Issue 20 Exhibitions Ōtautahi www.artbeat.org.nz August 2020 Galleries Studios Waitaha Street Art Canterbury Art in Public Places ARTBEAT In this issue: Te Matatiki Toi Ora 01 Haz Called a Tribe 02 News, Events & Workshops 02 At the Galleries 03 Discover Map 04 Reviews 06 Llew Summers: Body and Soul 07

Philip Aldridge. An Overview of the Arts Centre of Christchurch Te Matatiki Toi Ora

It received 650,000 visitors in 2019 and is home to 23 category-one 19th century historic Gothic Revival buildings but The Arts Centre Te Matatiki Toi Ora in Christchurch is facing closure through lack of funding. The executive director Philip Aldridge estimates that unless it can secure public funding for the delivery of its services as an arts, events, education and community hub for visitor engagement, the essential attrac- tion and focal point that it represents in the central city will see it close within the next 18 months. The announcement is a complete surprise in view of the successful restoration and its relatively rapid reopening in compar- ison to much of the inner city. Two-thirds of → its buildings are restored and reopen and Winter Night that portion is now almost fully leased. Its Market at The attractions in 2020 are a mix of restaurants, Arts Centre Te Matatiki Toi Ora galleries, workshop spaces for the arts, a 24 August 2017 weekend market, specialist retail spaces, cinemas, museums and as a site for cultural ↓ activities. Amy Couling, Skiki, 20230 Opened in 1873 as Canterbury Univer- gouache on pa- sity and re-defined and demarcated a centre per. Exhibiting huge challenge to actually make the finances can and we can’t wring any more money out adjusted, combined with the cuts we are for artistic activity in the 1970s, its historic at Pūmanawa at The Arts Centre work. ‘The business of the site. Staff who have left have not been making, would probably get us over the line.’ Community Ex- and contemporary uses single it out as hibition Space model is so precarious. If you want to set replaced, others have taken pay cuts and Aldridge is looking forward to the reso- essential to the identity and cultural identity (available for up studios for artists you do it in the poorest more may yet lose their positions. On the lution of the financial conundrum and also of Ōtautahi Christchurch. hire to art area of the city. You’d do it in a grungy shed plus side we are 85% tenanted and nearly all to the complete restoration of the site and groups and art- So how did The Arts Centre find itself ists throughout wherever you can get the cheapest accom- of those are at market rates but the recovery further occupation by artists and arts organ- in such tenuous circumstances? Aldridge the year), her modation. You wouldn’t choose to do it in of operational costs is impossible. So there isations. The final restoration stage is of the notes that as a centre for the arts located solo exhibition, 23 category-one listed buildings - which is is always a financial gap at the end of each four engineering buildings with ambitions Musubi is open in a cluster of heritage buildings its circum- from 17 to 23 expensive real estate. It has always been a year and it is now too big a gap.’ for a conference centre, galleries, a perfor- stances are not new. It has always been a August. glorious but flawed model and it has always ‘It is delightful that we are fulfilling mance centre and studios. ‘We are miss- required funding.’ the act for the Trust, to be a centre for the ing the dance theatres and the presence He comments that The Arts Centre’s arts, but it doesn’t pay the bills. Even if you of The Court Theatre. They attracted huge access to funding is predominantly through commercially tenanted the whole site it still numbers which was great for everyone else’s one-off capital grants that are for the resto- wouldn’t work.’ activities. We have other venues for perfor- ration of the buildings. The problem being ‘The Arts Centre is a great success story mance but not a designated space. The main that for the annual operation of its services in terms of the number of artistic tenants that building in the engineering block is actually and activities there is a $1.5 million hole we have got. The problems have now multi- bigger than the Great Hall and that could every year. ‘So far that has been funded by plied but it is exactly the same underlying really anchor performance in the middle of the interest off capital invested from our problem as it has ever been. I have been the site.’ insurance payouts. As we reach the end of trotting down Lambton Quay in ‘The Arts Centre is basically a village hall the project that money is gone.’ for the last two years and central government at the heart of the city and it should be used ‘There are two big costs. One is the had shut the door in our face, making it abun- as such and the more diverse the communi- buildings themselves. The costs associ- dantly clear that this is a local issue. That’s ties that use it the better and more reflective ated with them have risen exponentially. a justifiable position. Predominantly we are of our society it is.’ Insurance has gone up and the value of viewed as a series of venues and the respon- ‘But what we need now is stabilisation. the buildings has gone up. That has made sibility for venues falls on local councils.’ We need to have a discussion about it as our insurance bill 400% more than it was ‘If The Arts Centre Trust fails the assets soon as possible. We need an indication before the earthquakes. With half the floor or buildings will be assigned by the High from council as to what it plans to do. One space on the site open it costs$500,000 Court to a new owner. That new owner, under way or another we can then plan - to either a year in insurance alone. Then you have the act of parliament that governs the centre, continue to serve the community or to close.’ got the compliance costs of the buildings, can only continue to serve the objectives of . warrants of fitness and of course building the current Trust. It must continue to be a The Arts Centre Te Matatiki Toi Ora maintenance. The fit-out of the buildings are centre for the arts. The most likely recipient 03 366 0989 splendid - contemporary and useable - but would be the Christchurch City Council and [email protected] expensive to run.’ if that happened, at that point there would be 2 Worcester Boulevard These costs cannot be passed on to huge legal bills and then re-establishment Christchurch tenants. To do so would drive tenants away. costs. By delaying or not funding the centre To remain competitive the operating expen- will only end up costing the public more. So Also see page 2, Maker Workshop and Rekin- diture contribution that all tenants pay has to they might as well just fund it now.’ dle and page 7, Arts Centre venues: The Teece be subsidised by The Arts Centre itself. ‘Council used to fund us. At its height Museum of Classical Antiquities and The ‘We have trimmed costs as much as we it was $800,000 a year. That, inflation Central Art Gallery

