Issue 26 Exhibitions Ōtautahi www.artbeat.org.nz March 2021 Galleries Studios Waitaha Street Art Canterbury Art in Public Places ARTBEAT In this issue: Tribute: Darkness into Light 01 How do you paint a city 02 Fiksate relocates to Sydenham 04 Bill Hammond (1948 – 2021) 05 Reviews 08 Galleries in the regions 09 Tai Tapu Sculpture Exhibition 11

Janneth Gil. Tribute: Darkness into Light

When the 15th March 2019 Mosque attacks Gil’s projects encompass a range of happened, Colombian born, Christ- disciplines through photography, works on church-based artist Janneth Gil was imme- paper, texts, podcasts and collaborative diately reminded of memories of her life in works with some of the victim’s families. She Bogotá in the 1980s and 1990s. The United describes the response from Christchurch States was then waging a war on drugs in and its communities as profoundly significant, Colombia in armed conflict with drug cartels, with discussion about systemic problems that with civilians caught in the middle with the might have contributed to an environment or cartels against both the USA and the Colom- culture that led to such an atrocity, and the bian government (During this time, drug immediate response evident in the expres- → lord Pablo Escobar (1949 – 1993) attempted sions of grief and remembrance through the Janneth Gil in her studio at to assassinate a politician by bombing a giving and laying of flowers in an impromptu the Ilam School commercial flight he was expected to take, memorial for the victims and their families of Fine Arts. killing all 107 passengers). on the fence line of the Botanic Gardens on Digital image available in vari- Gil says that the events of 15th March Rolleston Avenue. ous formats were a reminder of the violence of that earlier Gil also worked with The time for her, but she was also heartened by Herald, as well as The Press and various inter- →→ Janneth Gil, the response from Christchurch residents national newspapers and a television channel After months of and ‘the importance of familial and commu- in Singapore, contributing her photographs of being without nity support and the connections we form the Muslim community. She was also involved family as a new The Widows of Shuda mother and with others, and how these significant rela- in , a New Zealand on trying to realise tionships are imperative for us to be able to Air funded project about four women whose her husband’s confront and rise above adversity.’ husbands were tragically killed. Working with dream of raising their daughter Over the past two years Gil has built a team from Plains FM, Radio New Zealand, in New Zealand, and maintained a close relationship with the lead producer Lana Hart, and members of the Neha now has city’s Muslim communities, creating and Muslim community they created a mentoring her closest family members developing a series of projects that respond project of stories from people in podcasts, with them, her with affirmation to a greater understanding with commentary and photographs working mother, Shafia and tolerance by all communities to others. together, telling the stories of that commu- Begum, and younger brother She aims to make a contribution by encour- nity and not their own version of their stories. Faysal. Archival aging those who see her work to reconsider (Listen: Widows of Shuda (rnz.co.nz) pigment print unconscious biases that lead towards racism Gil has transferred a message from one on Harman by and discrimination, thereby encouraging widow onto a paper document, transparent Hahnemuhle Gloss Baryta dialogue, inclusivity, and a more informed, with the letters evident as empty spaces that paper. empathetic and socially conscious society. can be looked through with a sense that the Gil has collectively named her projects message is present, yet also vulnerable, as working with the Muslim community in a vari- though it could also disappear, emphasising ety of media as Darkness into Light, with her that this is exactly the point that she wishes current exhibition at PGgallery192, Tribute: to make. ‘My fear is that people will forget Darkness into Light, the first in a series to what they felt on 15th March very quickly. such terrorist attacks in the world. They were idea of memory. There are works from the follow. The exhibition includes photographs Memories can fade and it is important that very surprised at the way we did what we did victims themselves or their families, a stain of the Mosque and Muslim community, the we remember.’ and being such a small country we became or samples of blood or objects, and that will voices of their widows and two speeches Her photograph of the two interior rooms global. So it resembles the “Black Lives be another exhibition and I am also making written by widows, including one of the of the Linwood Islamic Centre, share this Matter” movement and the importance of inks and watercolours from the flowers at the victims’ impact statement heard at the high sense of vulnerability. She observes: ‘ This the strength of an idea.’ Botanic Gardens and printing flowers.’ court sentencing for the 15th March Mosque is the female area of the Linwood Mosque, ‘As well as Colombia I also lived in the ‘I have also created workshops for the shooter. here Linda Armstrong became a victim. It is Middle East for a while, and that was also Muslim community to help them not to be ‘Through Darkness into Light I primar- divided into areas for females and males and helpful in establishing really good relation- misrepresented in the media and workshops ily wanted to immortalise these tributes as you have this veil in between. That will have ships with some of the victims of the Mosque on how to use photography for positive social a metaphor for human empathy, solidarity, been the view when this happened, her view, attacks. It was not easy but we just started change for minorities and immigrants. I want respect and support, and to emphasise and she died just in that port. That is how I talking and I realised that they had the same to create a domino effect and work with the few good aspects this tragedy brought came to the idea of photographing it from issues with racism that I had. I am from people who have the same kind of views to our communities. Tributes from the there and through the veil, but also the chairs, Colombia and people think that Colombia is which is why the whole project is full of many Botanic Gardens and the Al Noor Mosque they are like the witness of what happened all about drugs. These are stereotypes that different parts. I don’t see it finishing. It is just (Masjid An-Nur) have been used as the and also the absence of the men who died we have to break. We all have work to do.’ the start.’ raw materials for the creation of paper and there and also that feeling of the darkness ‘Darkness into Light is a large project photosensitive material in order to produce and light. In Arabic, Noor means light.’ and I want it to focus on different areas, Janneth Gil, Tribute: Darkness into Light gum-process prints. Captions and titles Gil also says that although New Zealand especially in its role in community engage- PGgallery192, 192 Bealey Avenue for works mentioned reference interviews is a small country it has captured the atten- ment. I want some of the projects to be exhi- 23 February to 19 March conducted with collaborators or written mate- tion of many internationally. ‘We just had a bitions in public galleries where I can show TRIBUTE Floortalk, Tuesday 2 March, 12pm. rial that they wished to share with me for this team from Singapore doing a documentary different types of works, including the actual Join artists Janneth Gil and Viv Kepes. end use.’ on my work about what communities do after clothing of the victims. I am working on the See: page 3, Viv Kepes. Tribute - Bouquet

Artbeat 01 How do you paint a city? writer Reuben Woods As bright skies (and gusting winds) have signaled the arrival of summer and a sense of creative activity has flourished across the city, I have been reflecting on muralism’s representation of our identity. As the talented DTR crew spend long hours on scissor lifts completing a massive and impressive archi- tectural mural on the rear wall of the River- side Market's building, reimagining iconic heritage architecture into an illusionistic patchwork of façades, I have been drawn to consider other murals around the city and how they tell our stories. As commissioned muralism has grown in prominence and popularity, the process of commissions has also ensured more voices sit at the table. Murals increase in scale, as does visual trickery and technical virtuosity, but concessions are increasingly made as well, especially in terms of the themes and imagery of works. This is not surprising as more funding is put towards projects and more interest is applied to the outcomes. The effect of this stakeholder input, often exercised with public responses and brand recognition in mind, not only clouds the definition of street art, but pushes mural- ism closer to an amalgam of public art and marketing. This development raises questions ↑ touched on the rebuild. In a city that has friends. While many artists have developed Askew's Paris, around the images found on walls and how painted for lost so many buildings, such an approach is Portraiture is an enduring presence, distinctive styles within which to deploy they connect to the city and its communi- the From the entirely understandable, our built environ- with contemporary muralism often favouring such subjects as visual signatures, it is ties, not only as an audience, but also as Ground Up ment represented memories and time spent contemporary figures, rather than historical also worth remembering that muralism’s festival in 2013, the subject. Over recent history, a set of presented a in our cherished locations, many now gone. references. Such portrayals range from local roots in urban art remind us of the way more recurring themes have appeared in Christ- local resident in Birds, flora and fauna, as in most New celebrities, such as Mr G’s depiction of rugby traditional tactics have connected to place. church’s murals. Alongside the DTR crew’s a larger-than- Zealand cities, also remain popular. Chimp’s league hero David Kidwell or Jorge Rodri- Rather than explicit themes, urban interven- life format in latest production, other walls have utilised Sydenham beautiful Justice & Emergency Precinct guez-Gerada’s painting of conservationist tions have represented us through their act architecture, from Dcypher’s Kodak mural mural, Dcypher and Jacob Yikes’ Antarctic Hugh Wilson, to lesser-known figures, such of creation. As uninvited additions to urban in the SALT District, which invites the audi- mural on the Novotel Hotel, and even ROA’s as Askew’s Kristen in Cathedral Junction or walls, the willingness to strike out and leave ence to ‘flip’ the film negative images on moa on the side of the Canterbury Museum, Paris in Sydenham. Other figurative works a trace represents the diverse voices within their phone, to Christchurch-raised Johnny all recognise our attachment to our natural have attempted to produce more arche- cities, reminders that there are options to 4-Higher’s tribute to the broken Cathedral, environment. In a country that anoints an typal figures, evident in FinDac’s Kaitiaki at state one’s presence alongside corporate or even Gary Silipa’s stylised production annual bird of the year, it is unsurprising that the YMCA. The spark of human recognition signage and civic authority. What could featuring famed broken buildings and the we identify strongly with the various char- ensures portraiture resonates as a way to be more representative of a city than such new Cardboard Cathedral in a scene that acteristics and qualities of our feathered tell stories and suggest shared experiences. active citizenship?

