te Tāhū o In the early decades of the 20th century, nature is abstracted. Māori art operates the community to come in and engage, like and Ngāi Tahu and Ari te Uru tradition. It ngā Maunga the idea of pure abstraction in European art within a conceptual framework where it is Tūmatakahuki the kaikaranga (a call of welcome) reaches out makes reference to Oceania, but is grounded , was also a means to explore philosophical not necessary to represent nature literally. 2020. Acrylic and welcomes the visitors onto the marae.’ to Te Waipoumanu through the prominent paint on wall. questions with Russian artist Vassily Kandin- Rather it is the concept of nature which is ‘I considered the Christchurch Art inclusion of Aoraki.’ Commissioned sky, (1866 – 1944) raising important questions present - allowing for a more open philosoph- Gallery wall as I did the Tauranga Art Gallery’s In their symbolism, themes and imagery by Christchurch about his painting: ‘Just ask yourself whether ical space where meaning is not fixed within Art Gallery atrium walls as a veil that is thin and allows us they encompass an ongoing conversation Te Puna o the work has enabled you to walk about into a representation.’ to slip into and even through, like ‘te ārai’. This from Taratoa with his love and respect for Waiwhetū hitherto unknown world. If the answer is yes, links back to tukutuku as te ira atua, the realm European abstract painting. Taratoa says that what more do you want?’ of the gods, a space for wānanga deep phil- tukutuku is a means ‘to explore a conceptual, Taratoa maintains that the marae and Te Wheke Pathways Across Oceania osophical discussion and to ponder beliefs, philosophical and spiritual space where rich whare tipuna (meeting house) are spaces Christchurch Art Gallery Te Puna o knowledge and history. Te Tāhū o ngā Maunga layers of meaning attributed to the natural that have always been places for discussion Waiwhetū Tūmatakahuki’ makes a link for Māori back to world have been abstracted into geometric and debate about where you belong and Cnr Worcester Boulevard and Montreal Street

→ Heather Milne: Isolation as an Everyday Heather Milne, Rakaia 2, 2020 Occurrence at Art Hole

Light isolates objects. Geography isolates towns. As a country, we addressed isolation through different levels during the COVID-19 pandemic. In Routine Isolation photographer Heather Milne addresses the idea of isola- tion as an everyday occurrence in rural New Zealand. The exhibition includes photogra- ↓ phy from collections: Rapaki 2019, Rakaia Luke Jerram, MOON, Photo: 2019, Ellesmere/Bushfire 2020, Arthur's Heather Milne: Isolation as an Everyday John-Paul Pass, 2020 Pochin, Light Occurrence Ltd, courtesy Art Hole, 336 St Aspah Street of the Nelson Opening Tues July 14, 5:30pm. 14 to 18 July Provincial Museum

Luke Jerram’s Moon and Hannah Beehre’s Tunnel take us into Outer Space

In Our Moon: Then, Now and Beyond Brit- ish artist Luke Jerram’s MOON installation, a four-metre orb wrapped in high-defini- tion imagery of the moon’s surface, is the centrepiece of this new exhibition at Canter- bury Museum. Our Moon also includes the return of Hannah Beehre’s 2018 installa- tion Tunnel, featured in SCAPE Public Art’s programme. Tunnel uses mirrors, velvet and Swarovski crystals to create the expe- rience of walking through outer space. Our Moon: Then, Now and Beyond is presented by Nelson Provincial Museum in partnership with Rātā Foundation, Cawthron Institute and Our Moon: Then, Now and Beyond the Embassy of the USA. Canterbury Museum, Rolleston Avenue Opens 3 July

Artbeat Issue 19, July 2020 07 Telephone Mobile 03 980 4972 021 216 7753 CAMPB ELL 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 R oyal 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 Ant arctic programme. B.A. Honours in Fine Art and Post Graduate Certificate in Fine Art Conservation, training in the UK.

Campbell Conservation are happy to 27 June – 11 October | Free entry Jointly developed by Christchurch Art Gallery Te Puna discuss any of your restoration and o Waiwhetū and Auckland Art Gallery Toi o Tāmaki. Image: Louise Henderson Garden (detail) 1977. conservation needs Oil on canvas. Private collection, [email protected]

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