Artbeat Issue 20, August 2020 01 Haz Called a Tribe at Outsiders

writer Reuben Woods For a long time, retaining young creatives miles away from the white cube and high- has been a problem for Christchurch, the lighting the easy-going approach and urban attractive lights of more cosmopolitan desti- influence. An extension of the collabora- nations luring artists from all fields (looking at tive approach, Haz notes that Outsiders you Melbourne, London, and even Auckland). is essentially an extension of his circle of The desire to leave is of course a complex friends. The wine and entrées replaced by one, inspired by the allure of renowned artis- beers from a plastic chilly bin and a live DJ tic capitals and our relative geographic isola- set. Dispersed throughout the shop, works tion, but also a perceived lack of excitement made use of the disparate spaces, the juxta- and opportunity here in Ōtautahi. position as much to do with the retail envi- While the immediate effects of the ronment as each other. earthquakes exacerbated this trend, with lost Although a sense of youthful and anar- studios and exhibition spaces, the tumul- chic energy was evident, there was also a tuous events of the last decade have also sense of diversity, from PK’s amended thrift provided an inspiration, emerging creatives store painting, or the large collage by Reece operating with a resilient DIY spirit outside Brooker and Anna Han, to Meep’s defiant of established institutions. Graffiti, street portrait, Style Wars surrounded by graffiti art, skateboarding, and music scenes have by Magnet. The influence of skate, music, given rise to diverse yet cohesive creative tattoo and urban culture was also perva- communities of young people reflecting the sive: Semaj’s painted skate-deck Outsider local landscape. 1, Haz’s tattoo flash Am I Pretty?, VROD’s On Friday July 3rd, St Asaph Street skate combination of graffiti and official signage, store Outsiders played host to an example A Modern Day Slave, and Beccie B’s digital of this youthful energy, with the one-night illustration Snake Pit. Bren’s large expres- pop-up group exhibition Haz Called a Tribe. sionistic dog portrait, Mark, combining oil Conceived by artist A Tribe Called Haz, and aerosol was an unexpected highlight the show brought together more than a that captured the spirit of the show; quirky dozen young local artists presenting work and energetic. produced during the Covid-19 lock down Yet, perhaps the most important aspect period. A Tribe Called Haz had experienced of Haz Called a Tribe was the example it set. an outburst of creativity during his isolation Of course, young people and particularly and soon found many of his friends had also young creatives will continue to leave our been busy. Haz saw the opportunity to bring city, our thirst for exploration is strong and his friends together and provide a platform bright lights will continue to call. But initia- and in his typically laid-back style, to “just put tives such this, where young people make it out there and see what happens…” things happen, with a sense of community The skate shop setting proved fitting, and a definite sense of their own identity and influences not beholden to expected ← traditions, highlight a vital element of the PK's recycled thrift store painting from Haz Called a Tribe at Outsiders. Friday, July 3rd at Outsiders, 224 St Asaph city’s creative profile and one that should Street be celebrated.

NEWS EVENTS & WORKSHOPS The Arts Centre Te Matatiki Toi Ora is kōuka/cabbage tree leaves Sunday 16 providing FREE space for all arts’ disci- Aug, 9am-12pm, Beginner brush making plines in its Maker Workshop: and 1-5pm, Make a hand brush Sunday Are you seeking space to run a creative 23 Aug, 11am-4.30pm, Tī kōuka placemat workshop or event? Dancers, visual workshop Saturday 29 Aug, 1-4.30pm, artists, musicians, dramatists, we want to Hot water bottle cover workshop Sunday → hear from all of you. Through August and 30 Aug, 11am-3pm, Spoon club at Lincoln Make a hand brush at Rekindle. Sunday 16 Aug, 9am- 12pm. Beginner brush making and 1-5pm, Make a hand September the Maker Workshop in the University (for those who've attended brush old School of Art building is available for spoon-carving). See: https://www.rekindle. ↓ FREE (koha always welcome) from 2 hours org.nz/ A clay-making workshop in the Maker Workshop, The Arts Centre Te Matatiki Toi Ora to 5 days. This light filled space features modern heating and includes work- Cover to Cover. An exhibition of works benches, stools, sinks, easels, a drying by artists who double as musicians at rack, and a piano. Weekdays, nights and Catalogue, Pennylane Records, 430 weekends are all possibilities depending Colombo Street: on availability. Send your ideas and propos- Invited to 'cover' an album cover that als to Chris and Hannah at programmes@ influences their practice, Cover to Cover artscentre.org.nz is a playful, eclectic exhibition exploring notions of cross-pollination between visual Rekindle’s Craft Workshops and aural art, musical history, influences Programme in August at The Arts and influencers, both historic and contem- Centre Te Matatiki Toi Ora. porary. Opening event: 5.30pm Thursday In response to the financial challenges of 13 August. Electric guitar history duo COVID-19 in August Rekindle is testing Opawa 45s will play a free gig at the open- a new sliding scale way of charging for ing. Many thanks to Pennylane Records their workshops. This is thanks to Creative and The Fermentist for their generous ’s Arts Continuity Grant. The support. 13 August to 13 September August programme includes: Sunday 2 Aug, 10am-12pm, Making beeswax wraps and 10am-3pm, Tī kōuka and hazel broom making. Tuesday 4 Aug, 6-8pm, Carve a spatula (beginners). Tuesday 11 Aug, 6-9pm, Spoon club (for those who've attended spoon-carving) Saturday 15 Aug, 10-11.30am, String and rope-mak- ing with tī kōuka/cabbage tree leaves and 12.30-4.30, Basket weaving with tī