NEWS EVENTS & WORKSHOPS

The Zonta Ashburton Female Art Durven, Harriet Eglinton, Brietta Freeman, These include topical engagements Awards 2021 and the list of finalists: Olivia-Rose Hargest-Slade, Sophie Hamil- with nature, ecology and environment; ZAFAA continues to grow in popularity with ton, Mia Heywood, Emma Kim, Monica female arts practice; and original creative ↑ a record number of submissions received Koster, Yixuan Li, Hannah Margison, Payge approaches across multiple mediums. Stoddart Cottage is the oldest colonial dwelling in Diamond Harbour and Stoddart Cottage Gallery, 2 Waipapa birthplace of artist Margaret Olrog Stoddart (1865-1934). 10am to 4pm Open: in 2021 from artists throughout Canter- Ovenstone, Ella Reeves, Phoebe Rolleston, Fridays, Saturdays, Sundays and public holidays, 10am to 4pm. Photograph: bury. ZAFAA21 seeks to raise the status of Abby Ross, Jorja Shadbolt, Alice Wareing Avenue, Diamond Harbour. Colin McLeod. female visual artists and acknowledge the and Victoria Wareing. Award winners will contribution women make to the greater be announced Friday, 5 March, 7pm at the Art Escape: Christchurch/Canterbury art discourse. With 92 entries this year the Ashburton Art Gallery. ZAFAA21 is open Cancer Society Art Group: Art Escape judges have selected 43 artworks for the from 6 March – 6 April. brings together a wealth of paintings from awards exhibition of which 24 qualify for members of the Christchurch/Canterbury the Premier Award with an additional 19 News from the Stoddart Cottage Cancer Society Art Groups. Works are eligible for the Young Generation Award Gallery. New developments and a call representative of a wide range of genres for female artists aged 16-20. Judges out to artists: The Stoddart Cottage that coalesce into a joyous engagement for 2021 are: Lydia Baxendell, curator, Gallery is implementing a planned with paint, colour, subjects and themes. Kaitiaki Taonga Toi, Art Collections at the programme of participatory events, The Art Group provides a welcome respite University of Canterbury, Cheryl Lucas, comprising a series of creative work- for those whose lives have been adversely senior practicing artist and 2019 Creative shops in winter, and walks such as Listen- affected by cancer. The sessions are happy New Zealand Craft/Object Fellow, and ing to Landscapes, led by sound artist gatherings of people who come together, Sarah McClintock, curator and collections and gallery manager, Dr Jo Burzynska, not so much to talk about cancer, but to manager at the Suter Art Gallery Te Aratoi which revisits Diamond Harbour sites discuss how they plan to develop their latest o Whakatu, Nelson. Finalists for 2021 are: of Margaret Stoddart’s paintings by ear. art works. Participants are supported by Susan Badcock, Amie Blackwell, Jen In 2022, the gallery moves to a curated volunteer tutors who are fine arts graduates Bowmast, Kara Burrowes, Lucy Dolan exhibitions’ programme with its first call and/or qualified teachers. The art in Art Kang, Edwards+Johann, Polly Gilroy, for expressions of interest in May 2021. Escape is in the action of coming together, Jacquelyn Greenbank, Karen Greenslade, As a community gallery, it is committed sharing ideas, producing work, and the Lee Harper, MiKyung Jang, Mandy Joass, to supporting the work of local artists and reframing and proclaiming of identity. “Art Ina Johann, Donna-Marie Patterson, Lisa artisans working in the Harbour Basin. class at the Cancer Society… acceptance, Patterson, Rachel Ratten, Della Rees, Kate However, it also encourages submissions understanding and friendships made whilst Rivers, Olivia Isabel Smith, Nicola Thorne, of high-quality work from diverse emerging we create.” Hosted by Eastside Gallery, Akky van der Velde, Lucinda Webber, and established contemporary artists from 388 Worcester St. Opening Event: Tuesday Jenny Wilson and Holly Zandbergen. Final- further afield, especially that which actively 16 March 5.30-6.45pm. From 16 March to ↑ Ray Haward, Summer’s Day, acrylic on canvas, (See: Art Escape, Eastside ists for the Young Generation Award are: engages in an original way with themes 1 April 2021. Wednesday-Saturday 11am- Gallery) Isabella Breese, Rosetta Brown, Theanine that resonate with the building’s heritage. 5pm, free onsite parking.

02 Viv Kepes. Tribute - Bouquet

↘ Exploring the wildlife in our city: Do you know Gavin Bishop, AT THE Wild Ōtautahi, how many different spiders live in Canter- original illustra- bury? Have you ever seen a weta motel? tion from Gavin Explore illustrations from Bishop’s Wildlife Bishops’ Wild- of Aotearoa life of Aotearoa, and discover the animals living in Penguin Books, our city, their living habitats and meet some 2019 of the heroes who help them survive. Bishop

↘↘ is a Christchurch-based award winning chil- Jan Priestley, dren’s picture book writer /illustrator. Harbour Gavin Bishop, Wild Ōtautahi: Exploring the Drifting, ce- Wildlife in our City ramic and fibre , Te Pito Huarewa / South- objects base Gallery, level 2, Tūranga, 60 Cathedral Square, 20 March to 20 June ↘↘↘ Madisyn Zabel, glass instal- Diamond Harbour artist Jan Valentine lation Priestley has been working in clay and fibre for many decades on Banks Peninsula and ↘↘↘↘ Harbour Siobahn in Idyllwild, Southern California. In O'Brien, Drifting she assembles a varied collec- Peonies, oil on canvas. tion of ceramic pieces; Portuguese fish- ing boats with lettering and sea creature ↘↘↘↘↘ images, open–footed bowls printed with Zara Dolan, Untitled, 2021, buoy floats and lifebuoy rings hung from old monoprint oars also with varied calligraphy, maps, and sea creatures. ↘↘↘↘↘↘ Harbour Drifting Mark Soltero, Jan Priestley, , Stod- Forms of Light dart Cottage Gallery, 2 Waipapa Avenue, and Shadow 1 , Diamond Harbour, 5 to 28 March 2021, acrylic on panel I am captivated by the visual collision of opposing forces; positive and negative, volume and flatness, light and shadow. The tension between these binary forces is the influence for my studio practice. Within my practice, I explore the spatial relationships between three-dimensional objects and their two-dimensional representations. I Viv Kepes’ oil on linen paintings in Tribute - ↑ a little further away that the more complex combine traditional craft techniques and Bouquet Viv Kepes, May take their subjects from the memo- you be comforted forms come to life. When I work, I am always digital technology to create installations, rial flowers and bouquets spontaneously and by the outpouring moving to and from the support, painting which explore physical and virtual relation- of love surround- ships in the contemporary world. cumulatively placed outside the entrance to ing you! counter intuitively with large brushes and a , 2020, oil Australian-based glass artist Madisyn the Botanic Gardens in Rolleston Avenue on linen lot of paint to capture an essence or feeling and at Al Noor Mosque on Deans Avenue from my subjects.’ Zabel described her practice. See: HOME following 15th March 2019. She maintains ‘There is a photographic connection in | Madisyn Zabel Karin Barr and Madisyn that they are, in part, a sensory experience these works that is empathetic to particu- Zabel, CONSTRUCT, Form Gallery, 468 about the colour and beauty of these trib- larly figurative narratives, but at times paint Colombo St, 3 to 26 March utes, and by association, ‘speak of the love, disrupts and confuses the strength of this unity, strength, peace and other good inten- relationship. I think of my work as somewhat This body of work explores the notion of tions that our wider Canterbury community open-ended, semi-abstract still life paint- “Basic Goodness”, a term used in Sham- brought to our Christchurch Muslim commu- ings. If the viewer knows the subject, their bhala Buddhism to describe our innate nity through the giving of flowers following preconceived notion of it will complete what human wisdom and potential to achieve the 2019 mosque attacks.’ they are seeing. If they do not, then I love that enlightenment. It describes the basic state They are also the outcome of an inten- the forms and colours of the subject are free that exists in all human beings…. In Sham- tion to immerse those who experience to become anything they imagine them to bhala Buddhism the connection between the them in something of the small and intimate be.’ inner and outer world is important in tapping details of the natural world as an encounter into and cultivating ones basic goodness, by with nature and its capacity to hearten and coming out of the mind and into the body and console. She comments: ‘In the whirlwind the experience of the senses. of our lives, it can be difficult for many of us The artist backgrounds the subject of their to find time to pause and notice the incredi- exhibition Basic Goodness ble sophistication and beauty of our natural Siobhan O’Brien, , Art world. My work captures brief moments of Hole, 336 St Asaph Street, 16 to 21 March tiny, fragile, natural beauty.’ There is also an intuitive understanding Zara Dolan has an interest in process, and in Kepes’ painting about the unique qual- how different processes can evoke visual ities of her materials, engaging with oil on intrigue. Her works are large-scale mono- linen as a subject in itself, and as a distinct type prints created using a traditional print- means of representing the experience of an making press. She uses layering, colour idea and its possible realities. Her paintings and assertive gestural marks in an abstract Chaos remain accurate to their subjects and the expressionist style. Her exhibition, and Order colours are true as to how she perceives ↓↓ Viv Kepes, Tribute - Bouquet marks the end of a year of exper- Viv Kepes, To- PGgallery192 them. However, she intentionally expands gether We Stand imentation and self-discovery as a Masters 192 Bealey Avenue and distorts parts or all of the scale, and the Stronger, 2020, candidate at the University of Canterbury forms and structures she observes. oil on linen 23 February – 19 March School of Fine Art. Chaos and Order ‘The materiality of the paint is quite a Zara Dolan, , The Den, 181 thing for me. I observe and photograph my High Street, 3 to 20 March subject. I freehand draw on my support, indi- cating the placement of colours, tints and My work is situated in reference to my tones of paint. The drawing stage is more personal history and the cultural and politi- abstract than depictive, a simple map to cal landscape of the Postmodernist period. guide me with paint placement. I spend a lot The etymology of cinéma translates literally of time mixing generous amounts and vari- as the drawing of movement. Theatres are eties of colour from a limited palette of care- containers of images and collective memory. fully selected paints specific to each work. I The silver screen is like a mirror, reflecting apply this paint fairly fast to the support with traces of visual culture back to the consum- large brushes, and before the paint dries, ers of that culture. I return to gently shift and move some of it Mark Soltero describes his love of the about with different types of brushes until cinema Cinématic Forms of Light and the work is complete.’ Mark Soltero, Shadow ‘I love science, which is why the details in , Chambers Gallery, 80 Durham my work will always be quite accurate before Street, Sydenham I allow the depth of field to fall away into a dreamlike blur. Viewers sometimes need to adjust their distance from the work in order to focus on the subject. Up close details can be loose brushstrokes. So, it is often from

Artbeat Issue 26, March 2021 GALLERIES Fiksate Gallery Te Ūaka The and Studio has Lyttelton Museum Relocated to Sydenham

Fiksate has reopened in its new gallery and Lyttelton is embarking on a fundraising studio space at 54 Hawdon Street. Artist and campaign for its new community-owned gallery manager Jenna Ingram says that they museum, Te Ūaka Lyttelton Museum, its name are ‘loving, being there in Sydenham in the gifted by Te Hapū o Ngāti Wheke, referring to a Milfield Group's renovated warehouses in landing place, place of arrival, or a berthing or our new space. They have done an amaz- mooring place for a watercraft. ing job and been really great to work with. Artist, events’ organiser and resident Gill The “arts district” over this side is also really Hay is overseeing the campaign as Fundraisng exciting, being so close to NZ Artbroker, City Chair, supported by friends who have a long Art Depot, the Jonathan Smart Gallery, Form history with the Lyttelton Museum. Opened in and Chambers Gallery. We hope we can add 1969, the Museum’s first curator, Baden Norris our unique offering to this mix of amazing art was aided by a committee of local residents galleries. as volunteers. Hay notes that Te Ūaka will be Opening its doors on February 12th, the professionally staffed, but community owned gallery has new opening hours, exhibitions and run. The Christchurch City Council will no and projects in the pipeline for 2021. All longer own the Museum’s building as they did services are back up and running, including previously, but they have gifted the land Te Fiksate Framing, the monthly Risograph Print will be massive.’ goes out to all the team involved in the move, ↑ Ūaka will be on at 33/35 London Street. Fiksate’s new releases in conjunction with MK Press and ‘We will continue to add to our “stock- the amazing artists we showcase and our gallery and stu- Of central interest to Te Ūaka’s collec- a new fine art screen printing service and room hang”that we present in between loyal followers, supporters and customers dio space at 54 tion is its association with the Antarctic and monthly releases. the “main event” exhibitions, and this will who believe in what we do.’ Hawdon Street Lytttelton’s role in its exploration. There are in Sydenham The new gallery space is flooded with continue to include select works from artists related objects and records in the collection, natural light and also spotlights (a first for we admire, are killing it in their field of exper- with some currently held in the Canterbury Fiksate), and will continue to showcase the tise, and we are honored to work with.’ More information about these and other Museum. It is anticipated both museums will top urban artists from around Aotearoa New ‘The studio space will continue to host events are on Fiksate’s website or contact share items from their collections, the direc- Zealand and the world. ‘We are aiming to Wednesday night workshops, fortnightly [email protected]. Customer parking is tor of the Canterbury Museum Anthony Wright hold four “main event” solo/group exhibi- alternating between “Slapcity”, (a sticker located directly in front of the gallery or commenting that he is very impressed by the tions this year with two very exciting exhi- and paste-up making night) and “Wahine around the surrounding streets. Fiksate concept and thinking behind Te Ūaka. ‘We look bitions locked in. The first will be opening Wednesday”, an open studio session for Gallery’s new opening hours are: Tuesday – forward to building on the existing long-stand- in April with an exciting up and coming local creative women looking for space and time Thursday: 10am – 5pm, Friday: 10am – 7pm, ing and strong relationship between our two artist and the second solo exhibition in June to focus on their creativity. A huge thanks Saturday: 10am – 4pm institutions, particularly in telling the Antarctic stories that are such a fundamental part of Christchurch and Lyttelton.’ Hay is also excited about Te Ūaka’s role as both museum and community space capa- ble of renewing the heart of Lyttelton. ‘Prior to the earthquakes, you use to see lots of school children visit Lyttelton because of Ngāti Wheke and the port’s colonial past. Going to the Lyttelton Museum was part of what all the schools did.’ Angela Maritz And the new Museum building itself is important as well. Hay maintains that as the earthquakes damaged and destroyed all the significant commercial buildings in Lyttelton, Te Ūaka is the first rebuild on the main street. Based on the East Coast of the North Island, For Lyttelton to have this building in such a South African-born artist Angela Maritz and prominent position is important. ‘The Minis- husband and family live in the Bay of Plenty. try of Culture and Heritage and Rata Founda- Maritz works on her acrylic on canvas paint- tion are supportive of the project and there ings from her studio at home, exhibiting are a lot of businesses active in Lyttelton, the throughout New Zealand and internationally. Port Company and various engineering and She tracks her success as an artist, in oil companies and transport firms, bringing reconciling feelings about herself from more goods into port. We are hoping that some of than twenty years ago as a student, ‘hiding those people will come on board and support from the rest of the world and her sadness, this project. There are naming rights for various anger, frustration and fears of rejection and spaces.’ not being good enough.’ A teacher who saw ‘It is hopefully the beginning of Lyttelton’s Maritz at the time recognised her ability to commercial rebuild. On the top floor there convey emotion through her work ‘igniting a will be a meeting room and there is a real flame’ that she recalls kept her running back, shortage of those in Lyttelton. The space will to paint when she needed a safe place to have a stunning panoramic view of Lyttelton express her feelings. Harbour. There is also a commercial space ‘It wasn’t until my late 30s that I sat on the ground floor of the building as well to back and took stock of my achievements. generate income for the future.’ I was exhibiting extensively. I had galleries ‘When we reach a certain level of fundrais- representing me in New Zealand and I was ing we can begin building and continue rais- enjoying worldwide recognition. Collectors ing funds for the fit-out. The Lyttelton Market of my work were telling me about the posi- on Saturdays will be right in front of the new tive emotional experiences that my art was museum. Thousands of people come to that providing for them and I finally recognised every weekend, so Te Ūaka is part of a much that my feelings allowed me to know how bigger picture. It is about Lyttelton’s wider strongly I felt about things. However I was no growth and development as well.’ longer going to allow them to hold me back. lytteltonmuseum.co.nz It was at this point I truly became an artist.’ Te Ūaka designed by Warren and Mahoney The subjects of her paintings range For more information or to discuss ways to from still life to landscapes and seascapes, ← support Lyttelton’s new museum Te Ūaka and animals and birds, painterly, figurative Angela Maritz, Top of the contact: Gill Hay, Fundraising Taskforce Chair. images with an interest in paint, line and morning (to you 03 3288972 or [email protected] colour. These include a recent series of dear Sir), acrylic seagulls, a subject she describes of interest on canvas artist because they symbolise, ‘the beach and happy times spent on coastal holidays Maritz is the guest speaker for the open- . as a child, but more importantly the connec- ing of the Christchurch Art Show in 2021, Angela Maritz, Artist talk: Art For Your Heart tion we have to other living creatures.’ taking about her journey as an artist and the The Christchurch Art Show ‘My intention is not to just paint seagulls, value and merit of art in all our lives. Event Centre – NZ Airforce Museum but to paint them in a way which gives them 45 Harvard Avenue, Wigram human characteristics. I guess they can be 6.30pm Saturday 10th April 2021 seen as the “underdog” in the “bird king- Tickets $15 (Includes talk and free access to dom” so I choose to romanticise them. To art show) paint, what I would have you think of them.’ The Christchurch Art Show 8-11 April