02 Four Exhibitions at our perceptions of the environment and the issues that it and we face. Art Hole Opening 18th August, Tracy Hay’s On the Surface looks at paint as ‘something other than a fluid medium to be merely applied to a surface or confined to a AT THE framework host.’ Hay is interested in paint used as an object as well as subject, paint becoming something physical, palpable ↘ Heaven is insipid, without discord, monot- and tactile. Nick Harte Familiar onous, and thus potentially boring. Hell is Next up is Hannah Martin and Klau- , 2020, acrylic & mixed nearly always varied, spectacular, parox- dia Bartos’ Double Feature, both artists’ media on 12 ysmic and individualised, on all sides the portraits in watercolour, accentuated by inch cardboard forest encircling it like a stifling cloak of other media; coloured pencil, ink and record cover. vague green twilight. acrylic. Their inspirations are widespread ↘↘ Nick Harte on the subject of his exhibi- and diverse, ‘including elements from the Remake of An Elizabethan Devil Worshipper's the Kiosk's tion, natural world such as insects, plants, and roof in Morris Prayer Book, Art Hole, until 1 August animals, reconsidered within the context of Surfboards pop culture, cartoons, music, and movies.’ shaping room. Resembling a grey Tardis with observa- Art Hole’s programme for August Photograph, Eddie Clemens. tion windows, The Kiosk was located in finishes with new works by Gareth Brighton the busy pedestrian sector at the inter- & Jonathan Glover in Life Like Spill, utilising ↘↘↘ section of High, Lichfield and Manchester ‘different image-building methodologies Grant Takle, SHOCK WAVE, Streets, making it the most public Physics and ethos to examine art-making through acrylic and Room art site. The Kiosk began in 2000 the lens of expressionistic painting. By galv enamel on as the initiative of the Oblique Trust, open- using painting, drawing and screen-print- canvas. ing with Ani O’Neil’s installation, untitled ing, the work rearticulates the energy and ↘↘↘↘ in December 2001 and hosting its unex- conventions of abstraction and neo-ex- Clare Logan, On, it flared pected final install, Jacquelyn Green- pressionism to new ends.’ , oil My bleeding nose came out of my on board bank’s mouth in August 2010. ↘↘↘↘↘ See: physicsroom.org.nz/archive/kiosk/ ↑ John Badcock, In August the St Asaph Street artist- Friends Lock in Klaudia Bartos, Liam Lyons, Out of Sight, opens Tue 4 August, The Physics Room’s archives. Eddie run space, Art Hole, opens with Liam Untitled Time. Kiosk: Director’s Commentary Out of Sight , water- Clemens, , Lyon’s , an exhibition that he colour 5:30pm , 6 – 9 August, hours TBC, Hannah until 23 August describes as a body of work that ‘explores Martin and Klaudia Bartos, Double Feature, ↘↘↘↘↘↘ Kathy Barber, the idea of the alienation of nature within opens Tue 11 August, 5.30pm, 12 – 16 August, Messenger 2 , Employing a pictorial version of word the human landscape.’ Expanding upon hours TBA, Tracy Hay, On the Surface, opens acrylic and oil association, Takle plays with a large and the work recently published in his photo- Tue 18 August, 5.30pm, 19 – 23 August, glaze on linen extremely diverse repertoire of iconog- book Something Original, this exhibition hours TBA, Gareth Brighton & Jonathan raphy. None of his multi-faceted images contributes to the conversation around Glover, Life Like Spill, opens Tue 25 August correspond directly with a single meaning how we create and exist within the 5:30pm, 26 – 30 August, hours TBA, and are as open to change and interpre- man-made landscape, and the effect on 336 St Asaph Street, Christchurch tation as language and culture. Elizabeth Cauldwell and Felicity Milburn, Skywriters and Earthmovers, Christ- church: Robert McDougalll and Annex, ’s LAMBS AND DAFFODILS opens 1998. Grant Takle, SHOCKWAVE, PGgal- at The National lery192, until 14 August In Slipping to the isthmus Ōtautahi-based artist Clare Logan filters our physical experience of the South Island high coun- try through the tradition of the Romantic sublime and a foreboding sense of envi- ronmental cataclysm. Logan pours and manipulates oil paint onto flat surfaces, using the movement of pigment to create dynamic, shifting compositions that reflect a spirit of the land and waterways, so creating an emotive experience of geological change and turbulence. Sally Blundell on Clare Logan’s Slipping to the isthmus, City Art Depot, 11 to 31 August

The paintings are of local people [Badcock] says “hi” to on a regular basis. He said a subject’s first sitting could be stressful as they were unsure of what to expect. Badcock would let them sit un-posed so he could capture their natu- ‘Lambs and daffodils conjure up this cutesy, ↑ it’s certainly satisfying to name a show of ral position, movement and character. Lisa Walker, Of his subjects he said they all seemed flowery, dream like crap that I loathe. This Necklace mine in this way. My work can tip and lean , 2018, happy with their paintings. “It’s the first could be a marketing strategy for some steel wire, on these difficult elements of our culture.' kind of product perhaps, that may appeal wood, lacquer Lisa Walker on LAMBS AND DAFFODILS. time some of them have seen themselves to people. Many women’s products are (in art).” marketed this way, supporting the incor- Lisa Walker, LAMBS AND DAFFODILS, Esther Ashby-Coventry, Timaru rect notion that women are soft, weak and until 16 August, The National, 249 Moor- Herald, www.stuff.co.nz/tima- need to be looked after. I hate this shit, but house Avenue ru-herald/life/122056333/ geraldine-father-and-daughter-local- ise-joint-exhibitions John Badcock, Friends Locked in Time, Fiksate Present New Works by Levi Hawken Susan Badcock, Nature Morte, Susan Badcock Studio, until 16 August

Levi Hawken (b. 1975, Auckland,) began his Painting from memories, have always artistic career as a graffiti artist in Auck- shaped my work…. My practice is like land city during the mid-1990s. Although a piece of cursive drill writing, like Cy much of his graffiti work is no longer visible, Twombly’s blackboard paintings, my (a reminder of the form's ultimate ephem- hand loops forward, but always links back, erality) the influences are evident in his collecting memories and fragments… Brutalist-inspired concrete-cast sculp- looking back and moving forward. tures. Layering letter forms from his graffiti The artist on her painting. Kathy Barber, writing past, he creates three-dimensional Chambers Gallery, 4 to 22 August interpretations of his surrounding environ- ment imbued with a greater sense of endur- ance and ability to reflect a wider range of influences.