04 Bill Hammond (1948 – 2021)

← Bill Hammond, Radio On, 1985, collection of Christchurch Art Gallery Te Puna o Waiwhetū; writer presented by the Queen Andrew Paul Wood Elizabeth II Arts Undoubtedly Bill Hammond was one of New handiwork in the flesh at the Prado in Madrid. Council, Wel- lington, 1990 Zealand’s greatest painters. Not merely in the Bill was inventing a kind of postmodern trivial sense of the large sums his work went for history painting out of pop art without even at auction, but in terms of what he said about realising it. The traditional landscape was us as people. there, though often transformed as something Bill was the supreme dissector of the sitting on a table. The deference to England Kiwi (admittedly predominantly Pākehā). His was more or less in the bin and post-war Amer- works from the 1980s were surrealist visions ica was the centre of the cultural world. Comic of an uptight, upright, blue collar Christchurch books and album art became resources. Bill suburbia. But bones and stone axes lurked responded in a way no one else was really among the macrame plant-holders and anti- doing in New Zealand as fine art, but you do macassars. Visible beneath the skin of James see it in things like Fane Flaws’ graphics for the K. Baxter’s “Calvary Street” lay half-beast Flint- opening credits of Radio with Pictures and the stones waiting to erupt. The wallpaper gave art pop aesthetic of Split Enz. way into the darkness visible of rock-n-roll In 1989 Bill went on a tour of the Sub-Ant- underworlds full of fantastic muso-monsters. arctic Islands with the Department Bill’s passion for music may well have of Conservation and the Royal NZ Navy and exceeded his passion for painting. A drummer was profoundly struck by rocky promontories of no small ability, the titles were often musical. largely untouched by humans, where birds Strange beings in his paintings, that seemed were the dominant creatures. In combination to have escaped from album covers, played with a visit to Japan in the early 1990s and phantasmagorical musical instruments. The his introduction of the flat, linear, Japanese really obvious art-historical comparison is graphic style, this resulted in a paradigm shift → Bill Hammond, Hieronymus Bosch’s depiction of Hell in his – the bird paintings with their ecological and Volcano Flag Garden of Earthly Delights , triptych (c.1510) as colonial themes. Bill hated being asked to 1994, collection a place of musical instruments of torture. In explain what it all meant and would tell people of Christchurch 1991, Bill’s work was included in a group show to work it out for themselves. Ave, Bill. Ave Art Gallery Te Puna o as part of New Zealand pavilion at the Seville atque vale. Waiwhetū; pur- World Expo, enabling the artist to see Bosch’s chased 2016

elemental way of introducing a conversation Toi Tū Toi Ora: about contemporary Māori art,’ and this is reiter- ated in the experience of walking through the exhi- Contemporary Māori Art and bition and the selection of artists and their works. The giveaway catalogue that accompanies the Auckland Art Gallery Toi Tū Toi Ora: Contemporary Māori Art simi- larly encompasses the tangible realities of life, Toi o Tāmaki back-grounding colonialism, Black Lives Matters, a Māori perspective on relationships between writer Māori and Pākehā, an account of the Waitangi Warren Feeney Tribunal’s establishment, the 1981 Springbok I discovered Aotearoa New Zealand’s art history tour and the emergence and significance of at high school in 1973 through Gordon Brown and contemporary Māori film in the 1990s as a voice Hamish Keith’s An Introduction to New Zealand distinct from that of Pākehā artists. The catalogue Painting 1827–1967. This is a history which has concludes: ‘The work of Māori artists in this realm its origins in the appointment of the country’s has opened new spaces that are not colonised first professional art gallery director in 1952, Eric by the agenda of others and these artists have Westbrook (1915 – 2005) and his successor Peter been free to pursue, reflect and construct their Tomory (1922 – 2008) at the Auckland Art Gallery own worlds’. Toi o Tāmaki. Yet, in view of such commentary, it seems Throughout the 1960s and 70s, it was surprising to hear of the relatively recent depar- taken as given that the Auckland Art Gallery ture of Borell from the Auckland Art Gallery’s staff represented a voice for the visual arts that was and the public discussion between him and the almost compulsory to pay attention to. For better → gallery’s director Kirsten Lacy. Reporting online or worse, that notion has remained with me for Robert Jahnke, in The Big Idea, Mark Amery commented on the Ripeka whero nearly 50 years and, with great pleasure that faith from the Te wider context of Borell’s departure beyond the in the acumen and authority of Auckland’s public Ripeka series, personalities: “An important line is being drawn gallery came back to me recently, visiting Toi Tū Toi 2015. Auckland here, as an assertion of tino rangatiratanga that Art Gallery Toi Ora: Contemporary Māori Art. As peculiar as it may demands that our institutions deal with how they An o Tāmaki, gift sound, I couldn’t help but immediately think of of the Patrons share power to better reflect Māori values. And it Introduction to New Zealand Painting 1827-1967, of the Auckland again highlights the relative lack of Māori in posi- Art Gallery, even though its use -by date and time was up by 2018 tions of power in our cultural institution.” the early 1980s. Indeed, just as Westbrook and Tomory Why did it come to mind? Because when supported McCahon at the Auckland Art Gallery, Colin McCahon was a staff member and deputy paintings and his colleagues, Louise Henderson, of contemporary art from a Māori perspective as curator of Māori art, Borell was due the appro- director of the Auckland Art Gallery in the mid Milan Mrkusich, Kase Jackson and Michael Nich- comparable to McCahon’s proposition in 1954 priate support, encouragement and authority 1950s he curated a a ground-breaking series olson. Object and Image argued a case for the that contemporary art possesses an incontest- from the Auckland Art Gallery’s management of exhibitions and publications that argued relevance of European modernism, (and Cubism able presence when it makes tangible the realities team. Toi Tū Toi Ora: Contemporary Māori Art modernism was a fundamental means of in particular) representing a public declaration and complexities and depth of our experience speaks with a voice that is impossible to ignore expressing our experience of life in an increas- about the relevance of modernity in the lives of of life. and I would trust that the Auckland Art Gallery ingly urban Aotearoa New Zealand - even though . In doing so, the Auckland Art Opening 5th December 2020 Toi Tū Toi Ora: reflects on how to sustain the influential intelli- that it did take time for many to catch up with that Gallery positioned itself in a leading role, charting Contemporary Māori Art features the work of 110 gence of its voice for the visual arts in Aotearoa proposition. the direction and significance of contemporary Māori artists installed throughout the Auckland New Zealand going forward from Toi Tū Toi: In discussion with McCahon in 1954, West- art in Aotearoa New Zealand. Art Gallery’s exhibition spaces, linking genera- Contemporary Māori Art. brook laid the foundations for the Brown and Keith Curated by Nigel Borrell (Pirirākau, Ngāi Te tions of artists through Te Kore, the creation story. publication, encouraging the artist to curate the rangi, Ngāti Ranginui, Te Whakatōhea) and five As the Auckland Art Gallery’s curator of Māori art Toi Tū Toi Ora: Contemporary Māori Art, Auck- group exhibition, Object and Image, a survey years in its realisation, Toi Tū Toi Ora: Contempo- Borell maintained, Te Kore is the ‘one thing that land Art Gallery Toi o Tāmaki, 5 December of contemporary art that featured McCahon’s rary Māori Art is a revelation, a survey exhibition we as Māori all had in common… it became the 2020 - 9 May 2021