New artworks from Levi Hawken, Jacob Yikes, Brad Novak, Component and Tom Gerrard ↑ Levi Hawken, (AUS), until 31 August Graffiti Cube Fiksate, 165 Gloucester Street Concrete Tile

Artbeat Issue 20, August 2020 GALLERIES T 1 5 Sēmisi Fetokai Potauaine, Absolution Art on the Quay VAKA 'A HINA, 2019, Rauora Tom Bell, Adoration, 7 – 26 Aug, Sacred Light by students of Park, 115 Lichfield Street Arts Centre of Christchurch, 2 Nemesh, until 12 Aug, Canter- Worcester Boulevard, CHCH, bury portraits, Let Me Count Street Art Murals Mon–Sun 10–6pm the Ways, 13 Aug – 16 Sep, 176 Williams Street, , U 2 Askew One (Elliot O’Donnell) Aigantighe Gallery Mon–Wed, Fri 9–5pm, Thu to (NZ) – Kristen, 2013, 162 South Canterbury Pottery 9pm, Sat 10–2pm, Sun 1–4pm DISCOVER Top of the Pots Gloucester Street Group, , 1 – 16 6 Aug, Timaru Patchwork Group, Arts in Oxford V Untitled Art in Quilts Open House - Artist in Resi- Rone (Aus), , 2013, , 1 – 16 Aug, Iain 105 Worcester Street Cheesman, Signs of Earlier, 29 dence Project with printmaker Aug – 18 Oct, Insights, gallery Jo Ernsten, until 13 Sep, Arts W Untitled (Giving Public Art in the Four Avenues Adnate (Aus), collection, 49 Wai-Iti Rd, Maori in Oxford Gallery, Main Street, Hands), 2015, 132 Kilmore Hill, Timaru, Tue-Fri 10-4pm Oxford, Tue-Thu 11am-2pm, A G N Call me Snake Thomas Woolner, (founding Coalbrookdale Foundry, Judy Millar, , Street Sat-Sun 12-4pm Fri-Sun 10-4pm. Closed Mon member of the Pre-Rapha- Shropshire, Peacock Foun- 2015, cnr Manchester and & Public Holidays John Robert Godley tain X Untitled 3 elites) , 1911, Botanic Gardens Armagh streets ROA (Belgium), , Arca Gallery Statue 7 , 1867, Cathedral 2013, Canterbury Museum, Bespoke jewellery and Ashburton Art Gallery H E Noho Ra De O Solidarity Echo Square Paul Dibble, Mischa Kuball, 11 Rolleston Avenue small-scale artworks, until Michael Holland, Chirico, 1995, Robert Mc- Grid, 2013/15, Park Terrace, 31 Aug, 127a Hackthorne of Memories, until 30 B Citizen’s Y Organic Matters William Tretheway, Dougall Art Gallery, Botanic entrance to Hagley Park Chimp (NZ), , Road, Cashmere, CHCH, August, Ashburton Creative War Memorial, c. 1936, Gardens 2018, Justice & Emergency Tue–Sat, 11–4pm Fibre Group, Celebrating P Raise the Fibrecrafts Cathedral Square Nathan Pohio, Services Precinct, 44 – 52 , 13 Aug- 27 Sep, I Nucleus anchor, unfurl the sails, set 4 The Wading Phil Price, , 2006, cnr Lichfield Street Art Hole Gregory O’Brien, C course to the centre of an An Elizabethan Birds of Drybread George Frampton, (Arts and High and Manchester streets Nick Harte, , 13 Aug – 9 ever setting sun! Z Untitled Devil Worshipper's Prayer Crafts movement 19th cen- 2015, Harper Jacob Yikes (NZ), Oct, 327 West St, Ashburton, Industry and Concord J Flour Power (Alice in Videoland) Book tury), , Regan Gentry, , Avenue , 2017, 201 , until 1 Aug, 3 – 5pm, Liam Mon-Sun 10-4pm Wed to c. 1882, cnr Oxford Terrace 2008, cnr High and Colombo Tuam Street Lyons, Out of Sight, opens Tue 7pm Q Under Con- and Worcester Boulevard streets Peter Atkins, 4 Aug, 5:30pm , 6 – 9 Aug, struction – Chaos and Order AA Whero 8 Kevin Ledo (Canada), hours TBC, Hannah Martin and Bryce Gallery D Poupou K Passing Time (Re-imagined), 2014/19, 148 O Te Rangi Bailey Double Feature Riki Manuel, , 1994, Anton Parsons, , , 2017, 128 Klaudia Bartos, , Artists include: Paintings by Victoria Square 2010/11, High Street entrance Gloucester Street Armagh Street opens Tue 11 Aug, 5.30pm, Don McAra and Clare Wilcox, to Ara Institute of Canterbury 12 – 16 Aug, hours TBA, Tracy 84 Vicenza Drive, Ohoka RD2 Rainbow Pieces R Conduct BB On the Surface Pat Hanly, , Seung Yul Oh, Wongi ‘Freak’ Wilson (NZ), Hay, , opens Tue Kaiapoi, Mon-Fri 10-5pm, L Tree Houses Cumulus Rauora Park E 1974, Christchurch Town , , 2017, Southern , 2018, Rauora 18 Aug, 5.30pm, 19 – 23 Aug, Sat-Sun 11-4pm Hall Foyer for Swamp Dwellers, 2013, Quadrangle, Arts Centre Park, 214 Manchester Street hours TBA, Gareth Brighton & Life Like Spill 9 Ōtakaro-Avon River, cnr Jonathan Glover, , Canterbury Museum F S Stay CC Untitled Moana Currents: Dressing Monument / Sculpture Lady Colombo and Kilmore streets Antony Gormley, , 2015/16, Ampparito (Spain), , opens Tue 25 Aug 5:30pm, Kathleen Scott (wife of Robert Northern Quadrangle Arts 2017, 30 Allen Street 26 – 30 Aug, hours TBA 22 – Aotearoa Now, until 6 Sep, Scott Statue M Diminish Ancient New Zealand: Falcon Scott), , David McCracken, Centre, Ōtakaro-Avon River 25 Apr, 336 St Asaph Street, and Ascend DD Untitled Squawkzilla and the Giants 1917, cnr Worcester Boulevard , 2014, Kiosk between Worcester Boulevard Tilt (France), , 2015, CHCH , and Oxford Terrace Lake, Botanic Gardens and Gloucester Street 51 Victoria Street until 16 Aug, Luke Jerram and

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04 Our Moon: Te Wheke: Pathways Across 24 Fantastic Feasts: Dine with Hannah Beehre, Aug, 2 Harakeke Street, Riccar-  Ng Space Not Pictured in Map: Then, now and beyond, until Oceania, until 23 May 2022, ton, CHCH, Tue–Sun 9–4pm Scott Flanagan, Brooke Geor- the Ancients, until 13 Sep, 2. Aigantighe Gallery 8 Nov, Rolleston Avenue, Louise Henderson: From Life, gia, Georgina May Young and Arts Centre of Christchurch, 3. Arca Gallery 18 CHCH, Mon–Sun 9–5pm until 11 Oct, Max Gimblett, Form Gallery Steven Junil Park, until 27 Aug, 3 Hereford Street, CHCH, 5. Art on the Quay Ocean Wheel, 1 Aug – 15 Nov, , WHITE + GOLD Level 1/212 Madras St, CHCH, Wed – Sun 11am – 3pm 6. Arts in Oxford 10 + CHARCOAL Catalogue cnr Worcester Boulevard and , 8 – 29 Aug, Mon–Fri 10–5pm, Sat 10–4pm 7. Ashburton Art Gallery Cover to Cover 31 . Work by artists/ Montreal Street, CHCH, Mon– 468 Colombo St, Sydenham, The Central Art Gallery 8. Bryce Gallery 25 musicians: Emma Cameron Sun 10–5pm Wed late to 9pm CHCH, Tue-Sat 10–5pm Paludal Elizabeth Thompson, new 11. Chamber Gallery (Decades), John Chrisstoffels Exhibition details and hours, works, until 23 Aug, Llew 17. Fo Guang Yuan Art Gallery 14 19 Summers: Body and Soul (The Terminals, Les Baxters, City Art Depot Great Hall instagram: paludal_chch , 27 19. Ilam Campus Gallery Dark Matter), Lucy Hunter (Op- Eve Barlow and friends (Jason Nathan Pohio, Let it be to a 2 Papanui Road, CHCH Aug – 27 Sep, Arts Centre of 21. LEstrange Gallery posite Sex), Stephanie McEwin Ware, Clare Logan, Doc Ross, Lofty Mountain, 21-29 Aug, Arts Christchurch, 2 Worcester 22. Little River Gallery 26 (Wendl Groover), Martin Rebecca Stewart, Sharnae Centre Te Matatiki Toi Ora, 2 PGgallery192 Boulevard, CHCH, Wed – Sun 25. Paludal Sagadin (Fantastic Princess), Beardsley, Jacquelyn Green- Worcester Blvd, Christchurch, Grant Takle, AFTER SHOCK, 10-5pm 28. Stoddart Cottage Gallery Gemma Syme (Instant Fantasy, bank, Kim Lowe, Shannon Mon-Sun 10-5pm until 14 Aug, James Robinson, 29. Susan Badcock Gallery Edgeland 32 Fantasing, Femscrem) and Williamson, Alexandra Porter), , 17 Aug – 11 Sep, 192 The National 40. Studio 125 Gallery Rectify This Painting 20 LAMBS AND more. 13 Aug -13 Sep, Penny , until 3 Ilam Campus Gallery Bealey Ave, CHCH, Tue–Fri Lisa Walker, Lane, 430 Colombo Street, Aug, Clare Logan, Slipping Kim Lowe, The Silence of 10.30–5pm Sat 10.30-2pm DAFFODILS, until 16 Aug, No Current Listings: Mon–Fri 8am–5.30pm, Sat to the isthmus, 11 - 31 Aug, 96 the Brush, until 14 Aug, Barry Emma Fitts, 18 Aug-5 Sep, 36. Dilana A preface to Mitigating 27 9am–5.30pm, Sun 10am– 5pm Disraeli St, Sydenham, CHCH, Cleavin, Pūmanawa Gallery 249 Moorhouse Avenue, 37. Eastside Gallery Mon–Fri 8.30–5pm, Sat Factors and The Oncology Amy Couling, Musubi, 17-23 CHCH, Tue-Sat 10.30- 38. McAtamney Gallery 11 Suites Chamber Gallery Rangiora 10–2pm , 21 Aug – 25 Sep, Fine Aug, Arts Centre Te Matatiki Toi 5.30pm 39. NZ Art Broker Anjie Connon,’I Do,’ until 12 Arts Lane, off Clyde Rd, Ilam, Ora, 2 Worcester Blvd, Christ- 40. Studio 125 Gallery 15 33 Aug, Marion Clark, Paintings, CoCA Toi Moroki CHCH, Mon–Fri 9–4pm church, Mon-Sun 10-5pm The Physics Room 41. XCHC 16 Aug – 17 Sep, 141 Percival Malcolm Terry, SIDEWAYS, until Eddie Clemens, Kiosk: A 21 28 Directors' Commentary Street, Rangiora, Mon–Thu 16 August, Colin McCahon, Jonathan Smart Gallery Stoddart Cottage Gallery , until Artbeat is a monthly arts newspaper 9–5pm, Fri 9–7pm, Sat Way Through - Gate III, 29 Aug The Body of the Work by Rich- Paul Brocklebank and Jo 23 Aug, 301 Montreal Street, with news, reviews, commentary and 10–2pm, Sun 1–4pm – 8 Nov, 66 Gloucester Street, ard Reddaway, 7 Aug – 5 Sep, Ewing, FLASH SALE, 1- 2 Aug, Registry Building, Arts Centre listings of exhibitions and events in CHCH, Tue–Sun 10–5pm, Sat– 52 Buchan Street, Sydenham, Senior Students from Diamond Te Matatiki Toi Ora, Tue-Fri Ōtautahi Christchurch and Canterbury. 12 Chambers Gallery Sun to 4pm CHCH, Wed–Sat 11–5pm Harbour School, 8 – 30 Aug, 10-5pm, Wed to 9pm We cover all aspects of the visual arts, Jessica Ritchie, Kathy Weekends only, 10am-4pm, inform existing audiences for the arts 16 22 34 Barber and Stephanie Fiksate LEstrange Gallery 2 Waipapa Ave, Diamond Tūranga and develop new ones McEwin, 4 – 22 Aug, Karen New artworks from Levi Works by Nigel Brown, Alison Harbour, Fri–Sun 10–4pm Children’s Holocaust Memori- Greenslade, Rebecca Hawken, Jacob Yikes, Brad Erikson and Hamish Allan, al, until 23 Sep, 60 Cathedral For news/advertising 29 Smallridge and Alix Novak, Component and Tom until 31 Aug, 53 Nayland Street, Susan Badcock Gallery Square, Mon–Fri 8am–8pm email: [email protected] Ashworth, 25 Aug – 12 Gerrard (AUS), until 31 Aug, 165 Sumner, Christchurch, Tue-Fri John Badcock, Friends Sat–Sun 10–5pm Sep, 241 Moorhouse Ave, Gloucester Street, CHCH, Tue– 11-5pm Sat/Sun 12-5pm Locked in Time, Susan Bad- Nature Morte 35 CHCH, Tue–Thu 11–5.30pm Wed 10–2.30pm, Thu 10–5pm, cock, , until 16 Windsor Gallery 23 Fri–5pm Sat–2pm Fri 10–8pm, Sat 11–4pm Little River Gallery Aug, 47 Talbot Street, Geral- Artists include: Joel Hart, Christine Maynard, Revealing dine 7930, Tue-Sat 10-2pm Cornelius (KEES) Bruin, Andris 13 17 Landscape Fo Guang Yuan Art Gallery , 1 – 26 Aug, Christ- Apse, Mike Glover and Anneke 30 Te Puna o Waiwhetū Eliza Sinead and Lucy Ander- church Akaroa Road, Mon–Sun Teece Museum Bester, 386 St Asaph St, Mon– Gathering Clouds, until 7 Sep, son, Calm and Chaos, until 23 9am–5.30pm of Classical Antiquities Fri 9–5pm, Sat 10–1pm Artbeat: ISSN 2624-2664