Artbeat Issue 26, March 2021 05 W Tribute to Fire 1 8 Graham Bennett, Absolution Ashburton Art Gallery Fighters, 2002, Kilmore and Kieran Fensom, Fanfauna, 4 Ina Johann, Porosities, until 26 Madras street corner Mar-30 Mar, Arts Centre Te Mar, Janna van Hasselt, Chro- Matatiki Toi Ora, 2 Worcester masill, 6 Mar-26 Apr, Zonta Street Art Murals Blvd, CHCH, Mon–Sun 10–6pm Ashburton Female Art Awards Exhibition, 6 Mar-26 Apr, Mount X 2 Te Pakeketanga o Askew One (Elliot O’Donnell) Aigantighe Gallery Hutt students, Public Art in the Four Avenues (NZ) – Kristen, 2013, 162 Elizabeth Thomson, Cellular Te Whakaao, until 8 Apr, West St, DISCOVERP Raise the an- Memory My Nathan Pohio, Gloucester Street , until 9 May, Ashburton, Mon–Sun 10–4pm, chor, unfurl the sails, set course Beloved... (works from the Wed to 7pm to the centre of an ever setting Y Untitled Rone (Aus), , 2013, permanent collection), until 18 A H E Noho Ra De sun! 9 Thomas Woolner, (founding Paul Dibble, 2015, Harper Avenue 105 Worcester Street Apr, 49 Wai-Iti Rd, Maori Hill, Bryce Gallery member of the Pre-Rapha- Chirico, 1995, Robert Mc- Timaru, Tue–Fri 10–4pm, Sat– 84 Vicenza Dr, Ohoka RD2 Kaia- John Robert Godley Q Under Con- Z Untitled (Giving elites) Dougall Art Gallery, Botanic Peter Atkins, Adnate (Aus), Sun 12–4pm poi, Fri–Sun 10–5pm, Mon–Thu Statue, 1867, Cathedral Gardens struction – Chaos and Order Hands), 2015, 132 Kilmore by appointment (Re-imagined), 2014/19, 148 4 Square Street Arca Gallery I Nucleus 10 Phil Price, , 2006, cnr Gloucester Street Bespoke jewellery, small-scale Canterbury Museum B Citizen’s AA Untitled Starfruit William Tretheway, High and Manchester streets ROA (Belgium), , artworks, until 31 Mar, 127a Jacquelyn Greenbank, War Memorial R Te Tāhū o ngā Fruiterer House of , c. 1936, Kelcy Taratoa, 2013, Canterbury Museum, Hackthorne Rd, CHCH, Tue–Sat , until 28 Mar, J Flour Power Maunga Tūmatakahuki Treasures: Ngā Taonga Tuku Iho Cathedral Square Regan Gentry, , , 2020, 11 Rolleston Avenue 11–4pm , 2008, cnr High and Colombo Christchurch Art Gallery Te until 13 Jun, Wildlife Photogra- C BB Organic Matters 5 pher of the Year George Frampton, (Arts and streets Puna o Waiwhetū’s outer east Chimp (NZ), , Art Hole , Natural History Crafts movement 19th cen- wall, Worcester Boulevard 2018, Justice & Emergency Tefa Mondaca and Nanenko, Museum, London, until 28 Mar, Industry and Concord K Passing Time Another View Mosque: Faith, Culture, Commu- tury), , Anton Parsons, , Services Precinct, 44 – 52 , 2-12th Mar, hours S Stay Basic nity c. 1882, cnr Oxford Terrace 2010/11, High Street entrance Antony Gormley, , 2015/16, Lichfield Street TBA, Siobhan O’Brien, , until 2 May, Rolleston Ave, and Worcester Boulevard to Ara Institute of Canterbury Northern Quadrangle Arts Goodness, 16 Mar-21 Mar 10- CHCH, Mon–Sun 9–5pm CC Untitled Centre, Ōtakaro-Avon River Jacob Yikes (NZ), 5pm 336 St Asaph St, CHCH D Poupou L Tree Houses for (Alice in Videoland) 11 Riki Manuel, , 1994, Julia Morison, between Worcester Boulevard , 2017, 201 Catalogue Swamp Dwellers 6 Victoria Square , 2013, Ōta- and Gloucester Street Tuam Street Art on the Quay Penny Lane, 430 Colombo St, karo-Avon River, cnr Colombo Ivan Button, This or That – the two CHCH, Mon–Fri 8–5.30pm, Sat E Rainbow Pieces T DD Whero worlds of Ivan Button Pat Hanly, , and Kilmore streets Sēmisi Fetokai Potauaine, Kevin Ledo (Canada), , until 11 Mar, 9–5.30pm, Sun 10–5pm 1974, Christchurch Town VAKA 'A HINA, 2019, Rauora O Te Rangi Bailey, 2017, 128 Waimakariri Photographers, M Diminish 12 Hall Foyer David McCracken, Park, 115 Lichfield Street Armagh Street Points of Convergence, 4 Mar- Chamber Gallery Rangiora and Ascend, 2014, Kiosk Lake, 22 Apr, 176 Williams St, Kaiapoi, Nathan Pohio, Raise the anchor F U Hoa EE unfurl the sails, set course to the Monument / Sculpture Lady Botanic Gardens Lonnie Hutchinson, Wongi ‘Freak’ Wilson (NZ), Mon–Wed, Fri 9–5pm, Thu to Kathleen Scott (wife of Robert Kōhine (Girlfriend), 2018, Christ- Rauora Park, 2018, Rauora 9pm, Sat 10–2pm, Sun 1–4pm centre of an ever setting sun! 141 Scott Statue N Call me Snake Falcon Scott), , Judy Millar, , church Art Gallery Te Puna o Park, 214 Manchester Street Percival St, Rangiora, Mon–Thu 7 1917, cnr Worcester Boulevard 2015, cnr Manchester and Waiwhetū, Gloucester St Arts in Oxford 9–5pm, Fri 9–7pm, Sat 10–2pm, FF Untitled Life of Ron. Photographs from the and Oxford Terrace Armagh streets Ampparito (Spain), , Sun 1–4pm V Reasons for 60s & 70s by Ron Hazlehurst, Graham Bennett, 2017, 30 Allen Street un- G O Solidarity Voyaging Heaven 13 Coalbrookdale Foundry, Mischa Kuball, , 2007, Christ- til 14 Mar, Henry Turner, Chambers Gallery Peacock Foun- Grid GG Untitled Drawings Shropshire, , 2013/15, Park Terrace, church Art Gallery Te Puna o Tilt (France), , 2015, , 18 Mar-2 May, Main St, Mark Soltero, Sharon Johnson tain, 1911, Botanic Gardens entrance to Hagley Park Waiwhetū, forecourt 51 Victoria Street Oxford, Thu-Sun 10-4pm and Patrick Barry, 3-20 Mar, Roy

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06 Art Escape 24 30 good and Richard Adams, 24 : Christchurch/ LEstrange Gallery Orion Powerhouse Art Hereford St, CHCH, Wed – Sun Not Pictured in Map: Mar-10 Apr, 80 Durham Street, Canterbury Cancer Society Art Jason Greig, Bryan Gallery Akaroa 11am– 3pm 2. Aigantighe Gallery Sydenham, Tue–Thu 11–5.30pm, Group: 16 Mar–1 Apr, Eastside LEstrange, Kees Bruin and Judy Curnow, Sarah Ford and 3. Akaroa Gallery Inspired 37 Fri to 5pm, Sat to 2pm Gallery at Linwood Arts, 388 Hannah Kidd, until 31 Mar, 53 Anita May Blanchett, The Central Art Gallery 4. Arca Gallery Worcester St, CHCH, Wed– Nayland St, Sumner, CHCH, by Nature, 27 Feb-21 Mar, 1 Michel Tuffery, Te Moana Nui 6. Art on the Quay 14 a Kiwa Ceci n’est Christchurch Art Gallery Sat 11–5pm Tue–Fri 11–5pm, Sat–Sun Rue Pompallier, Akaroa, Mon- , until 7 Mar, 7. Arts in Oxford Te Puna o Waiwhetū 12–5pm Sun 10-5pm pas 1921 by Dick Frizzell, 11 8. Ashburton Art Gallery In Bloom 18 Steve Carr, , until 23 Fiksate Mar-11 Apr, Arts Centre of 9. Bryce Gallery air 25 31 May, Larence Shustak, New works in stock, 54 Haw- Little River Gallery Paludal Christchurch, 2 Worcester 12. Chamber Gallery Rangiora gun?, until 6 Jun, Ralph Hotere, don Street, Sydenham, Tue- John Emery, Mark Dimock instagram: paludal_chch Blvd, CHCH, Wed–Sun 19. Fo Guang Yuan Art Gallery Ātele (to resist), 27 Mar-25 Wed 10-2.30pm, Thu 10-5pm, and Martin Cole, Environs 2 Papanui Rd, CHCH 10–4pm 22. Ilam Campus Gallery Jul, Olivia Webb: Anthems Fri 10-8pm, Sat 11-4pm & Inspirons, until 23 March, 24. LEstrange Gallery of Belonging 32 38 , 13 Mar-11 Jul, Christchurch Akaroa Rd, PGgallery192 The Den 25. Little River Gallery Te Wheke: Pathways Across 19 Tribute: Darkness Chaos and Order Fo Guang Yuan Art Gallery Mon–Sun 9am–5.30pm Janneth Gil, Zara Dolan, , 26. McAtamney Gallery Oceania, until 23 May 2022, Wen-Jung HSU, After a Thou- into Light and Viv Kepes, Trib- 2-20 Mar, 181 High St, 27 Jan- 30. Orion Powerhouse Art Gallery Blue Mind sand Miles 26 ute Bouquet Pauline Rhodes, , , Sculpture World McAtamney Gallery , until 19 Mar, Euan 6 Feb, Wed-Sat, 10-4pm 34. Stoddart Cottage Gallery until 7 Mar, Cnr Worcester Blvd Exhibition Tour, until 28 Mar, 2 Mary Mulholland, As it was in Macleod, Lessons in isolation, 35. Susan Badcock Gallery the Beginning 39 and Montreal St, CHCH, Mon– Harakeke St, CHCH, Tue–Sun , until 31 Mar, 23 Mar-9 Apr, 192 Bealey Ave, The National Sun 10–5pm, Wed to 9pm 9–4pm Gabriel Heimler and Anna CHCH, Tue–Fri 10.30–5pm, 249 Moorhouse Ave, CHCH, No Current Listings: Proc, The Hedge, until 31 Mar, Sat 10.30–2pm Tue–Sat 10.30–5.30pm 43. Dilana 15 20 City Art Depot Form Gallery 40A Talbot St, Geraldine, 44. The Great Hall SUPPLY 33 40 Christiane Shortal, , Karin Barr and Madisyn Zabel, Mon, Tue, Thurs by appoint- Pūmanawa The Physics Room 45. XCHC until 8 Mar, Jan Chaffey, Less CONSTRUCT, 3-26 Mar, 468 ment, Wed, Fri-Sun, 10-3pm Community Gallery Grace Crothall, Shelter House, is more, 16 Mar–6 Apr, 96 Colombo St, CHCH, Tue–Sat The Arts Centre Te Matatiki Toi 27 Feb–4 Apr, 301 Montreal Artbeat is a monthly arts newspaper 27 Disraeli St, CHCH, Mon–Fri 10–5pm  NMG Ora, 2 Worcester Blvd, Tue–Fri Street, The Arts Centre Regis- with news, reviews, commentary and 8.30–5pm, Sat 10–2pm Hannah Beehre, New Works, 10.30–5pm, Sat 10.30–2pm try Additions Building, Tue-Fri listings of exhibitions and events in 21 Hot Lunch until 31 Mar, Wynn Williams 11-5pm, Sat-Sun 11-4pm Ōtautahi Christchurch and Canterbury. 16 34 CoCA Toi Moroki Sam Clague, 5 Mar-31 Mar, House, Dec, 47 Hereford St, Stoddart Cottage Gallery We cover all aspects of the visual arts, Harbour Drifting 41 A Short Run: A Selection of 227 High St, CHCH, Tue–Sat CHCH, Wed–Sat 11–5pm Jan Priestley, , Tūranga inform existing audiences for the arts New Zealand Lathe-Cut Re- 10–5pm 5-28 Mar, 2 Waipapa Ave, Gavin Bishop, Wild Ōtautahi: and develop new ones 28 Exploring the Wildlife in our cords, curated by Luke Wood, Ng Space Diamond Harbour, Weekends 22 The Waiting City 13 Mar-22 May, Ron Te Kawa Ilam Campus Gallery Scott Flanagan, only, 10am–4pm , 20 Mar–20 Jun, 60 For news/advertising (with community groups), Annie Mackenzie, 19 Mar-16 Room Suite, until 31 Mar, Cathedral Square, Mon–Fri email: [email protected] 35 Hīn atore, 13 Mar- 22 May, Ella Apr, Fine Arts Ln, off Clyde Rd, Level 1/212 Madras St, Susan Badcock Gallery 8am–8pm Sat–Sun 10–5pm Sutherland, House Painting I + CHCH, Mon–Fri 9–4pm CHCH, Mon–Fri 10–5pm, Sat Vashti Johnstone, new paint- 42 II, until 31 Dec, 66 Gloucester 10–4pm ings, until 21 Mar, 47 Talbot St, Windsor Gallery 23 St, CHCH, Tue–Fri 10–5pm, Jonathan Smart Gallery Geraldine, Tue–Sat 10–2pm Andres Apse, Anneke Bester, 29 Sat 10–3pm Charrette van Eekelen, Dar- NZ Artbroker Ivan Button, Mike Glover 36 holm v Shivlok, (mulit-media Grahame Sydney, drawings, Teece Museum Joel Hart, Belinda Nadwie 17 Eastside Gallery collage),until 6 Mar, Emily C. F. Goldie, painting and of Classical Antiquities and Matt Williamsa, 386 St Artists from The White Room Hartley-Skudder, new works, Holly Zandbergen, new Myths and Mortals: Life in Asaph St, Mon–Fri 9–5pm, Creative Community Space March-April, 52 Buchan St, paintings, 2 Kingsley Street, Ancient Times, until Nov 2021, Sat 10–1pm Ōtautahi, Our Life, until 13 Mar, CHCH, Wed–Sat 11–5pm Sydenham Arts Centre of Christchurch, 3 Artbeat: ISSN 2624-2664

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

www.mcatamneygallery.co.nz

Now showing As it was in the Mary Beginning Mulholland

Exhibition runs till 31st March 2021

40A Talbot St, Geraldine | Carolyn 027 305 3000 | [email protected]

STARTS MARCH 25TH

Artbeat Issue 26, March 2021 07 For extended reviews and content visit:

REVIEWS www.artbeat.org.nz into sculptural forms using the same Czech Areez Katki Thieves’ Market glass beads favoured by his great-grand- mother, upon a warp of mercerised cotton. Here, the artist invokes material cultures, land- scapes and spiritual iconography from Ancient writer Persia, Greece and India, alongside intimate Tessa McPhee scenes of domestic quiet and reflection. Thieves’ Market considers concepts of orien- Fourteen deliberatively arranged tation, spirituality, and acquisition, bring- vignettes of frieze fragments, airily spaced ing a contemporary perspective on ancient along a narrow shelf, further this sense of processes to The National. Areez Katki’s intri- timeless suspension. The arrangement of cate beadworks document the artist’s ongoing each is calculated, responding to the formal explorations of identity –navigating ancestral and thematic concerns of its neighbour. traditions of object making, and engaging → Areez Katki Spans of fine-lined graffito still the animated with inheritances of displaced artefacts and Lot. 1 2018- atmosphere of the titular marketplace. Object histories. 2021. Czech studies and pencilled annotations stretch Pieces catalogue a culture of loss from glass beads, mercerised across the painted brickwork of the gallery; a Parsi [Persian] New Zealand perspective, cotton thread. prices and wares dissolving into gestural commenting on the dispersal of customary Courtesy of lines, scored through, rewritten - recording practices and cultural ephemera uplifted by the artist and The National, the imagined ‘transactions’ of colonial looting colonial violence and migration; but also cele- Christchurch in mark making. brate acts of reclamation and self-determi- Thieves’ Market foregrounds nuanced nation, methodologies revisited and learned Katki has cited an uncertain relationship with of heritage. visual story telling picked out upon a contex- anew. The first work one encounters upon the patriarchal religious beliefs of his upbring- Such invitingly tactile sites also resonate tually rich ground, drawing together personal entering the space is a cluster of jewel-like ing, finding a more comfortable vantage in with lived experience and personal feeling, and postcolonial narratives and objects recall- tapestries, displayed under glass. This illumi- the sphere of domestic textiles. The artist has capturing marks of the maker in repeated ing Parsi traditions of textile making. nated capital raises critiques around museum dedicated the past three years to a study in motions. Works in Thieves’ Market speak to processes of collection and questions the community engagement, seeking out matri- a considered aesthetic and discerning hand, Areez Katki, Thieves’ Market craft medium as an instrument of connection lineal legacies of makers in order to learn the underpinned by an extensive understanding The National, 249 Moorhouse Avenue and communication. art of weaving tōrans. These woven beadworks and complete respect for materials. Christchurch Raised in a Persian Zoroastrian family, offer a compelling vehicle for conversations Katki’s images are pixelated, translated 3 – 27 February

Issy Van Der Leden, DOG DAYS writer Orissa Keane DOG DAYS, a single-channel video, follows ranges from Jordan Peterson to The Simp- There’s a haunting sequence, accompa- Issy Van Der Leden’s Cabin Fever (2020) with sons, with documentaries and YouTube’s nied by a dramatic piano track, where a docu- the same hectic vlog format. Van Der Leden self-proclaimed philosophers between. mentary voiceover tells us about how fleas in leads her audience through internet rabbit On the title screen, positioned around a jar will never jump higher than the level set holes and personal monologues in a search “DOG DAYS” like categories on an alchemy by the lid. This is spliced with clips of two less- for the Jungian archetype of The Simp. chart, are the words “Transformative”, → than-bright Youtubers who have never heard Immediately we are introduced to ideas “Augmentation”, “The Inevitable” and Issy Van Der of Da Vinci (they pronounce da-vin-key). We Leden, still from of astrology and mysticism in the opening “Cycles”. This implies Van Der Leden’s own DOG DAYS learn that when the fleas reproduce, their lines, setting the tone for the investigation. framework of meaning imposed on the work. offspring will inherit their parents’ learned The title also nods to Hellenistic astrology, the There is a part in Cabin Fever where Van boundary. “Dog Days” being the hottest days of the year Der Leden learns the definition of “ontol- who provides structure, not one who breaks Irony gives way to a dark sense of pessi- referenced in ancient literature as a time of ogy” – which seems to drive the narrative in it down. Van Der Leden disavows the femi- mism for the fate of humankind, augmented mad dogs and misfortune (the period during DOG DAYS – looking at the origin of things, nine and masculine binaries as structures by the internet. The film ends abruptly with no which the artist was making the work). Van the way systems fit together, understanding used to make sense of the world, mention- obvious resolution. Then it loops. Der Leden gives the impression of having relationships between things. Van Der Leden ing Hera, the earth mother being universal an earnest investment in the search for The problematises the Jungian archetypes – in all cultures, chaos as feminine and order Issy Van Der Leden DOG DAYS Simp yet there is an undertone of skepticism which are supposed to represent the range masculine. The search for The Simp is more Paludal, 2 Papanui Road, Christchurch amplified by the irony inherent in the collated of basic human motivations – going against a search for a sense-making structure or 12 February – 6 March, for hours see: clips. The discordant collection of found video the Jungian motivation for the artist as one universal truth. paludal_chch