T A T T O O P I E R C E WANTHRDOUGH NEEW WORRLDS O T H E R

1 August – 15 November | Free entry Image: Max Gimblett Ocean Wheel 2010. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, the Max Gimblett and Barbara Kirshenblatt-Gimblett gift, 2011

BNZ Centre l 120 Hereford Street l 3792882

Artbeat Issue 20, August 2020 05 For extended reviews and content visit:

REVIEWS www.artbeat.org.nz ← Louise Henderson: From Life Louise Henderson, Bush Series No. 5, 1970. Collection of Christchurch Art Gallery Te Puna o Waiwhetū; Dame Louise Henderson Collection, presented by the McKegg writer Family, 1999. Margaux Warne The -born artist Louise Henderson was Manchester Street, Christchurch, 1929, Plain native forest that surrounded her Auckland pivotal to the development of mid-century and Hills, 1936 and Arthur’s Pass c.1940. studio. In the three paintings, leaves, ferns in New Zealand and is one of the (The decision to hang the latter two paint- and tree trunks are rendered in a variety of country’s most prolific and innovative women ings alongside each other was a wise one.) crisp, vibrant shades of green. Creating a painters, yet her work has received limited Set off against these charming compositions stimulating experience for the viewer, these exposure. Louise Henderson: From Life is is Henderson’s exceptional Addington Work- tall paintings are hung alongside each other the artist’s first ever survey exhibition and shops, 1930, a fascinating and highly accom- while similar works from the same period was developed by Auckland Art Gallery Toi o plished work which taps into themes of labour occupy the other two walls in a room domi- Tāmaki and Christchurch Art Gallery Te Puna and industry and demands close viewing. nated by green. As a result, it feels as though o Waiwhetū. Coinciding with a trip to Paris in 1952, we, too, are in the middle of a forest. A strong-minded, experimental and Henderson developed her technique by The exhibition reaches its climax with instinctive artist, Henderson relished embracing and flattening her subject; Henderson’s momentous The Twelve Months the freedom and opportunities that New her still lifes and portrayals of women such series from 1987. A celebration of colour, the Zealand offered. The watercolours and oil as Still Life with Arum Lilies c.1950, Maori seasons and New Zealand’s natural land- paintings in this exhibition reveal her deep Matrons, 1953, and Samoan Woman in Yellow, scape, the series of giant canvases takes connection with the natural world, an ongo- 1954, are evidence of this. By the end of the up one entire wall, a fitting end to this long- ing preoccupation with form and a love of decade, Henderson’s work veered towards awaited and highly memorable exhibition. vibrant, bold colours. abstraction and Façade in Florence, 1959, and Henderson was attracted to the natural Dieppe, 1959, are characterised by flat plains and urban landscapes of New Zealand soon and solid blocks of colour. Louise Henderson: From Life after moving to Christchurch in 1925 and her My personal highlight is Henderson’s Christchurch Art Gallery TePuna o Waiwhetū early images of Canterbury and Wellington Bush Series from 1970. Bush Series 3, Bush Cnr Worcester Boulevard and Montreal St, occupy the first room of the exhibition. Her Series No. 5 and Bush Series No. 7 are Christchurch interest in perspective and form permeates Henderson’s personal response to the lush 27 June – 11 October

Zines Reviews M.F. C. Löwt, Embräce The Deep Unföllöw Anonymous, Adult Colouring Activity Book “That blue-balled nymphatic messenger of “Alright Picasso - let’s start you off nice and writer old school values and demoralized social easy.” Nick White graces.” An unsigned collaboration between a Dune- Tony Scanlan, Rage #0 Weird chapbooks make fine winter reading, din artist/musician and a Christchurch punk “The average human has been my life’s work, and this assortment of surreal micro-fiction vocalist/property developer, the Adult Colour- but I don’t think I've ever actually seen one.” by Christchurch’s M.F.C. Löwt is stuffed ing Activity Book showcases a series of goofy A black and white sketch selection with with charmingly retro tales of lust, violence, doodles inspired by the ubiquitous anti-es- a cover in the style of the esteemed Mad pomposity and peculiar mathematics, punc- tablishment acronym “A.C.A.B.” or “All Cops magazine, Rage collects a handful of veteran tuated by strikingly coloured vintage maga- Are Bastards.” Whimsical black and white line local artist Tony Scanlan’s skilful pen and ink zine collages. Vibrantly reproduced at M/K drawings commence with “A Circle And A Box” studies and comic-strip musings, placing Press on a Risograph digital screen printer, and advance in increasingly absurd fashion, illustrated quotes from a cognitive theorist, a the typewritten text is perfectly suited to depicting the likes of “Ants Climbing A Build- bluegrass singer and an indigenous activist Löwtt’s bombastic prose, which has shades ing,” and “Another Clearance At Briscoes” amidst portraits of troubled, soulful figures of Pinter, Burroughs and Brautigan, and before closing with a politically-slanted word and tidy sequential panels. His appealing, takes on a glitchy, dreamlike quality when find and a classic porcine police-officer cari- approachable style and exasperated specu- filtered through the Riso’s halftones. This cature. Spiky, silly, and (sadly) relevant, it’s the lations on the rise of conflict and the demise decidedly analogue presentation imbues perfect photocopied gift for your favourite of objectivity evoke the classic underground the stories with a personality that pixels anti-establishmentarian. comics of the late sixties. Scanlan’s work is could never duplicate, resulting in a witty, → All zines available at Ride On Supersounds always a treat, world-weary, melancholy, but introspective and captivatingly strange little Tony Scanlan, comforting in its cartoony familiarity. booklet. Rage # 1 172 High Street

Miranda Parkes, relationship status

writer Priscilla Howie relationship status is a stunning new solo on a digital screen with flat colour and rigid show by Miranda Parkes at Jonathan Smart pixels. tinder is large, empathetic, textural Gallery. It is a visual delight: Vibrant pinks and and haptic. Each tile is carefully crafted, each greens, glistening golds, shimmering silvers, existing as a work within themselves but as rich textures and playful materials invigorate something larger, powerful and intricate as and energise the white walls of the space. a large piece. The dating app has exploded With the rise of social media, something out of the limits of the digital realm and into happened somewhere around 2013 where the vast, abstracted, emotional beauty and online dating lifted itself out of its old context reality of the physical realm. and into a fresh new normalised culture in Miranda Parkes’dynamic use of texture, which a vast majority of us participate. The materials and colour definitely doesn’t go excitement of swiping right is a physical and unnoticed and her collection of collages are emotive action now woven into the fabric of just that. They are rich with decadent lashings our existence. Matching with a cute face: of paint, ornate existing material from each messaging them all night, friendly chat turn- book page and various other collage materi- ing into flirty chat till finally arranging that date. als. There is something so beautiful, emotive, Meeting up with your date: nervously texting personal and unique about each and every “i’m here in the green cardigan”. Small talk one of them. They are dynamic works each such as “how’s your weekend going?” turns containing their own power and unique story. into flirty, provocative questions 3 hours and 5 The dating digital landscape has trans- wines later. Contemporary dating culture is a formed and is translated into an abstracted mixture of humour, emotion and excitement. visual language that is emotional, textural, Emotions which I believe are perfectly capti- haptic and vibrant. relationship status has vated within relationship status. integrity, vulnerability and a strong sense of tinder is a large tile work on the right humour. I thoroughly enjoyed this show and side of the gallery and perhaps the work that definitely recommend giving it a visit. commands the most attention upon first walking into the show. Each tile is a work in itself, unique in its paint application. Placed Miranda Parkes ↑ all together into a large symmetrical pattern, relationship status Miranda Parkes, Jonathan Smart Gallery, 52 Buchan St tinder, 2020, I am visually reminded of an app logo format, details but instead of being small and apathetic 2 July – 1 August