more time again, as he has done throughout Michel Tuffery the history of his practice, bringing to mind memories of his performances in the Arts Te Moana Nui a Kiwa Centre Te Matatiki Toi Ora and the bulls and turtles constructed as steel sculptures from tin cans in the 1990s and early 2000s. writer There is a similar engagement with Warren Feeney past and present in the prints from Tuffery’s In collaboration with writer and academic Handle With Care Series in Te Moana Nui a Dr Karlo Mila, printmaker Michel Tuffery’s Kiwa. Approached by Pacific Health Plus in Te Moana Nui a Kiwa , features new digital ← Porirua, the artist drew upon the source mate- drawings, (and prints from the Handle with Michel Tuffery, rial of his stamp collection, and in particular, Care Anga ofa, Nau Series), that resonate within the 30 year Fesiofaki, Tonga Health Stamps from Aotearoa and the Pacific history of his arts practice. " Be kind to Islands from the 1930s to 1950. Handle With Tuffery’s partnership with Mila has seen each other, Care appropriates and accords new-found Mana look after each the realisation of the digital video other" relevance to those stamps in Tuffery’s Moana 2020 Meditation , 2020. which plays in The Digital Print, messages of warning about the vulnerability Central Art Gallery throughout the period of Non solvent of Māori and Pasifika communities to Covid19, the exhibition. In response to Mila’s poetry, UV Ink on their subjects in masks, and the addition of Rosapina white Tuffery brings forth the life of the Pacific 220 gsm cotton hand-washing signs and ‘handle with care.’ region and the universe; birds and sea life, paper, 500 x And once again, Tuffery’s public engagement forests, clusters of stars, the ocean and more, 690 x 40mm, with such messages brings to mind his long- edition number all come together in an ebb and flow of time 3 of 19 standing and urgent concern for the state of uniting past, present and future. the Pacific, its flora and fauna and the wellbe- Mana Moana 2020 Meditation is the ing and life of all its people.. perfect introduction and point of entry to Tuff- in the gallery space against the ‘blackest the subjects of Mana Moana 2020 Meditation ery’s accompanying seven ink prints. Evolv- of black’ inks. It is a reminder of Tuffery’s as a series of woodblock prints). Michel Tuffery, Te Maona Nui a Kiwa ing from the artist’s drawings in response to commitment to the authority of printmaking Yet, in terms of their making, Mana The Central Art Gallery, The Arts Centre Mila’s verse, ancestors, oceans, mother and as a means for dramatic and confronting Moana 2020 Meditation is also about Tuff- Te Matatiki Toi Ora, 2 Worcester Blvd, child and constellations assert their presence images. (Certainly, it is possible to imagine ery finding new materials and media one Christchurch, 4 February – 7 March

08 Ina Johann, Elizabeth Thomson, Cellular Memory: A Porosities at the Survey Exhibition Curated by Gregory Ashburton Art O’Brien at the Aigantighe Art Gallery Gallery

They could be aerial photographs of For over 30 years, -based sculp- allows us to repeat physical movements. The islands or the detail of an urban landscape tor/installation artist Elizabeth Thomson has idea of ‘cellular memory’ raises the possi- surrounded by, and sharing space with a been drawn to areas of scientific knowledge bility that memories might be stored within shifting and mountainous terrain. Porosi- such as botany, micro-biology, oceanogra- cellular structures. ties (the state of property or structure being phy and mathematics. In Elizabeth Thomson’s art we recog- porous) is the title of a new series of works by In her art we encounter new ways of nise not only the beginnings of life in micro- German-born artist Ina Johann that asks us seeing, feeling, understanding and possibly scopic, cellular structures but also the pulse to reconsider and look again at our relation- even remembering. As human beings, we of energy through water, the patterning of ship with nature and our constructed envi- are familiar with our own patterns of memory, wind on sand and the cycles of growth and ronment. It is also a solo exhibition by the and with motor, or body memory, which decay that characterise all life on our planet. artist, widely known for her work in tandem In these meditative, beguiling, vital works, we with artist Victoria Edwards as Edwards + begin to sense the curious intelligence and Johann. ↑ sensibility of our world—the many-layered Ina Johann, A The subjects of Johann’s new works in Rambunctious environment of which we are a part. → graphite, paint and Perspex are exquisite Garden #4 Gregory O’Brien on Elizabeth Thomson’s , Elizabeth Cellular Memory in their execution and detail, objective and 2020, dye, Thomson, scientific in their rendering of the natural flashe and ink Cellular Mem- drawing on ory III world, cityscapes and architectural forms , 2019, C-type photo- Glass spheres, and boundaries. Yet, the notion our detach- graph optically clear ment from the subjects of Porosities is chal- epoxy resin, lenged by an encounter with the equally Aqueous isola- tion, cast vinyl curious realties and unrealities of Johann’s film, lacquer on images. Where are these worlds, and what contoured and Elizabeth Thomson, Cellular Memory are they detailing and describing? Do they shaped wood Aigantighe Art Gallery, panel, 900mm 49 Wai-Iti Road, Timaru exist and is nature redirecting and reinstat- x 900mm x ing its presence? 50mm 27 February – 9 May 2021. Porosites is a body of work that has evolved from the artist’s time in lockdown, exploring the familiarity of her local neigh- bourhood, photographingand taking notes and documenting plant life and fungi and the ecology and built-structures that make up Inspired by Nature. A Group Exhibition and Tribute to artist Tim Wilson our world. Porosites is an exhibition about looking – and then looking again. (1954 – 2020): Orion Powerhouse Art Gallery Akaroa

Ina Johann, Porosities Ashburton Art Gallery, 327 West Street 21 November - 12 February Open daily: 10am- 4pm, Wednesday to 7pm Anita May Blanchett, Judy Curnow and Sarah Also mentored by Wilson, Judy Curnow the Christchurch College of Education and Ford make up Inspired by Nature, bringing began painting in 2009 and says that he Canterbury Museum. together paintings by Blanchett and Curnow changed her life. ‘Tim was such an inspi- Judy Curnow, Sarah Ford and Anita May with ceramics and sculpture by Ford. ration, generously sharing techniques that ↓ Blanchett took up painting in 1997, would have taken him many years to perfect. Anita May Blanchett, Inspired by Nature following a visit to Florence and meeting with He taught me to be more confident when Blanchett, Red Orion Powerhouse Art Gallery Akaroa Gourd with 1 Rue Pompallier, Akaroa renowned landscape painter, Tim Wilson painting with oils and that there are no short- Garlic, oil on who challenged her to become a serious cuts to painting.’ Belgian linen 27 February -21 March painter. She spent six years experimenting in Curnow’s and Blanchett’s paintings are many mediums, grounds and methods and accompanied by sculptures in stoneware, in 2004 Wilson invited her to work in situ with copper wire and wrought iron by Sarah him, beginning a four year full-time appren- Ford, an artist influenced by her mother ticeship, learning his painting techniques and pottery friends. Her early experience and forging a friendship in the process. was gained with conventional potting and Her still life paintings are created with anagama kiln firing and salt glazing. In recent thin layers of glazes with a fine finish. Trained years she has become interested in bird as a filmmaker and photographer, the latter and sea life as subjects for various themes, is an important part of her process. She exhibiting widely in Canterbury in group comments that the more she paints, the and solo exhibitions that have included the more she sees, learns and evolves as a Canterbury Society of Arts, (now CoCA), person and artist. ‘The inspiration for me is the Akaroa Art Gallery and Aigantighe Art in this journey.’ Gallery. Ford has work in the collections of Megan Huffadine Nature Morte in Clyde

Based in Central Otago, Megan Huffadine is experience, there is also a sense of her an artist best-known for her wall-relief sculp- paintings as being about an immersive visual tures of objects conceived and crafted in encounter. mdf (medium density fibreboard). Yet, over Prior to her graduating BFA from the the past 30 years she has also sustained a University of Canterbury School of Fine Arts fundamental commitment to working with in 1987, Huffadine completed a Post-gradu- paint, experimenting with differing painterly ate Diploma in Anthropology at the Univer- surfaces and its textural qualities in studio sity of Otago in 1978. This background in ↑ works on paper. museum practice and the care and display Megan Huffa- of photographs at home, a collection of Covid19 and lockdown however has of previous objects and artefacts remains dine "still life things from a daily walk or formal and public provided her with the opportunity to commit central to her practice. Spending time in with damask arrangement and display in a museums or teardrop" 2021, serious attention to a new body of work, the store rooms of the Otago Museum, its acrylic paint gallery. again concerned with imagined cabinets of collection of Māori artefacts in the Skinner and mediums There are also formal compositional curiosities - but this time as acrylic on board. Collection assumed an important presence. on board, 830 x relationships in Nature Morte. Attention As a first series of paintings, Huffadine’s The objects were arranged in an orderly 1230 x 35mm is equally upon the objects and spaces transition from three dimensional sculpture manner, yet side by side were also asym- between them, eliciting numerous conver- to the flat surfaces of paint on board appear metric. She remembers the satisfaction of sations between colours, shapes, textures, seamless, transitioning from one means of that visual experience, one which could take forms and subjects. practice to another. Central to this shift is her you go on a journey and let you pick up or painting processes and her awareness of the discover different things at different times. same as a subject in itself. Where her sculp- For Huffadine it is this wider contextur- Megan Huffadine, Nature Morte tures have been more than substantial as alisation of science and anthropology and Eade Gallery, 17A Holloway Street, Clyde, an evocative and reflective and questioning its display that is essential, whether a wall Central Otago, 1 – 26 February

Artbeat Issue 26, March 2021 09 ↑ Bill Hammond, Untitled, 2019, watercolour and pencil on handmade indian rag paper, 1000 x 700mm approx Tai Tapu Sculpture Garden’s 8th Annual Autumn Exhibition

Founders and hosts of the annual Tai Tapu Summers, Debbie Templeton-Page, Roger Among the brief for their consider- Sculpture Garden, Annabel Menzies-Joyce Thompson, Johnny Turner, Robyn Webster, ation of the selected work is its originality, and Peter Joyce will once again open their Olivia Webb, Evan Webb and Bruce Aitken, creativity, thoughtfulness, durability, crafts- garden to the public over three weekends Jane Whales, Jim Wheeler, Matt Williams, manship and relevance. How does the in March: Saturday and Sunday, 6th and 7th, and Grant Wylie. proposed sculpture respond to or enhance 13th and 14th, and 20th and 21st March. The artist whose work will be commis- Tai Tapu Sculpture Garden’s landscape and As in previous years the exhibition sioned to celebrate its tenth Annual Autumn does it resonate with their vision to support provides support for leading, mid-career Exhibition will be chosen from the three contemporary sculpture in New Zealand and and emerging New Zealand artists through finalists, short-listed following a call for enhance native biodiversity in Canterbury? the commissioning of works and exhibition expressions of interest from an impressive and sale of their work. For the 8th Annual selection of high calibre proposals. Receiv- Autumn Exhibition, Annabel and Peter will ing seed funding to further develop their also be announcing who has been selected proposals, Neil Dawson, Natalie Guy and to create their 10th anniversary sculpture to Sam Harrison have created Maquettes for be unveiled in 2023. the final selected work. Encompassing numerous works in Neil Dawson is proposing a large-scale a wide range of media (local stone, iron, suspended feather sculpture in steel; Natalie Tai Tapu Sculpture Garden 8th Annual bronze and steel, flax, timber, ceramics Guy, an abstract architectural work inspired Autumn Exhibition and glass) the exhibition in 2021 features by two outstanding chapels: John Scott’s Saturdays and Sundays, 11am to 3pm over 70 small and large artworks for sale, Futuna in Wellington and Le Corbusier’s 6th and 7th, 13th and 14th and 20th and 21st including downloadable soundscapes. The Ronchamp; and Sam Harrison, a life-size March 2021 or by appointment participating artists are: Graham Bennett, work in bronze of two embracing figures. The 1/199 Cossars Rd, Rocklands, Tai Tapu, Tony Bond, Ivan Clayden, Bing Dawe, Neil selection committee for the final work is, lead Christchurch 7672 Dawson, Alison Erickson, Ben Foster, Fiona curator at the Christchurch Art Gallery Te Entry is $10 per person. 16-years and under Garlick, Natalie Guy, Sam Harrison, Anna Puna o Waiwhetū, Felicity Milburn, artists, are free. Parking is free. Korver, Tim Main, Rory McDougall, Annabel Darryn George and Graham Bennett, curator Second Sunday Special: earlier opening time: Sunday 14 March the gates open at 10am to ↑ Menzies-Joyce, Doug Neil, Tony O’Grady, for the Tai Tapu Sculpture Garden, Melissa Vortex better suit families with little ones who nap Neil Dawson, (2016), steel, paint, a commissioned Oriah Rapley, Jenny Reeve, Rebecca Rose, Reimer and Annabel Menzies-Joyce and and permanent work in the Tai Tapu Sculpture Garden’s Julie Ross, Hamish Southcott, the late Llew Peter Joyce. from noon. All are welcome. collection

Who, or what, is the community in Community Arts? writer Jamie Hanton At the end of last year I started a new role at of cultural traditions, and Leisure and recre- non-professional, self-taught and academ- organisations to operate at a range of levels the Christchurch City Council; my full title ation activities. ically-trained, traditional and contemporary. and with diverse goals and purposes. This is Community Arts Advisor. In the first few The Tate’s definition is probably the one If we think of community arts as an ecology, understanding of community arts as an ecol- weeks when people would ask what I was that most people associate with community the symbiotic relationship between makers ogy is reinforced by the inclusion of foun- doing I would clip the title and say “Arts Advi- arts. It is also the least relevant when consid- and audiences becomes strikingly clear. dational strategic partners in Toi Ōtautahi. sor”—it seemed more straightforward. It also ering our remit. Creative New Zealand’s Makers and doers nearly always represent the Creative New Zealand, the Rātā Foundation, mitigated any confusion around “Community definition, for the most part, also refers to most engaged audiences and subsequently a mana whenua representative, and Christ- Art”—a discipline with a specific history of modes of practice rather than to who or what produce work in direct relation to their envi- churchNZ have all signed-on to support the development and its own parameters. is being served. A more useful way of think- ronment. Community arts are not the antithe- delivery of the strategy. The Tate UK describes community art ing about community arts is through the lens ses of “professional arts”, they are, in fact, the The first part of the implementation as “artistic activity that is based in a commu- of communities of practice, groups of people bedrock and fuel for professional arts to exist. of the strategy is a series of hui across the nity setting, characterised by interaction who "share a concern or a passion for some- Toi Ōtautahi, a strategy for arts and city designed to connect practitioners and or dialogue with the community and often thing they do and learn how to do it better as creativity in Ōtautahi Christchurch is focused funders, to update our communities and to involving a professional artist collaborating they interact regularly". on creating an environment where creative listen. Our first hui for Māori artists and prac- with people who may not otherwise engage in Framing community arts as an ecology of people want to live, work, and produce titioners took place 23 February, a second hui the arts.” Creative New Zealand has a broader various communities of practice encourages work. This means that artists are able - and focusing on those living in the East will take definition, recognising three core strands of multitudinous and dynamic thinking. This ecol- supported - to create work wherever they are place on 3 March. Please contact a community community arts activity: Community cultural ogy is made up of many, often overlapping, in their practice trajectory whilst acknowl- arts advisor if you would like to attend. Email: development, maintenance and transmission communities that range professional and edging that an ecology requires people and [email protected]

Exhibition

Witch Hedge Gabriel Heimler and Anna Proc The Hedge Exhibition now showing till 31st March 2021

40A Talbot St, Geraldine | www.mcatamneygallery.co.nz Carolyn 027 305 3000 | [email protected]

Artbeat Issue 26, March 2021 11 Mark Soltero, Sharon Johnson & Patrick Barry

Exhibition runs 3rd March - 20th March JANNA VAN HASSELT CHROMASILL Opening night 3rd March 5.15-7pm 6 MARCH 26 APRIL 2021 ARTIST TALK  21 MARCH  2PM 80 DURHAM ST SOUTH | CHRISTCHURCH 163 Madras st. Christchurch 327 WEST STREET, ASHBURTON, 7700 022 677 2810 | WWW.CHAMBERSART.CO.NZ ASHBURTONARTGALLERY.ORG.NZ Instagram: chambers_art | Facebook: chambers www.gordonharris.co.nz T | 03 308 1133

detail. Te Mutu Haranui, Te Arawa Chief (Lost in Thought, an Arawa Chieftain) /nzartbroker PG Charles Frederick Goldie gallery 192

View this work by appointment at our new showroom at Representing leading NZ artists INA JOHANN 2 Kingsley St, Sydenham POROSITIES Hours: Wed-Sat 11am - 2pm 192 Bealey Avenue, Christchurch 20 FEBRUARY 26 MARCH 2021 03 366 8487 ARTIST TALK  21 MARCH  2PM

327 WEST STREET, ASHBURTON, 7700 ASHBURTONARTGALLERY.ORG.NZ www.pggallery192.co.nz T | 03 308 1133

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

Jan Chaffey 8th Annual Autumn Exhibition Less isMarch more 2021 Opening Tony Bond 5.30pm, Tuesday, 16th March CR Formuncula (2015) Caprithane-coated cast aluminium 900x650x650mm Exhibition 16 March – 6 April 2021 ANNUAL AUTUMN EXHIBITION Saturdays and Sundays 11am to 3pm 6–7, 13–14, 20–21 March 2021

Or by appointment T: 027 325 2000 Sunday 14 March gates open earlier: 10am Gallery Artist Stretchers 96 Disraeli St Christchurch Visit our website for more info and a list of exhibitors Framing Solander Boxes www.taitapusculpturegarden.co.nz/events cityart.co.nz 199 Cossars Rd. RD 2. Christchurch 7672 Installation Art Transportation 03 365 3811

12 Issue 26, March 2021