06 Llew Summers: Body and Soul The book and the show

The Central Art Gallery opens an exhibi- ↑ Llew Summers, tion of works from the estate of the much- Ecce Homo loved Christchurch sculptor Llew Summers (Behold The Man) (1947 – 2019) in the last week of August. , 2013, Bronze, 1800 The exhibition opening features the launch Llew x 1900 x of a book on Summers’ life and work, 1400mm Summers: Body and Soul, published by Canterbury University Press and penned by John Newton, a close friend of the artist, two years prior to his death. Newton is currently the Robert Burns Fellow and author of The Double Rainbow: James K. Baxter, Ngāti Hau and the Jerusalem Commune. Like Llew Summers: Body and Soul, the exhibition itself is a survey of the artist’s prac- tice, presenting a selection of over 30 works from throughout Summers’ career, in the full variety of media he used from marble and bronze through to terracotta and wood; and ranging in scale from the intimate, to much larger outdoor works familiar’

Llew Summers: Body and Soul The Central Art Gallery The Arts Centre Te Matatiki Toi Ora 27 August – 27 September

John Newton, Llew Summers: Body and Soul, Canterbury University Press See: canterbury.ac.nz/engage/cup/new/llew- summers-body-and-soul.html

→ Amphora of Fantastic Feasts at The Teece Museum of Panathenaic John Parker shape, JLMC Classical Antiquities 171.86. Duncan describes his new Shaw-Brown, . Ceramics at Form Gallery Fantastic Feasts opened in April 2019 and This late sixth century BCE amphora is closes 13 September. Drawing from the potted and painted in the style of a compe- I am drawn to industrial components: forms James Logie Memorial Collection of Clas- tition prize vase, which were awarded to in cast iron, the oily sheen on matt black sical Antiquities the exhibition makes the victorious athletes at Athenian athletic metal surfaces and turned brass fittings. This connection between food traditions and competitions. Athena's proud stance new work plays with the ambiguity of materi- cultural values and beliefs in the classical represents the strength of Athens and its als, when one masquerades as another as in world. people, not least its athletes. Winners' prize the trompe l’oeil tradition of ceramics. These Among the objects selected for the vases were even filled with olive oil, the prod- pieces reference a Baroque aesthetic, simi- exhibition is the Amphora of Panathenaic uct of Athena's sacred gift. larly playing with design ideas from ceramic shape, a large vase that features the Greek antiquity, but of a darker contemporary goddess Athena, also known to the Romans perspective. All the work is made from Primo as Minerva, a goddess of wisdom, military Mid-fire porcelain, wheel-thrown, turned, tactics and handicrafts. She was, of course, bisque fired to 1000°C , glazed and then fired the patron goddess of Athens, having been to completion at 1220°C. chosen by the Athenian people for her gener- Fantastic Feasts at the Teece Museum ous gift of the olive tree. It is said that she The Arts Centre Te Matatiki Toi Ora. John Parker, WHITE + GOLD + CHARCOAL planted the first olive tree atop the Acropolis, Open Wednesdays to Sundays, 11am-3pm. Form Gallery, 8 – 29 August giving everlasting nourishment to the Greeks. Entry is Free. Tom Bell: Japanese Tattoo and Design at Absolution

Tom Bell is from Wellington but has been in Ōtautahi since 2017, working as a graphic designer and, after a long hiatus, has returned to painting as a creative outlet, experimenting outside his comfort zone and creating space to learn new techniques. , Adoration is his first solo show, juxtapos- ing traditional motifs from Japanese tattoo Tom Bell, Adoration, iconography within the context of a contem- Arts Centre Te Matatiki Toi Ora, porary colour palette and design. Monday to Sunday 10-6pm, 7 to 26 August

↑ Barry Cleavin: A preface to Mitigating John Parker, Black, bronze and white Factors and The Oncology Suites at Ilam ceramics from WHITE + GOLD Campus Gallery + CHARCOAL ↖ Tom Bell, Hannya, 2020

← Born in Dunedin in 1939, Barry Cleavin grad- Tamarind Institute, University of New Mexico. Barry Cleavin, uated with Honours in Painting from the Ilam In 2000 he was awarded the ONZM and in Mitigating Factors Invite School of Fine Arts, University of Canter- 2005, an Honorary Doctor of Letters from , 2020, etching, bury in 1966 and in 1972 won an Arts Coun- the University of Canterbury. He currently edition of 15 cil scholarship to study with Gabor Peterdi lives and works from ‘The Boojum Press’, (Professor of Printmaking, Yale University) Portobello, Dunedin. and James Koga (Master Printer, Honolulu Academy of Arts). Senior lecturer in Print- making at Ilam School of Fine Arts, 1978 - Barry Cleavin, A preface to Mitigating Factors 1990, Cleavin held various artist in residence and The Oncology Suites positions between 1972 – 1982 and in 1983 Ilam Campus Gallery, Clyde Road won a Fulbright fellowship to work at the 21 August to 25 September, 7 to 26 August

Artbeat Issue 20, August 2020 07 Bespoke Framing

Art Installation

Gallery & PG Exhibitions gallery 192

Solander Representing leading NZ artists Boxes 192 Bealey Avenue, Christchurch 03 366 8487 96 Disraeli St cityart.co.nz Sydenham Rolleston Avenue, Christchurch Christchurch 03 365 3811 Free entry; donations appreciated www.canterburymuseum.com www.pggallery192.co.nz

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Ecce Homo (Behold the Man) 2013, bronze, 1800 x 1900 x 1400mm Llew Summers Body and Soul the book and the show 27 August - 27 September 2020

The Old Library Building Wednesday - Sunday the Arts Centre 10am - 4pm Central 2 Worcester Boulevard Phone 03 366 3318 Art Gallery Christchurch www.thecentral.co.nz

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